Gender and popular imaginaries in Africa:
- Spencer, Lynda G, Ligaga, Dina, Musila, Grace
- Authors: Spencer, Lynda G , Ligaga, Dina , Musila, Grace
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/138860 , vital:37679 , DOI: 10.1080/10130950.2018.1526467
- Description: If we accept that many Africans’ social perceptions on a range of questions, including gender, are shaped by popular cultural productions which retain a keen pulse on the everyday, then it is important to reflect on the interface between gender and popular imaginaries. The debate on the definition of the ‘popular’ remains an open one with multiple interpretations and categories. This contestation in itself gestures towards popular culture’s inclination for ambiguity and slipperiness. As Karin Barber (2018:13) reminds us, the popular constitutes “expressive forms that are constantly emergent, ephemeral, embedded in daily life, given to extraordinary bursts of activity and rapid transformation”. For George Ogola, popular cultural forms “engage with and subject the polity to constant critique through informal but widely recognised forms of censure” (2017:2). In this special issue, we use popular imaginaries to mean the range of cultural productions, platforms, and interactions between consumers and producers - which are often interchangeable - that capture the material, the affective, as inflected and refracted in different texts, contexts and platforms.
- Full Text:
- Date Issued: 2018
- Authors: Spencer, Lynda G , Ligaga, Dina , Musila, Grace
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/138860 , vital:37679 , DOI: 10.1080/10130950.2018.1526467
- Description: If we accept that many Africans’ social perceptions on a range of questions, including gender, are shaped by popular cultural productions which retain a keen pulse on the everyday, then it is important to reflect on the interface between gender and popular imaginaries. The debate on the definition of the ‘popular’ remains an open one with multiple interpretations and categories. This contestation in itself gestures towards popular culture’s inclination for ambiguity and slipperiness. As Karin Barber (2018:13) reminds us, the popular constitutes “expressive forms that are constantly emergent, ephemeral, embedded in daily life, given to extraordinary bursts of activity and rapid transformation”. For George Ogola, popular cultural forms “engage with and subject the polity to constant critique through informal but widely recognised forms of censure” (2017:2). In this special issue, we use popular imaginaries to mean the range of cultural productions, platforms, and interactions between consumers and producers - which are often interchangeable - that capture the material, the affective, as inflected and refracted in different texts, contexts and platforms.
- Full Text:
- Date Issued: 2018
“Having it all”?’: ”?:(re) examining conspicuous consumption and pernicious masculinities in South African chick-lit
- Authors: Spencer, Lynda G
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/138798 , vital:37673 , https://0-hdl.handle.net.wam.seals.ac.za/10520/EJC-13f7e3010
- Description: A number of South African women writers have taken up chick-lit as a form of writing that enables them to reflect on the experiences of the modern woman in post-apartheid South Africa. The protagonists portrayed in chick-lit narratives occupy ambiguous positions: they may have benefitted from feminist politics, which has opened new possibilities for them; however, underlying this emancipation is an implicit collusion with patriarchy. Chick-lit refuses to offer a clear-cut construct of women’s lives; instead, it suggests a problematic terrain that is inherently ambiguous and contradictory, simultaneously empowering and oppressing women. It depicts a realistic world where contemporary women critique patriarchy and attempt to break free of its stranglehold by finding new methods of self-realisation. In this article, I argue that as a genre chick-lit offers a space of recognition and reflection for women who share a similar world view and emotional knowledge that stems from a common historical experience.
- Full Text:
- Date Issued: 2018
- Authors: Spencer, Lynda G
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/138798 , vital:37673 , https://0-hdl.handle.net.wam.seals.ac.za/10520/EJC-13f7e3010
- Description: A number of South African women writers have taken up chick-lit as a form of writing that enables them to reflect on the experiences of the modern woman in post-apartheid South Africa. The protagonists portrayed in chick-lit narratives occupy ambiguous positions: they may have benefitted from feminist politics, which has opened new possibilities for them; however, underlying this emancipation is an implicit collusion with patriarchy. Chick-lit refuses to offer a clear-cut construct of women’s lives; instead, it suggests a problematic terrain that is inherently ambiguous and contradictory, simultaneously empowering and oppressing women. It depicts a realistic world where contemporary women critique patriarchy and attempt to break free of its stranglehold by finding new methods of self-realisation. In this article, I argue that as a genre chick-lit offers a space of recognition and reflection for women who share a similar world view and emotional knowledge that stems from a common historical experience.
- Full Text:
- Date Issued: 2018
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