"Whenever I have taught South African literature to U.S. undergraduates, I have been pleased but also disturbed by the way they were moved and shocked by the readings (for instance, by Brink's Dry White Season). It seemed to me that their strong reaction was not all good — that it had in it an element of voyeuristic and distancing horror at 'racism's last word.' My solution has always been to discuss a poem by Peter Horn ("I'm Getting Famous, Sort Of") which underlines the danger of writing political poems which audiences find 'soothingly shocking.' Professor Jolly's book addresses this danger directly. One might say her critical project is to explode the idea of the 'soothingly shocking,' and to indicate an alternative approach to reading and writing about violence: an approach which might ensure that neither the critic nor the novelist remain transfixed at the door of the 'dark chamber' of the state's most despicable secret practices."
Rita Barnard, University of Pennsylvania
The representation of pain and suffering in narrative form is an ongoing ethical issue in contemporary South African literature. Can violence be represented without sensationalistic effects, or, alternatively, without effects that tend to be conservative because they place the reader in a position of superiority over the victim or the perpetrator?
Jolly looks at three primary South African authors—André Brink, Breyten Breytenbach, and J. M. Coetzee—to consider violence in the context of apartheid and colonialism and their inherent patriarchies.
Jolly also discusses the violence attendant upon the act of narration in the broader context of critiques of Kafka, Freud, Hegel, the postcolonial critics Jan Mohamed and Bhabha, and feminists such as Susan Suleiman.
Rosemary Jane Jolly, Assistant Professor at Queen's University in Kingston, Ontario, lived in southern Africa for twenty years, both in South Africa and Lesotho. Her research is in the area of racial and sexual violence in postcolonial writing. More info →
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A compelling study of the origins and trajectory of one of the legendary black uprisings against apartheid, Theatres of Struggle and the End of Apartheid draws on insights gained from the literature on collective action and social movements. It delves into the Alexandra Rebellion of 1986 to reveal its inner workings.Belinda
Critics of the Grimms’ folktales have often imposed narrow patriotic, religious, moralistic, social, and pragmatic meanings of their stories, sometimes banning them altogether from nurseries and schoolrooms. In this study, Kamenetsky uses the methodology of the folklorist to place the folktale research of the Grimms within the broader context of their scholarly work in comparative linguistics and literature.
Why should Salman Rushdie describe his truth telling as an act of swallowing impure “haram” flesh from which the blood has not been drained? Why should Rudyard Kipling cast Kim, the imperial child–agent, as a body/text written upon and damaged by empire? Why should E. M. Forster evoke through the Indian landscape the otherwise unspeakable racial or homosexual body in his writing?
J. M. Coetzee and the Idea of the Public Intellectual addresses the contribution Coetzee has made to contemporary literature, not least for the contentious forays his work makes into South African political discourse and the field of postcolonial studies.
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