Languages and Arts Education

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Degrees of transgression: the writing of South African Black Women Writers Miriam Tlali, Ellen Kuzwayo, Sindiwe Magona and Zoe Wicomb.
(1996) Nattrass, Andrea Joy.; Attwell, David.
This thesis examines the English autobiographical and fictional writing of four black South African women writers: Miriam Tlali, Ellen Kuzwayo, Sindiwe Magona and Zoe Wicomb. The introductory chapter provides a theoretical overview of the principle strands of feminism available to the South African feminist critic - French feminism, with its theoretical emphasis and "symptomatic" interpretation of texts; the American brand of "h'beral" feminism which tends to embody a more socio-historical, empirical approach; Materialist feminism which emphasises socio-economic conditions in the course of its analysis; and "womanism,11 an alternative to "western" feminism which .fili.ds considerable support in African and Afi:ican-Afireficm feminist 􀁩cir-Jes. These different theories are examined in order to formulate a mode of analysis to be applied to the writing of the four black South African women, an approach which draws on aspects of all these theories and takes cognisance of other factors unique to the South Afiican situation_..in ord to most productively illumina e those aspects of the writers' work chosen for discussion. Following this opening chapter the thesis goes on to explore the writing of each of the four black South African women in tum. Each chapter contains an introductory section which provides biographical background on the writer under discussion as well as some insight into that individual's perspectives and opinions, usually drawn from their interviews, speeches and critical essays. This is followed by an analysis of their writing which deals with each book in tum: Tlali's two novels and short story collection, Kuzwayo's autobiography and collection of "oral" narratives, the two "volumes" of Magona's autobiography and her short fiction anthology and, finally, Wicomb's short fiction cycle and two individually published short stories. There are several issues with which this thesis is concerned in the course of analysing the writing of these women. These include an exploration of the positioning of black women through the interaction of the discourses of race, class and gender; a focus on how the various writers reflect on or construct a sense of their own identities; an examination of the situations in which they CDmplicate and/or transgress the dominant patriarchal societal attitude􀀆, riorities and codes of behaviour wliich they are "expected" to adhere to􀁘 as well as a concentration on the writers' sense of the lives and needs of other black women in tlieir communities. Such concerns are accompanied by a pervasive interest in attempting to identify and examine the tensions, ambiguities and contradictions which emerge (insidiously or dehberately) at various moments in the texts of these writers. The chapters are organised to chart what is perceived to be a progression among the various writers, in part marked by their increasingly sophisticated and more overtly feminist treatment of themes and issues concerning the "fictional" and "rel!t identities and/or lives ofblack women within South African society.
Social realism in Alex La Guma's longer fiction.
(1998) Mkhize, Jabulani Justice Thembinkosi.; Attwell, David.
This thesis sets out to examine social realism in Alex La Guma's longer fiction by using Georg Lukacs's Marxist theory as a point of departure. Tracing the development in La Guma's novels in terms of a shift from critical realism to gestures towards socialist realism I argue that this shift is informed by Lenin's "spontaneity/consciousness dialectic" in terms of which workers begin by engaging in spontaneous actions before they are ultimately guided by a developed political consciousness. I am quite aware that linking La Guma's work to socialist realism might raise some eyebrows in some circles but I am nonetheless quite emphatic about the fact that socialist realism in La Guma's fiction is not in any way tantamount to the Stalin-Zhdanovite version of what Lukacs calls "illustrative literature". Rejecting Lukacs's conception that socialist realism is a prerogative of writers in the socialist countries, I argue that gestures towards socialist realism made in La Guma's last novels are rooted in South African social reality. One of the claims being made in this study is that La Guma's novels render visible his attempt to create a South African proletarian literature. For this reason I make a case for Russian precedents of La Guma's writing by attempting to identify some intertextual connection between La Guma's novels and Gorky's work. Where realism is concerned I argue that although La Guma seems to draw extensively on Maxim Gorky in redefining his aesthetics of realism, Lukacs's theory of realism is useful in contextualising his fiction. The first chapter is largely biographical, examining La Guma's father's influence in shaping his political ideology and his literary tastes. Chapter two focuses on La Guma's aesthetics of realism. In chapter three I examine La Guma's journalism as having provided him with the subjects of his fiction and argue that there is a carry-over in terms of La Guma's style from journalism to fiction. Accordingly, I provide evidence of this carry-over in the next chapter on A Walk in the Night in which I argue that while La Guma's style is naturalist the novel is critical realist in perspective. Chapter five contextualizes the shift from And A Threefold Cord, to The Stone • Country as providing evidence of La Guma's use of "the spontaneity/consciousness dialectic". In chapter six I read In the Fog of the Seasons' End in relation to Gorky's Mother as its intertext in terms of its gestures towards socialist realism as seen for example in its "positive heroes", Beukes and Tekwane. There are further elements of socialist realism in Time of the Butcherbird which are nevertheless brought into question by some ideological contradictions within the text this is the central thrust of my argument in chapter seven. I conclude this study with a brief discussion of La Guma's craftsmanship.

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