Browsing by Author "Brown, Duncan"

Now showing 1 - 6 of 6
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    Indigeneity, Alienness and cuisine: Are Trout South African
    (Cambridge University Press, 2016) Brown, Duncan
    Man has been defined as a rational animal, a laughing animal, a tool-using animal and so on. We would be touching upon a deep truth about him, however, if we called him a cooking animal.�Trout Still on the Menu� announced a recent newspaper report in South Africa on the proposed classification of trout as invasive alien species in terms of the National Environmental Management: Biodiversity Act of 2004 (Yeld, 2014). The report was responding to an apparent softening of its position on trout by the Department of Environmental Affairs. The headline is actually both ironic and suggestive. It is ironic as most fly-fishers who pursue trout nowadays practise catch-and-release, and rarely put the trout they catch �on the menu� (though the trout were certainly introduced initially as both food source and recreational angling species, more on which has been dealt with below).
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    �Modern prophets, produce a new bible�: Christianity, Africanness and the poetry of Nontsizi Mgqwetho
    (Southern African Literature and Culture Centre, UKZN, 2008) Brown, Duncan
    In this article I consider how one might approach the apparently singular figure of Nontsizi Mgqwetho, a Xhosa woman who produced an extraordinary series of Christian izibongo in newspapers in the 1920s: through what kind of language, from what critical perspective, might one think and write about her? There have been various attempts to write about Mgqwetho, and there are certain obvious possibilities in terms of approach and methodology, which I explore briefly, but I want to suggest a mode of reading which provides a richer, more engaged and more engaging understanding � one which reads with and through, rather than onto or against, her African Christian articulations.
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    Native: An album of modern South African blues songs
    (University of the Western Cape, 2021) Ellis, John; Brown, Duncan
    This Creative Writing project is an album of South African songs written specifically in the context of American blues music. Although blues is an intrinsically American genre of Western popular music, it has its roots (along with other African-American forms of musical expression such as ragtime and jazz) in African culture, and as a South African musician and writer, I am intrigued by the possibilities of exploring African-American blues in the context of South Africa. This project therefore attempts some hybridity between these two cultural expressions, and to ascertain what kinds of lyric might be possible in modern South Africa in terms of the formation and perpetuation of a South African identity. Blues songs traditionally have a rather narrow focus as far as lyrics are concerned, but the genre’s melodic structure, its instrumentation and its very specific vocal qualities have over the last century formed the bedrock of the whole of modern Western popular music.
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    Oral literature in South Africa: 20 years on
    (Taylor & Francis, 2016) Brown, Duncan
    I offer a retrospective on the field of orality and performance studies in South Africa from the perspective of 2016, assessing what has been achieved, what may have happened inadvertently or worryingly, what some of the significant implications have been, what remain challenges, and how we may think of, or rethink, orality and performance studies in a present and future that are changing at almost inconceivable pace.
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    South African crime fiction and the narration of the post-apartheid
    (University of the Western Cape, 2013) Fletcher, Elizabeth; Brown, Duncan
    In this dissertation, I consider how South African crime fiction, which draws on a long international literary history, engages with the conventions and boundaries of the genre, and how it has adapted to the specific geographical, social, political and historical settings of South Africa. A key aspect of this research is the work’s temporal setting. I will focus on local crime fiction which is set in contemporary South Africa as this enables me to engage with current perceptions of South Africa, depicted by contemporary local writers. My concern is to explore how contemporary South African crime fiction narrates post-apartheid South Africa. Discussing Margie Orford’s Daddy’s Girl and the possibilities of South African feminist crime fiction, my argument shoes how Orford narrates post-apartheid through the lens of the oppression and abuse of women. The next chapter looks at Roger Smith’s thriller Mixed Blood. Smith presents the bleakest outlook for South Africa and I show how, even though much of his approach may appear to be ‘radical’, the nihilism in his novel shows a deep conservatism. The third South African crime novel I examine is Diale Thlolwe’s Ancient Rites and I discuss it in the light of his use of the conventions of ‘hardboiled’ crime fiction as well as rural/urban collocations. In this case, the author’s representation of postapartheid South Africa appears to reveal more about the author’s personal views than the country he attempts to describe. The fourth and final novel I discuss is Devil’s Peak by Deon Meyer. My discussion here focuses on the notion of justice in post-apartheid South Africa and Meyer’s ambiguous treatment of the subject. This discussion of contemporary South African crime fiction reveals what the genre might offer readers in the way they understand post-apartheid South Africa, and how it might be seen as more than simple ‘entertainment’.
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    Whiteness and the narration of self: an exploration of whiteness in post-apartheid literary narratives by South African journalists
    (University of the Western Cape, 2012) Scott, Claire; Brown, Duncan; Dept. of English; Faculty of Arts
    Drawing on broader discussions that attempt to envision new ways of negotiating identity, nationalism and race in a post-colonial, post-apartheid South Africa, this thesis examines how whiteness is constructed and negotiated within the framework of literary-journalistic narratives. It is significant that so many established journalists have chosen a literary format, in which they use the structure, conventions, form and style of the novel, while clearly foregrounding their journalistic priorities, to re-imagine possibilities for narratives of identity and belonging for white South Africans. I argue that by working at the interstice of literature and journalism, writers are able to open new rhetorical spaces in which white South African identity can be interrogated. This thesis examines the literary narratives of Rian Malan (My Traitor�s Heart, 1991), Antjie Krog (Country of My Skull, 1998, and Begging to be Black, 2009), Kevin Bloom (Ways of Staying, 2009) and Jonny Steinberg (Midlands, 2002). These writers all seem to grapple with the recurring themes of 'history', 'narrative', 'dentity' and in exploring the narratives of their personal and national history, they attempt to make sense of their current situation. The texts that this thesis examines exhibit an acute awareness of the necessity of bringing whiteness into conversation with 'other' identities, and thus I explore both the ways in which that is attempted and the degree to which the texts succeed, in their respective projects. I also examine what literary genres offer these journalists in their engagement with issues of whiteness and white identity that conventional forms of journalism do not. These writers are challenging the conventions of genre - both literary and journalistic - during a period of social and political flux, and I argue that in attempting to limn new narrative forms, they are in fact outlining new possibilities for white identities and ways of belonging and speaking. However, a close reading of these literary-journalistic narratives reveals whiteness in post-apartheid South African to be a multifaceted and often contradictory construct and position. Despite the lingering privilege and structural advantage associated with whiteness, South African whiteness appears strongly characterised by a deep-seated anxiety that stems from a perpetual sense of �un-belonging�. However, while white skin remains a significant marker of identity, there does appear to be the possibility of moving beyond whiteness into positions of hybridity which offer interesting potential for �becoming-other�