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GODDERIS, TOUDIC GODDERIS HELENE. "Les nouvelles de Nadine Gordimer." Angers, 1996. http://www.theses.fr/1996ANGE0014.
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Nadine Gordimer, écrivain anglophone sud-africain a reçu le prix Nobel en 1991 ; il récompensait l'auteur de dix romans et de neuf recueils de nouvelles. Dans le cadre d'une approche narratologique on constate l'utilisation particulière que l'auteur fait de la focalisation, recourant avec subtilité a divers modes. Il confère un rôle important au narrateur dans les relations auteur lecteur et narrateur, tout en contraignant son lecteur a s'investir dans le récit par le biais de "l'effet-personnage". On remarque l’évolution, d'une part du rôle accorde par l'auteur au personnage noir, d'autre part des relations inter-raciales au fil des recueils. La fonction du personnage ainsi que sa caractérisation directe et indirecte sont examinées. Si nadine gordimer est influencée par le contexte socio-politique dans lequel elle écrit, elle ne limite pas sa thématique aux problèmes spécifiques a l’Afrique du sud, mais l’étend aux relations humaines en général. Une certaine cohésion apparaît dans chaque recueil centre sur une idée directrice. Par la valeur cathartique et didactique de son écriture Nadine Gordimer témoigne de son engagement contre l'apartheid, tout en ne mettant pas sa plume au service d'une idéologie<br>Nadine gordimer, an english speaking south african writer received the nobel prize in 1991. It rewarded the author of ten novels and nine collections of short stories. Scrutinizing her short stories in a narratological approach one is struck by the particular use made of focalization by the author. She confers an important part on the narrator in its relations to the reader and to the author, while compelling the reader to participate in the text through "the character-effect". Along the various collections one notices the evolution of the part granted by the author to the black character on the one hand, to interracial relations on the other hand. The character's function as well as its direct or indirect characterization are examined. Although nadine gordimer is under the influence of the sociological and political background from which she writes, she does not restrict her themes to specifically south-african issues but includes human relations as a whole. Coherence is achieved in each collection by the fact that stories all focus on a leading topic
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Majdoub, Farida. "Nadine Gordimer : évolution d'un itinéraire d'écriture." Paris 8, 1993. http://www.theses.fr/1993PA080872.
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Notre travail de recherche a montre a travers l'analyse de trois oeuvres de fiction, a world of strangers, the late bourgeois world et burger's daughter que l'ecriture gordimerienne a, des romans des annees cinquante a ceux des annees soixante dix, coniserablement evolue et qu'elle s'est transformee en une ecriture resolument plus moderne<br>Our research has shown, through the analysis of three works of fiction, a world of strangers, the late bourgeois world burger's daughter, that, from the novels of the fifties to those of the seventies, nadine gordimer's writing, has evolved significantly. It has turned into a more modern writing
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Badr, Yousef Hamid. "Liberalism in the novels of Nadine Gordimer." Thesis, SOAS, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368876.
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DEIGNI, NEUBA. "Nadine gordimer. Sensibilite feminine et lucidite sociale." Montpellier 3, 1990. http://www.theses.fr/1990MON30032.
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Cette etude porte sur les themes de la sensibilite et de la lucidite en tant que forces de penetration de la realite de l'apartheid. Apres avoir examine le contexte socio-politique, culturel et litteraire de l'afrique du sud, et apres avoir analyse et situe les oeuvres de nadine gordimer dans ce contexte, nous pouvons conclure que la conscience sociale et esthetique a permis a l'auteur de livrer une etude fort penetrante de la societe sudafricaine. Le gout tres prononce de la minutie et des nuances, le sens aigu de l'observation et de la precision, et enfin, la profondeur de l'analyse sont incontestablement le produit d'une ame sensible et d'un esprit lucide<br>This study focuses on the themes of sensibility and lucidity as forces of penetration into the realities of apartheid. After an examination of the socio-political, the cultural and the literary contexts of south africa, and having analysed and placed nadine gordimer's works within these contexts, we are able to conclude that her social and esthetic awareness has enabled the author to make a profound study of south african society. The keen observation, the attention to detail and the depth of analysis are, without doubt, the product of a sensitive and perceptive mind
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Martens, Gloria Grace. "Family and social transformation in Nadine Gordimer's novels /." [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18292.pdf.
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Lyster, Rosa Frances. "Space and censorship in Nadine Gordimer : a literary geography." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/13942.
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In South Africa, questions of space and censorship are inseparable. It is impossible to discuss one without discussing the other. The apartheid censors set themselves up as "guardians of the literary", purporting to create a protected space where a particularly South African literature could flourish. In this thesis, my argument is that to be a "guardian of the literary" meant to be a guardian of space in literature, the way it was represented and the way characters moved through it. In order explore this argument I have focused on the censors' response to one writer in particular, Nadine Gordimer. My argument will show that in Gordimer, some spaces seem to be more acceptable than others, as evidenced by the censors' response to her work. Six of her novels were submitted for scrutiny by the Censorship Board. Three were banned, and three were passed. In The Literature Police: Apartheid Censorship and its Cultural Consequences, Peter McDonald asks "If all her novels ... engaged with the historical circumstances of apartheid South Africa in especially powerful and critical ways, then why were they not all deemed equally threatening to the established order?" My argument is that while it is difficult to provide a definitive answer, it is possible to make sense of the censors' decisions regarding her work by undertaking an analysis of the novels' literary geography. Focusing on the prevalence of certain spaces and the absence of others, and the way that characters move through these spaces, it is clear that they represent differing degrees of threat to the established order. In the censors' reports on Gordimer's work, crossing a physical boundary was the equivalent of crossing a moral boundary. Both the apartheid planners and the censors were fixated on boundaries and borders, on the importance of keeping some people in and more people out. My argument is that what the architects of apartheid tried to do in reality, the censors tried to do in fiction. Their attempt to police the borders of the imaginary meant that some spaces were more acceptable than others, that some stories were told while others were ignored. In my final chapter, I argue that the effects of this can still be seen in contemporary novels written about South Africa. The censors had such a powerful hand in "deforming" literature that their fingerprints can still be detected today. A close analysis of certain elements of Patrick Flanery's Absolution (2012) will show that the structure and form of the novel corresponds in interesting ways with the apartheid censors' ideas of what literature should do and be.
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Pedersen, Chanette. "Roman et société dans l’œuvre romanesque de Nadine Gordimer." Nice, 2005. http://www.theses.fr/2005NICE2029.
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Dans les treize romans de Nadine Gordimer, la vie sociale et sexuelle des personnages est forcément liée au régime politique de l’apartheid. La première partie de cette thèse est une réflexion axée sur les relations familiales, la critique des anciens codes familiaux et les nouvelles modalités des relations familiales dans les romans de Nadine Gordimer. Une deuxième partie envisage la sexualité dans l’œuvre romanesque et notamment la position de l’auteur sur les questions de l’homosexualité et du féminisme. Il s’ensuit une troisième partie qui traite du racisme en tant que pilier du régime politique sud-africain. Le racisme qui prône pour la ségrégation raciale, et en particulier admet qu’un groupe soit supérieur à un autre, conduit à évoquer dans une quatrième partie, la catégorisation des humains dans la société sud-africaine. La cinquième et dernière partie fait l’objet d’une analyse basée sur l’influence de l’apartheid sur la notion d’espace dans les romans<br>In the thirteen novels of Nadine Gordimer, the social and sexual lives of the characters are, in general, closely related to the politics of apartheid. Thus, in the first part of this doctoral thesis, the human relations within the family are analysed; new kinds of family relations and the rejection of the old values, are some of the observations one can make. The following subject is that of sexuality. The position of Nadine Gordimer on issues such as feminism and homosexuality are dealt with. A third part concerns racism and its crucial role in a regime like that of apartheid. Racism strives for racial segregation and pretends that one group of humans is superior to the others because of its colour. Thus, the next part undertakes to overview the categorisation of humans in the South African society. A final part analyses the influence of this system of apartheid on the very construction of the notion of space in the novels
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Chow, Shuk-han. "Opposition and reconciliation in the works of J.M. Coetzee and Nadine Gordimer." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31577441.
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Pettersson, Rose. "Nadine Gordimer's one story of a state apart /." Uppsala : Uppsala university, 1995. http://catalogue.bnf.fr/ark:/12148/cb357636675.
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Öström, Anita. "Life in the Interregnum: July’s People : Nadine Gordimer’s July’s People." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-9908.
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The purpose of this essay is to describe and examine differences in social behavior and social interactions in Nadine Gordimer’s July’s people. Specifically, attention will be given to the interim order that occurs after the collapse of the former South African regime and before a new regime has been established. In short, the essay attempts to answer the question how power is redistributed after the black revolution that occurs in the narrative. Antonio Gramsci’s Neo-Marxist theory is used to examine who dominates and who is subordinated among the novel’s main characters.
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Chow, Shuk-han, and 周淑嫻. "Opposition and reconciliation in the works of J.M. Coetzee and Nadine Gordimer." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31577441.
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LOUVEL, HERVIN LILIANE. "Dissidence litteraire et racisme d'etat : l'ecriture necessaire d'andre brink et nadine gordimer." Poitiers, 1988. http://www.theses.fr/1988POIT5011.
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Cette these est essentiellement consacree a l'oeuvre romanes-que de deux ecrivains sud-africains : andre brink et nadine gordimer dans un premier temps sont examinees les donnees de base de la situation sud-africaine. L'apartheid et les lois qui l'accompagnent sont decrits. Une approche des litteratures sud-africaines dans leur diversite fait suite. Dans ce contexte politique social et litteraire ou la censure joue un grand role, sont replaces les ecrivains etudies. A. Brink et n. Gordimer appartiennent a la minorite blanche au pouvoir l'un est afrikaner, l'autre anglophone. Chacun se declare profon-dement oppose a l'apartheid et engage dans une lutte contre ce systeme de segregation raciale. L'etude de l'influence de l'histoire, des paysages, des etres decrits permet une approche de l'influence de "la situation" sur la production litteraire blanche de ce pays. A quels effets pervers le racisme d'etat conduit-il? la dissidence litteraire s'exprime alors dans une ecriture qui se veut utile et necessaire. Se pose ainsi la question de l'efficacite et des limites des oeuvres. Ont-elles un poids reel dans la vie du pays? a quel public s'adressent-elles? quelle est leur valeur litteraire?<br>This study focus es on the novels of andre brink and nadine gordimer, two south african writers. First, the situation prevailing in south africa is des-cribed. Apartheid is at the core of the study. The literatures of south africa are approached in their diversity, censorship playing a major role in south african production. In this context the works of brink and gordimer are analyzed. Both writers are white and belong to the two different communities : one is an afrikaner the other one is english-speaking. Both are staunch opponents of apartheid and fight against it in their works and in their lives. The description of their novels, the main themes and recur-ring images permit to outline the influence of "the situation" upon south africans and their literature. What pressures are ethnic groups submitted to? literary dissidence makes it self heard in works which claim they are useful and necessary. Then arises the issue concerning the actual influence of these works upon the government. Finally which public is theirs? what is their artistic and literary value?
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Louvel, Liliane. "Dissidence littéraire et racisme d'état l'écriture nécessaire d'André Brink et Nadine Gordimer /." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37615492c.
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Munnick, Yvonne. "Ecriture romanesque et engagement politique chez doris lessing, nadine gordimer et andre brink." Toulouse 2, 1990. http://www.theses.fr/1990TOU20014.
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A partir de deux romanciers sud-africains, nadine gordimer et andre brindk, et des oeuvres appartenant a la "periode africaine" de doris lessing, est examine, dans une etude de type socio-critique, le rapport qui existe entre l'engagement des differents auteurs et la forme litteraire choisie, a savoir le roman realiste. C'est en effet le caractere raciste et oppressif de la societe d'afrique australe qui explique la position engagee des ecrivains. Cependant on assiste, a des periodes differentes chez nos trois auteurs, a l'abandon du roman realiste au profit de formes romanesques moins traditionnelles. En effet, l'evolution ideologique que connait chacun, elle-meme produite par l'evolution socio-historique, conduit a des changements profonds dans le domaine de l'ecriture. La desagregation du systeme de valeurs auquel chacun se referait, et la fin des certitudes, se traduisent par un recit de type introspectif, ainsi que par une ecriture symbolique et une forme eclatee<br>This is an examination from a socio-critical point of view of the relationship between political commitment and the narrative form, nemely realist fiction, based on the works of two south african novelists, nadine dordimer and andre brink, and on doris lessing's african-based novels. The committed stance of the writers is explained by the racist and oppressive nature of southern african society. Yet the realist novel, through which they first chose to express their commitment, is slowly discarded in favour of less conventional narrative structures as the coherence of their respective world-views is undermined by a shift in their ideological positions brought about by changes in the socio-political situation
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Thomas, Elizabeth. "An investigation of colonialism in the novels of Nadine Gordimer and Anita Desai." Thesis, University of Limpopo, 2002. http://hdl.handle.net/10386/2089.
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Thesis (PhD. (English Studies)) --University of Limpopo, 2002.<br>The purpose of this study is to investigate colonialism in the novels of Nadine Gordimer and Anita Desai. A further purpose is to introduce these two major writers to a wider audience, thereby illuminating not only their work but also the artistic, social and moral assumptions on which it rests.
A comparative study of the novels of Gordimer and Desai shows how these writers, from socially and culturally different countries, reflect and explore colonialism. By locating this phenomenon of world history in Post-Colonial Literary Studies the project calls for a discussion of the various critical models of post-colonial writing. In consequence, the study moves beyond the dichotomy of east-west and centre-periphery to a reading of Gordimer's and Desai's novels at several levels, with a particular focus on India's special experience of colonialism - both at home and abroad -and Gordimer's status as a white South African.
From this perspective evolves the notion that Desai and Gordimer reveal through their texts patterns of similarity and difference in their respective colonial encounters.
If we were to search for a writer from Africa whose being and writing have been directly involved with issues pertaining to the historical phenomena of colonialism and race struggle over an extended period, then Gordimer must be the ideal candidate. She is a writer deeply bound up with the multiple phases and consequences of South African apartheid. Also, she is someone who tries to go beyond history to depict the conscience of the age by writing about the human condition in times of terror and fear.
A contemporary analysis of the human condition is a concern that Gordimer and Desai share as writers of fiction. The agony of a post colonial India that tries to liberate itself from the dialectic of history is reflected in Desai's novels in the framework of "difference on equal terms". This places her in the "second generation" of lndo-English writers who write from the hybridised and syncretic view of the modern world that celebrates cultural cross-pollination.
A special achievement of Gordimer and Desai is to succeed in powerfully portraying female characters in a rapidly changing world, though each writer explores the place of women in society from her own cultural perspective.
Writers are transmitters of their cultures. A study of this kind, I hope, will help to stimulate
interest and enjoyment in the reading of South African and Indian literature and thus strengthen the literary bond of understanding between the two countries.
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Helgesson, Stefan. "Sports of culture : writing the resistant subject in South Africa (readings of Ndebele, Gordimer, Coetzee) /." Uppsala : Uppsala university, 1999. http://catalogue.bnf.fr/ark:/12148/cb401464183.
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Makni, Rim. "Entre faits et fiction : l'écriture de la nation dans l'oeuvre de Nadine Gordimer : 1948-2010." Paris 7, 2014. http://www.theses.fr/2014PA070023.
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En se consacrant à l'oeuvre de Nadine Gordimer produite tout au long de sa longue et prolifique carrière, la thèse couvre plus de soixante années de production littéraire et d'histoire nationale sud-africaines, nous amenant à examiner la synergie entre la nation et la narration. La concomitance entre ces deux notions s'exprime d'abord par un hasard historique qui a fait que les débuts de l'auteure coïncident avec l'avènement de l'apartheid en Afrique du Sud. Partie d'une interrogation individuelle sur son identité de sud-africaine et d'écrivaine blanche, elle s'engage des lors, par le texte, à comprendre l'évolution politique complexe de son pays. De l'apartheid et ses origines coloniales, en passant par le moment post-apartheid et jusqu'au contexte actuel de la mondialisation économique et culturelle, cette évolution oblige à repenser les formes politiques et littéraires existantes. Par conséquent, on interrogera le pouvoir que possède le texte littéraire de Gordimer à raconter la nation sud-africaine. Le corpus proposé pour développer cette problématique accorde une place centrale aux écrits non fictionnels de l'auteure, jusque-là peu étudiés voire rnéconnus, tout en les mettant en regard de l'oeuvre de fiction (romans et nouvelles). On pourra ainsi observer les conséquences que peut avoir le choix d'un genre déterminé sur l'acte d'énonciation du national. L'auteure, son oeuvre, ainsi que la question nationale seront présentées comme `postcoloniales'. On ne manquera pas cependant, en s'appuyant sur les théories critiques récentes et sur le con/texte sud-africain, de souligner la nécessité de redéfinir cette étiquette critique qui risque parfois de se révéler totalisante<br>By concentrating on Nadine Gordirner's work written throughout her long and prolific career, the thesis covers sixty-two years of South African history and literary production and leads us to examine the synergy between nation and narration. The concomitance of these two notions can initially be ascribed to historical circumstances, since the author's literary beginnings coincided with the advient of the apartheid regime in South Afiica. Starting with the questioning of her own identity as both a white South African and white writer, she then devoted her writing to understanding and recounting the complex political evolution of her country. From apartheid and its colonial origins to the post-apartheid moment and the present era of economic and cultural globalization, these changes have prompted her to rethink existing literary and political forms. We will therefore question the power of Nadine Gordimer's literary discourse to narrate the South African nation. The corpus we use to tackle this question focuses on her substantial nonfictional writing, previously understudied if not unknown, and on its interaction with her fiction (novels and short stories). We can then observe the impact that the choice of a writing genre mig,ht have on the act of narrating the nation. The author, her work and the national question are here presented as 'post-colonial'. However, based on the South African con/text and with the help of recent critical theory, we will also argue that we must redefine such a label which sometimes turas out to be problematic and totalizing
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Shapiro, Cara. "Denise Brahimi 'Nadine Gordimer la femme, la politique et le roman' : traduction et activités traduisantes." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8082.
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Includes bibliographical references (leaves 222-229).<br>The nature of the translation process, that is, what occurs in the translator's mind when attempting to translate thoughts and ideas from one language to another, remains an enigma. The focus of this dissertation falls within the relatively unexplored field of "process-orientated descriptive translation studies (DTS)" as defined by Holmes (1972). This dissertation aims to contribute to a greater understanding of translation by analysing a number of cultural, linguistic and other difficulties encountered by the translator while translating a French text into English.
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Al-Mutlaq, Basmah A. "Visions of transition : a comparative study between two women writers, Sahar Khalifah and Nadine Gordimer." Thesis, SOAS, University of London, 2003. http://eprints.soas.ac.uk/28707/.
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This comparative study is between two female novelists, the Palestinian, Sahar Khalifah and the South African, Nadine Gordimer. Both writers share a feeling of marginality for reasons of sex, race and politics. They also envision through their fiction the future in both Palestine and South Africa. The thesis starts by highlighting the political, social and literary backgrounds of both novelists. Then it sets out the theoretical framework of this study which focuses on the literary tradition of women, and the way women have been defined, represented, and repressed in the symbolic system of language. The thesis examines Sahar Khalifah's sequel novel al-Sabbar (Wild Thorns, 1976) and Abbad al-Shams (The Sunflower, 1980), as well as Bab al-Sahah (The Courtyard Gate, 1990). The analysis focuses on the social and political issues, from the 'us' perspective, shedding light on the female protagonist's psychology and her struggle to counter the marginalising and homosocial rules. It examines various issues such as marginality and women texts, ambiguity in the novel, the female imagination, subjectivity and the new images of women, mother-daughter relationship and sisterhood. Similarly, in Nadine Gordimer's novels Burger's Daughter (1979) and July's People (1981) the analysis focuses on the social, political and psychological issues from a colonial perspective, highlighting at the same time the white female protagonist's feeling of alienation in South Africa. The thesis ends with a concluding chapter giving a comparative analysis of the two writers and their works elaborating the common literary themes, aspects, similarities and differences. Moreover, it analyses the visions of transition they both foresaw in their relative countries in these novels.
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Lee, Jenny V. "Representations of writers as public intellectuals : Jean-Paul Sartre, Nadine Gordimer, Gao Xingjian and Pablo Neruda." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/11245.
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This thesis takes as its subject the various public roles and representations of writers, using Said's 1993 Reith lectures on the subject of the intellectual as a starting point. The main questions raised are how writers, in various political and historical contexts, have functioned as public intellectuals, and how they have negotiated the tensions between their various private and public commitments and responsibilities, whether artistic, social, or political. To gain insight into these issues, this thesis turns to the essays, memoirs and lectures of Jean-Paul Sartre, Nadine Gordimer, Pablo Neruda and Gao Xingjian.
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Prigan, Carol Ludtke. "Redeeming history in the story : narrative strategies in the novels of Anna Seghers and Nadine Gordimer /." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487759055158404.
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Mazhar, Syeda Faiqa. "A study of the theme of borderland in Nadine Gordimer's fiction." Thesis, University of Bedfordshire, 2007. http://hdl.handle.net/10547/134375.
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This doctoral project is an analytical study of South African writer, Nadine Gordimer's fiction produced from 1949 to 1994. She presents a theme similar to the post-colonial critic, Homi Bhabha's notion of borderland which he propounds as a place of creativity and cultural hybridity in his work The Location of Culture (1994). The "borderland" in Gordimer's fiction acts as a liminal space and becomes a connective tissue in her characters' lives. It emerges in the form of crossing physical frontiers and mental barriers which existed in South African society. Through moments of transition, Gordimer makes her characters aware of a liberal person's marginal position, between the reactionary colonial past and the "inbetween-ness" of the borderland in radical future of South Africa. Along with this introductory background, Chapter One establishes the dual working of physical and psychological processes through which Gordimer develops the theme of "borderland" in her fiction. The subsequent three chapters focus on the variety in the presentation of "borderland" encounters in her fiction written before and after Sharpeville (1960). The thesis concludes that the dual development of physical and psychological processes is a central narrative strategy which determines a link between chronology and the presentation of "borderland" in Gordimer's fiction.
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Martins, Anderson Bastos. "Onde fica o meu país?: O exílio e a migração na ficção pós-apartheid de Nadine Gordimer." Universidade Federal de Minas Gerais, 2010. http://hdl.handle.net/1843/ECAP-83MJDT.
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Esta tese analisa dois dos mais recentes romances de Nadine Gordimer, Ninguém para me acompanhar (1994) e O engate (2001), que pertencem à categoria de literatura sul-africana pós-apartheid. Apesar de ambos fazerem parte da ficção sul-africana, a abordagem analítica empregada nesta tese expande seu alcance a fim de enxergá-los como literatura transnacional, particularmente no caso de O engate. O estudo de Ninguém para me acompanhar segue em duas direções principais. Em primeiro lugar, o objetivo é compreender alguns temas e técnicas narrativas selecionados por Nadine Gordimer a fim de ficcionalizar o período de transição, entre 1990 e 1994, em que uma nova elite negra, que havia retornado do exílio recentemente ou sido libertada da prisão, passou a ocupar os principais cargos políticos do país. Em segundo lugar, o foco do estudo volta-se para a presença de elementos autobiográficos na narrativa, numa tentativa de explicar a decisão tomada por Gordimer de recorrer à autoficção, uma vez que ela é conhecida por ter recusado diversas propostas para escrever suas memórias ou sua autobiografia. Simultaneamente, é possível discutir o pensamento abstrato de Gordimer em relação aos temas da lei e da verdade. A análise de O engate é também dividida em duas partes. A primeira delas é situada na África do Sul e narra o envolvimento sexual de uma jovem branca e rica e um imigrante ilegal vindo de um país muçulmano não identificado. Isto dá ao leitor e ao crítico acesso ao posicionamento de Nadine Gordimer em torno da chamada nova África do Sul e suas novas formas de segregação. A segunda metade do romance é situada na vila às margens do deserto onde o imigrante e a jovem vão viver temporariamente com a família do rapaz. Nesta parte da tese, o foco da análise recai sobre a visão crítica de Nadine Gordimer no tocante à exploração da força de trabalho do migrante nas grandes cidades ocidentais. Paralelamente, a autora convida o leitor a considerar formas alternativas de viver e partilhar experiências transnacionais no século vinte e um.
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Altnöder, Sonja. "Inhabiting the "new" South Africa ethical encounters at the race gender interface in four post-apartheid novels by Zoë Wicomb, Sindiwe Magona, Nadine Gordimer and Farida Karodia." Trier Wiss. Verl. Trier, 2007. http://d-nb.info/988086441/04.
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Silva, Danielle de Luna e. "Representações de gênero e etnia em Amada, de Toni Morrison, e Ninguém para me acompanhar, de Nadine Gordimer." reponame:Repositório Institucional da UnB, 2007. http://repositorio.unb.br/handle/10482/2992.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2007.<br>Submitted by wesley oliveira leite (leite.wesley@yahoo.com.br) on 2009-12-08T17:34:19Z
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Previous issue date: 2007<br>Este estudo teve como objetivo realizar uma leitura comparada entre duas obras literárias escritas por mulheres em fins do século XX: Amada, da afro-americana Toni Morrison, e Ninguém para me acompanhar, da sul-africana Nadine Gordimer. Os pressupostos teóricos que fundamentaram nossa análise consistem nos estudos sobre pós-colonialismo e literatura de Homi Bhabha, Terry Eagleton, Stuart Hall, Ashcroft, Grifiths & Tiffin e Edward Said. Acerca de questões de gênero e etnia, utilizamos os trabalhos de Elaine Showalter, Barbara Christian, Mae Gwendolyn Henderson, bell hooks, Hazel Carby, Kari Winter, Deborah White, Angela Davis, Paul Gilroy, entre outros. Procuramos identificar e analisar as similaridades e diferenças nas representações de gênero e etnia nas duas obras, além de relacioná-las a outros aspectos pertinentes à nossa pesquisa, tais como diáspora, pós-colonialismo e literatura comparada. Tanto Amada quanto NPMA encenam uma tentativa de superação de diversos obstáculos comuns às duas protagonistas, relacionados à desconstrução de um passado colonial e racista. O pertencimento ao mesmo gênero fez com que as duas heroínas enfrentassem desafios semelhantes no que tange à luta contra o sexismo e a subversão da ordem patriarcal. Dessa forma, podemos afirmar que elas compartilham da necessidade de libertação, transformação e reconstrução de suas identidades e vidas, assim como do desejo de desfazer-se de um passado terrível. Contudo, é inegável que as estratégias de subversão e transgressão utilizadas por essas duas mulheres são profundamente marcadas pela diferença étnica entre as protagonistas, diferença que, igualmente, determinou a maneira como foram afetadas pelo horror do racismo. _____________________________________________________________________________________ ABSTRACT<br>This research aimed at comparing two novels written by female writers in the end of the twentieth century: Beloved, by the Afro-American writer Toni Morrison and None to accompany me, by the South-African artist Nadine Gordimer. Our theoretical framework consists of the studies on post-colonialism and literature by Homi Bhabha, Terry Eagleton, Stuart Hall, Ashcroft, Grifiths & Tiffin and Edward Said. Concerning gender and ethnicity, the studies developed by Elaine Showalter, Barbara Christian, Mae Gwendolyn Henderson, bell hooks, Hazel Carby, Kari Winter, Deborah White, Angela Davis, Paul Gilroy, among others, were essential to our analysis We tried to identify and analyze the similarities and differences in the representations of gender and ethnicity in the two narratives, as well as relate them to other relevant aspects to our study, such as diaspora, post-colonialism and compared literature. Both Beloved and None to accompany me depict an attempt to overcome several obstacles faced by the two protagonists related to the deconstruction of a colonial and racist past. Belonging to the same gender, both heroines faced similar challenges concerning the struggle against sexism and subversion of the patriarchal order. Thus, we can affirm that they share the need to transform and reconstruct their lives and identities, as well as the desire to undo a terrible past. However, it is undeniable that the strategies of subversion and transgression employed by these women are deeply marked by the difference in their ethnic groups, a difference that determined the way they were affected by the horror of racism.
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Serrurier, Carol. "Chronique d'une impossible transition : transformation et résistance au changement dans les romans récents de Nadine Gordimer (1980 à 1995)." Nancy 2, 2000. http://www.theses.fr/2000NAN21019.
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La période de 1980 à 1995 en Afrique du sud couvre une des plus fascinantes transitions de la fin du vingtième siècle. Le travail présenté fait l'étude des changements politiques et sociaux de cette époque et leurs effets sur l'individu, à travers quatre romans d'un des écrivains majeurs du pays, lauréat du Prix Nobel de littérature (1991), Nadine Gordimer. Outre l'influence réciproque qui s'opère entre texte et contexte, cette étude transversale analyse la transformation et la résistance au changement dans des thèmes postcoloniaux tels que l'identité, l'espace et l'appartenance à cet espace, ainsi que dans des préoccupations plus universelles comme les systèmes de croyances et les relations interpersonnelles dans un monde en mutation. L'écriture de Gordimer, par sa densité narratologique, la richesse des images et des références intertextuelles, forme un terrain fertile pour l'analyse de la problématique choisie<br>The years between 1980 and 1995 delineate one of the most fascinating transition periods of the end of the Twentieth Century. This thesis examines the political and social changes and their effects on the individual and on the group through four of the novels by one of that country's foremost writers, Nobel Prize winner in literature (1991), Nadine Grodimer. In addition to the reciprocal influences operating between text and context, this transversal study analyses transformation and resistance to change in such postcolonial areas as identity, place and sense of belonging, as well as the more universal concerns of belief systems and interpersonal relationships. Gordimer's writing, with its narratological density and its wealth of imagery and intertextual references, provides fertile ground for the study of the subject chosen
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Ruth, Damian William. "Psychodynamic perspectives on the master-servant relationship and its representation in the work of Doris Lessing, Es'kia Mphahlele and Nadine Gordimer." Master's thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/15840.
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Bibliography: pages 206-219.<br>The master-servant relationship in South Africa is examined in the light of Melanie Klein's psychodynamic-theories. It is argued that mechanisms of defense identified by Klein, primarily denial, splitting and projection, as well as depressive guilt, operate in the master-servant relationship in this country. The first chapter clarifies the theoretical approach to i) the individual and society, ii) literature and social analysis and iii) psychoanalysis and literature. It is argued that individuals are at one and the same time both public and private entities, made by and making the society they live in. The notion that group behaviour is individual behaviour writ large is rejected and the way in which the master-servant relationship is used as a microcosm of the larger relationship between black and white in South Africa is explained. It is also argued that literature, not bound to specifics of time and place in the way statistics are, yet still rooted in the looser flow of everyday life as experienced by individuals, provides the social analyst with special access to the dynamics of a society. The value of a psychoanalytic approach to literature lies in the light psychoanalysis sheds on the function of metaphor, particularly the metaphor of the human body, and phantasy. In the explication of Klein's theories, the importance of phantasy, both on an individual and a collective level, is stressed. The way in which denial, projection, splitting and guilt operate in South African society is then examined with illustrations drawn from various sources, such as the media and the statements of politicians, but primarily from the fiction of Doris Lessing, Es'kia Mphahlele and Nadine Gordimer. Furthermore, it is pointed out how patriarchy, capitalism and colonialism can be interpreted in the light of the dynamics proposed by Klein; it is argued that South Africa is a patriarchal, capitalist and colonial society and the effects that this has on the writing of Lessing, Mphahlele and Gordimer are examined. A framework for a reading of Lessing, Mphahlele and Gordimer is then established. Colonial literature, and the literary device of irony are examined. Links are drawn between irony, the metaphor of the body, the rejection of the notion of the purely private individual, and the functioning of denial, splitting and projection. In the subsequent three chapters, each devoted to a single writer, the theme of failures in recognition is carried through. Each writer is studied to emphasize different aspects of the arguments that have been developed in the preceding chapters. The tensions of patriarchy and colonialism are most clearly seen in the work of Lessing. Gordimer subverts the popularly-accepted division between public and private and provides a historical perspective on the master-servant relationship. Mphahlele, like Gordimer, gives us many examples of how a self is fractured and warped in the domination and subordination that obtains in the domestic scene. Like Gordimer, he uses irony a great deal to make his point. These three writers from divergent backgrounds resort to similar techniques and metaphors to express a similar vision. This study interprets the link between the individual and society, and between a society and its literature in terms of a psychodynamic theory. The struggle for a sense of wholeness is an individual and a collective enterprise. The struggle for a South African literature is the struggle for a South African identity.
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Tahsildar, Abir. "Cross-cultural marriage and hybrid identities of characters in three anglophone novels." Thesis, Tours, 2013. http://www.theses.fr/2013TOUR2015/document.
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Cette thèse étudie le thème du mariage interculturel et des identités hybrides de personnages dans The Pickup (2001) de Nadine Gordimer, The Translator (1999) de Leila Aboulela et A Mighty Collision of Two Worlds (2002) de Safi Abdi. L’étude cherche à explorer comment les identités culturelles des protagonistes changent lorsqu’ils se marient avec une personne d’une culture différente des leurs et qu’ils rencontrent de nouvelles traditions et de nouvelles croyances. La théorie de l’hybridité développée par Homi Bhabha et par d’autres théoriciens de l’hybridité peut être un outil pertinent pour analyser l’identité des personnages. Bhabha soutient que ceux qui traversent les cultures vivent dans un “in-between space” ou un “third space,” fluctuant entre leur culture d’origine et leur culture d’accueil. Cependant, les conclusions de l’étude montrent que ces personnages de fiction présentent des cas qui n’ont pas été explorés par les théoriciens de l’hybridité. On s’aperçoit d’autre part, que plusieurs facteurs de nature culturelle, religieuse, personnelle ou sociale influencent les protagonistes dans les romans : soit ils leur identité hybride s’affirme, soit ils conservent la façon de vivre de leur pays d’origine. On remarque aussi que les mariages interculturels et l’identité hybride sont liés entre eux. Le mariage interculturel peut être à la fois la manifestation de l’hybridité, et dans ce cas il est perçu comme une affirmation du vécu hybride servant du même coup de moyen d’aller vers l’hybridité. Contrairement à ce à quoi on pourrait s’attendre, on observe que parfois les relations interculturelles entraînent une réaction anti-hybride<br>This dissertation studies the subject of cross-cultural marriage and hybrid identities of characters in Nadine Gordimer’s The Pickup (2001), Leila Aboulela’s The Translator (1999), and Safi Abdi’s A Mighty Collision of two Worlds (2002). The study seeks to find out how the cultural identities of the protagonists in the novels change when they marry across cultures and face new traditions and beliefs. Hybridity theory, which is developed by Homi Bhabha and other hybridity theorists, can be a relevant tool for analysis of the characters’ identities. Bhabha contends that those who cross cultures live in an “in-between space” or “third space” in which they oscillate between their native culture and the host culture. However, results show that fictional characters present cases which have not been explored by hybridity theorists. In addition, it is stressed that various factors of a cultural, religious, personal, and social nature affect the protagonists in the novels to either develop a hybrid identity or maintain their native way of life. It is also found that cross-cultural marriage and hybridity are correlated. The former can be both a manifestation of hybridity, where the protagonists’ cross-cultural marriage is seen as an assertion of their hybrid experience, and as a means to hybridity. Contrary to expectations, it is observed that cross-cultural relationships lead to an anti-hybrid reaction
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Fryer, Jocelyn Teri. "Altering urbanscapes: South African writers re-imagining Johannesburg, with specific reference to Lauren Beukes, K. Sello Duiker, Nadine Gordimer and Phaswane Mpe." Thesis, Nelson Mandela Metropolitan University, 2014. http://hdl.handle.net/10948/d1020877.
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The following dissertation considers the ways in which we have come to perceive of our post-apartheid South African urban spaces. It focusses on the representation of our contemporary urban spaces as I posit that they are re-imagined in the works of Phaswane Mpe, K.Sello Duiker, Nadine Gordimer and Lauren Beukes. In particular, it is concerned with the representation of Johannesburg, and specifically Hillbrow, in relation to the space of the rural, the suburban enclave and the city of Cape Town. I argue that while so-called urban ‘slums’ such as Hillbrow have been denigrated in the local imaginary, the texts that I have selected draw attention to the potentialities of such spaces. Rather than aspiring to ‘First World’ aesthetics of modernity then, we might come to see such spaces as Hillbrow anew, and even to learn from them as models, so as to better create more fully integrated and dynamic African cities.
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Colleran, Jeanne M. "The dissenting writer in South Africa : a rhetorical analysis of the drama of Athol Fugard and the short fiction of Nadine Gordimer." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1287430526.
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Visel, Robin Ellen. "White Eve in the "petrified garden" : the colonial African heroine in the writing of Olive Schreiner, Isak Dinesen, Doris Lessing and Nadine Gordimer." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/29445.
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Olive Schreiner, writing in the tradition of George Eliot and the Brontës, was an isolated yet original figure who opened up new directions in women's fiction. In her novels, The Story of an African Farm (1883) and From Man to Man (1926) she developed a feminist critique of colonialism that was based on her own coming-of-age as a writer in South Africa. Schreiner's work inspired and influenced Isak Dinesen, Doris Lessing and Nadine Gordimer, who have pursued their visions of the colonial African heroine in changing forms which nevertheless consciously hark back to the "mother novel." Dinesen's Out of Africa (1937), Lessing's Martha Quest (1952) and Gordimer's The Lying Days (1953) are in a sense revisions of Schreiner's Story of an African Farm. These texts, together with later novels by Lessing and Gordimer (such as Shikasta and Burger's Daughter, 1979) and key short stories by the four writers, form a body of writing I call the "African Farm" texts. Written in different colonial countries—South Africa, Kenya and Rhodesia—in response to different historical circumstances, from different ideological and aesthetic stances, the "African Farm" fictions depict the problematic situation of the white African heroine who is alienated both from white colonial society and from black Africa. Through her own rebellion against patriarchal mores as she struggles to define herself as an artistic, intellectual woman in a hostile environment, she uncovers the connections between patriarchy and racism under colonialism. She begins to identify with the black Africans in their oppression and their incipient struggle for independence; however she cannot shed her white inheritance of privilege and guilt. Just as colonial society (the white "African Farm") becomes for her a desert, a cemetery, a false, barren, "petrified garden," so black Africa becomes its idealized counterpart: a fertile realm of harmony and possibility, the true Garden of Eden from which she, as White Eve, is exiled. I trace the "African Farm" theme and imagery through the work of other white Southern African writers, such as J.M. Coetzee, whose stark, poetic, postmodernist
novels can be read as a coda to the realistic fiction of the four women writers. Finally, I look at the post-"African Farm" texts of such transitional writers as Bessie Head, whose novels of black Africa preserve a suggestive link with Schreiner.<br>Arts, Faculty of<br>English, Department of<br>Graduate
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Middleton, Jemima. ""Ah, what an age it is, when to speak of trees is almost a crime" : national landscapes and identities in the fiction of Nadine Gordimer." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20684.
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In this study, I will explore the ways in which Nadine Gordimer engages with the natural world in three of her novels: The Conservationist (1974), July's People (1981), and No Time Like the Present (2012). I argue for the importance of the relationship in her work, between the natural landscapes of South Africa and the responsibility of the author in 'meaning-making:' this is a literary study that brings elements of postcolonial ecocriticism into play. In particular, I will explore how and why she chooses to "speak of trees" at all. Gordimer demonstrates that there is a definitive agency in the non!human world that presses against the reductive binary of 'human' versus 'natural' environments. Her fiction highlights the fact that flattening the natural world into a series of symbols is overly simplistic and does not engage sufficiently with the political: a responsibility that she takes upon herself. In this study I will be arguing that Gordimer achieves a profound political meditation by creating meaning from a variety of natural landscapes, making use of images rather than symbols. I am particularly intrigued by the ways in which Gordimer imagines the landscape as a series of sign systems, whose various shifts and changes reflect and illustrate wider systemic shifts in South Africa. In the novels that I will examine, Gordimer demonstrates, by way of physical, visceral engagement with various landscapes, that historical and contemporary systemic shifts must be taken into account in order truly to understand the complexity of national identities in her country. The image of the trees ties poetry, politics and the environment together, in particular to witness a distinctive shift in political sign systems, and the identity crises that occur as a result. In The Conservationist, Gordimer takes issue with misplaced obsessions with autochthony and heritage, whilst simultaneously investing in the lexical field of botanical names and a fine delineation of literary ecology: the novel both takes apart and preserves a sense of how the landscape can be entwined in a cultivation of identity. In my examination of July's People, I will consider the matter and poetics of the interregnum via the question of "the bush": the environment, landscape and ecosystem contained or in fact uncontained by this term are at the heart of the shift in sign systems that plays out in the novel. The bush in July's People is a heterotopia: an 'other' place that signifies many different meanings, but simultaneously signifies, in the novel, a shift in an entire system of signs. In my final chapter, on No Time Like the Present, I will be continuing to examine the 'language' of trees in Gordimer's work! particularly noting the terminology of trees and plants to signify, and add value to the study of identity and the indigenous versus the alien
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Ibinga, Stephane Serge. "The representation of women in the works of three South African novelists of the transition." Thesis, Stellenbosch: University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/1100.
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Thesis (DLitt (English))--University of Stellenbosch, 2007.<br>The dissertation focuses on literary representation of female characters in selected novels by three particular South African writers working within the transitional phase (from the formal ending of apartheid up to the present) of South African history. By means of textual analysis, the study investigates how the representation of numerous female characters in these texts reflects on and reflects the sector of South African society that forms the social setting of each text. This thesis explores the portrayal of female characters in selected fictional works by examining the ways in which the novelists Mandla Langa, Zakes Mda (both of them black and male writers) and Nadine Gordimer (a white and female novelist) characterise women in novels depicting this adapting society. In scrutinising these texts of the transition period, the thesis writer employs detailed individual delineation of female characters, to some extent by means of a comparative approach, with emphasis on parallels between as well as differences among the abovementioned authors’ ways of describing South African women’s circumstances and responses to their social predicaments.
In this study literary representations of women are examined in order to evaluate the effects of social and cultural transformation in post-apartheid South Africa. This is done by analysing these authors’ portrayals of women’s circumstances both in the private and public spheres. The thesis therefore contributes to the movement towards a greater recognition of women’s crucial, catalytic function in the achievement of social development and delineates these authors’ expressed awareness of many women’s actual direct involvement in the struggle against all forms of discrimination in society. This research project has been undertaken as an opportunity to investigate the different qualities and types of conduct attributed to female characters in ten selected novels of the transition, on the assumption that the texts reflect something of the way women are perceived and are playing new roles in a changing society. In studying how three significant ‘post-apartheid’ authors depict women affecting and affected by the social conditions of this period, the thesis traces the way the focus of more recent South African writing has shifted from an apartheid-era preoccupation with racial-political issues towards the depiction of private and public, rural and urban social and gender roles available to some contemporary South African women – and of those factors still constraining some other women. Taking in these authors’ portrayals of female political activism and leadership, the thesis also balances previous preoccupation (in South African English literature) with depictions of male political activity.
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O'Brien, Lauren Leigh. "Self, family and society in Nadine Gordimer's Burger's Daughter, Rachel Zadok's Gem Squash Tokoloshe, and Doris Lessings's The Grass is Singing." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1006771.
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This dissertation examines Nadine Gordimer’s Burger’s Daughter, Rachel Zadok’s Gem Squash Tokoloshe, and Doris Lessing’s The Grass is Singing. It focuses on the development of each of the protagonists’ identities in three realms: the individual, the familial and the societal. Additionally, it is concerned with the specific socio-political contexts in which the novels are set. It employs psychoanalytic and historical materialist frameworks in order to engage with the disparate areas of identity with which it is concerned. The introduction establishes the analytical perspective of the dissertation and explores the network of theoretical frames on which the dissertation relies. Additionally, it contextualises each of the novels, within their historical contexts, as well as in relation to the theory. The first chapter examines Nadine Gordimer’s Burger’s Daughter. It focuses on the protagonist’s assertion of an identity independent of her father’s role as a political activist, and her eventual acceptance of the universal difficulty in negotiating a life which is both private and political. The second chapter, on Rachel Zadok’s Gem Squash Tokoloshe, examines the relationship between the protagonist’s traumatic experiences as a child and her inability to assert an identity as an adult. The similarities between the protagonist’s attempts to address her traumas and thereby create herself anew and South Africa’s employment of the Truth and Reconciliation Commission as a means to acknowledge and engage with its traumatic history is of import. The third chapter which deals with Doris Lessing’s The Grass is Singing traces the life of its protagonist, whose identifications remain childish as a result of having witnessed her parents’ difficult relationship. Her understanding of the world is informed by a rigid, binary understanding, which is ultimately disrupted by her relationship with a black employee. She is incapable of readjusting her frame of reference, however, and ultimately goes mad. I conclude that, while my focus has been on personal, familial and social identifications, the standard terms in which identity is examined, namely, race, class, and gender, are present in each of the three tiers of identity with which I have been concerned.
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Eya'a, Obame Daisy Fabiola. "Pour une réflexion écocritique postcoloniale : lecture de Petroleum de Bessora, Les neuf consciences du Malfini de Patrick Chamoiseau, The Conservationist de Nadine Gordimer et la trilogie postcoloniale de Kate Grenville (The Secret River, The Lieutenant, Sarah Thornhill)." Thesis, Brest, 2021. https://tel.archives-ouvertes.fr/tel-03789590.
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La logique impérialiste et anthropocène a donné lieu à des pratiques dont les traces se lisent dans un hégémonisme environnemental et une difficulté à tenir compte du lien au vivant, à cet autre différent, humain ou non-humain, qui participe cependant de la relation. Par une analyse écocritique postcoloniale, il apparaît que ces exploitations qui se perpétuent dans la contemporanéité ont un lien avec la crise écologique. Une approche comparatiste des œuvres de Bessora, Patrick Chamoiseau, Nadine Gordimer et Kate Grenville éclaire cet état de crise : elle guide le lecteur vers de nouvelles réalités et annonce les contours changeants d’un environnement naturel en mutation. Les œuvres réapprennent également à l’humain à poser un regard autre sur la nature environnante et véhiculent des valeurs culturelles propres à enrichir la relation au vivant. En ce sens, la littérature contribue à montrer que la réconciliation se construit par l’éveil d’une conscience environnementale, c’est-à-dire la modélisation de l'interaction entre l’humain et l’environnement pour préserver la nature. La réconciliation se tisse en outre par un rapprochement entre l’imagination littéraire et l'inclusion de réalités socioculturelles, qui conduit à une poétique sensible de l’habitation du monde. La trajectoire culturelle d’un groupe étant liée à la terre, il est nécessaire que la prise de conscience écologique passe d’abord par les cultures locales. Autrement dit, il faut décoloniser le savoir écologique afin d’aboutir à une restauration de l’environnement naturel et des relations entre les différentes formes de vie. Le but de ce travail est donc de mettre en évidence les éléments qui rendent possible une réconciliation entre exigences anthropocentrées et éthique environnementale<br>The imperialist and anthropocene logic has given rise to practices whose traces are to be found in an environmental type of hegemonism and a difficult apprehension of the connection to the living, to this different, human or non-hum another, who nevertheless participates in the relation. A postcolonial ecocritical analysis shows that these exploitations which are perpetuated in the contemporary world have a link with the ecological crisis. A comparatist approach to the works of Bessora, Patrick Chamoiseau, Nadine Gordimer and Kate Grenville highlights this state of crisis: it guides the reader to wards new realities and announces the evolving contours of a changing natural environment. These works also teach humans to look at the surrounding nature in a different way and convey cultural values that are likely to enrich the relationship with the living. In this sense, literature shows that reconciliation cannot be achieved without man’s awakening to an environmental conscience, that is to say the modelling of the interaction between humans and the environment to preserve nature. Reconciliation means that the working together of the literary imagination and the inclusion of socio-cultural realities will lead to a sensitive poetics of inhabiting the world. Since the cultural trajectory of a group is linked to the earth, ecological awareness must first be developed by local cultures to then influence global cultures. In other words, it is necessary to decolonize ecological know ledge in order to restore the natural environment and the relationships between the different forms of life. The goal is therefore to identify the elements that enable a reconciliation between anthropocentric requirements and environmental ethics
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Bock, Carolin Anne. "Selbstverwirklichung durch Arbeit? : eine kulturvergleichende Untersuchung an drei Romanen aus der Frauenliteratur." Thesis, Stellenbosch : Stellenbosch University, 1986. http://hdl.handle.net/10019.1/65343.
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Hjul, Lauren Martha. "The family in Shakespeare's plays: a study of South African revisions." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001832.
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This thesis provides a detailed consideration of the family in Shakespeare’s canon and the engagement therewith in three South African novels: Hill of Fools (1976) by R. L. Peteni, My Son’s Story (1990) by Nadine Gordimer, and Disgrace (1999) by J. M. Coetzee. The study is divided into an introduction, three chapters each addressing one of the South African novels and its relationship with a Shakespeare text or texts, and a conclusion. The introductory chapter provides an analysis of the two strands of criticism in which the thesis is situated – studies of the family in Shakespeare and studies of appropriations of Shakespeare – and discusses the ways in which these two strands may be combined through a detailed discussion of the presence of power dynamics in the relationship between parent and child in all of the texts considered. The three chapters each contextualise the South African text and provide detailed discussions of the family dynamics within the relevant texts, with particular reference to questions of authority and autonomy. The focus in each chapter is determined by the nature of the intertextual relationship between the South African novel and the Shakespearean text being discussed. Thus, the first chapter, “The Dissolution of Familial Structures in Hill of Fools” considers power dynamics in the family as an inherent part of the Romeo and Juliet genre, of which William Shakespeare’s Romeo and Juliet is but a part. Similarly, the impact of a socio-political identity, and the secrecy it necessitates, is the focus of the second chapter, “Fathers, Sons and Legacy in My Son’s Story” as is the role of Shakespeare and literature within South Africa. These concerns are connected to the novel’s use of Shakespeare’s Sonnets, King Lear, and Hamlet. In the third chapter, “Reclaiming Agency through the Daughter in Disgrace and The Tempest”, I expand on Laurence Wright’s argument that Disgrace is an engagement with The Tempest and consider ways in which the altered power dynamic between father and daughter results in the reconciliation of the father figure with society. The thesis thus addresses the tension between parental bonds and parental bondage
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Gerdin, Ellenor. "The impact of cultural and social backgrounds - Julie and Abdu in Nadine Gordimer’s The Pickup." Thesis, Kristianstad University College, Department of Humanities and Social Sciences, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-3937.
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Sakamoto, Toshiko. "The colonial daughter's narrative : the politics of race, gender and sexuality in Nadine Gordimer's fiction." Thesis, SOAS, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395041.
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Knox, Alice. "Women writing race: Toni Morrison, Nadine Gordimer, Jean Rhys." 1998. https://scholarworks.umass.edu/dissertations/AAI9841887.
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In this study I provide close textual analysis of the novels of three women writers whose work displays a consistent preoccupation with issues of race, and examine the ways in which their racial representations interplay with their depictions of gender and sexuality. Writing from a consciously gendered and racialized position, I combine personal narrative with theoretical discussion as I trace common racial themes, such as racial violence, cross-racial couples, and the denial or erasure of race. In an examination of other critics who have employed personal narrative as a form of literary analysis, I affirm the value of teaching and reading literary texts as a mode of activism. I also examine the depiction of white male protagonists, exploring the ways in which such depictions require a transracial, cross-gender performance on the part of the woman writer. Recurring patterns of racial dynamics emerge in the larger body of each author's work. A West Indian female racial identity emerges in Rhys' work as, consciously and unconsciously, her white heroines identify with black slave women, and seek another form of "blackness" through alcoholic oblivion. Gordimer's white women seek to slough off the racial privilege they are only too aware of, but Gordimer creates narratives in which white female identity merges textually with black male identity and black female identity, linguistically and through shared political action. Morrison's black women, doubly othered by race and by gender, seek to transcend all boundaries through wildly transgressive behavior, enacted boldly or imagined through language. In my final chapter, I explore the ambiguities and struggles of the construction of female racial identity in American, South African and Caribbean contexts, with particular attention to moments of textual rupture which signal the possibility of fluid identity. I demonstrate how Morrison, Gordimer, and Rhys employ a variety of narrative forms which allow readers to enter an in-between space, a starting point for the transformation of consciousness and of society. Literature is an ideal vehicle for entering the in-between space imaginatively, and dwelling there longer and longer as we rid ourselves of preconceived notions of race and gender.
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Dimitriu, Ileana. "Nadine Gordimer after apartheid : a reading strategy for the 1990s." Thesis, 1997. http://hdl.handle.net/10413/8756.
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The aim of this study is to suggest, by selective example, a method of interpreting Gordimer's
fiction from a 'post-Apartheid' perspective. My hypothesis is that Gordimer's own comments
in her key lecture of 1982, "Living in the Interregnum", reflect not only her practice in the
years of struggle politics, but suggest a yearning for a time beyond struggle, when the civil
imaginary might again become a major subject. She claims that she has continually felt a
tension in her practice as writer between her responsibility to 'national' testimony, her
"necessary gesture" to the history of which she was indelibly a part, and her responsibility to
the integrity of the individual experience, her "essential gesture" to novelistic truth.
In arguing for a modification of what has almost become the standard political
evaluation of Gordimer, my study returns the emphasis to a revindicated humanism, a critical
approach that, by implication, questions the continuing appropriateness of anti-humanist
ideology critique at a time in South Africa that requires reconstitutions of people's lives. The
shift in reading for which I argue, in consequence, validates the 'individual' above the
'typical', the 'meditative' above the ideologically-detennined 'statement', 'showing' above
'telling'. I do not wish to deny the value of a previous decade's readings of the novels as
conditioned by their specific historical context. The philosophical concept of social
psychology and the stylistic accent on neo-thematism employed in this thesis are not meant
to separate the personal conviction from the public demand. Rather, I intend to return
attention to a contemplative field of human process and choice that, I shall suggest, has
remained a constant feature of Gordimer's achievement. My return to the text does not
attempt to establish textual autonomy; the act of interpretation acknowledges that meaning
changes in different conditions of critical reception.
My study is not a comprehensive survey of Gordimer' s oeuvre. It focuses on certain
works as illustrative of the overall argument. After an Introduction of general principles,
Chapter One focuses on two novels from politically ' overdetermined' times to show that even
in the 'years of emergency', Gordimer's commitment to personal lives and destinies had
significantly informed her national narratives. Chapter Two turns to two novels from less
'determined' times as further evidence of Gordimer' s abiding interest in the inner landscapes
behind social terrains. Having proposed a critical return to the 'ordinary' concerns of the
'civil imaginary', the study concludes by suggesting that the times in the 1990s are ready for
a new look at the most intensely lyrical aspects of Gordimer' s art: her short stories.
The specific examples culminate, at the end of each chapter, in brief observations as
to how the reading strategy might apply to other works in Gordimer's achievement, as well
as to an 'interior' as opposed to an 'exterior' accent in South African fiction as a whole.<br>Thesis (Ph.D.)-University of Natal, Durban, 1997.
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Perabo, Annette. "An "East" and "West" translation of two short stories by Nadine Gordimer: text and context." Thesis, 2010. http://hdl.handle.net/10539/7526.
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Fonte, Liliana Martins da. "Identity and representation in twentieth century postcolonial narrative from Nadine Gordimer to Salman Rushdie." Master's thesis, 2006. http://hdl.handle.net/1822/6472.
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A deconstrução da relação entre a história e o indivíduo é um mote que escritores pós‐coloniais contemporâneos, como Nadine Gordimer e Salman Rushdie, se esforçam por empreender. Numa época em que a ética e a estética parecem estar em constante conflito, Gordimer e Rushdie expressam os seus pontos de vista na perspectiva de um narrador na primeira pessoa, reflectindo sobre as turbulências que afligem as suas respectivas nações pós‐coloniais, na segunda metade do século XX. Através da construção de paralelos e eventuais assimetrias entre os dois autores, esta tese pretende demonstrar a forma como ambos se imergem nas tensões morais e psicológicas dos seus países – a África do Sul de Gordimer e a Índia de Rushdie – tanto antes como após a independência daqueles da dominação colonial. Gordimer e Rushdie permitem que as suas experiências pessoais e sentimentos sobre ocorrências históricas se reflictam e transpreçam no desenrolar das suas narrativas, num complexo e extenso corpus que se revela, por vezes, e até certo ponto, contraditório. Num contínuo debate entre veracidade subjectiva e historicidade objectiva, a ficção de Gordimer e Rushdie age como uma contra‐narrativa no desmembrar de mitos canónicos e universalismos vários, problematizando assim a função do escritor enquanto consciência social da realidade que a literatura representa/ ficcionaliza. Gordimer e Rushdie referenciam, inesgotavelmente, a imaginação e a memória fragmentada como estratégias discursivas de um escritor migrante e/ ou pós‐colonial, preocupações essas que se prendem com a nação, a diáspora e a ameaça aos ideais de multiculturalismo, face à homogeneização cultural exercida pelo capitalismo multinacional e ao surgimento de fundamentalismos étnicos e religioso, ambos fenómenos indesejavelmente presentes na geopolítica actual.<br>The deconstruction of the interrelationship between history and the individual is one that contemporary postcolonial writers lke Nadine Gordimer and Salman Rushdie endeavour to undertake. In an age where ethics and aesthetics seem to be in constant conflict, Gordimer and Rushdie express their points of view form the vantage point of a first‐person narrator, reflecting upon the turbulences that afflict their respective postcolonial nations, in the latter half of the twentieth century. Through the establishment of similarities and eventual asymmetries between the two writers, this thesis intends to show how both authors delve into the moral and psychological tensions of their native homelands – Gordimer’s South Africa and Rushdie’s India – prior to and after the independence from colonial dominance. Gordimer and Rushdie let their own personal experiences and sentiments on historical happenings transpire in the unfolding of heir narratives, by way of an extensive and somewhat complex corpus which reveals itself, per times, contradictory. In the ongoing debate between subjective veracity versus historical objectivity, Gordimer and Rushdie’s fiction acts as a counter‐narrative in the dismemberment of canonical myths and universalisms, thereby putting into service the function of the writer that both believe to be the social conscience of the reality which literature seems to represent/ fictionalize. Gordimer and Rushdie most insistently reference the imagination and fragmented memory as the discursive strategies of a migran or postcolonial writer; this writer’s ‘Third‐World’ concerns are fixed upon that of the nation, the diaspora and the threat posed to the ideal of multiculturalism, should cultural homogenisation be successfully effected by multinational capitalism, as well as, by the rise of ethnic and religious fundamentalisms, phenomena both perilously present in current geopolitics.
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Jean-Louis, Lorrie. "Corps noir et intersubjectivité chez Beyala, Gordimer et Morrison." Mémoire, 2008. http://www.archipel.uqam.ca/1531/1/M10631.pdf.
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Cette étude porte sur le corps noir et l'intersubjectivité dans Ceux de July de Nadine Gordimer (1981), Tar Baby de Toni Morrison (1981) et Tu t'appelleras Tanga de Calixthe Beyala (1988). Dans chacun des récits, la représentation du corps noir est le pivot des relations qui unit les personnages noirs et blancs. L'évolution des différentes trames narratives dépend de la réinscription permanente de la figure du Noir dans les rapports intersubjectifs entre les Noirs et Blancs. Le premier objectif de ce mémoire de maîtrise est donc d'exposer la mise en scène littéraire de cette figure, avant tout, discursive, à travers les déplacements poétiques qu'effectue chacune des auteures. Cette analyse se fait principalement à partir de trois approches: organique, narratologique et sémiologique. Elle met aussi à contribution certaines notions relatives à la subjectivité dans l'énonciation. D'une part, cette analyse illustre les moyens par lesquels les personnages parviennent à construire des dichotomies qui, de prime abord, sont présentées comme étant indépassables à travers une série d'espaces où les différences sont démultipliées. D'autre part, ce travail de mémoire cherche à rendre compte de la nature intimement fictionnelle et sociale des corps, tout en démontrant une différence notoire de l'articulation du corps noir constamment chargé d'un « poids » métaphorique péjoratif qui efface le sujet. À travers leur écriture, les trois auteures parviennent à mettre en évidence les lieux communs de la représentation du corps noir, tout en réinscrivant ces derniers dans une polysémie déroutante et éclairante sur les communautés de sens qui enferment ou qui ouvrent les sujets sur eux-mêmes et sur les autres. En ce sens, les trois microcosmes déconstruisent -chacun dans son contexte respectif -la représentation du Noir. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Figure du Noir, Corporéité, Intersubjectivité, Stéréotype, Altérité, Roman, Mythe.
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Venter, Delina Charlotte. "The interaction of race, gender and class in a selection of short stories by Nadine Gordimer." Thesis, 2014. http://hdl.handle.net/10210/10333.
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M.A. (English)<br>This study approaches a much neglected area, not only of English literary research in South Africa generally, but also more specifically of Nadine Gordimer's writing career. Over the last fifty-one years Gordimer has produced approximately 126 short stories. These have variously been taken up in twelve collections, ranging from Face to Face in 1949 to Jump in 1991.However, most of the recognition she has received pertains to her novels which are frequently praised for their historical awareness and their commitment to the disfranchised in South Africa. Yet the short stories are a significant part of Gordimer's output - altogether eight original collections of short stories exist, as compared to ten novels. Nor are the short stories of any less historical significance.Even a cursory glance at the periodization of the stories as reflected in this dissertation unquestionably reveals a developing historical perspective in Gordimer's short fiction. What is most remarkable about this unfolding perspective is Gordimer's ability from time to time in the stories to break out of the limitations imposed on her consciousness by her position in South African society as a white, upper middle-class woman. The most important reason for the dearth of research on the historical consciousness in Gordimer's short fiction seems to be the choice of literary-critical approaches adopted in previous works. Broadly these may be classified as either formalist or new critical. Given the importance to these approaches of the autonomy of the text vis-a-vis the life history of the authoress or the wider socio-political environment within which the work exists, it is not surprising that these works have rather limited their focus to such aspects as theme, structure, short story development and imagery. By examining the interaction of race, gender and class in Gordimer's short stories this dissertation pins its exploration of the developing historical consciousness of these texts not only to specific issues, but to issues with which Gordimer clearly concerns herself. This dissertation therefore asserts that the structures of race, gender and class are indeed pertinently explored in the short stories, not only individually but often with an understanding of their intertwined aspect, and that using this approach a more subtle and appropriate reading of the stories and of their development may emerge.
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Chen, Mei-hue, and 陳美惠. "Your Submissive Servant: the Interrelationships between Race, Gender and Class in Nadine Gordimer''s July''s People." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/91707041352005133035.
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碩士<br>國立中興大學<br>外國語文學系<br>91<br>ABSTRACT
This thesis examines an internalized racial hierarchy in South African white liberalism in the work of Nadine Gordimer’s July’s People. In particular, it considers the troubled relationship between the white liberal-minded masters and their black male servants. It is through a transition of political and economical roles that Gordimer reveals the limitation and illumination of the white liberal belief─a false concept constructed in a relationship that is based on material exploitation. The body of the thesis is comprised of three chapters that address the issues surrounding the master and servant relationship in the story. The first chapter explores the colonial history of South Africa, with an emphasis on its racial and economical context that influenced Gordimer’s writing of July’s People. Drawing upon Marxist theories, the chapter explores the process of capitalist primitive accumulation and its influences on the forming of a white supreme race identify in South Africa. The second chapter is concerned with Gordimer’s radical critique of white liberal attitude in July’s People that reveals itself in a tangled relationship between a black servant and his white madam. In the light of Hegel’s explanation on the Master/Slave relation, I will point out this relation as primarily a mutual interdependence, particularly in terms of economy. In the same chapter, I will also adopt Maria Mies’s theory on sexual and racial divisions of labor and Anne McClintock’s explanation on the meanings of domesticity to illuminate the exploitative nature of servitude in the novel. The third chapter exemplifies an ultimate illusion of white liberalism that arose both from the servant’s rejection to be interpellated as a colonial subject and from the servant’s partial representing the masters’ language and behaviors by the act of mimicking.
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Hsin-hsien, Tseng, and 曾心嫻. "Gender Intervention with White Liberalism: Resisting Apartheid, Reconstructing Self-Identity in Nadine Gordimer''s Burger''s Daughter." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/82143604947916126026.
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碩士<br>國立中興大學<br>外國語文學系<br>91<br>Abstract
In Burger’s Daughter, Nadine Gordimer examines whites and blacks, the multiple voices from races and political parties and anti-apartheid groups, the political and the personal struggle for individual will, the symbolic and semiotic, and the relationship of self to conscience and social position under the apartheid system in South Africa through the heroine, Rosa Burger’s narrative in the novel. Gordimer presents the opposition between the personal and political self-realization through revolutionary commitments by Rosa’s struggle for individual will. This novel seems personal about rebellion against family as well as the government, and through Rosa Burger’s explorations of ways of living, it undertakes to bring together the truth of the body and the senses with the demands of the mind and moral consciousness about black movement in South Africa.
In my thesis, I will first discuss the historical background of apartheid system in South Africa and present both the white racists’ and white liberals’ complicity of oppression on the blacks. Kristeva’s argument of “mobility of the semiotic” elaborates how Rosa Burger reconstructs her self-identity from the symbolic to the semiotic in her journey to Europe. Foucault’s concept of “heterotopias” justifies the black people’s place as the place of resistance in the revolution. As the novel’s epigraph “I am the place in which something occurred”─Rosa Burger is one such place: South Africa, as well as Gordimer’s text─are sites for/of political and personal, public and private that entail taking responsibility for the blacks’ suffering in the long run. By inscribing Rosa’s monologue about the values of herself as a white, Gordimer‘s Burger’s Daughter evokes a historical situation in which the personal cannot separate from such other realities like the black African struggle and suffering in the country.
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Paasche, Karin Ilona Mary. "Changing social consciousness in the South African English novel after World War II, with special reference to Peter Abrahams, Alan Paton, Es'kia Mphahlele and Nadine Gordimer." Diss., 1992. http://hdl.handle.net/10500/15727.
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The changing social consciousness in South Africa during the twentieth century falls within a
political-historical framework of events: amongst others, World Wars I and II; the institution of the
Apartheid Laws in 1948; the declaration of a South African Republic in 1960; Nelson Mandela's release in
1992. The literary social consciousness of Abrahams, Paton, Mphahlele and Gordimer spans the time
before and after 1948. Their novels reflect the changing reality of a country whose racial and social
problems both pre-date and will outlive the apartheid ideology. These and other novelists' changing social
consciousness is an indication of the development of attitudes and reactions to issues which have their
roots in the human and in the economic spheres, as well as in the political, cultural and religious. Their
work interprets the history and the change in the South African social consciousness, and also gives some
indication of a possible future vision.<br>English Studies<br>M.A. (English)
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Lo, Hsiu Ying, and 駱琇瑩. "Postcolonial Ecology in Nadine Gordimer’s The Conservationist." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/61531892133793929889.
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碩士<br>靜宜大學<br>英國語文學系<br>99<br>This thesis aims to discuss the concept of “Postcolonial Ecology” presented in Nadine Gordimer’s The Conservationist. For the setting, in this novel, Gordimer sets out to re-examine the main character Mehring’s settler conservationism to see his false consciousness in preserving his land and life in South Africa. It is significant that the colonial imagination stereotype of Africa is expressed frequently through the ownership or possession of the earth and interwoven with complexities of race and power structures in South African history and literary work. Indeed, land offers a representation of the individual psyche under a version of the patriarchal viewpoint and colonial white culture, which is embodied in critically ecological events and a mysterious corpse found on Mehring’s farm. Gordimer rediscovers cultural and power conflicts between the two philosophies of the Black Africans and the European colonizers in the imposition of colonialization on the land of Africa in this novel. By adopting Zulu mythology and culture as alterative knowledge in her deliberate multi-narratives, these conflicts are neutralized and the intimacy between the black Africans and the land is rehabilitated.
Chapter One is an introduction to Nadine Gordimer’s The Conservationist, briefly sketching the main themes of the novel and its significance. Chapter Two intends to give a theoretical approach that justifies combining postcolonial criticism with ecological concepts to interpret this novel as a fictional version of “postcolonial ecocriticism.” Moreover, by applying postcolonial critic Homi K. Bhabha’s theory of “Third Space,” Gordimer’s South African narration and its appropriation are represented as “culture’s hybridity”, which allows the articulation of cultural difference, a strategy of self-empowerment of speaking for socially and racially deprived and marginalized groups. Chapter Three In this chapter aims to further explore Gordimer’s expressions of (de)colonizing the South African and of apartheid struggles. It articulates the interactions of the colonizer with the colonized. Besides, Mehring’s “Topographies of Activities” are revealed as mapping the interconnections between domestic landscape imagination and spatial metaphors in his ideological apparatus. Mehring’s changing understanding of the land is shifted with the constantly subversive landscaping, such as in the natural disasters of the drought, the veld fire and the flood. Chapter Four discusses Gordimer’s multi-narrative structure which appropriates Zulu mythology and its symbolism to carry out an intertextual discourse between Henry Callaway’s book The Religious System of the Amazulu and Mehring’s dominant voice. Gordimer’s narrative technique suggests a contested site of different narratives of conquest, anti-conquest and decolonization. By her deliberate appropriation of the Zulu context, the hegemonic white ideology in this novel’s is successfully overthrow by the repossession of Zulu culture, generating a revitalization and revised historical perspective toward South Africa. Chapter Five concludes the points mentioned above with a statement about the future of South Africa in the context of Gordimer’s appropriation of the Zulu mythology in Callaway’s book. It is obvious that her story manifests a deeper colonial history through its multi-layered narration. She also manifests that only with harmonious reciprocity between animate beings and the land can the cultural/ecological continuity and sustainability between the Black Africans and the land be re-established.
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WEN, YING-YA, and 溫瀅雅. "Interaction of characters in Nadine Gordimer's selected stories." Thesis, 1989. http://ndltd.ncl.edu.tw/handle/78052521073847226329.
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