Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Línguas Estrangeiras e Tradução, Programa de Pós-Graduação em Estudos da Tradução, 2017. / Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2017-06-14T19:09:05Z No. of bitstreams: 1 2017_FernandadeOliveiraMüller.pdf: 1452174 bytes, checksum: 3eeb368fa07d05dd9f4315eb87a39d48 (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2017-08-18T19:27:12Z (GMT) No. of bitstreams: 1 2017_FernandadeOliveiraMüller.pdf: 1452174 bytes, checksum: 3eeb368fa07d05dd9f4315eb87a39d48 (MD5) / Made available in DSpace on 2017-08-18T19:27:12Z (GMT). No. of bitstreams: 1 2017_FernandadeOliveiraMüller.pdf: 1452174 bytes, checksum: 3eeb368fa07d05dd9f4315eb87a39d48 (MD5) Previous issue date: 2017-08-18 / Purple hibiscus, primeiro livro da escritora nigeriana Chimamanda Ngozi Adichie, é um romance de temática feminista sobre a conquista da própria voz e do rompimento com a submissão e o silêncio impostos pelo patriarcado, pela religião e pelo conservadorismo. Tomando por base as teorias da Tradução Feminista, sobretudo de Simon (1996) e Von Flotow (1997 e 2012), investigo de que forma as marcas de feminismo na obra foram abordadas na tradução para o português do Brasil. A pesquisa inicia-se pela biografia da escritora – sua conexão com a literatura pós-colonial e militância feminista –, seguindo para os vários conceitos e vertentes do feminismo. Na sequência, apresento uma análise quali-quantitativa dos termos referentes aos campos lexicais do olhar e do falar no texto de partida, tomados como indicadores do desabrochar da liberdade, e proponho alternativas à tradução de Hibisco roxo, elaboradas com o intuito de reforçar as marcas feministas. Ao final, traço um histórico da Tradução Feminista, indicando novas tendências que estão a florescer. Este trabalho trata sobre a liberdade. Sobre vozes abafadas e inaudíveis que, aos poucos, começam a se fortalecer e a serem notadas, até aflorarem completamente. É uma pesquisa sobre a luta da mulher por independência e visibilidade, em uma sociedade patriarcal que, desde os primórdios, coloca-a em uma posição assessória, inferior e incompleta em si mesma. É sobre a liberdade do ato da tradução, da autonomia da tradutora para fugir da invisibilidade e da submissão, de manipular o texto e fazer sua voz ser ouvida pelo leitor. E é também sobre o processo de conquista da liberdade pelos personagens de Purple hibiscus, e de como essa conquista está associada à militância feminista de sua autora. / Nigerian writer Chimamanda Ngozi Adichie’s debut novel, Purple hibiscus, is a feminist-themed novel about the conquest of one’s own voice and the break with submission and silence imposed by patriarchy, religion, and conservatism. Based on Feminist Translation theories, especially on Simon (1996) and Von Flotow (1997 and 2012), I investigate how the translator approached the feminist marks in the Brazilian Portuguese version. First, the research presents the writer’s biography, underscoring her connection to postcolonial literature and feminist militancy. Next, the various concepts and strands of feminism are discussed. After that, I present a quali-quantitative analysis of terms belonging to the lexical fields look and speech in the starting text, considered to be indicators of the blooming of freedom. In an attempt to intentionally reinforce the feminist marks in the text, I present alternatives to that translation of Purple hibiscus. Finally, I provide a brief background of Feminist Translation, presenting new trends that are flourishing. This work is about freedom. It is about muffled and inaudible voices that, little by little, became louder, until they finally flourished. It is a research on the struggle of women for independence and visibility in a patriarchal society which, from the earliest stages, places women in an inferior and secondary position. It is about the freedom of translation and the autonomy of the translator to fight invisibility and submission and to manipulate the text in order to make his/her voice heard by the reader. And it is also about the liberation of Purple hibiscus oppressed characters, and the connections between their freedom and the author’s feminist militancy.

Thesis (PhD)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: This thesis puts the fiction of Zoë Wicomb and Chimamanda Ngozi Adichie into conversation with particular reference to three issues: authorship, history and gender. Apart from anything else, what Wicomb and Adichie have in common is an interest in the representation of marginalised or minority ethnic groups within the nation - the coloured people in the case of Wicomb, and the Igbo in the case of Adichie. Yet what both writers also have in common is that neither seems to advocate the reification of these ethnic groups in reformulations of nationalist discourse. The thesis argues that through their focus on various forms of marginality, both Wicomb and Adichie destabilise traditional notions of nation, authorship, history, gender identity, the boundary between domestic and public life, and the idea of “home”. The thesis focuses on four main topics, each of which is covered in a chapter: the question of authorial voice in relation to history; perspectives offered by women characters in relation to oppressive or traumatic historical moments; oppressive or traumatic histories intruding into the intimate domestic space; and the issue of transnational migration and its (un)homely effects. Employing concepts of metafiction and mise-en-abyme self-reflexivity, the study begins by considering the ways in which Wicomb’s David’s Story and Adichie’s Half of a Yellow Sun both reflect on the idea of authorship. Focusing on the ways in which each text draws the reader into witnessing authorship, the thesis argues that the two novels can be put into conversation as they both stage dilemmas about authorship in relation to those marginalised by national histories. Following on from this idea of marginalisation by nationalist histories, the thesis then proceeds to examine both writers’ foregrounding of women’s stories that are set in oppressive and/or violent historical times – under apartheid in the case of Wicomb’s You Can’t Get Lost in Cape Town, and during the Biafran war in the case of Adichie’s Half of a Yellow Sun. Utilising ideas about gender, history and literary history by Tiyambe Zeleza, Florence Stratton and Elleke Boehmer, the study analyses how, beginning with father-daughter relationships, Wicomb and Adichie wean their female characters from their fathers’ control so that they may begin telling their own stories that complicate and subvert the stories that their fathers represent. Drawing on Sigmund Freud’s theory of “the uncanny” and Homi Bhabha’s postcolonial reading of that theory, the study then turns to discuss the ways in which oppressive national histories become manifest in domestic spaces (that are usually marginalised in national histories), turning those spaces into unhomely homes, in Wicomb’s Playing in the Light and Adichie’s Purple Hibiscus. In both novels, purity (whether racial or religious) is cultivated in the family home, but this cultivation of purity, which is reflected symbolically in the kinds of gardens each family grows, evidently has “unhomely” effects that signal the return of the repressed, of that which is disavowed in discourses of purity. Since both Wicomb and Adichie are African-born women authors living abroad, and since the “unhomely” aspects of transnational existence are reflected upon in their fiction, the study finally considers the forms of marginality to the national posed by the migrant. Transnational migration is examined in Wicomb’s The One That Got Away and in Adichie’s The Thing Around Your Neck, placing stories from these two recently published sets of short stories into dialogue. / AFRIKAANSE OPSOMMING: Hierdie tesis plaas die fiksie van Zoë Wicomb en Chimamandi Ngozi Adichie in gesprek met mekaar, met verwysing na veral drie sake: outeurskap, geskiedenis en geslag (gender). Afgesien van ander kwessies het die fiksie van Wicomb en Adichie ‘n belangstelling in die fiktiewe voorstelling van gemarginaliseerde of minderheidsgroepe in die nasie in gemeen – die kleurlinggroep in die geval van Wicomb en die Igbo in die geval van Adichie. Nogtans beveel geeneen van hierdie twee skrywers ‘n reïfikasie van nasionalistiese diskoers aan nie. Die tesis voer aan dat, deur hulle fokus op verskeie vorme van marginaliteit, beide Wicomb en Adichie tradisionele konsepte van nasionalisme, skrywer-skap, geskiedenis, geslagsidentiteit, die grens tussen private en publieke lewe en die idee van ‘n eie tuiste destabiliseer. Die vier hoof-onderwerpe van die tesis is word elk in ‘n eie hoofstuk behandel: die kwessie van ‘n skrywerstem in verhouding tot die geskiedenis; perspektiewe wat belig word deur vrouekarakters in kontekste van onderdrukkende of traumatiese historiese momente; hoedat onderdrukkings- of traumatiese geskiedenisse die private sfeer binnedring; asook die kwessie van ‘n migrasie oor landsgrense en die ontheimingseffek hiervan. Deur die gebruik van metafisiese en mise-en-abyme selfrefleksie begin die studie deur te reflekteer op hoe Wicomb se David’s Story en Adichie se Half of a Yellow Sun [aangaande] die idee van outeurskap reflekteer. Deur te fokus op die wyses waarop beide tekste die leser betrek om skrywerskap waar te neem, voer die tesis aan dat die twee romans met mekaar in gesprek geplaas kan word, terwyl albei dilemmas van outeurskap met betrekking tot diegene wat in nasionale geskiedskrywing gemarginaliseer word, sentraal plaas. Volgende op hierdie kwessie gaan die tesis dan voort om albei skrywers se vooropstelling van vroue se verhale gesitueer in onderdrukkende of gewelddadige tye – onder apartheid in die geval van Wicomb se You Can’t Get Lost in Cape Town en gedurende die Biafraanse oorlog in Adichie se Half of a Yellow Sun – te ondersoek. Met behulp van idees aangaande gender, geskiedenis en literêre geskiedenis van Tiyambe Zeleza, Florence Stratton en Elleke Boehmer, analiseer die tesis hoedat, beginnende met vader-dogter verhoudings, Wicomb en Adichie hul vroulike karakters loswikkel van hul vaders se kontrole sodat hulle kan begin om hul eie verhale te vertel – stories wat die verhale van hul vaders kompliseer en ondermyn. Met behulp van Sigmund Freud se teorie van die onheimlike en Homi Bhabha se postkolonialistiese interpretasie van daardie idee, gaan die tesis dan voort deur maniere waarop onderdrukkende nasionale geskiedenisse in die tuis-ruimtes (wat gewoonlik deur nasionale geskiedskrywing gemarginaliseer word) manifesteer, met die onheimlike effek hiervan op die tuisruimte – beide in Wicomb se Playing in the Light en in Adichie se Purple Hibiscus – te ondersoek. In albei romans word reinheid ( van ras of geloof) in die familie-tuiste gekultiveer, maar hierdie nadruk op reinheid – simbolies gereflekteer in die tuine wat deur albei gesinne aangelê word – het wel onmiskenbare onheimlike gevolge wat die terugkeer van wat onderdruk is (in die naam van reinheid) aandui. Omdat beide Wicomb en Adichie vroue-skrywers is wat in Afrika gebore is maar oorsee lewe, en omdat die onheimlike aspekte van ‘n transnasionale lewensstyl in hul fiksie oorweeg word, beskryf die tesis die vorms van marginaliteit met betrekking tot die nasionale wat deur die migrant tot stand kom. Transnasionale migrasie word in Wicomb se The One that Got Away en Adichie se The Thing around your Neck oorweeg, wat die verhale uit hierdie twee versamelings in gesprek met mekaar plaas.

Thesis (MA (English))--University of Stellenbosch, 2009. / ENGLISH ABTRACT: In recent years, original and exciting developments have been taking place in Nigerian literature. This new body of literature, collectively referred to as the ―third generation‖, has lately received international acclaim. In this emergent literature, the negotiation of a new, contemporary identity has become a central focus. At the same time, recent Nigerian literary texts are articulating responses to various developments in the Nigerian nation: Nigeria‘s current political and socio-economic situation, diverse forms of cultural hybridisation, as well as an increasing trans-national consciousness, to mention only a few. Three 21st-century novels – Chimamanda Nogzi Adichie‘s Purple Hibiscus (2004), Sefi Atta‘s Everything Good Will Come (2004) and Chris Abani‘s GraceLand (2005) – reveal how new avenues of identity-negotiation and formation are being explored in various contemporary Nigerian situations. This study tracks the ways in which the Bildungsroman, the novel of self-development, serves as a vehicle through which this new identity is articulated. Concurrently, this study also grapples with the ways in which the articulation and negotiation of this new identity reshapes the conventions of the classical Bildungsroman genre, thereby establishing a unique and contemporary Nigerian Bildungsroman for the 21st century. The identity that is being negotiated by the third generation is multi-layered and inclusive, as opposed to the exclusive and unitary identities which are observable in Nigerian novels of the previous two generations. Such inclusivity, as well as the hybrid environments in which this identity is being negotiated, results in a form of ―identity layering‖. Thus, the individual comes into being at the point of intersection, overlap and collision of various modes of self-making. Such ―layering‖ allows the individual, albeit not without challenge, to perform a self-styled identity, which does not necessarily conform to the dictates of society. At the same time, the identity is negotiated by means of an engagement, in the form of intertextual dialoguing, with Nigeria‘s preceding literary generations. The most prominent arenas in which this new identity is negotiated include silenced domestic spaces, religo-cultural traditions, constructs of gender and nation, as well as in multicultural and hybrid communities. The investigation conducted in this thesis will, consequently, also focus on such areas of Nigerian life, as they are portrayed in the focal texts. Various theories of literary analysis (some of which specifically focus on Nigeria), Bildungsroman theory, theories of allegory, (imaginative) nation formation, feminism, gender and performativity, as well as theories of cultural identity and cultural exchanges, will form the critical and theoretical framework within which this investigation will be executed. Chapter One explores how Purple Hibiscus‘s protagonist, Kambili Achike, negotiates her gender identity and voice in order to constitute herself as an independent, self-authoring individual. Chapter Two, which focuses on Everything Good Will Come, investigates the dialectic relationship between Enitan Taiwo‘s national and personal identity, which inevitably leads to her quest to reconceive her gender identity, since national identity, as she finds out, is always an engendered construct. In its analysis of GraceLand, Chapter Three turns to the difficulties that Elvis Oke faces when he attempts to negotiate an alternative masculine identity within a rigid patriarchal system and between the cracks of a fraudulent African modernity. / AFRIKAANSE OPSOMMING: In die afgelope paar jaar was daar opwindende, oorspronklike ontwikkelinge in Nigeriese literatuur. Hierdie nuwe literatuurkorpus, wat gesamentlik bekend staan as die ―derde generasie, het onlangs internasionale erkenning ontvang. In hierdie opkomende literatuur, kry die soeke na 'n nuwe, kontemporêre identiteit ‘n sentrale fokus. Terselfdertyd reageer onlangse Nigeriese literêre werke met verskeie ontwikkelinge in die Negeriese nasie: Nigerië se huidige politieke en sosio-ekonomiese situasie, diverse vorme van kultuurverbastering asook 'n toenemende trans-nasionale bewustheid, om maar ‘n paar te noem. Drie 21ste eeuse romans – Chimamanda Nogzi Adichie se Purple Hibiscus (2004), Sefi Atta se Everything Good Will Come (2004) en Chris Abani se GraceLand (2005) – onthul hoe nuwe kanale van identiteidsonderhandeling en –vorming in verskeie kontemporêre Nigeriese situasies ondersoek word. Hierdie studie ondersoek die maniere waarop die Bildungsroman, die roman van selfontwikkeling, as ‗n medium dien waardeur hierdie nuwe identiteit geartikuleer word. Terselfdertyd sal hierdie studie ook worstel met die maniere waarin die artikulasie en soeke na hierdie nuwe identiteit die konvensies van die klassieke Bildungsroman genre hervorm, en daardeur 'n unieke en kontemporêre Nigeriese Bildungsroman vir die 21ste eeu vestig. Die identiteit wat ontwikkel deur die derde generasie is veelvlakkig en inklusief en staan teenoor die eksklusiewe, eenvormige identiteite wat in Nigeriese romans van die vorige twee generasies opgemerk word. Hierdie inklusiwiteit, sowel as die hibriede omgewings waarin hierdie identeite ontwikkel word, lei tot die vorming van identiteitslae. Die individu kom dus tot stand by die kruising, oorvleueling en botsing van verskillende metodes van selfvorming. Hierdie vorming van lae laat die individu toe, alhoewel nie sonder uitdagings nie, om 'n selfgevormde identiteit te hê wat nie noodwndig aan die eise van die gemeenskap voldoen nie. Terselfdertyd word hierdie identiteit onderhandel deur ‗n skakeling met Nigerië se voorafgaande literêre generasies in die vorm van intertekstuele dialoog. Die mees prominente omgewings waar hierdie nuwe identiteit onderhandel word, sluit stilgemaakte huishoudelike spasies, religieus-kulturele tradisies, konstrukte van gender en nasie, sowel as multi-kulturele en hibriede gemeenskappe in. Die ondersoek wat in hierdie tesis uitgevoer sal word, sal daarom ook fokus op hierdie areas van Nigeriese lewe, soos deur die fokale tekste voorgestel. Verskeie teorieë van literêre analise (sommige wat spesifiek op Nigerië fokus), Bildungsromanteorie, teorieë van allegorie, (denkbeeldige) nasievorming, feminisme, gender en performatiwiteit, sowel as teorieë van kultuuridentiteit en -uitruiling, vorm die kritiese en teoretiese raamwerk waarbinne hierdie ondersoek uitgevoer sal word. Hoofstuk een ondersoek hoe Purple Hibiscus se protagonist, Kambili Achike, haar genderidentiteit onderhandel en uitdrukking gee om haarself as onafhanklike, self-skeppende individu te vorm. Hoofstuk twee, wat fokus op Everything Good Will Come, ondersoek die dialektiese verhouding tussen Enitan Taiwo se nasionale en persoonlike identiteit, wat onvermydelik lei tot die herbedenking van haar genderidentiteit, aangesien nasionale identiteit, soos sy uitvind, altyd 'n gekweekte konstruk is. In sy analise van GraceLand, draai Hoofstuk drie om die moeilikhede wat Elvis Oke in die gesig staar wanneer hy probeer om ‘n alternatiewe manlike identiteit te onderhandel in 'n rigiede patriargale sisteem tussen krake van 'n bedrieglike Afrika-moderniteit.

This thesis project examines the work of three female Nigerian authors: Chimamanda Ngozi Adichie, Sefi Atta and Chika Unigwe. They are part of a growing number of young African writers who are receiving international acclaim and challenging narratives that have long defined the continent in pejorative terms. They question what it means to be female and African in a transcultural, global world but counter discourses that are both restrictive and prescriptive. Their female characters are not imaged in binary terms as either victims or villains. For all three writers, the African story has to be told in its entirety incorporating what some may argue are negative stereotypes but doing so in a manner that examines and undermines those same stereotypes. For the purposes of the thesis, I focus on their first novels: Adichie’s Purple Hibiscus, Atta’s Everything Good Will Come and Unigwe’s On Black Sisters’ Street. Chapter One examines Purple Hibiscus and argues that the novel is much more than a coming of age story or, as some critics have posited, an allegory of the postcolonial state. Chapter Two highlights Atta’s use of fairly familiar feminist theories but grounds them in the lived realities of the African city. All three authors are concerned with issues of violence and death. Unigwe’s novel, which forms the focus of Chapter Three, offers a critical perspective on how both of those themes intersect with the increasing commercialisation of global culture. Her characters are female sex workers whose lives are irrevocably altered by the murder of one of their colleagues. I conclude by arguing that the three novels offer a nuanced if not necessarily new understanding of the various social, economic and political forces that continue to shape the lives of women on the continent.

Text in English with abstracts and keywords in English, Afrikaans and Zulu / Beyond the African boundaries, the black body is marked with an othered identity that often leaves its bearer open to discrimination. Being black is considered a transgression because, presumably, it constitutes deviance from a particular skin pigmentation, spatial norm and cultural practice. This dissertation examines the depiction of people of colour, particularly blacks, as transgressive bodies and invaders of space. From a postcolonial perspective, it investigates the racial implications of blackness by reason of migration. This study draws on a critical analysis of Chimamanda Ngozi Adichie’s Americanah (2013) and Trevor Noah’s Born a Crime (2016) to investigate the intersection of identity, race and spatial zones as thematic concerns in both texts. I contend that despite the fact that race is a social construct, it continually has an impact on the individual living of blacks in the space they inhabit or where they exist. They are burdened by the negativities generated by their colour, consequently perceiving themselves as deviants from the norm. Unlike Adichie’s other novels, the theme of migration is more profound in Americanah to reflect the intense consequences of race for African migrants in the western world. Therefore, I seek to establish that the stereotyping of Africans owing to their racial and cultural differences forces them to alter their identity in order to be recognised and accepted. In the same regard, the study projects Trevor Noah’s holistic representation of displacement both within self and community. More insightful is the writer’s engagement of body politics as a propeller for socio-economic issues. These issues explored in both texts ultimately present a (re)imagining of people of colour within the othered zones. / Buite die Afrikagrense word die swart liggaam gemerk met 'n gemarginaliseerde (“anderste”) identiteit wat die draer dikwels ooplaat vir diskriminasie. Swartwees word as 'n oortreding beskou, want dit is vermoedelik 'n afwyking van 'n bepaalde velpigmentasie, ruimtelike norm en kulturele praktyk. Hierdie verhandeling ondersoek die uitbeelding van mense van kleur, veral swart mense, as oortredende liggame en indringers van die ruimte. Vanuit 'n postkoloniale perspektief ondersoek dit die rasse-implikasies van swartheid as gevolg van migrasie. Hierdie studie neem as uitgangspunt die kritiese analise van Chimamanda Ngozi Adichie se Americanah (2013) en Trevor Noah se Born a Crime (2016) om die interseksie van identiteit, ras en ruimtelike sones as tematiek in albei tekste te ondersoek. Ek beweer dat, ondanks die feit dat ras 'n sosiale konstruk is, dit voortdurend 'n impak het op die individuele leefwyse van swart mense in die ruimte waarin hulle woon of waar hulle bestaan. Gevolglik word hulle belemmer deur negatiewe aspekte wat deur hul kleur gegenereer word, en hulself gevolglik as afwykers van die norm beskou. Anders as haar ander romans, is Adichie se migrasieprobleme meer diepgaande in Americanah om die intense gevolge van rassekwessies vir Afrika-migrante in die Westerse wêreld te weerspieël. Daarom wil ek vasstel dat die stereotipering van Afrikane weens hul rasse- en kulturele verskille hulle dwing om hul identiteit te verander om erken en aanvaar te word. In dieselfde verband projekteer die studie Trevor Noah se holistiese voorstelling van verplasing binne die self en die gemeenskap. Meer insiggewend is die skrywer se betrokkenheid by liggaamspolitiek as 'n voorstuwer vir sosio-ekonomiese kwessies. Hierdie kwessies, wat in albei tekste ondersoek word, bied uiteindelik 'n (her)verbeelding van mense van kleur binne die “ander” sones. / Nangaphandle kwemingcele ye-Afrika, imizimba yabantu abamnyama imakwe ngobuzazisi babanye, lokhu okuvama ukushiya lowo walowo mzimba omnyama esesimweni sokubandlululwa. Ukuba mnyama kuthathwa njengento eyisono neyeqe umngcele omukelekile ngoba, kuvanyiswe ukuthathwa njengokwehlukile kwibala elithile lesikhumba, indawo evamile kanye nezinkambiso zamasiko. Le dissertation ihlola ukuthathwa kwabantu abanebala, ikakhulukazi elimnyama, njengemizimba ewukweqa okuhle nokwamukelekile kanye neyabahlasela indawo. Ukusuka kwimibono yenkathi engemuva kobukoloni, iphenya ngemiphumela yombono webala elimnyama ngenxa yokuya kwamanye amazwe. Ucwaningo luthathela kuhlaziyo olunzulu lwemibhalo kaChinamanda Ngozi Adichie ye-Americanah (2013) kanye ne-Trevor Noah’s Born a Crime (2016) ukuphenya ngokuxhumana kobuzazisi, ukubuka izinto ngeso lebala kanye nezindawo njengezinto eziyizihloko zemibhalo. Ngibeka elokuthi noma udaba lwebala kuyinto eyenziwe ngabantu, kodwa inomphumela kumuntu ophila njengomuntu omnyama, ohlala endaweni ahlala kuyo noma lapho akhona. Ngenxa yalokho-ke, bathwele umthwalo omubi ngenxa yebala labo, ngalokho bazibona njengabahlukile kokujwayelekile nokufanele. Ngokwehluka namanye amanoveli, ukukhathazeka ngokuya kwamanye amazwe kubonakala kakhulu kwi-Americanah ukubheka kanzulu ngemiphumela ejulile yokubuka izinto ngokwebala kubantu ababuya eAfrika abaya kumazwe asentshonalanga. Ngakho ke, ngifuna ukuqaphela indlela abantu abangama-Afrika ababonwa ngayo ngendlela ethile embi nemi ndawonye (stereotyping) ngenxa yomehluko wabo ngokubona izinto ngokwebala kanye nomehluko ngokwezamasiko, ukushintsha ubuzazi babo ukuze bamukelwe nokumukeleka. Ngale ndlela, ucwaningo lubhekisa kwindlela ephelele kaTrevor Noah, yokuzibona eqhelilee nokwehluka ngobuyena ngaphakathi kuye kanye nasemphakathini. Ngokubona izinto ngeso elijulile ngokubheka ezepolitiki kombhali njengesisunduzi kwizinto ezibhekene nabantu kanye nezomnotho. Lezi zinto zicwaninga ngokombhalo kanye nokubeka kabusha ngombono nendlela entsha abantu bebala, emkhakheni wabanye. / Afrikaans and Theory of Literature / M.A. (Theory of Literature)