Browsing by Author "Cooper, Brenda"
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- ItemOpen AccessFractious Form: The Trans/Mutable Post-Apartheid Novel(2008) Barris, Ken; Cooper, BrendaThe question which I explore is to what degree, and in what way, the paradigm of anti-apartheid literature gives way to its post-apartheid successor. More particularly, I explore how post-apartheid South African novels perpetuate, displace or transmute the narrative forms and conventions characteristic of anti-apartheid writing. I therefore read the forms and conventions in certain post-apartheid novels through the lens of anti-apartheid discourse, in particular its demand for politically engaged realism, tracing continuity and change. I argue that The Good Doctor (2003) by Damon Galgut and Karoo Boy by Troy Blacklaws (2004) reiterate anti-apartheid conventions through devices that become anachronistic, in that they reproduce antiapartheid literary dynamics without adaptation to the post-apartheid conditions represented or implied in these texts. Formal reinvention, however, is evident in the following novels. In The Restless Supermarket (2002), Ivan Vladislavi displaces political engagement from narrative form into the speech acts of his narrator. This text thereby stages a lexical meditation that displaces the typical realist sequence of symptomatic events. Despite this innovation, there are continuities between his work and the early writing of J.M. Coetzee, which suggest that Coetzee anticipated characteristic post-apartheid narrative strategies ahead of their time. Further, the innovative magic realist forms of Zakes Mda's Ways of Dying (1995) and Phaswane Mpe's Welcome to Our Hillbrow (2001) engage with crises of transition so dire that death becomes their central metaphor. Both writers introduce the device of orature as assertions of African identity. However, Mda counterposes orature against death, injecting through it a humanising principle. In Mpeâs novel, by contrast, orature acquires a murderous agency. I trace variants of what I term "fractured form", namely form that is duplicitous, or otherwise dualistic, through a further group of novels. My premise is that the social fracture represented as content scripts the formal fracture/fractiousness in their narrative forms. An attendant property is to disrupt nationalist discourse in its dominant post-apartheid manifestation, namely the rainbow nation mythos. The texts in this group are Disgrace (1999) by J.M. Coetzee, David's Story (2000) by Z Wicomb, Achmat Dangor's Bitter Fruit (2001), Zakes Mda's The Madonna of Excelsior (2002), and What Kind of Child (Barris 2006). In conclusion, the central question to which I attend has been raised by Michael Green (1997: 7), namely how a body of texts generated within the episteme of anti-apartheid can be meaningfully related to the literary paradigm that replaces it. I find that in the collective formal inventions, fractures and displacements demonstrated in this thesis, an emergent post-apartheid episteme becomes discernable.
- ItemOpen AccessMadness in African literature : ambivalence, fluidity, and play(2006) Himmelman, Natasha; Cooper, BrendaMadness in African Literature: Ambivalence, Fluidity, and Play examines how representations of madness in six literary pieces are used to reflect upon discourse.
- ItemOpen Access'Now you see me, now you don't' - a study of the politics of visibility and the sexual minority movement in Kenya(2009) Mugo, Cynthia; Cooper, BrendaThis study explores the varied ways sexual minority organisations in Kenya negotiate their choices, decisions and actions when determining how, when, and why to be publicly visible or retreat from visibility. This they have to do in the context of the threats of retribution on the part of Kenyan state leaders to their efforts to protect sexual minority rights. Sexual minority organising carries the risk of verbal abuse and the threat of arrest and other retribution. In spite of this, sexual minorities have organised themselves into publicly visible social movement organisations over the last ten years. In addition to the hostility of the Kenyan state, these organisations operate within the context of the uneven situation with regard to the constraints or otherwise of organising as sexual minorities between the Global South and North. The situation is further complicated by the role of donors, who bring their own experiences and agendas from the Global North, not always appropriately, into African contexts. Amid such varied responses to sexual minority organising, how, when, and why do Kenyan social movement organizations become publicly visible or retreat from visibility? To recognise the various forces that influence (in)visibility choices that sexual minority organisations have to negotiate, I used sociologist James M. Jasper's (2006) concept of "strategic dilemma". Sexual minority social movement organisations field strategic dilemmas when they strategise around whether and how to become visible, modify their public profile, or forgo political opportunities. To understand the micro-political dynamics of how sexual minority social movement organisations negotiated such strategic dilemmas of visibility and invisibility, I analysed 200 newspaper articles and sexual minority organisational documents and conducted 12 in-depth interviews with staff, members and leaders of sexual minority social movement organisations. Ultimately the findings of this thesis centre on the fluidity of visibility and invisibility as was experienced by Kenyan sexual minority organisations. (ln)visibility was experienced in diverse ways as a process that included a series of steps that do not have absolute values nor are they necessarily coherent in different time and space. My findings advance social movement theorizing by demonstrating the importance of studying social movements in the global South. In addition, my findings contribute to postcolonial feminist and queer theorizing by showing how marginalised sexual and gender minorities in Kenya struggled strategically to assert their democratic inclusion in the state.
- ItemOpen AccessThe paradox of "indigenous modernity" : a case study of the construction of identity among the ‡Khomani San(2009) Thoma, Nora; Cooper, BrendaThis minor dissertation examines the complex question of the issues relating to the identity of the ‡Khomani San of the Southern Kalahari in South Africa. Through qualitative fieldwork and secondary research, the dissertation illustrates that the ‡Khomani San have an identity, even though it is partially constructed, multifaceted and heterogeneous. This can be understood better through the paradox of "indigenous modernity" which combines traditions and modernity in one. The ‡Khomani San thus set an example of bridging the gap of dichotomies. In building this argument, the thesis first positions the ‡Khomani San as indigenous people in a global, African and South African context. This discussion highlights that one aspect of ‡Khomani San identity is based on their status as indigenous people. Secondly, the history of the ‡Khomani San is delineated, detailing the influence of colonialism and apartheid on ‡Khomani San resources, culture and identity. Here, the important connection between land and ‡Khomani San identity is emphasised. Thirdly, the dissertation explores the contemporary situation of the ‡Khomani San through the narratives of interviewed individuals. These ‡Khomani San voices speak to the ways in which recent developments concerning their land, traditional knowledge and livelihood have influenced the construction of their identity. Within these recent developments, the impact of external forces such as NGOs and government on the ‡Khomani San are also described. Through these interview narratives, binaried representations of the ‡Khomani San identity as either traditionalist or modernist are challenged. Rather, the ‡Khomani San identity is (re)interpreted as a hybrid of both 'traditional' and 'modern' values, which creates them into 'indigenous modernities'.
- ItemOpen AccessRemembering the nation, disremembering women? : stories of the South African transition(2005) Samuelson, M A; Cooper, BrendaThe thesis explores the making of nationhood, and its contestation, in narrative representations of women during the South African transition. This temporal span extends across the first decade of democracy and the first two terms of governance following the historic 1994 elections. The transition is a fertile temporal zone in which new myths and symbols are generated. My interest lies in the new national symbols and myths that emerge from this historical moment and the ways in which they have been figured through images and appropriations of women and their bodies. Women's bodies, I argue, are the contested sites upon which nationalism erects its ideological edifices. I engage with the mutually informing productions and performances of gender and nation, and the re-membering of a previously divided and divisive South Africa as a unified 'rainbow' nation. I proceed by tracing narrative acts of memory and repression, with a specific focus on the re-memberings and dismemberings of women's bodies as they are reconstituted as ideal vessels for a national allegory. Includes bibliographical references (pages 211-238).
- ItemOpen AccessA saga of black deglorification : the disfigurement of Africa in Ayi Kwei Armah's novels(1998) Ayivor, Moses Geoffrey Kwame; Cooper, BrendaThe focus of this dissertation is the thesis that if Ayi Kwei Armah's five novels - The Beautyful Ones Are Not Yet Born (1968), Fragments (1969), Why Are We So Blest? (1972), Two Thousand Seasons (1973) and The Healers (1978) - are closely analysed, they will emerge as a single creative mythology devoted to the fictional disfigurement of Black Africa from primeval times to the present. An analysis of Afiican writings reveals that a body of contemporary African literature has and is still undergoing a distinctive metamorphosis. This change, which amounts to a significant departure from the early fifties, derives its creative impulse from demonic anger and cynical iconoclasm and is triggered by the mind-shattering disillusion that followed independence. The proclivity towards tyranny and the exploitation of the ruled in modern Africa is traced by radical African creative writers to an ancient source : the legendary and god-like rulers of pre-colonial Africa. Ouologuem's Bound to Violence, Wole Soyinka's play, A Dance of the Forests, and Armah's Two Thousand Seasons and The Healers hypothesize that past political violations begot the present wreckage of the African populace. The legendary warrior heroes of the past, whose glory and splendour were once exalted in African writing, are now ruthlessly disentombed and paraded as miscreants and despots, who brutalized and sold their people into slavery. Although Armah glorifies "The Way" in Two Thousand Seasons and "the metaphysics of African healing" in The Healers, the dominant preoccupation of two novel histories is to divest the ancient godlike kings of their false glory.
- ItemOpen AccessThis is Africa: Whiteness and Representations of the other recent Hollywood Films(2010) Swank, Allison; Cooper, Brenda; Garuba, HarryThis mini-dissertation interrogates racial representations in two recent Hollywood films, The Last King of Scotland (2006) and Blood Diamond (2006). Drawing heavily from Richard Dyer's key theories on the white heterosexual male image in film, I look specifically at representations of whiteness in both films' male protagonists: Dr. Nicholas Garrigan (Last King) and Danny Archer (Blood Diamond). Both men use the phrase, 'This is Africa' (TIA) in conversation with white foreigners to enunciate some supposedly enduring characteristics of Africa that mark its essential difference from what exists in a normative elsewhere that is never explicitly mentioned. Using Edward Said's 'strategic location' (1978:20) as a method of discourse analysis, I examine the narrative positions of both men as they appropriate TIA discourse. In doing so, I unpack TIA discourse to reveal its reflection of colonial discourse as well as the new knowledges it produces. This work is divided into four chapters. The first chapter focuses on the knowledge regime on which TIA discourse is anchored while the second chapter sketches a history of this knowledge regime through its representation on screen. The second chapter also describes how the socio-political context of time and space largely effect race representations in Hollywood films. Chapter 3 focuses on the narrative position of the white male heterosexual protagonist, Dr. Nicholas Garrigan as he articulates and appropriates TIA discourse in The Last King of Scotland (2006). Chapter 4 focuses on the same principles of Chapter 3, except with the white male heterosexual protagonist of Blood Diamond (2006), Danny Archer. The final chapter resubmits the theories of TIA discourse I put forth and concludes my intervention. [W]hen we desire to decolonize minds and imaginations, cultural studies' focus on popular culture can be and is a powerful site for interventions, challenge, and change... only if we start with a mind-set and a progressive politics that is fundamentally anticolonialist, that negates cultural imperialism in all its manifestations" (hooks 1994:4,6).
- ItemOpen AccessTranslated people, translated texts : language and migration in some contemporary African fiction(2007) Steiner, Christina; Cooper, BrendaThis thesis examines contemporary migration narratives by four African writers living in the diaspora and writing in English: Leila Aboulela and Jamal Mahjoub from the Sudan, now living in Scotland and Spain respectively and Abdulrazak Gurnah and Moyez G. Vassanji from Tanzania now residing in the UK and Canada. Focusing on how language operates in relation to both culture and identity, this study foregrounds the complexities of migration as cultural translation. Cultural translation is a concept which locates itself in postcolonial literary theory as well as translation studies. The manipulation of English in such a way as to signify translated experience is crucial in this regard. The thesis focuses on a particular angle on cultural translation for each writer under discussion: translation of Islam and the strategic use of nostalgia in Leila Aboulela's texts; translation and the production of scholarly knowledge in Jamal Mahjoub's novels; translation and storytelling in Abdulrazak Gurnah's fiction; and finally translation between the individual and old and new communities in Vassanji's work. The conclusion of the thesis brings all four writer's texts into conversation across these angles. What emerges from this discussion across the chapter boundaries is that cultural translation rests on ongoing complex processes of transformation determined by idiosyncratic factors like individual personality as well as social categories like nationality, race, class and gender. The thesis thus contributes to the understanding of migration as a common condition of the postcolonial world as well as offering a detailed look at particular travellers and their unique journeys.
- ItemOpen AccessZero tolerance and its women : representations of self and nation(2007) Holtmann, Emma; Shepherd, Nick; Cooper, BrendaIncludes bibliographical references (leaves 64-71).