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Narrating the Female Body in Tsitsi Dangarembga's This Mournable

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Narrating the Female Body in Tsitsi Dangarembga's This Mournable NARRATING THE FEMALE BODY IN TSITSI DANGAREMBGA’S THIS MOURNABLE BODY OTIENO, DANIEL OTIENO C50/8537/2017 A RESEARCH PROJECT REPORT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE AWARD OF THE DEGREE OF MASTER OF ARTS IN LITERATURE, UNIVERSITY OF NAIROBI. AUGUST 2019 Declaration This research project report is my own original work and has not been submitted for examination or award of a degree in any other university. Signature…………………………. Date…………………………….. Otieno, Daniel Otieno C50/8537/2017 This research project report has been submitted for examination with our approval as university supervisors. First Supervisor: Signature………………………… Date……………………………… Dr. Tom Odhiambo Department of Literature University of Nairobi. Second Supervisor: Signature…………………………. Date…………………………… Dr. Makau Kitata Department of Literature University of Nairobi. i Dedication This work is dedicated to the following instrumental people: my old man, Ayub Otieno Oludhe, I am forever grateful for the support and encouragement, Wuod Agoro. My mother, Dina Anyango Otieno, your love for education and support inspire me always, mamana. Mercy Onyango, your love and support inspire me; I dedicate this study to you too. Finally, Ladasha Mafri Otieno, I believe you will grow up to read this. ii Contents Declaration ....................................................................................................................................... i Dedication ....................................................................................................................................... ii Acknowledgement .......................................................................................................................... v Abstract .......................................................................................................................................... vi CHAPTER ONE: INTRODUCTION ............................................................................................. 1 1.0 Background to the Study ....................................................................................................... 1 1.0.1 Background of the Author .............................................................................................. 2 1.1 Statement of the Problem ...................................................................................................... 3 1.2 Objectives .............................................................................................................................. 3 1.3 Hypotheses ............................................................................................................................ 3 1.4 Justification ........................................................................................................................... 3 1.5 Definition of Terms ............................................................................................................... 5 1.5.1 Female Body ................................................................................................................... 5 1.5.2 Internal Exile .................................................................................................................. 5 1.5.3 Transfiguration ............................................................................................................... 6 1.6 Scope and Limitation ............................................................................................................ 6 1.7 Literature Review .................................................................................................................. 6 1.8 Theoretical Framework ....................................................................................................... 15 1.9 Research Methodology ........................................................................................................ 17 CHAPTER TWO: IDENTIFYING AND EVALUATING IMAGES OF THE FEMALE BODY IN THIS MOURNABLE BODY ..................................................................................................... 19 2.0 Introduction ......................................................................................................................... 19 2.1 The African Woman as a Body of Suffering ....................................................................... 20 2.1.1 The Female Body and Mental Breakdown ................................................................... 25 2.2 Sexual Objectification of the Female Body ........................................................................ 26 2.3 Transfiguration of the Female Body ................................................................................... 30 2.3.1 Transfiguring the Female Body through Internalized Exile ......................................... 31 2.3.2 Transfiguring the Female Body through Abjection ...................................................... 33 2.3.3 Empowering the Zimbabwean Woman ........................................................................ 34 2.4 The Female Body as an Image of Postcolonial Zimbabwe Nation ..................................... 38 iii 2.4.1 The Female Body in Portraying Economic Failure in Zimbabwe ................................ 38 2.4.2 The Female Characters in Portraying Racial Inequalities in Postcolonial Zimbabwe . 43 CHAPTER THREE: THE SECOND PERSON POINT OF VIEW AND DOUBLE COLONIZATION IN THIS MOURNABLE BODY ...................................................................... 47 3.0 Introduction ......................................................................................................................... 47 3.1 This Mournable Body as Multiple Subjects ........................................................................ 48 3.2 The Implied Narrator(s) and the Narratee in This Mournable Body ................................... 50 3.3. Second Person Point of View as a Solidarity Marker ........................................................ 57 3.4 Second Person Point of View and Access to the Mental State of the Protagonist .............. 60 3.5 Conclusion ........................................................................................................................... 67 CONCLUSION ............................................................................................................................. 69 WORKS CITED ........................................................................................................................... 73 iv Acknowledgement To begin with, I offer immense appreciation to my supervisors, Dr. Tom Odhiambo and Dr. Makau Kitata. Your critical assessment of every page of my work, patience and guidance contributed to the completion of this document. I learnt a lot from the two of you, and I say Asante sana! I am forever grateful to the University of Nairobi’s Graduate School and the Department of Literature for awarding me the scholarship to pursue my studies. To Dr. Masumi Odari, the phone call I received from you changed my life forever. Thank you very much mwalimu! I must also thank my teachers during this period: Prof. Henry Indangasi, Prof. Ciarunji Chesaina, Prof. Monica Mweseli, Prof. Peter Wasamba, Prof. Alina Rinkanya, Dr. Godwin Siundu, Dr. Makau Kitata, Dr. Miriam Musonye, Dr. Judith Jeffwa, Dr. Jennifer Muchiri and Dr. Masumi Odari Thank you for offering to me the platform for intellectual growth through every lecture, guidance and assessment of my works. Professor D. H. Kiiru, I appreciate your encouragement and advice. I acknowledge my classmates: Edna ‘Bishop’ Olondo, John ‘Reverend’ Jurkuch, Ruth Kitavi, Chebet Chelule and Sister Mary Ndung’u. Every interaction, class discussion and presentation that we went through became learning points to me. Keep the dream alive. To Mr. Clement Ongeri, thank you so much for the encouragement and advice. You often inquired about my progress, and this motivated me to work harder. I hope you read this work. Asante sana! I am profoundly grateful to my family. To my father and mother, thanks for the sacrifice. With every penny and advice that you sent me, I used them wisely to facilitate my studies. To my siblings, Caroline, Joram and Rodgers, thanks for supporting me always. I must also thank my brother-in-law, Patrick Olengo Adol, whose contributions made my schoolwork easier. I particularly thank Mercy Onyango, you were with me every single day during this period. You supported me, financially, morally and emotionally when things got thick. You encouraged me to work hard for us. I am forever grateful to you. Finally, to Cento Nyaoke, thank you for your prayers. To Dr. Tom Odhiambo and Dr. Jennifer Muchiri, I lack words to express my gratitude for the kindness that you showed me. For the copies of The Book of Not and This Mournable Body that you purchased respectively for me, and for copies of the reading materials, I remain thankful because they made this study possible. Thanks for your encouragement and words of advice. Mungu awabariki sana! Finally, to Dr. Masumi Odari, I appreciate every single moment that you offered to me to grow professionally through departmental duties. Asante sana! v Abstract In This Mournable Body (2018), Tsitsi Dangarembga continues the story of her protagonist, Tambudzai, which began with Nervous Conditions (1986) and its sequel The Book of Not (2006). This study is inspired by the need to investigate the narration of the female body in postcolonial Zimbabwe as depicted in this latter work. The argument in this research
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