Browsing by Author "Stiebel, Evelyn Alexandra."

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Changing form and political purpose in selected works of Ronnie Govender.
(2009) Singh, Thavashini.; Stiebel, Evelyn Alexandra.
This dissertation explores changing form and political purpose in selected works of Ronnie Govender, by analysing reasons for the shifts in Govender’s choice of genre, and the effects of these genre shifts in his work. Govender is unusual in that he has chosen to recast certain of his most popular works into different genres, throwing up questions of context and impact as associated with these works. The investigation of a selection of Govender’s works that have appeared in at least two genres over a period of change in South Africa allows for an examination of political impact on Govender’s works both during and post apartheid. This study will be analysed within a range of theatre ‘isms’ and theories which influenced Govender’s skills in the theatre. These are important to situate Govender as, firstly, in his early career, a theatre practitioner. Attention will be given to Constantin Stanislavski and the Method Acting Theory, (1937) as the philosophies advocated by Stanislavski were particularly useful to Govender for the staging and performance of his plays. Reference will be made to the ‘Theatre of Commitment’, Community Theatre, Indigenous Theatre, Theatre of the Oppressed and Epic Theatre, as elements of these theories feature in Govender’s writing and stage performances. Some focus will also be given to Zakes Mda (1993), as both Mda and Govender are associated with the ‘Theatre of Commitment’, and share a vision of socio-political change through theatre and literature. As contributors to the South African literary canon, Mda and Govender continuously reinvent themselves through their experimentation with form which results in them consistently producing new works. In addition, this dissertation also examines audience reception of Govender’s stage performances and reader reception in his texts, and this allows for a brief investigation into Reception Theory. The theories of Wolfgang Iser (1978), Stanley Fish (1980) Hans Robert Jauss (in Bahti 1982) and Susan Bennett (1990) will be referred to in so far as they inform the reception of the works selected for the purposes of this study. In order to contextualise Govender as a writer of both plays and prose, a brief biography of his life and his work will be undertaken. The findings of researchers such as Rajendra Chetty (2002) and Pallavi Rastogi (2008) who have studied the work of South African Indian writers will be drawn on in order to contextualise Govender’s writing particularly and his position as a South African Indian writer generally. This dissertation assesses Govender’s contribution to the South African canon, and forwards him as an example of a South African writer who is pointing to new directions in writing. The fictional works selected for this dissertation which best illustrate political purpose, changing form and the changing dynamics of reader-audience response, include The Lahnee’s Pleasure as play, The Lahnee’s Pleasure as novel; “1949”, first as short story then as play; and “At the Edge”, first as short story then as play. These works which have appeared as both play and prose (novel and short story) have been chosen for their versatility and suitability to different genres and because Govender has chosen to recast them in new forms. Reasons for this will be explored.
A comparative analysis of selected works of Bessie Head and Ellen Kuzwayo with the aim of ascertaining if there is a Black South African feminist perspective.
(2003) Dlomo, Venetia Nokukhanya.; Stiebel, Evelyn Alexandra.
My concern in this thesis is to assess if one can justifiably say that there is a unique black South African feminist perspective. I have chosen to focus on the feminist perspectives of two renowned black female African writers: Bessie Head (1937-1988) and Ellen Kuzwayo (1914-). I have several reasons for selecting these two writers for my investigation. Head and Kuzwayo, though obviously not exact contemporaries chronologically speaking, were contemporaries in the sense that they lived through, and wrote during, the time of apartheid rule in South Africa. Both can be considered as revolutionaries in their own right. Both used the traditional story telling literary device and the autobiographical genre differently but strikingly. They could both be called social feminists because they were both concerned with social justice, equality, racism, personal identity and upliftment of the community. I argue that the works of these writers have shown defmable feminist perspectives that suggest that, indeed, there is a South African Black Women's feminist perspective.
Constructions of identity in Marguerite Poland's Shades (1993) and Iron Love (1999)
(2003) Jacob, Mark Christopher.; Stiebel, Evelyn Alexandra.
In this thesis I will examine Marguerite Poland's two novels, Shades (1993) and Iron Love (1999) in terms of how they provide constructions of identity in a particular milieu and at a particular time. In order to do this; the thesis will focus on Poland's historical context and that of her fiction as represented in these two works. My primary aim is not to present a particular interpretation of colonial history, but rather to put into perspective personal, social and cultural identities that emerge from particular periods in South African history, especially as pertains to the Eastern Cape and Kwa-Zulu Natal, and particularly as illustrated in Poland's fiction. My approach would be to look at constructions of identity from a feminist as well as a Marxist perspective: "To Marx, man was a being whose identity and nature arose out of his purely practical attempts to make his livelihood in what amounts almost to a struggle with a hostile, physical environment" (Robertson 1985:204). This implies that socio-historical conditions are largely responsible for forming ideology and consciousness, which I will argue, is true for Poland's fiction under discussion. Poland's own position as a broadly liberal feminist will also be discussed. I have chosen the above-mentioned novels of Marguerite Poland not only because she is one of South Africa's leading contemporary writers of children's literature and adult fiction and has received numerous awards for her books and stories; but also because she is a most inspirational and perceptive writer meriting serious academic study. Her novel Shades (1993) - a matric setwork in 1998, 2001 and 2002 - proved highly successful as a setwork and was nominated for the MNet Fiction Award. Shades deals primarily with love, dispossession and identity, and the title itself refers to the spiritual manifestation of those gone before. Poland chose the title because she was writing about her own 'shades', her ancestors and the role they played in the small valley of the Mtwaku River in the Eastern Cape at the end of the nineteenth century (Poland 2000). Her core source was her great-grandmother's diaries, which related anecdotes about life at the St. Matthew's Mission. In 1999, Poland wrote Iron Love, again using her great-grandmother's diaries, but she insists that this book is not a sequel to Shades (Jacob 2002). Furthermore, the main character, Charlie Fraser, is a descendant of Poland's ancestors. In Iron Love (1999) Poland depicts the role of colonial private schools in indoctrinating young colonial leaders. The book \\ subtly questions the humanity inherent in a system teaching the suppression of emotions, sexuality, individuality, freedom"(Webster 2000:8). The thesis will open with an introduction outlining reasons for my choice of writer, her novels to be discussed, and the theoretical approaches I intend using. I will discuss the life and works of Marguerite Poland in an historical context and discuss the factors that influenced her in the writing of her novels. In this chapter I will also discuss identity construction in terms of feminist and Marxist ideology on patriarchy, religion, and capitalism. Chapter Two and Chapter Three will focus on a literary analysis of Shades (1993) and Iron Love (1999) respectively. Both novels demonstrate how identity is shaped by socio-historicaI forces, which I will analyse in depth in this thesis. Chapter Four will conclude my thesis further confirming the importance of socio-economic forces in determining ideology as manifested in Poland's fictional characters and in her own life.
Fictional constructions of Grey Street by selected South African Indian writers.
(2007) Mamet, Claudia.; Stiebel, Evelyn Alexandra.
Fictional Constructions of Grey Street by Selected South African Indian Writers. This thesis explores the fictional constructions of Grey Street by selected South African Indian writers to establish a deeper understanding of the connection between writers, place and identity in the South African Indian context. The concepts of 'place' and 'space' are of particular importance to this thesis. Michel Foucault's (1980) theories on space and power, Frantz Fanon's (1952) work on the connection between race and spatial politics, and Pierre Bourdieu's (1990) concept of 'habitus' are drawn on in this thesis in order to understand the ramifications of the spatial segregation of different race groups in colonial and apartheid South Africa. The specific kind of place focused on in this thesis is the city. Foucault's (1977, 1980) theorisation of the Panopticon is used to explain the apartheid government's panoptic planning of the South African city. As a counterpoint to this notion of panoptic urban ordering, Jonathan Raban's Soft City (1974), Michel de Certeau's "Walking in the city" (1984) and Walter Benjamin's The Arcades Project (2002) are analysed to explore an alternative way of engaging with city space. These theorists privilege the perspective of the walker in the city, suggesting that the city cannot be governed by top-down urban planning as it is constantly being re-made by the city's pedestrians on the ground. The South African city is an interesting site for a study of this kind as it has, since the colonial era, been an intensely contested space. This dissertation looks primarily at the South African Indian experience of the city of Durban which is a characteristically diasporic one. The theories of diasporic culture by Vijay Mishra (1996) and Avtar Brah (1996) form the foundation for a discussion of the Indian diasporas in the South African colonial and apartheid urban context. Two major Indian diasporic groups are identified: the old Indian diasporas and the new Indian diasporas. Each group experiences the city in different ways which is important in this study which looks at how different Indian diasporic experiences of the city shape the construction of Grey Street in fiction. One of the arenas in which diasporic histories are played out, and thus colonial, nationalist histories are challenged, is the space of fiction, Fiction provides diasporic groups with a textual space in which to record, and thus freeze, their collective memories; memories that are vital in challenging the hegemonic 'nationalist' collective memories often imposed on them. Christopher Shaw and Malcolm Chase's (1989) work on nostalgia is useful in this thesis which proposes that the collective memories of diasporic groups are quintessentially nostalgic. This is significant as the fictional constructions of place in the primary texts selected are remembered and re-membered through a nostalgic lens. The fictional works selected for this thesis include Imraan Coovadia's The Wedding (2001) and Aziz Hassim's The Lotus People (2002). Although other Indian writers have represented Grey Street in their works, including Kesevaloo Goonam in Coolie Doctor (1991), Phyllis Naidoo in Footprints in Grey Street (2002), Mariam Akabor in Flat 9 (2006) and Ravi Govender in Down Memory Lane (2006), the two novels selected respond most fully to the theories raised in this thesis. However, the other texts are referred to in relation to the selected texts in order to get a fuller picture of the Indian South African perspective of Grey Street. The selected primary texts are analysed in this dissertation in their historical context and therefore a brief history of Indians in South Africa is provided. The time period covered ranges from 1886 with the arrival of the first Indian indentured labourers to Natal to present day. Although this thesis focuses largely on the past and present experiences of Indian South Africans in Grey Street, questions are raised regarding future directions in Indian writing in the area. Thus, attention is also given to forthcoming novels by Hassim, Coovadia and Akabor. Research such as I am proposing can contribute to the debate on the cultural representation of urban space in South Africa and hopefully stimulate further studies of Indian literary production centered on writers, place and identity in the country.
Fictional reconstructions of Cato Manor : In at the edge and other Cato Manor stories and Song of the Atman by Ronnie Govender.
(2014) Pillay, Selvarani.; Stiebel, Evelyn Alexandra.
No abstract available.
Gender on the frontline : a comparative study of the female voice in selected plays of Athol Fugard and Zakes Mda.
(2002) Lombardozzi, Letizia Maria.; Stiebel, Evelyn Alexandra.
It can be argued that critical scholarship has not satisfactorily commented on the portrayal of women in South African theatre by male playwrights. This dissertation will examine the presentation of the female voice in the selected plays of two playwrights, namely Athol Fugard and Zakes Mda, coming from different socio-historical and cultural backgrounds. This comparative study will re-interrogate the selected representative texts from a feminist perspective, and will compare Fugard's subversive distrust of the female voice juxtaposed against Mda's refreshing celebration of the female presence in the selected plays. Fugard and Mda's female characters are generally seen by their readers, audiences and critics such as Andrew Hom, Marcia Blumberg and Dennis Walder as fundamentally vital, irrepressible and certainly more admirable than their male counterparts, as it is ultimately their quest for symbiosis and affirmation of the self which precludes any passive spectatorship on the part of the audience. However, paradoxically and ironically, it is Fugard, writing from a relatively privileged white male position, who consistently places his female characters in positions where their distinct inner strength is continually undermined. Despite their cognitive ability to engage with their situation, they are seldom permitted to triumph over the bleakness of their lives, but in fact are rendered emotionally impotent in the face of insurmountable existential isolation. Always situated within an interdependent relationship absent of hope and love, Fugard's women characters are never allowed to forget the role they are expected to assume in a patriarchal society rife with political and racial overtones. This very impasse in which they are placed by Fugard generally resonates strongly with the audience, who can identify or empathise with the women, but who are not afforded an imaginative escape by Fugard. Mda's female characters are created and portrayed within a similar political and universal system which perpetuates their exclusion from power and keeps them in servitude. However, unlike the ultimately silenced women in Fugard' splays, Mda, writing partly from a historically marginalised position himself, empowers his female characters with the freedom to confront and articulate their emotions and perceptions. His female characters are inscribed in a multiplicity of social positions, within which they most often find a solution to their problems and demand an outcome which is not only determined by outsiders, but by their own inner strength. Although they are less fettered by class and ideological constraints, they are however more naively drawn than Fugard's female characters. Whilst Fugard' s female characters in the selected plays are, without exception, left on the periphery of the play as the ultimate victims of their inescapable circumstances, the female characters created by Mda more often than not dominate the stage by virtue of their indomitable resilience, rather than resignation. This dissertation will also examine Fugard and Mda's presentation of their female characters as wholly a male's construct, set in a political context which subtextually interrogates race and gender. The implied assumption concerning the authority of the male writer over women's narratives will also therefore be questioned. Reference to Fugard and Mda's own personal histories as well as their other non-fictional writing will be seen as relevant in this regard. In conclusion, this dissertation will focus on the artificially imposed passivity of Fugard' s confined and limited female characters, and will compare this to Mda's empowerment of his female characters through critical awareness. The provocative issues of voice and violence as agency in both Fugard and Mda's discourse will be viewed, in particular, from within an apartheid system of governance.
A handful of spaghetti : entanglements of space, place and identity in the works of Imraan Coovadia.
(2014) Muller, Alan.; Stiebel, Evelyn Alexandra.
Durban born novelist, essayist, and academic, Imraan Coovadia has been described by Jane Rosenthal as “turning into a national treasure as a novelist” (Coovadia 2012a: cover). Despite winning numerous prizes including the Sunday Times Fiction Prize and University of Johannesburg Prize for High Low In-between (2009), and the M-Net Literary Award for The Institute for Taxi Poetry (2012), there has been little extended scholarly focus on his works. This thesis focuses primarily on The Wedding (2001), Green-Eyed Thieves (2006), High Low In-between 2009), and The Institute for Taxi Poetry (2012), with brief remarks, in the conclusion, on the recently-published fifth novel Tales of the Metric System (2014). I argue that Coovadia, while being a South African Indian author, eschews romanticising nostalgia that has come to typify much South African Indian authored fictions. In doing so, he looks beyond archetypal depictions of Indian experience in South Africa, opting for a more global and cosmopolitan approach to his works. My study examines how Coovadia, in his novels, is able to look simultaneously both directly at and beyond the South African cultural milieu, creating fictions that are punctuated by cosmopolitan places and people while retaining local specificity. Using selected theories of space, place, and identity, I suggest that the novels under discussion reflect an era of globalisation, interconnectedness, and hybridity through the construction of cosmopolitan literary cities and the hybrid identities that inhabit them. In doing so, I find that Coovadia writes beyond what Mphahlele has termed the ‘tyranny of place’ (Web2), creating literary spaces that are porous and offer potential for (re)definition, personal growth and fulfilment, and cultural newness. In this way, I argue that his works can be tentatively labelled as post-transitional texts that strive to craft connections rather than to construct self-isolating communities and characters seen in South African texts such as Richard Rive’s Buckingham Palace, District Six (1986), Aziz Hassim’s The Lotus People (2003), and Phyllis Naidoo’s Footprints in Grey Street (2002). Coovadia’s status as a post-transitional author would group him with a younger generation of South African global imaginaries – like Lauren Beukes (Moxyland [2008], Zoo City [2010], The Shining Girls [2013], and Broken Monsters [2014]) and Phaswane Mpe (Welcome to Our Hillbrow [2001]) – that situate South Africa, along with its unstable and protracted political transition, within a complex global network characterised by global exchange of information, items, people, and cultures.
Journeying beyond Embo : the construction of exile, place and identity in the writings of Lewis.
(2007) Lombardozzi, Letizia Maria.; Stiebel, Evelyn Alexandra.
A boundary is not that at which something stops, but ...is that from which something begins its presencing. (Bhabha 1994:1) For the purpose of this thesis, the above statement will be central, because implicit in it is a particular awareness of what constitutes exile and the exihc experience, both variously defined boundaries within which to view the historicity of the exiled subject. Bhabha's statement prompts one to reflect on the multi-faceted marginalised situation faced by the exiled subject. It can be argued that Lewis Nkosi, a black exiled South African writer, has remained a largely underresearched writer, particularly in South Africa. His works have not been as widely researched possibly as those of his contemporaries, despite his local and international profile and reputation as an astute scholar and writer, for various reasons which this thesis will explore. His writings and extensive commentaries on African and world literature certainly merit research, particularly in respect of his construction of place and identity. He has been influential in South African letters and frequently cited - however, his years outside the country have led to his neglect within South Africa. This thesis hopes to go some way towards recovering Lewis Nkosi as writer and scholar, particularly in terms of his construction of identity, both within South Africa and as exile. This thesis will examine representative texts by this writer, using perspectives of theorists such as Fanon (1986), Bhabha (1994), Said (1983) and Quayson (2002) among other writers who particularly discuss notions of space and place from a post colonial perspective. Reference to Nkosi's own history as well as his non-fictional writing will be seen as relevant in defining what 'home' and 'exile' have meant to Nkosi and how a construction of 'place' enhances the sense of identity. The question to be considered is: how, through his writing - both non-fiction and fiction - does Nkosi construct identity through place, how, in other words, has he pushed back boundaries as an exile writer? Here the impact that place has on our understanding of who we are will be explored. This thesis will investigate then the development, perception and experience of place and identity in the works of this writer. Nkosi's somewhat nomadic lifestyle in exile makes him an interesting case: the exposure to American and European culture he enjoyed as a writer in exile has not been the norm for most black South African writers. Nkosi's concept of place and identity will be analysed as they developed first in his early journalism days of Ilanga lase Natal and Drum, and subsequently in his primary works of critical essays and later fiction. Nkosi's act of writing is also the place where identity and memory meet, and this study will refer to early literary essays contained in his literary works Home and Exile (1965), The Transplanted Heart (1975) and Tasks and Masks (1981). A reading of these works together with his many earlier articles and reviews as well as his latest novels and dramas, will show the ways in which this writer self-consciously participates in the construction of place and identity, how he explores, through his writing, his sense of place and his identity as a South African exile, and how his perceptions may have changed during his long career as writer. As Nkosi affirms: "all of those are strands of memory about place and it automatically gets into your writing, because I think, it is both the terrain of consciousness and the orientation to reality" (Lombardozzi 2003:331). This dissertation will focus then, on the construction of home, identity and exile in Nkosi's discourse, written over nearly five decades of South Africa's turbulent history, a period during which all these terms were contested sites. Theories of place and identity are inevitably made more complex by the condition of exile, as place and identity are immutably concatenated, so that what is said about place must also include the construction of identity. In this regard theorists on exile such as Grant (1979), Gurr (1981), Seidel (1986), Robinson (1994) and Whitehouse (2000) will be examined, and theorists such as Cartey (1969), Fanon (1986), Owomoyela (1996) and Walter (2003) on the issue of identity will be considered. The thesis will therefore position Nkosi in terms of his generation of exile writers, and how this has impacted on his construction of identity, and will to this end, explore interconnected issues surrounding home, identity and exile.
Marguerite Poland's landscapes as sites for identity construction.
(2008) Jacob, Mark Christopher.; Stiebel, Evelyn Alexandra.
In this dissertation I focus on the life and works of Marguerite Poland and argue that landscapes in her fiction act as sites for identity construction. In my analysis I examine the central characters’ engagement with the land, taking cognisance of Poland’s historical context and that of her fiction as represented in her four adult novels and eleven children’s books. I also focus on her doctoral thesis and non-fiction work, The Abundant Herds: A Celebration of the Nguni Cattle of the Zulu People (2003). Poland’s latest work The Boy In You (2008) appeared as this thesis was being completed, thus I only briefly refer to this work in the Conclusion. My primary aim puts into perspective personal, social and cultural identities that are constructed through an analysis of the landscapes evident in her work. Post-colonial theories of space and place provide the theoretical framework. In summary, this thesis argues that landscape is central to Poland’s oeuvre, that her construction of landscape takes particular forms depending on the type of writing she undertakes; and that her characters’ construction of identity is closely linked to the landscapes in which they are placed by their author, herself a product of her physical and cultural environment. “Landscape is dynamic; it serves to create and naturalise the histories and identities inscribed upon it, and so simultaneously hides and makes evident social and historical formations” (Carter et al 1993: xii). The implication of this statement is that the landscape is continuously constructed and deconstructed; that there is a constant evolution of meaning between individuals and the landscape; and that socio-historical conditions are largely responsible for forming ideology and consciousness. This, I argue, is also true for Poland’s fiction. Poland’s own position, as a writer who draws inspiration from the land and its inhabitants, is also discussed. In this thesis I examine the different phases of Poland’s work looking at different kinds of identity construction through different kinds of landscape portrayal. As a prolific South African female contemporary writer, Poland has made inroads into the world of fiction writing once dominated by men. Consequently, feminist issues abound in her writings and I deconstruct characters’ engagement with the land in order to uncover their gendered identities. Primarily, I explore the themes of belonging, identity formation, displacement and dispossession in a particular space and place. My thesis opens with an introduction outlining reasons for my choice of writer, her works to be discussed and the theoretical approaches to landscape and identity construction pertinent to the thesis. I focus on what Poland’s writing yields in terms of gendered identities, racial attitudes and cultural practices in her fictional landscape construction. These sections are grounded in the theories proposed by writers such as, inter alia, Paul Carter, Edward Relph, Chris Fitter and Dennis Cosgrove. In Chapter 2 my discussion focuses on the life and works of Poland placing her in a historical and cultural context. In Chapter 3, I explore how Poland constructs what I call a ‘mythological landscape’. My aim here, as in the following chapters, is to analyse place as a text upon which histories and cultures are inscribed and interpreted and which, in turn, inscribes them too. I also show the extent to which Poland relies on oral folklore to create space and place in her fiction. The literary focus is on her children’s literature and her writings on cattle description and folklore. Chapter 4 focuses on a literary analysis of Train To Doringbult (1987), Shades (1993), and Iron Love (1999) respectively. These novels demonstrate how Poland shows identity shaped within a ‘colonial landscape’. I examine how these novels reiterate that socio-historical conditions are responsible for forming ideology and consciousness. I also analyse how this particular genre puts into perspective personal, social and cultural identities that emerge from particular periods in South African history. Chapter 5 focuses on what I call the ‘indigenous landscape’, on how the South African landscape and the indigenous cattle of the region become characters in their own right. A literary analysis of Recessional for Grace (2003), The Abundant Herds: A Celebration of the Nguni Cattle of the Zulu People (2003) and Poland’s thesis, Uchibidolo: The Abundant Herds: A descriptive study of the Sanga-Nguni cattle of the Zulu people with special reference to colour-pattern terminology and naming practice (1996), form the basis of my discussion in this chapter. I conclude my thesis by further confirming the significance of landscape in Poland’s work as a site for the construction of identity. I focus on Poland’s impact on South African literature to date. I also focus on Poland’s preoccupation with identity in a transforming landscape, showing that there is a constant evolution of meaning between individuals and the landscape within which they find themselves. In this regard I show that identity linked to place has to be seen in terms of context. I mention Poland’s most recent commissioned project – a historical biography of the St. Andrew’s College in Grahamstown, an institution that is now a hundred and fifty years old. Poland’s association with this college, its social and historical context and other discursive issues pertaining to landscape, transformation and construction of identities are fore-grounded, to lend impetus to my thesis.
The outsider figure in Lewis Nkosi's Mating birds and Underground People.
(2005) Raj, Lea Ann.; Stiebel, Evelyn Alexandra.
This thesis will examine the trope of the outsider figure in Lewis Nkosi's two novels, Mating Birds (1986) and Underground People (2002). Since both novels are set in South Africa and are informed by the political context of this country at particular junctures, the thesis will focus on the. effects of apartheid on the two black protagonists - central characters yet 'outsider figures' - in these novels. This thesis will argue that Lewis Nkosi's own position as an 'outsider figure' in South African letters plays an important function in his writing. In support of this point, I will therefore also refer to his non fictional books, Home and Exile and Other Selections (1965) and Tasks and Masks: themes and styles of African Literature (1981). These books are particularly important because they document Nkosi's comments on South African literature and his position as the 'outsider' acerbic critic. Nkosi can be seen as an outsider figure being a young, black South African living in an apartheid South Africa, and also, later, as a writer in exile. I have chosen Mating Birds and Underground People to illustrate my argument because they are not simply 'protest' novels, (in the sense Nkosi argued in Home and Exile and Tasks and Masks that so much black South African literature of a certain era was), but rather they examine the complex effects of exclusion, with regard to race and politics, on the individual. As the 'outsider' figure found full expression in French existentialist writing, I will also look at constructions of the outsider figure from an existentialist perspective. In his preface to the 2002 edition of Mating Birds, Nkosi reveals that the novel was to a large extent influenced by Albert Camus' The Outsider (1942). In writing The Outsider, Camus explores questions raised by the philosophy of existentialism. Similarly, Nkosi looks at black existence in a hostile apartheid environment, the absurdity of Sibiya's predicament and how he came to be there. He also explores the harshness of the physical environment which is a literal representation of Sibiya's anguish. Postcolonial analysis of 'othering', a logical extension of existentialism's 'outsider' figure will be used to support my argument. Mating Birds (1986), among other accolades, won the prestigious Macmillan International Pen Prize. Set between the 1950's and 1960's, it explores the divisions and prejudices that were experienced between white and black in a country steeped in racism and division. It deals primarily with the obsession an educated, young, black man, Ndi Sibiya, has for a white woman, Veronica Slater. Their illicit sexual relationship results in Sibiya being tried and convicted, by a white court, for rape. Underground People (2002), Nkosi's second novel, set in the late 1980's and early 1990's, takes the reader into the world of politics and underground resistance during the apartheid regime in South Africa. It narrates the adventures of Cornelius Molapo, an awkward member of the "National Liberation Movement", the fictional name of the African National Congress. Chapter One of this mini-dissertation will focus on a definition and exploration of the outsider figure in selected literary and theoretical works. Chapter Two will focus on the life and works of Lewis Nkosi in an effort to link the trope of the outsider figure to Nkosi's own life experience. His books, Tasks and Masks and Home and Exile, both collections of essays, help the reader to develop a picture of Nkosi, not only as a writer but also as a literary critic whose writing developed while in exile. Chapter Three and Four will provide a literary analysis of Mating Birds and Underground People, respectively. The analysis will deal with the outsider figure as a prominent feature of both these novels. Post-colonial analyses such as forwarded by Edward Said, Gayatri Spivak and Homi Bhabha will be used to advance the thesis. The conclusion (Chapter Five) will refer briefly to Nkosi's current writing projects and situate them in the post-apartheid South African context. An assessment of the on-going potential for the 'outsider' figure in Nkosi's contemporary work will be made.
Power, race and sex as evident in the role of the psychiatrist in Lewis Nkosi's Mating Birds and The Black Psychiatrist.
(2005) Rambiritch, Avasha.; Stiebel, Evelyn Alexandra.
In this thesis I will look at the interlinked issues of power, race and sex in Lewis Nkosi's Mating Birds (1986) and The Black Psychiatrist (1994) using the psychiatrist figure to provide the focus on these intersections of power, race and sex. It becomes clear after even a cursory reading of these texts that it is these very issues that inform both texts, one a novel and the other a play. it is important to note as well that these texts were selected because they have at their center inter-racial sexual relations set against the backdrop of apartheid in South Africa. Mating Birds is the story of Ndi Sibiya, ex-student of the University of Natal, left to a life of aimless wandering after being expelled for participating in student boycotts, now imprisoned and sentenced to death for the rape of a white woman, Veronica Slater. What is interesting about this text is the doubt set in the reader's mind about Ndi's guilt or innocence, by Ndi himself. The Black Psychiatrist deals with a black psychiatrist Dr Kerry, practising in Harley Street, London, who is visited by a white female patient, originally from South Africa. What is interesting about the play is the fact that the doctor seems to take on the role of patient and the patient that of the doctor. What is ironic however is that in her attempts to analyse the doctor, she is faced with the realities of her own life. With both texts dealing clearly with inter-racial relations, it is thus necessary to take into account the historical context in which these texts are set. Mating Birds was published in 1986 but set during the 1950's and 1960's while The Black Psychiatrist was published in 1994. Both texts were written and published before South Africa's first democratic elections and set during the time of apartheid. Selected theorists that will be looked at in relation to the two texts will be Freud (1949), Memmi (1965), Fanon (1967), Said (1978) and Young (1995). Freud is a useful starting point as it is his theory of the Oedipus Complex that forms the basis of psychoanalysis in which the role of the psychiatrist in curing patients of neurosis is very important. Freud's essays on the Oedipus Complex, "A Child is Being Beaten" and "Fetishism" though not written with the black man in mind are useful in analysing the effects of colonisation on the colonised and the way the colonised sees the world. This is something Fanon discusses in detail in his book Black Skin White Masks (1967), where he describes the feelings of inadequacy and dependence experienced by people of colour in a white colonial world. Robert Young's Colonial Desire (1995) will be a key text for this thesis as it allows insight into definitions and theories of race, power and sex in a colonial and oppressive context. Said's Orientalism (1978) will help provide insight into colonial discourse and its effects. Though written specifically with the Orient in mind it is a text that can be used to understand all subjugated people. His opinions on the notion of othering will be of particular importance: the idea that the colonised will always be the Other, object and not subject. Memmi's The Colonizer and the Colonized helps provide useful insight into colonialism, creating portraits of the coloniser and the colonised, allowing one access into the minds of both. The theorists selected provide definitions and theories about power, race and sex, issues which form the basis of Mating Birds and The Black Psychiatrist and which can best be understood by looking at the psychiatrists Dr Dufre and Dr Kerry. Issues of power, race and sex are essential in any discussion of colonialism and colonised people. The basis of colonisation was one of power, in the case of South Africa power of the white man over black people. Of particular importance to the white man in his reign of power were the extreme oppression of black people and an absolute prohibition of any sexual contact between black and white. It is these issues then that underline the work of Lewis Nkosi and that form the basis of his texts Mating Birds and The Black Psychiatrist. Chapter Two provides the historical context of Nkosi's work as well as a short biography. Of particular importance in this chapter will be a discussion of why Nkosi writes the way he does; why the emphasis on power, race and sex in his work. This requires one to look at the political situation under which he lived and worked for a time before leaving the country having signed away his right to return. Nkosi' s work outlines clearly the effects of apartheid and oppression. Discussed in this chapter as well are his comments on African literature, particularly South African 'protest' fiction. This will be linked to his work and the reasons for him writing the way he does. Chapter Three provides an in-depth analysis of Mating Birds looking specifically at power, race and sex using the role of the psychiatrist as a focus. A useful beginning will be an outline of the plot of the play followed by a discussion of Freud's Oedipus Complex and how it can be used to interpret the black man's view of the world according to Fanon. Deleuze and Guattari's theories will be useful as well in understanding the coloniser as the Father figure, the patriarch. This can be linked to the control that the coloniser has over things like language, communication, place, and the prohibition of inter-sexual relations - looked at in relation to the text. Freud's essay on "Fetishism" will help provide insight into the black man's desire for the white woman while at the same time using her as a substitute for the freedom and power that he so covets. The issue of Othering is important as well - what do black and white men represent to each other? Fanon's views on the African rapist will be referred to as will be Said's object-other theory. Chapter Four presents a brief plot outline of the play The Black Psychiatrist followed by a detailed analysis of the psychiatrist figure Dr Kerry, a successful, black South African having flown his home to practise in London's famous Harley Street. Issues of power are evident immediately as Kerry's authority in his office is undermined by the white woman who should be his patient but prefers to do the questioning. Freud's theories on Repression, which are based on the Oedipus Complex are important here but what needs to be discussed is which character is really guilty of this repression? It is in this chapter as well that a contrast between Dr Dufre and Dr Kerry will be made. Dufre, by coming to South Africa becomes a white man operating in a black man's world, representing the coloniser while Dr Kerry living and working in London is a black man in a white man's world, representing the colonised. Linked to Freud's Oedipus Complex is the issue of incest, which becomes evident only at the end of the play and can also be linked to his theories on Repression. Fanon's views on relationships between black and white make for useful discussions pertaining to the text. Chapter Five presents a short conclusion looking briefly at whether the thesis has achieved what it set out to do: that is, provide a discussion of the issues of power, race and sex in Lewis Nkosi's Mating Birds and The Black Psychiatrist. It will include a discussion of whether Nkosi has found a new way of writing about apartheid. Chapter Five includes as well a discussion of Nkosi's use of psychoanalysis in his writing and presents a short account of his article "The Wandering Subject: Exile as Fetish".
Reading the city : analysing literary space in selected postapartheid urban narratives.
(2005) McNulty, Niall.; Stiebel, Evelyn Alexandra.
Space can be read through text. Space is also constructed through text. Literary and critical theory has, however, emphasised time over space. However, space, place and location are crucial determining factors in any literary study. Through reference to theories of construction of place as well as writings on spatial history and the city I will discuss how place is created through text and how the urban environment affects literary production. Using the work of Michel Foucault (1986, 2002) on space and power, Michel de Certeau's approach to cities (2002) and WaIter Benjamin's (2002) theories on space, time and the city, as well as South African theoretical approaches to space and the city, I will attempt an analysis of place in chosen pieces of literature set in the postapartheid city by selected writers. I have chosen to focus on the cities of Durban and Johannesburg, and in particular the innercities, because it is here that major transformation in the use and representation of space has occurred. By looking at selected apartheid and postapartheid texts I will be able to analyse how the representation of literary space has altered with political and socio-economic changes. The time period I will look at primarily will be the postapartheid period. The interdisciplinary nature of this project means I will draw from literary criticism, critical theory, geography, sociology and economic history as well as elements of postcolonial and postmodem theory. The South African city today is a post-city; postcolonial and postapartheid. So too, the texts I have selected are post-texts, postmodem and post-struggle and I will conduct my analysis with this in mind. The concept of 'city' in literature is much more than just buildings and streets. It exists also in social relationships and links between people, both in the city and places outside of the city. The city is a set of social, political and cultural conditions that manifests itself in space and it is this aspect of 'city' which is represented in these texts that I will investigate. Through focusing on the autobiography Man Bitch (2001) by Johan van Wyk together with Never Been At Home (2001) by Zazah P. Khuzwayo and No Way Out (2001) by Zinhle Carol Mdakane all set in Durban, and Welcome to Our Hillbrow (2001) by Phaswane Mpe and the short story "Autopsy" (1996) by Ivan Vladislavic set in Johannesburg, I will investigate the representation of urban space in these texts of postapartheid literature. By way of introduction, I will examine relevant selected apartheid texts that deal with the cities of Durban (Lewis Nkosi's novel Mating Birds (1987)) and Johannesburg (selected poems of Mongane Wally Serote) and I will attempt to construct a literary image of the space of these cities under apartheid. A close reading of the texts selected will construct a clear picture of the current (and past) urban space through the medium of literature. It will be seen that major issues affecting South Africa's city inhabitants emerge as themes: AIDS, crime, migration and architectural degradation drive these narratives as does access to once restricted space.
‘When in Rome…?’: Literary tourism in Rome from a South African perspective.
(Kamla-Raj Enterprises., 2013) Stiebel, Evelyn Alexandra.
The post-NRF phase of KZN Literary Tourism in South Africa has seen the development of a number of literary trails throughout the province, funded by area-based municipalities and the National Arts Council of the country. Those supported by the local municipalities also include a community guide training component which strengthens considerably the community outreach component of the project. To date seven literary trails have been compiled and printed: two on stand-alone authors who are both linked to exiting tourist sites in KZN, with the rest being smaller area-based (writer) trails. A literary trail in essence, ‘links’ sites together and is inevitably a construct: in effect, a strung together narrative linking places sequentially in an environment which may in fact have had a far less seamless coexistence with the writer. This paper moves from a discussion of literary tourism, to the concept of literary tourism sites and projects in the KZN province in South Africa, to a discussion of the literary trail in Rome, Italy. It does this however, by presenting an insider view on ‘experiencing of the trail’ by a South African tourist.