...................................................................................................................... i Opsomming ................................................................................................................. ii Bedankings ................................................................................................................ iii Hoofstuk 1 Inleiding .................................................................................................... 1 1.1 Inleiding ............................................................................................................ 1 1.2 Die konseptualisering van Hosh Tokolosh ........................................................ 4 1.3 Teoretiese aspekte ......................................................................................... 13 1.4 Sentrale teoretiese stelling ............................................................................. 19 1.5 Metodologiese benadering ............................................................................. 20 1.6 Literatuurstudie ............................................................................................... 21 1.7 Ontleding en interpretasie van musiekvideo ................................................... 21 1.8 Hoofstukindeling ............................................................................................. 21 Hoofstuk 2 Hosh Tokolosh as simboliese koloniale speelveld ................................. 23 2.1 Inleiding .......................................................................................................... 23 2.2 Die sogenaamde norm van kulturele hegemonie ............................................ 23 2.2.1 Kulturele toeëiening en meerderwaardigheidsproblematiek ..................... 27 2.3 Die hegemoniese inburgeringsproses ............................................................ 31 2.4 Die setlaarhouding en die nagevolge van ʼn ongelyke landskap ..................... 36 2.5 Hosh Tokolosh as simboliese koloniale speelveld .......................................... 43 2.6 Gevolgtrekking ................................................................................................ 48 Hoofstuk 3 Protagonistiese en antagonistiese komponente in Hosh Tokolosh ........ 50 3.1 Inleiding .......................................................................................................... 50 3.2 Kulturele toeëiening: ʼn inbraak op kulturele identiteit ..................................... 50 3.3 Die spanning tussen protagonistiese en antagonistiese kulture ..................... 53 3.4 Kulturele toeëiening en ʼn houding van witheid ............................................... 59 3.5 Protagonistiese elemente in Hosh Tokolosh ................................................... 61

Die potensiële problematiek van kulturele toeëiening in Hosh Tokolosh

Wole Soyinka was awarded the Nobel Prize for Literature in 1986, the first African recipient of this honour, for his body of works covering plays, novels and poetry. Soyinka is also a literary and cultural theorist, a memoirist, and a social activist, known internationally for his campaign against tyranny and injustice. This and many other dimensions of his career as a man of letters, his cultural background and the postcolonial context in which he writes flow freely into his creative works. 

This study describes Soyinka’s theatre, based on eight major plays published between 1960 and 1996. This is the peak of Soyinka’s literary career and provides the most illustrative instances of the maturation of his art and thematic concerns. Using the selected plays as focal points, a critical appraisal of Soyinka’s characters and their cosmos, and the development of the key ingredients of his theatre is undertaken. It is argued that Soyinka’s theatre portrays a liminal world in which myth, ritual and postcolonialism are ascendant elements. The main framework for this argument is Barthes’s poststructuralism but other theorists apply as well, including Bhabha, Eco, Foucault, Hutcheon, Jeyifo, Jung, Kristeva, Levinas, Olaniyan, Turner, Van Gennep, Vermeulen and Akker, and Soyinka himself. 

Accordingly, this study opens new frontiers on Soyinka by delving into key concepts such as liminality, postcoloniality, modernism, postmodernism, metamodernism, abjection, “othering”, and intertexuality as they apply to Soyinka’s theatre. It features a wide-ranging discourse on Soyinka’s “fourth stage” as a form of applied dramatic theory in which the poetics of myth and ritual and the postcolonial distinctions of Soyinka’s theatre find congruence. Myth and ritual ensconce Soyinka’s dramatis personae in a way that prepares them for and, crucially, prevents them from overcoming the gulf between their personal volitions and the will of their community.

The theatre of Wole Soyinka : inside the liminal world of myth, ritual and postcoloniality

In order to overcome the silence that had been instilled by colonialism, several postcolonial
female writers employ fiction to restore their local culture and reflect on their representation
in historical writings. For female writers, literature often becomes a medium through which
they can become active agents of their own destiny by establishing a voice for themselves.
Writing becomes a means of reclaiming traditional discourses relating to women.
The following study is primarily focused on Calixthe Beyala, a Franco-Cameroonian
novelist, and specifically concentrates on the manner in which Beyala makes use of her
female protagonist in Tu t’appelleras Tanga to portray the realities facing African
Francophone females. The study aims at illustrating that the female protagonist plays a
critical role in mirroring both the conditions of females in African societies and the
conditions pertaining to Womanism in a universal context. Through the analysis of the role of
the protagonist, the study reveals that there seems to be a relationship between fiction and
society which is definite enough for fictional characters to be used as prototypes for social
roles and attitudes.
In order to further investigate the manner in which African actualities are able to exist in
fictional narratives, the study draws an extensive comparison between the fictional narrative
Tu t’appelleras Tanga and selected non-fictional Cameroonian laws dating from 1980 to
2017. By addressing the intentions of fictional narratives, the study reveals a possible
association between Beyala’s fiction and the African world of actuality relative to the African
females’ predicament that is associated with patriarchal dominance, prostitution, the lack of
agency as well as economic exploitation.
To conclude, the paper maintains that Francophone African female novelists, and, in
particular, Beyala, make use of fictional narratives to not only highlight the pivotal issues
regarding the status of African women but also creates a voice for future female generations
to become empowered through the act of narration.

The female protagonist’s intersection with the African world of actuality in Beyala’s novel Tu t’appelleras Tanga

La presente tesis doctoral es un estudio comparativo entre la ficcion del escritor norteamericano Paul Auster y el filosofo frances Maurice Blanchot. El objetivo de la tesis se centra en analizar la obra del escritor norteamericano como la ficcionalizacion de la teoria literaria de Maurice Blanchot. En este sentido, la tesis intenta probar que la ficcion de Auster es una ficcionalizacion del proceso de escritura y creacion del espacio literario segun las partes que plantea el filosofo frances. El origen de la investigacion comienza en el rol de Paul Auster como traductor de ciertos textos filosoficos del critico frances al inicio de su carrera como escritor. Para justificar la influencia, la tesis ofrece un analisis intertextual entre los dos autores desde el punto de vista de la figura del traductor y como la tarea de traduccion influye en el acto creativo del escritor. El primer capitulo analiza las traducciones realizadas por Paul Auster y un estudio exhaustivo de las cartas que intercambiaron los dos autores. El tercer capitulo de la tesis analiza el concepto de soledad esencial de Blanchot como el primer paso para el proceso creativo en La trilogia de Nueva York (1987) y El palacio de la luna (1989). El cuarto capitulo trata la segunda fase del proceso de creacion del espacio literario que es la figura del escritor y el proceso de escritura en las novelas La trilogia de Nueva York, La noche del Oraculo (2004) y Viajes en el escritorio (2006). Finalmente, el capitulo cinco analiza el concepto de inspiracion de Maurice Blanchot como fase final de proceso de escritura pero tambien como referente inicial del mismo. En este capitulo se presenta un estudio de las novelas Fantasmas (1986), La musica del azar (1989) y Mr. Vertigo (1994) como ejemplos de ficcionalizacion del instante de inspiracion.

The invention of the space of literature: Paul Auster´s fictionalization of Maurice Blanchot's poetics

/pdf/back-from-oblivion-society-and-literature-in-ventura-ruiz-4onzkmbj1p.pdf

Back from Oblivion: Society and Literature in Ventura Ruiz Aguilera’s Ecos nacionales and Proverbios ejemplares

Thank you very much for downloading the cambridge introduction to postmodern fiction. Maybe you have knowledge that, people have search numerous times for their chosen books like this the cambridge introduction to postmodern fiction, but end up in infectious downloads. Rather than enjoying a good book with a cup of tea in the afternoon, instead they juggled with some harmful virus inside their laptop.

Torsten Bumgarner

Papers

The Cambridge Introduction To Postmodern Fiction