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“Each of Us Has a Thousand Lives”: Fragmented Selves in the Stories of Nadine Gordimer

100%
Pawlicki M.
Academic Journal of Modern Philology
|
2023
|
issue 19
EN
The aim of the article is to contribute to a critical debate on the modernist influences in Nadine Gordimer’s short fiction by exploring her understanding of human identity in early stories (“In the Beginning” and “The Talisman” (1949)) and showing how this understanding influenced her later works (“The Correspondence Course” (1984)). It is argued that her early stories are informed by two views on identity: one continuous, coherent, and unitary, the other discontinuous, fragmented, and multiple. The latter notion of selfhood is closely associated with Gordimer’s conception of the short story as a form uniquely qualified to describe the tensions and ruptures in the lives of her characters. As it is shown, this insight into the short story, discussed at length in Gordimer’s essay “The Short Story in Africa” (1968), was derived from post-Enlightenment and post-Romantic conceptions of the self, as expressed by the modernist writers that Gordimer read extensively in her youth. The notion of a non-unitary and non-homogenous self is then applied in an analysis of a later story that concentrates on the political development of a character. In this way, the article proceeds from non-political to political stories, making a connection between topics that are seldom juxtaposed by Gordimer’s critics.
2

Olga Kirsch: ’n Vreemde boom op hierdie aarde / Olga Kirsch: A Strange Tree on This Earth

75%
Venter E.
Werkwinkel
|
2014
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vol. 9
|
issue 2
17-28
EN
The article traces the lasting alienation of Olga Kirsch (1927-1994), a Jewish-born South African poet, as represented in her seven volumes of Afrikaans poetry published between 1944 and 1983. Growing up in a devoutly Christian, Afrikaans-speaking rural community, she found herself an outsider. The conditions at home brought little comfort, while the awareness of the racial discrimination which permeated society further contributed to her isolation. Seeking for a heimat, she emigrated to Israel at the age of 24. Reading her poetry, it becomes clear that here, too, she remained a stranger, continuing to write and publish in Afrikaans.
3

Over Hesperiaanse Melancholie: Eugène Nielen Marais en de Geschiedenis van een poëtische Gemoedsgesteldheid

63%
van Luijk R.
Werkwinkel
|
2014
|
vol. 9
|
issue 1
55-73
EN
The article gives a brief ‘idea history’ of Hesperian melancholy a.k.a. Hesperian depression, the fleeting state of dejection that some humans and animals experience at dusk. The term was apparently coined by the South African poet and naturalist Eugene Marais (1871-1936), who noticed the phenomenon during his field observations of baboons. Marais' observations of primates were in the first place an attempt to shed more light on the evolutionary roots of the human psyche and its afflictions - not in the least his own. A personal focus seems probable in his notes on the use of euphoria-inducing substances among animals and humans, which are an evident reflection of his own morphine addiction; but also in his writings about Hesperian depression. During his lifetime, Marais only published about Hesperian depression twice, once in a very concise article in English, and once in more elaborate form in Afrikaans. The term ‘Hesperian depression’ only became more current when his manuscript on primate behaviour, The Soul of the Ape, was posthumously published in 1963. Since then, the term and its description sometimes appear in (popular) publications of paleobiologists and scholars of the evolution of human behaviour. In psychology and psychiatry, the term was introduced by the eminent American psychoanalyst William G. Niederlander, who presented it in a 1971 article in Journal of the American Psychoanalytic Association as an idea of his own. It is evident, however, that he took his cue from Marais, who thus was posthumously plagiarized.
4
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W pułapce plaas. Postkolonialne reinterpretacje południowoafrykańskiej powieści farmerskiej.

51%
Schiller N.
Zagadnienia Rodzajów Literackich
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2014
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vol. 57/113 z. 1
43-57
PL
Artykuł omawia genologiczne aspekty południowoafrykańskiej powieści farmerskiej (plaasroman), ze wskazaniem na aktualne odczytania tego gatunku w nurcie współczesnej prozy postkolonialnej. Tradycyjna plaasroman realizowała wartości typowe dla nacjonalizmu, rasizmu i patriarchalizmu, które z jednej strony ukonstytuowały poczucie przynależności narodowej Burów, z drugiej zaś legły u podstaw usankcjonowanego później systemu segregacji rasowej. Z tego powodu podstawowy schemat fabularny plaasroman stał się obiektem ironicznych reinterpretacji pisarzy kontestujących system kolonialny, jak ma to miejsce w omówionych w pracy powieściach: Życie i czasy Michaela K. J. M. Coetzeego, Trawa śpiewa Doris Lessing oraz Zachować swój świat Nadine Gordimer.
EN
The article contains a generic analysis of a traditional South African farm novel (plaasroman) including current reception of this genre within contemporary post-colonial fiction. A classic plaasroman was based on social values such as nationalism, racism and patriarchalism, which constituted a sense of national identity of the Boers, but also became the basis of the institutionalized racial discrimination. For this reason, the main narrative theme of plaasroman has been critically rewritten by the writers who contested colonial authority. These reinterpretations are being discussed based on three examples — Life and Times of Michael K. by J. M. Coetzee, The grass is singing by Doris Lessing and The Conservationist by Nadine Gordimer.
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