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Africa in the Fiction of Nadine Gordimer
Africa in the Fiction of Nadine Gordimer RICHARD I. SMYER JL^^ÍADINE GORDIMER has pointed out that for modern man Africa has come to represent an inner condition — an aspect of his "spiritual consciousness," a "state of regeneration," and an "untapped source" of energy within himself toward which he may be seeking "the dangerous way back." Inspiring hope as well as uncertainty, "this Africa is... only a new name for an old idea -— man's deep feeling that he must lose himself in order to find himself."1 Gordimer has described herself as a "romantic struggling with reality,"2 and it is Gordimer the romantic who is aware of Western man's longing to venture beyond the limits of his own world, beyond his conscious identity, in search of a vital centre, a primal wholeness and energy, within the Africa within his own psyche. Gordimer is, however, enough of a realist to know that those who have been drawn to the continent often have been more intent on asserting the permanence of a familiar racial and cultural identity — for Western man, his identity as master. In South Africa the result has been apartheid, which is only one aspect of what Gordimer has noted as the fragmentation of a society lacking a common language or history and unified neither by ties of ethnic kinship nor by a shared social or political ideology.3 The polarity of the romantic quest for a psychologically re• generative wholeness and the realistic recognition of diversity and isolation may reflect a deep structure of the South African experi• ence. -
TRE CONSCIOUSNESS of HISTORY 7N the NOVELS of NADINE GORDDJER: 1953-1974 by S Tephen Clingman
TRE CONSCIOUSNESS OF HISTORY 7N THE NOVELS OF NADINE GORDDJER: 1953-1974 by S tephen Clingman In her critical book, The Black Interpreters, Nadine Gordimer writes: If you want to read the facts of the retreat from Moscow in 1815, you may read a history book; if you want to know what war is like and how people of a certain time and background dealt with it as their personal situation, you must read War and Peace. (1) In her opinion, it is clear, fiction can present history as historiography cannot. Moreover, it appears, such a presentation is not fictional in the sense of being "untrue". Rather, fiction deals with an area of historical activity inaccessible to the sciences of greater externality: the area in which historical process is registered as the subjective consciousness of individuals in society. While any claim to the unique powers of fiction in this regard must undoubtedly be qualified, it is nevertheless partly the intention of the present paper to demonstrate that Nadine Gordimerls own novels may indeed be viewed in this way. But, whereas her remark is focussed on the narrative world which Tolstoy presents, taking for granted the veracity of the subjective historical experience he depicts, this paper follows rather the historical consciousness of Nadine Gordimer herself as it is manifested in a developing way in her successive novels. Perhaps more than any other South African writer, Nadine Gordimer's literary consciousness is historical. This is apparent in matters ranging from her critical remarks on other writers (as above) to the specific mode of fickion she habitually employs in her novels. -
Mary Benson's at the Still Point and the South African Political Trial
Safundi The Journal of South African and American Studies ISSN: 1753-3171 (Print) 1543-1304 (Online) Journal homepage: https://www.tandfonline.com/loi/rsaf20 Stenographic fictions: Mary Benson’s At the Still Point and the South African political trial Louise Bethlehem To cite this article: Louise Bethlehem (2019) Stenographic fictions: Mary Benson’s AttheStillPoint and the South African political trial, Safundi, 20:2, 193-212, DOI: 10.1080/17533171.2019.1576963 To link to this article: https://doi.org/10.1080/17533171.2019.1576963 © 2019 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. Published online: 08 May 2019. Submit your article to this journal Article views: 38 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rsaf20 SAFUNDI: THE JOURNAL OF SOUTH AFRICAN AND AMERICAN STUDIES 2019, VOL. 20, NO. 2, 193–212 https://doi.org/10.1080/17533171.2019.1576963 Stenographic fictions: Mary Benson’s At the Still Point and the South African political trial Louise Bethlehem Principal Investigator, European Research Council Project APARTHEID-STOPS, The Hebrew University of Jerusalem, Jerusalem, Israel ABSTRACT KEYWORDS From the mid-1960s onward, compilations of the speeches and trial South African political trials; addresses of South African opponents of apartheid focused atten- Mary Benson; the Holocaust; tion on the apartheid regime despite intensified repression in the Eichmann trial; wake of the Rivonia Trial. Mary Benson’s novel, At the Still Point, multidirectional memory transposes the political trial into fiction. Its “stenographic” codes of representation open Benson’s text to what Paul Gready, following Foucault, has analyzed as the state’s “power of writing”: one that entangles the political trialist in a coercive intertextual negotiation with the legal apparatus of the apartheid regime. -
Bibliographie Sur Jump, Nadine Gordimer, SAES Agrégation Session 2019, Option A
Bibliographie sur Jump, Nadine Gordimer, SAES agrégation session 2019, option A Fiona McCann (Lille 3-IUF) et Kerry-Jane Wallart (Sorbonne Université), avec l’aide de Mathilde Rogez (Toulouse-Jean Jaurès) 1. Édition au programme Nadine Gordimer, Jump (1990). London: Vintage, 1991. 2. Autres œuvres de Nadine Gordimer Nouvelles Face to Face. Johannesburg: Silver Leaf Books, 1949. The Soft Voice of the Serpent. New York: Simon and Schuster, 1952. Six Feet of the Country. London: Gollancz, 1956. Friday's Footprint. London: Gollancz, 1960. Not for Publication. London: Gollancz, 1965. Livingstone's Companions. London: Jonathan Cape, 1971. Some Monday for Sure. London: Heinemann, 1976. A Soldier's Embrace. London: Jonathan Cape, 1980. Something Out There. London: Jonathan Cape, 1984. A Correspondence Course and Other Stories. Eurographica, 1986. Crimes of Conscience: Selected Short Stories. London: Heinemann, 1991. Why Haven't You Written?: Selected Stories 1950-1972. London: Penguin Books, 1992. Harald, Claudia and Their Son Duncan. London: Bloomsbury, 1996. Loot. New York: Farrar, Straus and Giroux, 2003. Beethoven Was One-Sixteenth Black. London: Bloomsbury, 2007. *Life Times: Stories 1952-2007. New York: Penguin, 2011. Romans The Lying Days. London: Gollancz, 1953. A World of Strangers. London: Gollancz, 1958. Occasion for Loving. London: Gollancz, 1963. The Late Bourgeois World. London: Gollancz, 1966. A Guest of Honour. New York: Viking Press, 1970 / London: Jonathan Cape, 1971. *The Conservationist. London: Jonathan Cape, 1974. *Burger's Daughter. London: Jonathan Cape, 1979. **July's People. London: Jonathan Cape, 1981. A Sport of Nature. London: Jonathan Cape, 1987. My Son's Story. London: Bloomsbury, 1990. None to Accompany Me. -
Announces 2013 Winter/Spring Season—Featuring 12 Theater, Dance, Music, and Opera Engagements—From Jan 17 to Jun 9
Brooklyn Academy of Music (BAM) announces 2013 Winter/Spring Season—featuring 12 theater, dance, music, and opera engagements—from Jan 17 to Jun 9 BAM 2013 Winter/Spring Season is sponsored by Bloomberg Theater productions: The Suit in its US premiere. Direction, adaptation, and music by Peter Brook, Marie-Hélène Estienne, and Franck Krawczyk—based on The Suit, by Can Themba, Mothobi Mutloatse, and Barney Simon. Jan 17—Feb 2……………………………………………………..page 3 The Laramie Cycle, a repertory engagement from Tectonic Theater Project including The Laramie Project and The Laramie Project: Ten Years Later, directed by Moisés Kaufman and Leigh Fondakowski. Feb 12—24…………………page 6 The Royal Shakespeare Company production of Shakespeare’s Julius Caesar, directed by Gregory Doran in its US premiere. Apr 10—28………………………………………………………….page 10 The Master Builder by Henrik Ibsen, directed by Andrei Belgrader and featuring John Turturro. World premiere, produced by BAM. May 12—Jun 9…………………………………..………………….page 15 Dance engagements: Trisha Brown Dance Company in a repertory program featuring two NY premieres: Les Yeux et l’âme and I’m going to toss my arms–if you catch them they’re yours. Jan 30—Feb 2…………………………………………….……….page 5 1 The Royal Ballet of Cambodia with The Legend of Apsara Mera. Choreography by Her Royal Highness Princess Norodom Buppha Devi in collaboration with Proeung Chhieng and Soth Somaly. Presented as part of citywide Season of Cambodia festival. May 2—4…………………….…..…………….page 14 DanceAfrica 2013 returns for its 36th year under the artistic direction of Chuck Davis. Performers include Umkhathi Theatre Works (Zimbabwe), BAM/Restoration DanceAfrica Ensemble, and others. -
A Renoster, a Foundation and a Market: the Cultural Import of Three
A Renoster, a Foundation and a Market: the cultural import of three Johannesburg figures between 1960 - 1990 Johannesburg, that city which purportedly rose from the veld, was about one hundred years old when it was fortunate, in the midst of the intensities of major capital development at the height of apartheid’s imposition and the fierce revolt against that, to have in its midst numbers of extraordinarily creative people in the fields of photography, music, the plastic arts, literature and the theatre. Of these, particular attention is given here to three: Lionel Abrahams, Bill Ainslie and Barney Simon. These figures are not offered here as emblematic or representative of the wide surge among cultural practitioners whose stance at that time was at profound odds with Michael Gardiner the disintegrative forces of apartheid and capitalism. But despite being male, white has retired from a varied and middle-class, the three asserted, for those who wished to participate in the career in education to arts, alternatives to the dominant bourgeois and nationalistic cultural values that explore his interest in the characterised the formal activities in the city of Johannesburg. arts by writing a book about the contributions Because major political and other movements that were opposed to state policies of Lionel Abrahams, Bill had been prohibited, the churches and cultural formations carried the burden of Ainslie and Barney Simon articulating the dreams, hopes and fears of the broad mass of South Africans from to the cultural life of early 1960s onwards. The fusion, therefore, between the arts in general and the Johannesburg between political was inevitable and should be understood in that light. -
Acclaimed Director Peter Brook Talks About the Suit, Playing This Week at OZ
May 22, 2014 By Martin Brady Acclaimed director Peter Brook talks about The Suit, playing this week at OZ Billed as "a destination for innovative contemporary art experiences," OZ Nashville has not disappointed in its inaugural season. The alternative venue — a renovated cigar warehouse — offers high-style ambience and hosts performances and installations across all artistic disciplines. OZ's first presentation for the garden-variety theatergoer, The Suit, debuts this week, though there's very little that's ordinary about the piece, which is concluding an ambitious two-year international tour in Music City. The Suit has been acclaimed across the globe, and has received raves from critics in New York, San Francisco and Los Angeles. Based on the late South African writer Can Themba's powerful novella, the play centers on Philomen, a middle-class black lawyer in apartheid-era South Africa who catches his wife, Matilda, having an affair. In haste, her lover leaves behind his clothes, and as her punishment, Philemon makes Matilda treat her lover's suit as an honored houseguest, even to the point of including it at the dinner table or taking it out for walks. Making this singular event even more noteworthy, it's under the direction of Peter Brook, a world giant of theatrical innovation. "First of all, in the thousands of plays and novels about marital betrayal, you'll find something amazing, but The Suit presents a new situation that happens with a different combination of ingredients," says Brook, speaking by phone from Paris, where he creates for the stage under the aegis of his company, Thèâtre des Bouffes du Nord. -
Paper-2 Module-30 Women Voices from Africa
Paper-2 Module-30 Women Voices from Africa. I. (A) Personal Details Role Name Affiliation Principal Investigator Prof.SumitaParmar Allahabad University Paper Coordinator Prof. SumitaParmar Allahabad University Content Writer/Author (CW) Dr. Shamenaz Bano Associate Professor, Dept of English Ewing Christian College, Allahabad. Content Reviewer (CR) Prof. SumitaParmar Allahabad University Language Editor (LE) Prof. SumitaParmar Allahabad University (B) Description of Module Items Description of Module Subject Name Women’s Studies Paper Name Women and Literature Module Name/ Title Women Voices from Africa. Module ID Paper-2 Module-30 Pre-requisites The learner is expected to be aware of the socio- political condition of the African countries Objectives The objective of the unit is to throw highlight on some progressive women writers of Africa who by their will have establish their name globally. Keywords Progressive Women writers, apartheid, racism, socio-moral and political themes, personal narrative. Women Voices from Africa Introduction Nadine Gordimer, Mariama Ba &Chimamanda Ngozi Adichie Colonization brought both racism and exploitation to the African people. This caused prolonged suffering to them for long periods. But with the decline of imperialism in the decades of the 1950s and 1960s the gradual liberation of one country after another began to take place.Native populations began to assert themselves and do well in a variety of fields such as academics, sports, media, and cinema. Literature, which had so far been a field dominated mainly by white writers, saw the emergence of African Black writers, both men and women,who wrote about their lives, experiences, culture, history and the various myths associated with them. -
Writing the Child in South African Literature Xiaoran Hu
Undoing Apartheid, Becoming Children: Writing the Child in South African Literature Xiaoran Hu Submitted in partial fulfillment of the requirements of the Degree of Doctor of Philosophy Queen Mary University of London Department of English September 2017 1 Statement of Originality I, Xiaoran Hu, confirm that the research included within this thesis is my own work or that where it has been carried out in collaboration with, or supported by others, that this is duly acknowledged below and my contribution indicated. Previously published material is also acknowledged below. I attest that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge break any UK law, infringe any third party’s copyright or other Intellectual Property Right, or contain any confidential material. I accept that the College has the right to use plagiarism detection software to check the electronic version of the thesis. I confirm that this thesis has not been previously submitted for the award of a degree by this or any other university. The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author. Signature: Xiaoran Hu Date: 13/09/2017 2 Table of Contents ABSTRACT 4 ACKNOWLEDGEMENTS 5 INTRODUCTION 7 CHAPTER 1 ENTANGLED TEMPORALITY, THE CHILD, AND THE BLACK SUBJECT: DRUM WRITERS REVISITED 28 CHAPTER 2 NADINE GORDIMER: CHILDHOOD AS METAMORPHOSIS 63 CHAPTER 3 IRONIC VOICES, AMBIGUOUS HISTORIES: WRITING THE CHILD THROUGH TRANSITION 101 CHAPTER 4 J. M. -
Beethoven Was One-Sixteenth Black
PRAISE FOR NADINE GORDIMER “If asked to name a living writer who exemplifies all that a writer can be, I would think immediately of Nadine Gordimer … She has articulated an admirably complex view of the human heart and the contradictions inherent in living in literature and in history.” —Susan Sontag “[Nadine Gordimer’s Selected Stories is] a magnificent collection worthy of all homage.” —Graham Greene “[Gordimer] just seems to get better and better with age, producing work that is more profound, more searching, more accomplished than what she was writing earlier in her long and distinguished career.” —Martin Rubin, Los Angeles Times Book Review “Gutsily modern … Gordimer is one of the greats.” —The Mail on Sunday (London) “Nadine Gordimers work is endowed with an emotional genius so palpable one experiences it like a finger pressing steadily upon the prose.” —The Village Voice PENGUIN CANADA BEETHOVEN WAS ONE-SIXTEENTH BLACK NADINE GORDIMER, who was awarded the Nobel Prize in Literature in 1991, is the author of fourteen novels, nine volumes of stories and three nonfiction collections. She lives in Johannesburg, South Africa. ALSO BY NADINE GORDIMER NOVELS The Lying Days / A World of Strangers / Occasion for Loving The Late Bourgeois World / A Guest of Honor The Conservationist / Burger’s Daughter / July’s People A Sport of Nature / My Son’s Story / None to Accompany Me The House Gun / The Pickup / Get a Life STORIES The Soft Voice of the Serpent / Six Feet of the Country Friday’s Footprint / Not for Publication / Livingstone’s Companions -
Nadine Gordimer (Estate)
Nadine Gordimer (Estate) Nadine Gordimer was awarded the Nobel Prize for Literature in 1991. She was the author of 15 novels, including THE LYING DAYS (her first novel, published in 1953), A GUEST OF HONOUR , THE CONSERVATIONIST, BURGER'S DAUGHTER, JULY'S PEOPLE and, in 2012, NO TIME LIKE THE PRESENT. Among her collections of short stories are SOMETHING OUT THERE, JUMP and BEETHOVEN WAS ONE-SIXTEENTH BLACK. In 2010 her collected stories and non-fiction were published as LIFE TIMES: STORIES 1952-2007 and TELLING TIMES: WRITING AND LIVING 1950-2008. Educated in South Africa, she had honorary fellowships at universities including Harvard, Yale and Leuven, and was awarded an Honorary Degree from Oxford University in 1994. Among her other numerous literary awards were the MLA, the Malaparte Prize from Italy, the Nelly Sachs Prize from Germany, the Scottish Arts Council's Neil Gunn Fellowship, the French International award, the Grand Aigle d'Or, the Benson medal from the Royal Society of Literature, the James Tait Black Memorial Prize, the Booker Prize (1974 joint winner), the CNA Literary Award and the National Arts Club Medal in New York. She died peacefully at home in Johannesburg on 13 July 2014 at the age of 90. United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] 1 / 7 United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Fiction Publication Notes Details BEETHOVEN In her new collection of stories, Nadine Gordimer conjures up a world whose WAS ONE- dominant notes are a sense of loss and betrayal, a desperate longing for SIXTEENTH acceptance, and the disorienting surfacing of the past in its most uncomfortable BLACK disguise. -
New Trends and Issues Proceedings on Humanities and Social Sciences Issue 7 (2016) 01-11
New Trends and Issues Proceedings on Humanities and Social Sciences Issue 7 (2016) 01-11 Selected paper of 3rd Global Conference on Linguistics and Foreign Language Teaching (LINELT 2015) 16-18 November 2015, Istanbul University, Istanbul – Turkey Africa’s White Women Karin Ilona Paaschea *, Independent Researcher, Nairobi 00200, Kenya Suggested Citation: Paasche, K. I. (2016). Africa’s White Women. New Trends and Issues Proceedings on Humanities and Social Sciences. [Online]. 07, pp 01-11. Available from: www.prosoc.eu Selection and peer review under responsibility of Prof. Dr. Ali Rahimi, University of Bangkok ©2016 SciencePark Research, Organization & Counseling. All rights reserved. Abstract The place of Africa’s white woman is ambivalent. Often called the oppressed oppressor, she is not a protagonist in her own right. Yet history tells of her crucial contribution to Africa’s freedom struggle. Frantz Fanon says black men believe being loved by her is to be loved “like a white man” and so be white. Doris Lessing’s “poor white” man’s bored wife wants sex with the houseboy. Nadine Gordimer portrays her as a pale, insipid counterpart to African women’s vital beauty pictured in terms disturbingly similar to those characterizing noble savages. In J.M. Coetzee’s Disgrace African men inflict “corrective rape” on her. Black African writers portray her more compassionately. Ngugi wa Thiong’o speaks of “the reduction of white women to nothing.” In Peter Abrahams’s works she joins Africa’s freedom struggle yet becomes the victim of an African freedom fighter’s ruthless exploitation. Mariama Ba depicts her as mercilessly exploited by her black African husband who proves his manhood through her even as he secretly appropriates her resources for his own purposes.