Doctoral Degrees (Modern Foreign Languages)

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https://scholar2.stb.sun.ac.za/handle/10019.1/639

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Queerly uncanny Afrikaner nationalism(s) : an affectively attuned queer reading of selected twentieth-century uncanny Afrikaans short stories
(Stellenbosch : Stellenbosch University, 2023-12) Croeser, Chantelle Claire; Viljoen, Louise; Du Toit, Catherine (Professor); Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Modern Foreign Languages.
ENGLISH ABSTRACT : In this dissertation I apply an affectively attuned queer comparative and close reading to selected uncanny Afrikaans tales that emerged as some of the first of their kind in written Afrikaans. The characters in the stories, the manner in which the stories are told, and the spaces in which they are set create an uncanny affective environment and can be productively (re)read at a queer angle. To explore these elements, I sketch the historical landscape and socio-political context in which these stories emerge. I situate my exploration within a bricolage of methodology and/as theory framework which consists of queer, affect, and Gordonian spectrality theory. For my consideration of the affective role of setting, I traverse the various haunted houses, land- and farmscapes in Eugène Marais’ “Die huis van die vier winde” and “Isaak Slyk” (1927), and C.J. Langenhoven’s “Volksraadlid Duiwenal se verhaal: Die bouval op Wilgerdal” (1972/1924). Staying with spaces I turn my body toward the queer characters that populate these spaces by looking at C. Louis Leipoldt’s “Die Koranna se kopbeen” (1927), C.J Langenhoven’s “Ds. Enkeldoorn se verhaal: Die hangende gedaantes” (1972/1924), and Eugène Marais’ “Isaak Slyk” (1927). I then consider the queer manner in which these stories are told by comparing “Die huis van die vier winde” and C.J. Langenhoven’s “Die hangende gedaantes” (1972/1924) to the embedded structure of Guy De Maupassant’s “Mother of Monsters” (2004/1883), and Edgar Allen Poe’s “The Fall of the House of Usher” (1960/1839). I also compare the selected tales to the /Xam tales “Nag en duisternis en hulle drie dogters”, “Vlakte is die tweede dogter”, “Hoe B— stories vertel”, “Berge is die oudste dogter” (2009/1919) as well as “Kraai se vernedering”, and “’n Kommando teen B—” (2010/1921) as retold by G.R Von Wielligh. In particular, I show that the selected Afrikaans tales queer the embedded storytelling modes by incorporating elements of /Xam stories, situating themselves within Southern African storytelling traditions rather than purely Western uncanny traditions. I conclude my study by showing that the ghosts who speak affectively through these stories are all born from the terror enacted by the establishment and expansion of Afrikaner identity as imagined by Afrikaner nationalists. These ghosts signal that these authors and their contexts were haunted by the white Afrikaner’s tenuous relationship with the land (most prominently in the form of the plaas); the survival of the Afrikaner family unit as means to maintain ownership of the land through the heteronormative marriage’s successful continuation of the Afrikaner lineage; the violent construction of borders that attempt to isolate the Afrikaner (family) physically, culturally, and linguistically from Black and Brown people under of the guise of protection; the brutal and genocidal enforcement of the denial of the central role of indigenous people in the creation of the Afrikaans language and culture; and the very affects that are involved in, shape, and through which each of these operate. Finally, I speculate about and show the ways in which these ghosts continue to haunt Afrikaners today.
Une histoire d’esclavage : la representation du devenir creole dans une selection de romans mauriciens contemporains
(Stellenbosch : Stellenbosch University, 2021-12) Dewoo, Nerisha Yanee; Du Toit, Catherine; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Modern Foreign Languages.
ENGLISH ABSTRACT: The present study falls within the scope of literature and identity. It examines the integration of Creole history and identity as presented in a contemporary Mauritian literary corpus published from the 2000s onwards: Histoire d’Ashok et d’autres personnages de moindre importance (Amal Sewtohul, 2001), Soupir (Ananda Devi, 2002), Terre d’Orages (Serge Ng Tat Chung, 2003), Le silence des Chagos (Shenaz Patel : 2005), Ève de ses décombres (Ananda Devi, 2006), Journey into the past (Ranjita Bunwaree, 2014), and Rivage de la colère (Catherine Laurent, 2020). The novelists selected for this project have created works of fiction that provide a wider access to the closed world of Creoles hitherto marginalised in Mauritian society, a fact that is repeated in Mauritian literary narratives. The tendency of Mauritians to insist on their cultural diversity derives from a sense of belonging elsewhere, and thus from a residual belonging to Mauritius. However, this 'founding myth' does not contain the possibility of constructing or homogenising a national identity. Mauritians always relate to the geographical spaces from which their ancestors came (India/China/Africa). They are never purely Mauritians, but Indo-Mauritians, Sino-Mauritians, Afro-Mauritians, etc., making Mauritius an in-between place, and belonging a notion that remains attached to an imagined or dreamed past. The writers in our corpus are interested in the difficulty of belonging that characterizes Creole communities. They speak of the difficulty of constructing and agreeing on a definition of an identity that cannot be formalized because its criteria are in constant flux. Creoles are at the same time rooted in a colonial/slavery past that makes being Creole synonymous with being Afro-Mauritian, as Julia Waters argues in The Mauritian Novel. Fictions of Belonging (Waters 2018: 3). The discussion around Creoles is further complicated when some are described as partially Afro-Mauritian milat (mulatto). For some Creoles, identity is further influenced by a floating memory due to an unfamiliar past, a modern political/social system governed by ancient traditions, and by how other Mauritian communities or even Creole communities themselves view what can and cannot be Creole in present-day Mauritius. The writers in our corpus show that Creole identity remains elusive and fluid, although it is surrounded by certain rigid preconceived notions. We can imagine that the works in our corpus represent the voice of these Creole characters who do not necessarily have an easy time speaking. However, the re-appropriation of Creole history and experience in our contemporary Mauritian narratives is always done through the third-party gaze of the writer who may find it difficult to reconcile the fictional and the factual. What do we really know about the Creoles apart from what is said about them in our corpus or in Mauritian society? Their history, which has long been ignored, remains unclear until now, despite the efforts of some contemporary academics to fill the historical gaps. Fiction and history are inseparable in this study. In order to develop the different notions of memory, history and fiction that underlie this thesis, numerous works devoted to historical and fictional studies accompany our literary journey. Moreover, the work of the French philosopher, Paul Ricoeur, in La mémoire, l'histoire, l'oubli (2000a), has greatly contributed to the analysis of our novels. As the question of representation is closely linked to interpretation, we rely on a hermeneutical approach to study the staging of Creole communities in our corpus. This theory of interpretation allows us to see how the sense of belonging of these groups is articulated around historical, mnemonic, political and social axes. Is Creole identity therefore decided by others, even in texts that claim unconditional tolerance of hybridity?
Die uitbeelding van Afrika-woestyne in Afrikaanse, Engelse, Duitse en Franse fiksie
(Stellenbosch : Stellenbosch University, 2017-03) Jordaan, Doret; Du Toit, Catherine; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Modern Foreign Languages
AFRIKAANSE OPSOMMING : Die menslike verbeelding reduseer die aarde se verskeidenheid woestynlandskappe dikwels tot enkele, herhalende beelde wat een groot generiese woestyn vorm. Een doel van hierdie studie is om vas te stel hoe literêre uitbeeldings van woestynomgewings verband hou met die fisiese woestyne van Afrika – in die besonder wat fiksie geskryf in Afrikaans, Engels, Duits en Frans betref. Daarom word die uitbeelding van die Namib, Kalahari en Sahara bespreek binne die raamwerk van die ekokritiek, geokritiek en vergelykende letterkunde. Hierdie studie het verder ten doel om die gapings aan te spreek tussen die groot hoeveelheid literêre navorsing oor woestyne soos die Sahara aan die een kant en die Namib en die Kalahari aan die ander kant. Ook word gepoog om ŉ bydrae te maak wat die beperktheid van veeltalige navorsing binne die ekokritiek en geokritiek aanspreek – veral Afrikaans. ŉ Wye verskeidenheid tekste is by die ondersoek betrek. Benewens outobiografiese werke soos reisbeskrywings, behels die nie-fiksie ook werke uit die aardwetenskappe. Die fiksie behels romans, en tot ŉ mindere mate kortverhale, waarin die woestyn optree as woonplek, vestigingsplek en besoekplek. Die woestynuitbeeldings in die romans Anderkant die Stilte (2002) deur André P. Brink, Désert deur J.M.G. Le Clézio (1980), Der einzige Ort (2004) deur Thomas Stangl en The Sheltering Sky (1990 [1949]) deur Paul Bowles, word meer uitvoerig bespreek. Die groot verskeidenheid woestynbeelde, kan aan die hand van ŉ paar aspekte beskryf word, met die oog op die lees van die woestyn. Die woestynbeeld is eintlik ŉ opstapeling van uitbeeldings. Hierdie weergawes van die woestyn is beperk wat sintuiglike waarneming betref en is oorwegend visueel. Wanneer die woestynbeelde as ŉ versameling betrag word, blyk dit ŉ reeks paradokse wees. Hierdie kontrasterende beelde maak egter sin, indien die woestyn vanuit ŉ ekokritiese invalshoek bestudeer word. Wat Afrika se woestyne betref, kan duidelik onderskei word tussen uitbeeldings van die Sahara en uitbeeldings van die woestyne in Suidelike Afrika: die ekosisteme van die Namib en die Kalahari word met groter spesifiekheid uitgebeeld as dié van die Sahara. Die literêre woestynervaring kan dus verryk word deur die besonderse uitbeeldings van die Namib en die Kalahari saam met uitbeeldings van die Sahara te lees.
„Wo ist der Junge aus dem Urwald?“ Abenteuer und koloniales Afrika in der Jugendliteratur
(Stellenbosch : Stellenbosch University, 2015-03) De Beer, Amanda Erika; Annas, Rolf; Stellenbosch University. Faculty of Arts and Social Sciences. Department of Modern Foreign Languages
AFRIKAANSE OPSOMMING : Hierdie proefskrif is ’n ondersoek na die wyse waarvolgens Duitse jeugboekskrywers die koloniale periode in Afrika uitbeeld. Duitse avontuurliteratuur speel dikwels af in die koloniale periode in Afrika. Motiewe in die avontuurroman stem egter nie altyd ooreen met die historiese konteks en geografiese ruimtes nie. Dit skep die indruk dat so ’n verhaal tyd- en ruimteloos is en dat die historiese en geografiese konteks bloot die afstand tussen Afrika en Europa beklemtoon. In die lig van die feit dat Afrika en sy historiese konteks dikwels as eksotiese agtergrond dien, bespreek die studie die problematiek rondom die manier waarvolgens skrywers die koloniale periode in die avontuurliteratuur ontleed. Vervolgens word die vraag gestel tot watter mate die uitbeelding van Afrika sedert 1945 verander het. Die wyse waarop die koloniale periode in Afrika in Duitse jeugliteratuur uitgebeeld word, behoort dus ondersoek te word binne die konteks van die tradisionele avontuurliteratuur. Deurdat die studie gesentreer is rondom die avontuurliteratuur voor 1945 en avontuurboeke na 1945, stel die dissertasie ondersoek in tot watter mate jeugboeke en hulle uitbeelding van die koloniale periode verander het en in hoeverre die tradisionele avontuurliteratuur aan hierdie boeke ontleen is. In hierdie proefskrif word avontuurverhale en avontuurlike jeugverhale wat tydens die koloniale periode in Afrika afspeel, vervolgens ontleed. Die studie fokus op vier periodes: Eerstens word tradisionele avontuurstories en motiewe wat ’n belangrike rol speel in die uitbeelding van Afrika, geïdentifiseer. Die volgende tekste word ontleed: C.Falkenhorst se Der Baumtöter (1894), Gustav Frenssen se Peter Moors Fahrt nach Südwest (1906), Josef S. Viera se Bana Sikukuu (1924) en Gust in der Klemme (1933), Max Mezger se Aufruhr auf Madagaskar (1930) en Rolf Italiaander se Wüstenfüchse (1934). Tweedens ondersoek die studie die rol wat avontuurmotiewe – inisiasie, weerstand en verowering – speel in jeugboeke wat in die Federale Republiek van Duitsland gepubliseer is. Die volgende tekste word onder die loep geneem: Kurt Lütgen se ...die Katzen von Sansibar zählen (1962), Rolf Italiaander se Mubange, der Junge aus dem Urwald (1957), Herbert Kaufmann se Der Teufel tanzt im Ju-Ju-Busch en sy historiese roman Des Königs Krokodil (1959). Derdens ondersoek die studie watter rol avontuurmotiewe – die edel barbaar (edle Wilde), antiheld en die tweegeveg – speel in jeugboeke wat in die Duitse Demokratiese Republiek gepubliseer is. Die volgende tekste word analiseer: Ferdinand May se roman Sturm über Südwest-Afrika (1962) en Götz R. Richter se Savvytrilogie (1955 – 1963) en Die Löwen kommen (1969). Laastens stel die studie die vraag tot watter mate die kontemporêre avontuurliteratuur – soos Hermann Schultz se sendingroman Auf den Strom (1998) ’n nuwe ontwikkeling toon wat van die tradisionele avontuurliteratuur van die 19de en 20ste eeu afwyk.
Interkulturalitat und Afrikabilder in der zeitgenossischen Jugendliteratur
(Stellenbosch : Stellenbosch University, 2014-12) Okoko, Lorna Ayiemba; Dos Santos, Isabel C.; Stellenbosch University.Faculty of Arts and Social Sciences. Department of Modern Foreign Languages.
ENGLISH ABSTRACT: Globalization and the inherent shrinking of geographical boarders have rendered modern societies progressively culturally heterogeneous spaces. Increased encounters between people from different cultures have thus become a normal occurrence. Germany is in no way an exception to this socio-cultural phenomenon and has witnessed an emergence of multi-cultural societies, leading to concerted efforts in developing intercultural competence in all spheres of influence. Literature plays a pivotal role in the representation and transfer of culturally determined imaginations and perceptions of the “other”. This role is further emphasized in the case of children’s and youth literature, which has an imminent pedagogical function. For a long time, research in children’s and youth literature has received very little attention as an integral part of literary studies; this is observed both in English and in German literature, though the pace of development differs slightly (Hunt 1999; Weinkauff and Glasenapp 2010; Ewers 2000). In Germany, historical development of children’s and youth literature as an autonomous area of literature and field of study was influenced by societal values and attitudes as well as perceptions of childhood. This has continued to be the case, though recent research indicates a growing emphasis on children’s literature as a tool to develop literacy as well as an appreciation of the aesthetic value of literature. A third component is the intercultural aspect it is able to offer. Impelled by the paucity of systematic analyses of the representation of Africa in German children’s and youth literature, this dissertation sets out to offer a critical appraisal of intercultural aspects and the image of Africa in contemporary German youth literature. A corpus of literary works has been selected for this purpose. The central thesis of the study is that these literary works are involved in a sustained debate of questioning and contesting numerous representations of Africa and Africans. Given the fact that the study touches on several overarching issues, it draws from diverse theoretical perspectives that include intercultural theories on perceptions of the cultural “other” and “imagology” as well as postcolonial studies, with reflections on the pedagogical nature of youth literature. The study considers intercultural and postcolonial theories as conceptualized by Hofmann (2003; 2010), Mecklenburg (2003, 2006; 2008), Gutjahr (2002; 2010) and Göttsche (2003; 2010; 2011; 2012) as well as considerations on imagology as conceptualized by O’Sullivan (1989; 2000) and Beller (2007). In its exploration of the representation of Africa and Africans, this dissertation shows how literary works make use of diverse artistic, stylistic and narratological strategies and devices as possible ways of presenting and rethinking long-held perceptions about Africa. The present study proposes a reading and an appraisal of the corpus of literary texts as important discursive tools that allow for the expansion of self-conception and definition of otherness and the relationship to this otherness, thus contributing to increased intercultural awareness and competence among young readers.

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