Cosmopolitanism and the unfollowable routines and rituals in Ishtiyaq Shukri’s The Silent Minaret:
- Authors: Dass, Minesh
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142531 , vital:38088 , DOI: 10.1080/02564718.2017.1290382
- Description: This article explores how Ishtiyaq Shukri’s The Silent Minaret critiques the limited and severely uneven forms of hospitality that characterise post-9/11 Britain. It also examines how the text gestures towards the possibility of a non-violent, inclusive cosmopolitanism. The piece begins by relating recent debates surrounding the “War on Terror”, as well as Britain’s decision to leave the European Union to the novel’s major concerns. It then turns to the novel, and summarises incidents in which the principal character, Issa Shamshuddin, is traumatised and harmed by the Islamophobia and anti-immigration policies evident in the London portrayed in the text. Next, it turns to an analysis of the strange and irreproducible rituals of Issa’s neighbour, Frances. The article concludes that that these unfollowable rituals posit how a truly cosmopolitan society would function.
- Full Text:
- Date Issued: 2017
- Authors: Dass, Minesh
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142531 , vital:38088 , DOI: 10.1080/02564718.2017.1290382
- Description: This article explores how Ishtiyaq Shukri’s The Silent Minaret critiques the limited and severely uneven forms of hospitality that characterise post-9/11 Britain. It also examines how the text gestures towards the possibility of a non-violent, inclusive cosmopolitanism. The piece begins by relating recent debates surrounding the “War on Terror”, as well as Britain’s decision to leave the European Union to the novel’s major concerns. It then turns to the novel, and summarises incidents in which the principal character, Issa Shamshuddin, is traumatised and harmed by the Islamophobia and anti-immigration policies evident in the London portrayed in the text. Next, it turns to an analysis of the strange and irreproducible rituals of Issa’s neighbour, Frances. The article concludes that that these unfollowable rituals posit how a truly cosmopolitan society would function.
- Full Text:
- Date Issued: 2017
A “place in which to cry”: the place for race and a home for shame in Zoë Wicomb's Playing in the Light
- Authors: Dass, Minesh
- Date: 2011
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142588 , vital:38093 , DOI: 10.1080/1013929X.2011.602910
- Description: In Zoë Wicomb's Playing in the Light, the main character's troubled sense of identity (brought about by her parents' shameful decision to ‘play white’) is viscerally symbolised by her discomfort in her own and others' homes. In her Cape Town apartment she has nightmares about other houses. Her visits to her family home, where her elderly father lives alone, are similarly burdened by presences and memories she finds unwelcoming. And, her extended vacation to the UK, once she has discovered her family's secret, is a choice of “a place in which to cry” (Wicomb 2006: 191).
- Full Text:
- Date Issued: 2011
- Authors: Dass, Minesh
- Date: 2011
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142588 , vital:38093 , DOI: 10.1080/1013929X.2011.602910
- Description: In Zoë Wicomb's Playing in the Light, the main character's troubled sense of identity (brought about by her parents' shameful decision to ‘play white’) is viscerally symbolised by her discomfort in her own and others' homes. In her Cape Town apartment she has nightmares about other houses. Her visits to her family home, where her elderly father lives alone, are similarly burdened by presences and memories she finds unwelcoming. And, her extended vacation to the UK, once she has discovered her family's secret, is a choice of “a place in which to cry” (Wicomb 2006: 191).
- Full Text:
- Date Issued: 2011
Niq Mhlongo told us# FeesMustFall, or why the surface matters in Dog Eat Dog:
- Authors: Dass, Minesh
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142609 , vital:38095 , DOI: 10.4314/eia.v45i3.6
- Description: In this paper, I investigate some of the reasons for the relative paucity of scholarly attention given to Niq Mhlongo’s debut novel, Dog Eat Dog. I argue that this text anticipates and articulates themes that are vital to contemporary South African culture generally, and to the academic space of the university specifically. For this reason, I contend that it is a work worthy of consideration, both because of its unusual form (it is a novel of ordeal rather than a Bildungsroman), and its prescient depiction of issues to do with institutional racism and academic exclusion – subjects which were central during the student-led protests on South African campuses in 2015 and 2016. A principal thesis of this article is that one of the reasons for literary study’s unwillingness to engage with the novel is the discipline’s predisposition to a hermeneutics of suspicion, a method of analysis that I show is unsuited to Mhlongo’s text. Instead, I argue for the use of surface reading as a valid and appropriate praxis given the form and the content of Dog Eat Dog.
- Full Text:
- Date Issued: 2018
- Authors: Dass, Minesh
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142609 , vital:38095 , DOI: 10.4314/eia.v45i3.6
- Description: In this paper, I investigate some of the reasons for the relative paucity of scholarly attention given to Niq Mhlongo’s debut novel, Dog Eat Dog. I argue that this text anticipates and articulates themes that are vital to contemporary South African culture generally, and to the academic space of the university specifically. For this reason, I contend that it is a work worthy of consideration, both because of its unusual form (it is a novel of ordeal rather than a Bildungsroman), and its prescient depiction of issues to do with institutional racism and academic exclusion – subjects which were central during the student-led protests on South African campuses in 2015 and 2016. A principal thesis of this article is that one of the reasons for literary study’s unwillingness to engage with the novel is the discipline’s predisposition to a hermeneutics of suspicion, a method of analysis that I show is unsuited to Mhlongo’s text. Instead, I argue for the use of surface reading as a valid and appropriate praxis given the form and the content of Dog Eat Dog.
- Full Text:
- Date Issued: 2018
Beyond the threshold: explorations of liminality in literature. A book review
- Authors: Dass, Minesh
- Date: 2013
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142520 , vital:38087 , DOI: 10.1080/10131752.2013.783395
- Description: Beyond the Threshold: Explorations of Liminality in Literature, an edited collection of essays, is the culmination of research project on liminality done under the title “Poetics of boundaries and Hybridity”. This venture was undertaken in what is now known as the Research Unit Languages and Literature in the South African Context at North-West University. Some of the articles were initially presented at a conference on “Hybridity, Liminality and Boundaries” which was held in Potchefstroom from 30 June to 2 July 2005. Furthermore, shorter versions of some chapters have already been published in a special edition of Literator (Vol. 27. 1).
- Full Text:
- Date Issued: 2013
- Authors: Dass, Minesh
- Date: 2013
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142520 , vital:38087 , DOI: 10.1080/10131752.2013.783395
- Description: Beyond the Threshold: Explorations of Liminality in Literature, an edited collection of essays, is the culmination of research project on liminality done under the title “Poetics of boundaries and Hybridity”. This venture was undertaken in what is now known as the Research Unit Languages and Literature in the South African Context at North-West University. Some of the articles were initially presented at a conference on “Hybridity, Liminality and Boundaries” which was held in Potchefstroom from 30 June to 2 July 2005. Furthermore, shorter versions of some chapters have already been published in a special edition of Literator (Vol. 27. 1).
- Full Text:
- Date Issued: 2013
“Wishy-washy liberalism” and “the art of getting lost” in Ivan Vladislavić’s Double Negative:
- Authors: Dass, Minesh
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142633 , vital:38097 , DOI: 10.4314/eia.v44i3.1
- Description: The politics of the protagonist of Ivan Vladislavić’s Double Negative, Neville Lister, are broadly liberal during apartheid, but show signs of becoming more conservative during the post-apartheid era. In this article, I argue that this development is unsurprising because bourgeois white liberals and conservatives in South Africa continue to cling to the privileges afforded them as the propertied class. For this reason, acknowledgements of privilege and quests for discomfort, while not necessarily dishonest, do not in and of themselves constitute progressive politics. Rather, one can, as Neville does, become comfortable with discomfort so long as it allows one to enjoy a privileged lifestyle. I therefore draw a distinction between the unease argued for in much of what constitutes whiteness studies, and a sense of being lost that seems to demand the loss of the home and its attendant association with control. This sense of lostness emerges in two ways in the novel: in a description of a photograph that contains the spectral presence of a dead child, and in a game that Neville played when he was a young boy. Both of these sections of the text also deal with the limits of art – of writing and of photography in particular. I propose that these self-reflexive episodes suggest the novel’s own limits, and gesture beyond them in ways that are worth consideration by its middle-class readership.
- Full Text:
- Date Issued: 2017
- Authors: Dass, Minesh
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142633 , vital:38097 , DOI: 10.4314/eia.v44i3.1
- Description: The politics of the protagonist of Ivan Vladislavić’s Double Negative, Neville Lister, are broadly liberal during apartheid, but show signs of becoming more conservative during the post-apartheid era. In this article, I argue that this development is unsurprising because bourgeois white liberals and conservatives in South Africa continue to cling to the privileges afforded them as the propertied class. For this reason, acknowledgements of privilege and quests for discomfort, while not necessarily dishonest, do not in and of themselves constitute progressive politics. Rather, one can, as Neville does, become comfortable with discomfort so long as it allows one to enjoy a privileged lifestyle. I therefore draw a distinction between the unease argued for in much of what constitutes whiteness studies, and a sense of being lost that seems to demand the loss of the home and its attendant association with control. This sense of lostness emerges in two ways in the novel: in a description of a photograph that contains the spectral presence of a dead child, and in a game that Neville played when he was a young boy. Both of these sections of the text also deal with the limits of art – of writing and of photography in particular. I propose that these self-reflexive episodes suggest the novel’s own limits, and gesture beyond them in ways that are worth consideration by its middle-class readership.
- Full Text:
- Date Issued: 2017
'Amanuensis' and 'Steatopygia': the complexity of 'Telling the Tale 'in Zoë Wicomb's David's Story
- Authors: Dass, Minesh
- Date: 2011
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142599 , vital:38094 , http://dx.doi.org/10.4314/eia.v38i2.3
- Description: Two words, 'amanuensis' and 'steatopygia,' each burdened with its own history, appear in Zoë Wicomb's David's Story with a frequency that commands further consideration. This study shows that these two words are in fact narratives which reveal the tension, inherent in all historical narratives, between that which is denotative or factual and that which is connotative or fictional. Similarly, the words also form the shifting horizon from which we may see history as a narrative of the past that is always also a narrative of the present. The link between these words will ultimately show the complex, compromised role of the narrator and, perhaps, of all historians.
- Full Text:
- Date Issued: 2011
- Authors: Dass, Minesh
- Date: 2011
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142599 , vital:38094 , http://dx.doi.org/10.4314/eia.v38i2.3
- Description: Two words, 'amanuensis' and 'steatopygia,' each burdened with its own history, appear in Zoë Wicomb's David's Story with a frequency that commands further consideration. This study shows that these two words are in fact narratives which reveal the tension, inherent in all historical narratives, between that which is denotative or factual and that which is connotative or fictional. Similarly, the words also form the shifting horizon from which we may see history as a narrative of the past that is always also a narrative of the present. The link between these words will ultimately show the complex, compromised role of the narrator and, perhaps, of all historians.
- Full Text:
- Date Issued: 2011
“[A] ll just surface and veneer”: the challenge of seeing and reading in Ishtiyaq Shukri’s I See You
- Authors: Dass, Minesh
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142577 , vital:38092 , DOI: 10.1080/17533171.2017.1312749
- Description: This article considers challenges posed to reading practices and hermeneutics by Ishtiyaq Shukri’s I See You. The content of the novel is at times didactic, and surface reading might seem an appropriate means of analysis, yet the form is experimental: it includes radio reports, characters’ reflections and journalistic work. The connection between these “documents” is not readily apparent, thus one is obliged to study the gaps between them to make sense of the text. Symptomatic reading might seem apposite, but the protagonist’s photographic work reveals the limits of this form of reading, too. I argue that Shukri’s text demands a process that interweaves symptomatic and surface reading in complex ways that require the reader to assess the ideological position from which s/he reads. The novel therefore draws attention to the ways in which reading, like seeing, is a political act.
- Full Text:
- Date Issued: 2017
“[A] ll just surface and veneer”: the challenge of seeing and reading in Ishtiyaq Shukri’s I See You
- Authors: Dass, Minesh
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142577 , vital:38092 , DOI: 10.1080/17533171.2017.1312749
- Description: This article considers challenges posed to reading practices and hermeneutics by Ishtiyaq Shukri’s I See You. The content of the novel is at times didactic, and surface reading might seem an appropriate means of analysis, yet the form is experimental: it includes radio reports, characters’ reflections and journalistic work. The connection between these “documents” is not readily apparent, thus one is obliged to study the gaps between them to make sense of the text. Symptomatic reading might seem apposite, but the protagonist’s photographic work reveals the limits of this form of reading, too. I argue that Shukri’s text demands a process that interweaves symptomatic and surface reading in complex ways that require the reader to assess the ideological position from which s/he reads. The novel therefore draws attention to the ways in which reading, like seeing, is a political act.
- Full Text:
- Date Issued: 2017
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