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Text in English with abstracts in English, Afrikaans and isiZulu / There has been considerable debate amongst feminist scholars as to whether the normalization of cosmetic surgery positively impacts women, empowers women by promoting agency and choice (Gimlin 2002, Kuczynski 2006), or oppresses women by propagating patriarchal ideologies that confine women’s bodies and consequently inhibit their voice (Blum 2003, Blood 2005, Heinricy 2006, Clarke and Griffin 2007, Tait, 2007). Rather than entering this debate my argument proceeds from a premise that the normalization of cosmetic surgery is a form of implicit and exclusive violence. Using a selection of post‐structuralist, feminist, and psychoanalytic theories, I analyze the manner in which this form of violence confines women’s bodies and structures the psyche. Using Jacques Lacan, Judith Butler, and Michel Foucault’s argument on pastoral power, I deconstruct the formation of the normalized self, the conscience, and the act of confession as it translates in the context of the cosmetic surgical body itself. Furthermore, I highlight liberal feminism’s role in this form of oppression. In so doing, I theoretically show the continual and effective functioning of pastoral power in the context of an individualization technique that oppresses women in the second decade of the twenty‐first century. I argue that the normalization of cosmetic surgery provokes a silencing of woman’s voices, an exploitation and oppression of the individual’s psyche, and an invalidation of the living body by a less visible, less explicit, mode of incarceration that is concealed by an aesthetic and moral veil. It is in this context that I present a counter discourse to the oppression that underlies the normalizing discourses promoted by the cosmetic surgical industry, a destabilization of patriarchal norms embedded within cosmetic surgical discourses, and a theoretical reconstruction that involves an inscription of what I refer to as an authentic feminist voice in contemporary consumer culture – a mode of intimate unconscious insurgence. I advocate a return to Julia Kristeva’s theory and the intimate revolt promoted by her ethical approach. Furthermore, I present a voice that demonstrates an intimate revolt – a voice that challenges patriarchal norms and is not exclusively confined by the mechanisms of normalization that shape the twenty‐first century woman with emphasis on the cosmetic surgical industry and its superincumbent discourses – the South African poet Antjie Krog. It is Krog’s skillfully structured poetic texts that facilitate my theoretical reconstruction. Applying Kristeva’s theory on semanalysis, I theoretically show that Krog’s work fabricates an excess to the confines of the law of the Father and the mechanisms of normalization itself. In addition, I present an “originary attachment” as an adaption of Kristeva’s argument on the chora and my proposal of an “originary ideal” challenges Kristeva’s emphasis on phonetic grams in the context of that which underlies the realm of the paternal metaphor. Using Louise Viljoen’s analysis of Krog’s work and Bridget Garnham’s research on emerging designer cosmetic surgical discourses as support, I then present Krog’s poetic texts as a counter discourse to the “moral” cosmetic surgical discourses that exploit the ageing individual in the second decade of the twenty‐first century. In addition, applying Kristeva’s theory on paragrams to Krog’s poetic text(s), I present a destabilization of the patriarchal norms implicit within cosmetic surgical discourses. Furthermore, I extend Kristeva’s theory on the principle of negativity to present a re‐translation of the act‐of‐confession in Krog’s poetic text(s), an extension of Foucault’s pastoral power and Butler’s argument on the exclusivity of normalization, and a reclamation of her ageing body in Verweersrkrif/Body Bereft (Krog 2006). / Feministiese geleerdes voer al geruime tyd 'n warm debat oor die kwessie of die normalisering van kosmetiese chirurgie vroue positief beïnvloed, vroue bemagtig deurdat dit volmag en keuse vir hulle in die hand werk (Gimlin 2002; Kuczynski 2006), of vroue onderdruk deurdat dit patriargale ideologieë voorstaan wat die vroueliggaam inperk en gevolglik die vrou inhibeer om haar stem te laat hoor (Blood 2005; Blum 2005; Clarke en Griffin 2007; Heinricy 2006; Tait 2007). In plaas daarvan om by hierdie debat betrokke te raak, gaan ek van die veronderstelling uit dat die normalisering van kosmetiese chirurgie 'n vorm van implisiete en eksklusiewe geweld is. Aan die hand van post-strukturalistiese, feministiese en psigoanalitiese teorieë ontleed ek die manier waarop hierdie vorm van geweld vroue se liggaam onderwerp en hul psige vorm. Ek dekonstrueer die vorming van die genormaliseerde self, die bewussyn en die daad van belydenis, soos dit in die konteks oorgebring word, aan die hand van Jacques Lacan, Judith Butler en Michel Foucault se beskouings van herderlike oftewel pastorale mag. Hierbenewens onderstreep ek die rol wat liberale feminisme in hierdie vorm van onderwerping speel. Sodoende demonstreer ek teoreties hoe die voortdurende en effektiewe funksionering van pastorale mag in die konteks van ’n individualiseringstegniek vroue in die tweede dekade van die een-en-twintigste eeu onderdruk. Ek maak die aanname dat die normalisering van kosmetiese chirurgie daartoe bydra dat vroue die swye opgelê word, die individu se psige uitgebuit en onderdruk word en die lewende liggaam ontkragtig word deur middel van ’n inkerkering wat minder sigbaar en minder eksplisiet is en agter ’n estetiese en morele sluier verdoesel word. In hierdie konteks bied ek ’n teendiskoers aan vir die onderwerping wat onderliggend is aan die normaliseringsdiskoerse wat die kosmetiesechirurgiebedryf ondersteun, en ek bepleit dat die patriargale norme wat in diskoerse oor kosmetiese chirurgie vassit, gedestabiliseer word. Ek demonstreer verder ’n teoretiese rekonstruksie wat ’n inskripsie insluit van wat ek ’n geloofwaardige feministiese stem in die eietydse verbruikerskultuur noem – ’n modus van intieme, onbewuste opstandigheid. Ek bepleit 'n terugkeer na Julia Kristeva se teorie en die intieme oproer wat deur haar etiese benadering voorgestaan word. Afgesien hiervan stel ek ’n stem voor wat ’n intieme opstand demonstreer – ’n stem wat patriargale norme uitdaag en nie uitsluitlik onderdruk word deur die normaliseringsmeganismes wat vorm gee aan die vrou van die een-entwintigste eeu nie, waar die klem op die kosmetiesechirurgiebedryf en die boliggende diskoerse daarvan val – Antjie Krog, Suid-Afrikaanse digter. Dit is juis Krog se kunstig gestruktureerde digterlike tekste wat my teoretiese rekonstruksie fasiliteer. Aan die hand van Kristeva se teorie oor semanalise toon ek teoreties dat Krog se werk ’n ruimte daarstel wat "uitstyg" bo die grense wat die wet van die Vader en die normaliseringsmeganismes stel. Hierbenewens stel ek ’n "originêre gehegtheid" as aanpassing van Kristeva se beskouing van die chora voor, en my voorstel van ’n "originêre ideaal" daag Kristeva se opvating oor paragramme uit in die konteks van dit wat ten grondslag lê aan die gebied van die paternalistiese metafoor. Op grond van Louise Viljoen se ontleding van Krog se werk en Bridget Garnham se navorsing oor opkomende diskoerse oor ontwerpers- kosmetiese chirurgie bied ek Krog se digterlike tekste aan as ’n teendiskoers vir die "morele" diskoerse oor kosmetiese chirurgie wat die verouderende individu in die tweede dekade van die een-en-twintigste eeu uitbuit. Daarby, deur Kristeva se teorie oor paragramme op Krog se digterlike teks(te) toe te pas, demonstreer ek 'n destabilisering van die patriargale norme wat implisiet in diskoerse oor kosmetiese chirurgie teenwoordig is. Hierbenewens brei ek Kristeva se teorie oor die negatiwiteitsbeginsel uit deur middel van ’n heroorsetting van die belydenisdaad in Krog se digwerk(e), ’n uitbreiding van Foucault se pastorale mag en Butler se opvatting oor die eksklusiwiteit van normalisering, en ’n opeising van Krog se verouderende liggaam in Verweerskrif/Body Bereft (Krog 2006). / Sekubekhona izingxoxo-mpikiswano eziningi kwizifundiswa zama-feminist ukuthi ngabe ukwenza isurgery yohlinzo olungajulile ukuzishintsha ukubukeka ngokwemvelo (cosmetic plastic surgery) kunomphumela omuhle yini kwabesimame, ngabe kuhlinzeka ngamandla kwabesimame ngokuphakamisela phezulu ukuthi umuntu azenzele akufunayo kanye nokuzikhethela (Grimlin 2002, Kuczynski 2006) noma kuyinto ecindezela abesimame ngokuqhubela phambili indlela nama-idiyoloji abekwa ngabesilisa ukuthi imizimba yabesimame kumele ibukeke kanjani, kanti lokhu kucindezela izwi labesimame (Blum 2003, Blood 2005, Heinricy 2006, Clarke and Griffin 2007, Tait, 2007). Kunokuthi iphuzu nami ngingenele kule ngxoxo-mpikiswano, elami iphuzu lona liqhubeka ukusukela kwisimo sokuthi ukwamukela uhlujzo olungajulile lokuzitshintsha ukubukeka kwabesimame (cosmetic surgery) kuyindlela yodlame olungaqondile ngqo kanye nolukhipha inyumbazane abesimame. Ngokusebenzisa amathiyori epost-structuralist, awe-feminist kanye nawepsychoanalytical, ngihlaziya indlela le nhlobo yalolu dlame ecindezela ngayo imizimba yabesimame kanye nokuhlela indlela okumele bacabange nokuzibona ngayo. Ngokusebenzisa iphuzu likaJacques Lacan, Judith Buttle kanye noMichel Foucault lamandla okukhokhela ngokomoya, ngiqhaqha indlela okubumbeka ngayo isithombe sokuzibona, unembeza kanye nomoya wokuhlambulula ngokuzidalula (confession) lapho kubhekwa izinto ngaphansi kwesimo somzimba wokuhlinzwa okungajulile ukuzishintsha ukubukeka ngokwakho. Nangaphezu kwalokho, ngigqamisa indima ye-liberal feminism ngokwayo kule nhlobo yencindezelo. Ngokwenza lokho, ngikhombisa ngokwethiyori ukuqhubeka nokusebenza kwamandla esikhokhelo ngokomoya ngaphansi kwethekniki yokuzazi komuntu eyedwa okucindezela abesimame kwiminyaka elishumi yesibili, yesenshuri yamashumi amabili nanye . Ngiqhubela phambili iphuzu lokuthi ukwenziwa kohlinzo olungajulile lokuzishintsha ukubukeka kuqala umoya wokucindezela izwi labesimame, ukuxhashazwa kwabo, kanye nendlela umuntu azibona ngayo ngokwengqondo, kanye nokucindezela umzimba ophilayo ngezindlela ezingazibonakalisi obala, ezifihlekile, indlela yokubopha efihlwa yindlela yokubukeka kanye nokwembozwa umoya. Kungaphansi kwalesi simo lapho ngethula khona i-discourse yencindezelo eyenza ukuthi imboni yohlinzo olungajulile ukuzishintsha ukubukeka kwabesimame kube yinto ephakanyiswayo nokubonwa iyinhle, ukuphazamiseka kwama-norm endlela yengcindezi yabesilisa, ngaphansi kwama-discourse okuhlinzwa okungajulile ukushintsha ukubukeka, kanye nokwakha ithiyori ebandakanya ukubona izinto ngendlela ethize, engikuchaza njengezwi okuyilo elifanele le-feminism, kwisimo sosiko esiphila ngaphansi kwaso samanje - okuyindlela abantu abazibuka ngayo ezingqondweni ngendlela engekho obala. Ngigcizelela ukubuyela kwithiyori kaKristeva, kanye nokuthi abantu babhoke indlobana ngezindlela eziphansi, okuyinto ayiphakamisayo yenkambiso yokwazi okulungile nokungalunganga (ethical approach). Naphezu kwalokho, ngiveza izwi elibonisa ukubhoka indlobana kwabesimame ngendlela engekho sobala - izwi elifaka inselele kuma-norm okubhozomelwa ngumqondo wokulawula kwabesilisa, kanti futhi leli zwi aligcinanga nje kuphela umumo wabesimame ngendlela ejwayelekile njengowesimame wesenshuri yamashumi amabili-nanye ngokugcizelela kwimboni yohlinzo olungajulile lokuzishintsha ukubukeka, kanye nendlela lokhu okuyisihibe ngayo – ngokusho kukasonkondlo waseNingizimu Afrika, u-Antjie Krog. Imibhalo yezinkondlo zikaKrog ezinobungcweti yiyo eyenze ukwakha kwami kabusha ithiyori. Ngokusebenzisa ithiyori kaKristeva ye-semanalysis, ngibonisa ngokwethiyori ukuthi umsebenzi kaKrog uqambe okweqele ngaleya kwizihibe zomthetho kubaba kanye nezindlela zokwenza izinto zibukeke ngendlela evamile noma zingavamile. Nangaphezu kwalokho, ngifakela i-"originary attachment" njengokwenza ukuthi kube kwesinye isimo, iphuzu likaKristeva ku-chora kanti isiphakamiso sami se-"originary ideal" sifaka inselele kusigcizelelo sikaKristeva ngamagremu efonethiki ngaphansi kwesimo esigcizelela umfanekiso ngasohlangothini lobaba. Ngokusebenzisa ukuhlaziya kukaLouise Viljoen kumsebenzi kaKrog kanye nocwaningo lukaBridget Garnham ngokuvela kwama-discourse ohlinzo olungajulile ukuzishintsha ukubukeka njengesisekelo, ngase ngethula imibhalo yezinkondlo zikaKrog njenge-discourse yokuphikisa ama-discourse e-"moral" yama-discourse ohlinzo olungajulile lokuzishintsha ukubukeka, elixhaphaza abantu abagugayo ngeminyaka eyishumi yesibili kwisenshuri yamashumi amabili-nanye. Naphezu kwalokho, ngisebenzise ithiyori kaKristeva kumapharagramu kwimibhalo yezinkondlo zikaKrog, ngaphazamisa imibono yokuphatha kwabesilisa equkethwe kuma-discourse ohlinzo ulungajulile ukuzishintsha ukubukeka. Ukuqhubekela phambili, nginwebe ithiyori kaKristeva ngesimiso se-negativity ukwethula ukuhumusha kabusha umoya wokuzihlambulula ngokuzidalula otholakala kwizinkondlozikaKrog, ukuwukunweba amandla umbono kaFaucault wamandla okuthi abantu bazibone ngenye indlela kanye nephuzu likaButler wlkuthi into engavamile engaphandle ibonwe njengento efanele, kanye nokwamukela umzimba ogugayo kwinkondlo ye- Verweerskrif/Body Bereft (Krog 2006). / English Studies / D. Litt. et Phil.(Theory of Literature)

Text in English / This thesis investigates the relationship between humans and the nonhuman world or natural environment in selected literary works by black female writers in colonial and post-colonial Namibia and Zimbabwe. Some Anglo-American scholars have argued that many African writers have resisted the paradigms that inform much of global ecocriticism and have responded to it weakly. They contend that African literary feminist studies have not attracted much mainstream attention yet mainly to raise some issues concerning ecologically oriented literary criticism and writing. Given this unjust criticism, the study posits that there has been a growing interest in ecocriticism and ecofeminism in literary works by African writers, male and female, and they have represented the social, political (colonial and anti-colonial) and economic discourse in their works. The works critiqued are Tsitsi Dangarembga’s Nervous Conditions (1988) and The Book of Not (2006), Neshani Andreas’ The Purple Violet of Oshaantu (2001) and No Violet Bulawayo’s We Need New Names (2013). The thrust of this thesis is to draw interconnections between man’s domination of nature and the subjugation and dominance of black women as depicted in different creative works. The texts in this study reveal that the existing Anglo-American framework used by some scholars to define ecocriticism and ecofeminism should open up and develop debates and positions that would allow different ways of reading African literature. The study underscored the possibility of black female creative works to transform the definition of nature writing to allow an expansion and all encompassing interpretation of nature writing. Contrary to the claims by Western scholars that African literature draws its vision of nature writing from the one produced by colonial discourse, this thesis argues that African writers and scholars have always engaged nature and the environment in multiple discourses. This study breaks new ground by showing that the feminist aspects of ecrocriticism are essential to cover the hermeneutic gap created by their exclusion. On closer scrutiny, the study reveals that African women writers have also addressed and highlighted issues that show the link between African women’s roles and their environment. / English Studies / D. Litt. et Phil. (English)

Indiana University-Purdue University Indianapolis (IUPUI) / The fragmented bodies and lives of postcolonial Caribbean women examined in Caribbean literature beget struggle and psychological ruin. The characters portrayed in novels by postcolonial Caribbean writers Edwidge Danticat, Michelle Cliff, and Shani Mootoo are marginalized as “Other” by a Western patriarchal discourse that works to silence them because of their gender, color, class, and sexuality. Marginalization participates in the act of fragmentation of these characters because it challenges their sense of identity. Fragmentation means fractured; in terms of these fictive characters, fragmentation results from multiple traumas, each trauma causing another break in their wholeness. Postcolonial scholars have identified the causes and effects of fragmentation on the postcolonial subject, and they argue one’s need to heal because of it. Danticat, Cliff, and Mootoo prove that wholeness is not possible for the postcolonial Caribbean woman, so rather than ruminate on that truth, they examine the journey of the postcolonial Caribbean woman as a way of making meaning of the pieces of her life. This project contends that fragmentation – and the fracture it produces – does not bind these women to negative existences; in fact, the female subjects of Danticat, Cliff, and Mootoo locate power in their fragmentation. The texts studied include Danticat’s "Breath, Eyes, Memory" (1994) and "The Farming of Bones" (1999), Cliff’s "Abeng" (1984) and "No Telephone to Heaven" (1987), and Mootoo’s "Cereus Blooms at Night" (1996) and "He Drown She in the Sea" (2005).