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Journal articles on the topic 'Science fiction, South African – History and criticism'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Jenkins, E. R. "English South African children’s literature and the environment." Literator 25, no. 3 (2004): 107–24. http://dx.doi.org/10.4102/lit.v25i3.266.

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Historical studies of nature conservation and literary criticism of fiction concerned with the natural environment provide some pointers for the study of South African children’s literature in English. This kind of literature, in turn, has a contribution to make to studies of South African social history and literature. There are English-language stories, poems and picture books for children which reflect human interaction with nature in South Africa since early in the nineteenth century: from hunting, through domestication of the wilds, the development of scientific agriculture, and the chang

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2

Kambon, Ọbádélé Bakari, and Lwanga Songsore. "Fiction vs. Evidence: A Critical Review of Ataa Ayi Kwei Armah’s Wat Nt Shemsw and the Eurasian Rhetorical Ethic." African and Asian Studies 20, no. 1-2 (2021): 124–53. http://dx.doi.org/10.1163/15692108-12341486.

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Abstract At the 2018 Outstanding African Thinkers Conference on Nna Chinweizu, attendees – the first author included – took a pledge that “In all branches of our lives, we must be capable of criticizing and of accepting criticism. But criticism, proof of the willingness of others to help us or of our willingness to help others, must be complemented by self-criticism – proof of our own willingness to help ourselves to improve our thoughts and our actions. This is a sacred principle and it is my sacred duty to apply and defend it at all costs” (Chinweizu 2018). In response to that call to action

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3

Saunders, Chris. "Comparing the Namibian and South African Liberation Struggles." Matatu 50, no. 2 (2020): 280–98. http://dx.doi.org/10.1163/18757421-05002007.

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Abstract This essay is a preliminary attempt to compare the ways in which the liberation struggles in Namibia and South Africa have been memorialised, both in non-fiction writing about the two struggles and in monuments, memorials and museums. Such a comparison needs to be undertaken through contextualising the two struggles. Though they have some similar features, the ways they have been memorialised are strikingly different, with the armed struggle having been given much greater emphasis in Namibia than in South Africa.

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4

Gagiano, Annie. "South African Novelists and the Grand Narrative of Apartheid." Journal of Language and Politics 5, no. 1 (2006): 97–109. http://dx.doi.org/10.1075/jlp.5.1.06gag.

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The apartheid policies and practices by means of which South Africa was formerly governed also had an ideological or mythological dimension, which functioned as its justificatory narrative. The process of replacing that narrative which needs to be undertaken in South Africa can make use, among other processes, of the re-presentations of this society by our novelists. This paper sketches something of the complex interplay between fiction, social reality, and moral-political understanding at the hand of six novels. It focuses on depictions of acts and experiences of violation as the signature of

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Rogan, John M. "A response to Maarschalk's criticism of “innovation in South African education (part 1): Science teaching observed”." Science Education 74, no. 4 (1990): 503–5. http://dx.doi.org/10.1002/sce.3730740410.

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6

Commissiong, Anand Bertrand. "Where Is the Love? Race, Self-Exile, and a Kind of Reconciliation." Diaspora: A Journal of Transnational Studies 21, no. 1 (2021): 27–46. http://dx.doi.org/10.3138/diaspora.21.1.2020-06-18.

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Cultivating solidarity or love for community for those systematically abused by the state and its civic community is a longstanding challenge. While the latter should primarily shoulder responsibility for (re)building trust, this article focuses on the abused self-exile’s agency and possible reasons for return. To understand possible motivations for (re)engagement, this article explores the African American expatriate experience rendered in fiction and criticism. It focuses specifically on William Gardner Smith’s The Stone Face and its portrait of the potentialities of Black love as a vehicle

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van der Vlies, Andrew. "On the Ambiguities of Narrative and of History: Writing (about) the Past in Recent South African Literary Criticism." Journal of Southern African Studies 34, no. 4 (2008): 949–61. http://dx.doi.org/10.1080/03057070802456870.

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8

Nabutanyi, Edgar. "Powerful Men and Boyhood Sexuality in K. Sello Duiker’s Thirteen Cents." Matatu 48, no. 1 (2016): 33–48. http://dx.doi.org/10.1163/18757421-04801004.

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In Southern African postcolonial discourses, sexual violation is often deployed as an allegory for either patriarchal control or racial domination. This perhaps explains the huge archive of narratives of sexual violence in the Southern African literary canon. While this archive and its scholarship mainly concentrates on the experiences of women and girls, a substantial number of texts portraying the sexual abuse of boys from the region demand that scholarly attention is paid to this phenomenon. Does contemporary South African fiction’s privileging of the sexual violation of boys suggest that b

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9

Domańska, Ewa. "Unbinding from Humanity: Nandipha Mntambo’s Europa and the Limits of History and Identity." Journal of the Philosophy of History 14, no. 3 (2020): 310–36. http://dx.doi.org/10.1163/18722636-12341452.

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Abstract This article shows that the question of “Historical Thinking and the Human” demands expanding the field of the philosophy of history. What I propose is to investigate the issue from two perspectives: firstly, by positioning it in the broader philosophical context, one that increasingly transcends the boundaries of the humanities to enter the realm of the life sciences; and secondly, by drawing on a wider range of analytical material than has usually been the case in classic works in the philosophy of history. I will critically reflect upon history’s anthropocentric biases, highlightin

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10

Carroll, Richard. "The Trouble with History and Fiction." M/C Journal 14, no. 3 (2011). http://dx.doi.org/10.5204/mcj.372.

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Historical fiction, a widely-read genre, continues to engender contradiction and controversy within the fields of literature and historiography. This paper begins with a discussion of the differences and similarities between historical writing and the historical novel, focusing on the way these forms interpret and represent the past. It then examines the dilemma facing historians as they try to come to terms with the modern era and the growing competition from other modes of presenting history. Finally, it considers claims by Australian historians that so-called “fictive history” has been best

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11

Brien, Donna Lee. "Bringing a Taste of Abroad to Australian Readers: Australian Wines & Food Quarterly 1956–1960." M/C Journal 19, no. 5 (2016). http://dx.doi.org/10.5204/mcj.1145.

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IntroductionFood Studies is a relatively recent area of research enquiry in Australia and Magazine Studies is even newer (Le Masurier and Johinke), with the consequence that Australian culinary magazines are only just beginning to be investigated. Moreover, although many major libraries have not thought such popular magazines worthy of sustained collection (Fox and Sornil), considering these publications is important. As de Certeau argues, it can be of considerable consequence to identify and analyse everyday practices (such as producing and reading popular magazines) that seem so minor and in

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12

Haupt, Adam. "Queering Hip-Hop, Queering the City: Dope Saint Jude’s Transformative Politics." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1125.

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This paper argues that artist Dope Saint Jude is transforming South African hip-hop by queering a genre that has predominantly been male and heteronormative. Specifically, I analyse the opening skit of her music video “Keep in Touch” in order to unpack the ways which she revives Gayle, a gay language that adopted double-coded forms of speech during the apartheid era—a context in which homosexuals were criminalised. The use of Gayle and spaces close to the city centre of Cape Town (such as Salt River and Woodstock) speaks to the city as it was before it was transformed by the decline of industr

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13

Brien, Donna Lee. "Disclosure in Biographically-Based Fiction: The Challenges of Writing Narratives Based on True Life Stories." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.186.

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As the distinction between disclosure-fuelled celebrity and lasting fame becomes difficult to discern, the “based on a true story” label has gained a particular traction among readers and viewers. This is despite much public approbation and private angst sometimes resulting from such disclosure as “little in the law or in society protects people from the consequences of others’ revelations about them” (Smith 537). Even fiction writers can stray into difficult ethical and artistic territory when they disclose the private facts of real lives—that is, recognisably biographical information—in thei

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14

Franks, Rachel. "Building a Professional Profile: Charles Dickens and the Rise of the “Detective Force”." M/C Journal 20, no. 2 (2017). http://dx.doi.org/10.5204/mcj.1214.

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IntroductionAccounts of criminals, their victims, and their pursuers have become entrenched within the sphere of popular culture; most obviously in the genres of true crime and crime fiction. The centrality of the pursuer in the form of the detective, within these stories, dates back to the nineteenth century. This, often highly-stylised and regularly humanised protagonist, is now a firm feature of both factual and fictional accounts of crime narratives that, today, regularly focus on the energies of the detective in solving a variety of cases. So familiar is the figure of the detective, it se

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15

Ricks, Thomas, Katharine Krebs, and Michael Monahan. "Introduction: Area Studies and Study Abroad in the 21st Century." Frontiers: The Interdisciplinary Journal of Study Abroad 6, no. 1 (2000). http://dx.doi.org/10.36366/frontiers.v6i1.75.

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Area Studies and Study Abroad in the 21st Century  The future now belongs to societies that organize themselves for learning.  - Ray Marshall and Marc Tucker, Thinking for a Living, xiii  Few today would argue with the conviction that nearly every phase of our daily lives is shaped and informed by global societies, corporations, events and ideas. More than ever before, it is possible to claim that we are increasingly aware of the dynamic power and penetrating effects of global flows on information, technology, the sciences, the arts, the humanities, and languages. Borderless,

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16

McGowan, Lee. "Piggery and Predictability: An Exploration of the Hog in Football’s Limelight." M/C Journal 13, no. 5 (2010). http://dx.doi.org/10.5204/mcj.291.

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Lincolnshire, England. The crowd cheer when the ball breaks loose. From one end of the field to the other, the players chase, their snouts hovering just above the grass. It’s not a case of four legs being better, rather a novel way to attract customers to the Woodside Wildlife and Falconry Park. During the matches, volunteers are drawn from the crowd to hold goal posts at either end of the run the pigs usually race on. With five pigs playing, two teams of two and a referee, and a ball designed to leak feed as it rolls (Stevenson) the ten-minute competition is fraught with tension. While the pi

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17

Piatti-Farnell, Lorna, and Erin Mercer. "Gothic: New Directions in Media and Popular Culture." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.880.

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In a field of study as well-established as the Gothic, it is surprising how much contention there is over precisely what that term refers to. Is Gothic a genre, for example, or a mode? Should it be only applicable to literary and film texts that deal with tropes of haunting and trauma set in a gloomy atmosphere, or might it meaningfully be applied to other cultural forms of production, such as music or animation? Can television shows aimed at children be considered Gothic? What about food? When is something “Gothic” and when is it “horror”? Is there even a difference? The Gothic as a phenomeno

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18

O'Meara, Radha, and Alex Bevan. "Transmedia Theory’s Author Discourse and Its Limitations." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1366.

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As a scholarly discourse, transmedia storytelling relies heavily on conservative constructions of authorship that laud corporate architects and patriarchs such as George Lucas and J.J. Abrams as exemplars of “the creator.” This piece argues that transmedia theory works to construct patriarchal ideals of individual authorship to the detriment of alternative conceptions of transmediality, storyworlds, and authorship. The genesis for this piece was our struggle to find a transmedia storyworld that we were both familiar with, that also qualifies as “legitimate” transmedia in the eyes of our prospe

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19

Dutton, Jacqueline. "Counterculture and Alternative Media in Utopian Contexts: A Slice of Life from the Rainbow Region." M/C Journal 17, no. 6 (2014). http://dx.doi.org/10.5204/mcj.927.

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Introduction Utopia has always been countercultural, and ever since technological progress has allowed, utopia has been using alternative media to promote and strengthen its underpinning ideals. In this article, I am seeking to clarify the connections between counterculture and alternative media in utopian contexts to demonstrate their reciprocity, then draw together these threads through reference to a well-known figure of the Rainbow Region–Rusty Miller. His trajectory from iconic surfer and Aquarian reporter to mediator for utopian politics and ideals in the Rainbow Region encompasses in a

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20

Ryder, Paul, and Daniel Binns. "The Semiotics of Strategy: A Preliminary Structuralist Assessment of the Battle-Map in Patton (1970) and Midway (1976)." M/C Journal 20, no. 4 (2017). http://dx.doi.org/10.5204/mcj.1256.

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The general who wins a battle makes many calculations in his temple ere the battle is fought. — Sun TzuWorld War II saw a proliferation of maps. From command posts to the pages of National Geographic to the pages of daily newspapers, they were everywhere (Schulten). The era also saw substantive developments in cartography, especially with respect to the topographical maps that feature in our selected films. This essay offers a preliminary examination of the battle-map as depicted in two films about the Second World War: Franklin J. Shaffner’s biopic Patton (1970) and Jack Smight’s epic Midway

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21

Fredericks, Bronwyn, and Abraham Bradfield. "‘I’m Not Afraid of the Dark’." M/C Journal 24, no. 2 (2021). http://dx.doi.org/10.5204/mcj.2761.

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Introduction Darkness is often characterised as something that warrants heightened caution and scrutiny – signifying increased danger and risk. Within settler-colonial settings such as Australia, cautionary and negative connotations of darkness are projected upon Black people and their bodies, forming part of continuing colonial regimes of power (Moreton-Robinson). Negative stereotypes of “dark” continues to racialise all Indigenous peoples. In Australia, Indigenous peoples are both Indigenous and Black regardless of skin colour, and this plays out in a range of ways, some of which will be hig

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