The portrayal of migrants and liminality in Nadifa Mohamed’s Black Mamba Boy, The Orchard of Lost Souls and The Fortune Men
- Authors: Fühner, Melissa Ashleigh
- Date: 2023-10-13
- Subjects: Mohamed, Nadifa, 1981- Criticism and interpretation , Diaspora , Transnationalism in literature , Migration studies , Liminality in literature , African literature (English) History and criticism
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425056 , vital:72205
- Description: This thesis argues that the characters in Nadifa Mohamed’s oeuvre exhibit both vulnerability and agency and that their position in society oscillates as if between two poles, as they cross social and spatial boundaries. There is no existing scholarly research that focuses on child migrants in Mohamed’s texts specifically. Here, Black Mamba Boy, The Orchard of Lost Souls and The Fortune Men are analysed and compared with a central focus on the child migrant characters to examine her portrayal of conflict-induced migration and its impact on vulnerable communities. In Black Mamba Boy, Mohamed portrays Jama’s exilic journey where he leaves his homeland of Hargeisa and migrates across territorial borders in Northeast Africa to find his father. His quest brings him from Somaliland to Sudan as he walks through countries that are devastated by the war between the British and Italian colonial forces in the 1930s. As Jama attempts to cross the spatial distance between himself and his father he also treads the invisible line between life and death. Along his journey, Jama is exploited and abused by colonial troops and traumatised by the conflict he witnesses. Mohamed revisits her father’s precarious journey not to portray him as a victim but to make him “a hero, not the fighting or romantic kind but the real deal, the starved child who survives every sling and arrow that shameless fortune throws at them” (1). Thus, the text is an account of Jama’s strength as he miraculously survives the brutalities of war. Similarly, in The Orchard of Lost Souls, the child protagonist, Deqo, is a refugee with parents. She internally migrates through Hargeisa at the moment the region breaks out into the Somali Civil War. Deqo attempts to keep herself out of harm’s way as the town is destroyed by soldiers and rebel groups who have opened fire against civilians. As a female child migrant Deqo occupies a particularly vulnerable position as she navigates a space where gender-based violence is used as a method of war. Despite the dangers around her, Deqo actively seeks out safety and a path that will free her from the tightening grip of the war. The Fortune Men depicts Mahmood’s journey of migration as an adult. When he attempts to cross the border into Wales he is ostracised, abused, and dehumanised because of his difference. Jama and Deqo’s exilic journeys are compared to Mahmood’s unsuccessful migration and the children cross borders that adults cannot cross because they use their vulnerability to seek out opportunities and change their environment. This thesis is situated within the theoretical framework of transnational and diasporic literature with a specific focus on the impact of forced migration on child migrants. Through close engagement and comparison of the three primary ii texts mentioned, this thesis demonstrates the vulnerabilities and fluctuating agencies of characters to highlight their liminal positioning. , Thesis (MA) -- Faculty of Humanities, Literary Studies in English 2023
- Full Text:
- Date Issued: 2023-10-13
- Authors: Fühner, Melissa Ashleigh
- Date: 2023-10-13
- Subjects: Mohamed, Nadifa, 1981- Criticism and interpretation , Diaspora , Transnationalism in literature , Migration studies , Liminality in literature , African literature (English) History and criticism
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425056 , vital:72205
- Description: This thesis argues that the characters in Nadifa Mohamed’s oeuvre exhibit both vulnerability and agency and that their position in society oscillates as if between two poles, as they cross social and spatial boundaries. There is no existing scholarly research that focuses on child migrants in Mohamed’s texts specifically. Here, Black Mamba Boy, The Orchard of Lost Souls and The Fortune Men are analysed and compared with a central focus on the child migrant characters to examine her portrayal of conflict-induced migration and its impact on vulnerable communities. In Black Mamba Boy, Mohamed portrays Jama’s exilic journey where he leaves his homeland of Hargeisa and migrates across territorial borders in Northeast Africa to find his father. His quest brings him from Somaliland to Sudan as he walks through countries that are devastated by the war between the British and Italian colonial forces in the 1930s. As Jama attempts to cross the spatial distance between himself and his father he also treads the invisible line between life and death. Along his journey, Jama is exploited and abused by colonial troops and traumatised by the conflict he witnesses. Mohamed revisits her father’s precarious journey not to portray him as a victim but to make him “a hero, not the fighting or romantic kind but the real deal, the starved child who survives every sling and arrow that shameless fortune throws at them” (1). Thus, the text is an account of Jama’s strength as he miraculously survives the brutalities of war. Similarly, in The Orchard of Lost Souls, the child protagonist, Deqo, is a refugee with parents. She internally migrates through Hargeisa at the moment the region breaks out into the Somali Civil War. Deqo attempts to keep herself out of harm’s way as the town is destroyed by soldiers and rebel groups who have opened fire against civilians. As a female child migrant Deqo occupies a particularly vulnerable position as she navigates a space where gender-based violence is used as a method of war. Despite the dangers around her, Deqo actively seeks out safety and a path that will free her from the tightening grip of the war. The Fortune Men depicts Mahmood’s journey of migration as an adult. When he attempts to cross the border into Wales he is ostracised, abused, and dehumanised because of his difference. Jama and Deqo’s exilic journeys are compared to Mahmood’s unsuccessful migration and the children cross borders that adults cannot cross because they use their vulnerability to seek out opportunities and change their environment. This thesis is situated within the theoretical framework of transnational and diasporic literature with a specific focus on the impact of forced migration on child migrants. Through close engagement and comparison of the three primary ii texts mentioned, this thesis demonstrates the vulnerabilities and fluctuating agencies of characters to highlight their liminal positioning. , Thesis (MA) -- Faculty of Humanities, Literary Studies in English 2023
- Full Text:
- Date Issued: 2023-10-13
'Becoming animal': motifs of hybridity and liminality in fairy tales and selected contemporary artworks
- Authors: Wasserman, Minke
- Date: 2015
- Subjects: Fairy tales -- History and criticism , Liminality in literature , Cultural fusion in literature , Cultural fusion and the arts , Art, Modern -- 21st century -- Themes, motives , Art, Modern -- 21st century -- Exhibitions , Human-animal relationships in art , Human-animal relationships in literature
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2512 , http://hdl.handle.net/10962/d1019759
- Description: ‘Becoming Animal’: Motifs of Hybridity and Liminality in Fairy Tales and Selected Contemporary Artworks serves as a theoretical examination of the concept of the hybrid. My research unpacks the liminal aspect of hybridity, locating the hybrid in the imaginative world of popular fairy tales, folk lore and mythology. In my accompanying MFA exhibition, Becoming(s), I explore these motifs through an installation of mixed-media sculptures which are based on the hybrid creatures that populated the fantasy world of my childhood. The written component of my MFA submission will relate directly to my professional art practise, developing it further and situating it within a relevant context. In my mini-thesis I will consider the liminal in relation to the ‘animal turn’ in contemporary art, with a particular focus on relevant artists working with the motifs of hybridity, such as Nandipha Mntambo, Jane Alexander and Kiki Smith. The ‘animal turn’ is a term used by Kari Weil (2010: 3) to describe a contemporary interest in issues of the nonhuman, and in the ways that the relationship between humans and nonhumans is marked by “difference, otherness and power”. Of key concern to my research will be Giles Deleuze and Felix Guattari’s concept of ‘becoming animal’. Rather than describing a transition from one stable state to another, ‘becoming animal’ suggests a radical dissolution of boundaries – not just between species (such as ‘human’ and ‘animal’) but between any essentialising binaries. As such, ‘becoming animal’ suggests a conception of identity as being fluid and mutable, rather than stable and fixed.
- Full Text:
- Date Issued: 2015
- Authors: Wasserman, Minke
- Date: 2015
- Subjects: Fairy tales -- History and criticism , Liminality in literature , Cultural fusion in literature , Cultural fusion and the arts , Art, Modern -- 21st century -- Themes, motives , Art, Modern -- 21st century -- Exhibitions , Human-animal relationships in art , Human-animal relationships in literature
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2512 , http://hdl.handle.net/10962/d1019759
- Description: ‘Becoming Animal’: Motifs of Hybridity and Liminality in Fairy Tales and Selected Contemporary Artworks serves as a theoretical examination of the concept of the hybrid. My research unpacks the liminal aspect of hybridity, locating the hybrid in the imaginative world of popular fairy tales, folk lore and mythology. In my accompanying MFA exhibition, Becoming(s), I explore these motifs through an installation of mixed-media sculptures which are based on the hybrid creatures that populated the fantasy world of my childhood. The written component of my MFA submission will relate directly to my professional art practise, developing it further and situating it within a relevant context. In my mini-thesis I will consider the liminal in relation to the ‘animal turn’ in contemporary art, with a particular focus on relevant artists working with the motifs of hybridity, such as Nandipha Mntambo, Jane Alexander and Kiki Smith. The ‘animal turn’ is a term used by Kari Weil (2010: 3) to describe a contemporary interest in issues of the nonhuman, and in the ways that the relationship between humans and nonhumans is marked by “difference, otherness and power”. Of key concern to my research will be Giles Deleuze and Felix Guattari’s concept of ‘becoming animal’. Rather than describing a transition from one stable state to another, ‘becoming animal’ suggests a radical dissolution of boundaries – not just between species (such as ‘human’ and ‘animal’) but between any essentialising binaries. As such, ‘becoming animal’ suggests a conception of identity as being fluid and mutable, rather than stable and fixed.
- Full Text:
- Date Issued: 2015
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