Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2008. / This thesis consists of a study that identifies and analyses the origins, nature, and spectrum of different stereotypes of Africans in popular texts. The past can only be explored through texts, which are unavoidably mediated, re-interpreted, fictional and temporary. No text can be read in isolation – it is imperative to gain knowledge about the social and ideological context in the analysis of any historical text. History shows that racism is a constructed concept, and the roots of stereotypical perceptions of the ‘Other’ can be found in antiquity – in Ancient Egypt, Classical Greece and the Jewish Torah, as well as during the Middle Ages. A historical synopsis is given of the conception and development of racial stereotyping through the ages until the present. The study demonstrates how stereotypes gradually adapt with history, politics, and ideology. Stereotypes are in my opinion not necessarily constructed on purpose. Stereotypes are developed and based on historical events, but are transformed in time to fulfil new purposes. My conclusion is that racist stereotypes of Africans are created in the West, by the West, for the West. In many ways, the adaptation of the stereotypes of Africans act as a timeline for Western involvement on the continent. The stereotypical portrayal of Africa as the Dark Continent, “White Man’s Burden” and Godforsaken Continent will firstly be studied. Secondly, the depiction of African-Americans, especially in American popular culture, is discussed through stereotypes like Mammy, Uncle Tom, Jezebel, and Buck. The theme of my practical component, a two part series about the Cape Carnival, discusses the stereotype of the “Jolly Hotnot” or “Coon” and examines the portrayal of Africans as comical. The study shows the important role popular media plays in spreading and reaffirming stereotypes. Stereotypes are often used as a survival method to make the multiplicity of reality manageable, recognisable, and understandable. Stereotyping becomes problematic if the stereotypes are used as generalisations to marginalise a group in terms of features such as skin colour. A type of “cultural decolonisation” would be necessary to counteract this marginalisation, through popular culture created by in Africa, by Africans, for Africans and international popular culture.

This thesis examines the political thought of Achille Mbembe. It deploys decolonial critical analysis to unmask traces of coloniality with regard to the African existential conditions foregrounded in the conception of the African subject, its subjection, and subjectivity. The theoretical foundation of this thesis is decolonial epistemic perspective—the epistemic intervention that serves as a lens to understand Mbembe’s work and—that is the theoretical foundation outside the Euro-North American “mainstream” canon foregrounded in coloniality. Decolonial epistemic perspective in this thesis is deployed to expose three kinds of coloniality in Mbembe’s work, namely: coloniality of power, coloniality of knowledge and coloniality of being. The thrust of this thesis is that Mbembe’s political thought is inadequate for the understanding of the African existential condition in that it does not fully take coloniality into account. In order to acknowledge the existence of coloniality through decolonial critical analysis, the political thought of Mbembe is examined in relation to modes of self-writing, power in the postcolony, the politics of violence in Africa, Frantz Fanon’s political thought, and the idea of South Africa as major themes undertaken in this thesis. Decolonial critical analysis deals with foundational questions that have relevance to the existential condition of the African subject and the manner in which such an existential crisis can be brought to an end. These foundational questions confront issues like—who is speaking or writing, from where, for whom and why? This thesis reveals that Mbembe is writing and thinking Africa from outside the problematic ontology of the African subject and, as such, Mbembe precludes any form of African subjectivity that challenges the Euro-North American canon. This then reveals that Mbembe is not critical of coloniality and this has the implications in that subjection is left on the wayside and not accounted for. Having explored the genealogy, trajectory and horisons of decolonial critical analysis to understand the political thought of Mbembe, this thesis highlights that it is essential to take a detour through the shifting of the geography of reason. Herein lies the originality of this thesis, and it is here that Africa is thought from within a standpoint of decolonial critical analysis and not Africa that is thought from the Euro-North American canon. Therefore, the shifting of the geography of reason is necessary for the authorisation of the subjectivity of the African subject in order to combat subjection. / Political Sciences / D. Litt. et Phil. (African Politics)

A thesis submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Master of Arts in African Languages. Wits University, Johannesburg, 2015 / This report interrogates the representation of blackness in post-1994 black-centred films in South Africa. With a particular focus on Khalo Matabane’s films, I analyse Conversations on a Sunday Afternoon (2005), When We Were Black (2007) and State of Violence (2011) across a spectrum of themes. I also interrogate and introduce several critical concepts such as ‘blackness’, ‘the image of blackness’, ‘black identity’, ‘masculinity’, ‘femininity’, ‘the Gaze’ and ‘Otherness’. These concepts are interlinked in ways that bring about an understanding of the concept of black-centred films, which is central to the research report. Amidst the different interpretations of black-centred films, the vantage point from which the concept is used is interested in black-centred films as films that are made by a black filmmaker, whose content addresses issues of blackness and is targeted at a black audience. However, these three factors need not always resonate in a single film in order for it to be considered and analysed as a black-centred film. The lens through which Matabane holds the camera questions his representation of the black image and whether it is from an insider or outsider’s perspective. The view from which Matabane holds the camera is important in establishing whether he has purported to represent historically stereotypical images of blackness, or whether his endeavours in filmmaking are occupied by the relentless pursuit to present new images of blackness.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-10-22T12:31:17Z No. of bitstreams: 1 Ramon Silva Chaves.pdf: 1284894 bytes, checksum: 1ac63025fa80746c4b2dd18e342dae2a (MD5) / Made available in DSpace on 2018-10-22T12:31:17Z (GMT). No. of bitstreams: 1 Ramon Silva Chaves.pdf: 1284894 bytes, checksum: 1ac63025fa80746c4b2dd18e342dae2a (MD5) Previous issue date: 2018-09-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This thesis looks at paratopia of stigma and black identity in the literary discourse Recordações do Escrivão Isaías Caminha written by Lima Barreto in Brazil in 1909. Our research is based on French Discourse Analysis and predominantly on the theoretical-methodological assumptions of Dominique Maingueneau (1997;2015) about the constitutional literary discourse and literary paratopia. The main concern of this research is how the identity of the black Brazilian, an identity built under a violent system of social, economic and historical exploitation, behaves in the literary discourse Recordações do Escrivão Isaías Caminha? Our research hypothesis is that paratopia engender through stigma, a concept developed by Goffman (2012) to remodel the black identity through a historical reassessment and thus, promoting the effect of giving an account of oneself, a concept developed by Butler (2017). Our main goal is to study paratopia and use it to evaluate the construction of a black identity shaped early in the 20th century so as to become stigmatized. Our specific objective is to verify the scenographic organization and the constitution of the discursive ethos in the composition of literary paratopia in Recordações do Escrivão Isaías Caminha. Our thesis innovate when evaluating a corpus that is usually analyzed in Literature. Furthermore, it broadens the paratopia category by proposing the paratopia of stigma and associating it to ethnic-racial issues / Esta tese examina a paratopia do estigma e a identidade do negro no discurso literário Recordações do Escrivão Isaías Caminha, de Lima Barreto, produzido em 1909, no Brasil. Nossa pesquisa está fundamentada na Análise do Discurso de inspiração francesa, sobretudo, nos pressupostos teórico-metodológicos de Dominique Maingueneau (1997;2015) sobre o discurso constituinte literário e a paratopia literária. A questão central que essa pesquisa busca resolver é: como a identidade do negro brasileiro, construída sob um violento esquema de exploração social, econômico e histórico se comporta na construção do discurso literário Recordações do Escrivão Isaías Caminha? Como hipótese de pesquisa, entendemos que a paratopia se engendra por meio do estigma, noção apresentada por Goffman (2012), para remodelar a identidade do negro por meio de uma revisão histórica, promovendo, deste modo, o efeito de relato de si, noção apresentada por Butler (2017). Nosso objetivo geral é o de examinar a paratopia e por meio disso a avaliar a construção da identidade do negro que, no início do século XX, foi modelada de maneira a se tornar estigmatizada. Como objetivo específico queremos verificar a organização da cenografia e a constituição do ethos discursivo na composição da paratopia literária em Recordações do escrivão Isaías Caminha. Nossa tese inova ao avaliar um corpus tradicionalmente analisado pela Literatura. Além disso, busca ampliar a categoria de paratopia, pela proposição da paratopia do estigma, associando-a às questões étnico-raciais

The cultural and historical construction of African American identity in the United States has been closely tied to the dialectical relationship formed between sound and silence. This thesis examines the modernist and postmodernist representation of sound and silence in the African American novels Passing (1929), by Nella Larsen, and Jazz (1992), by Toni Morrison, as indicators of African American identity and racial oppression during the Harlem Renaissance. I analyze the soundscapes of both texts to expose the mobility of language, power, and space, especially as these soundscapes relate to the production of sound (both musical and non-musical) by African Americans, and the surveillance of these sounds by white audiences. Through my analysis of repetitive sound-images and embodied silence in Passing and Jazz, as well as textual representations of oral performance, I argue that there is harm in restricting African American voices to approved modes of audibility and/or limiting African American voices to one a singular narrative. This thesis introduces critics and theories from the disciplines of sound studies and African American studies, and applies the widely known theory of double consciousness, established by critic and author W.E.B. Du Bois, as the foundation for my literary and cultural analysis of sound in print. / Graduation date: 2013

This dissertation reviewed extant literature about McGuire’s distinctiveness theory, the Elaboration Likelihood Model of Persuasion, in-group bias theory, racial identity, race source effects, and cultural cues pertaining to targeting African American and Latino consumer markets. Mexican and African American informants were interviewed after viewing magazine advertisements targeted to the other group to determine if distinctiveness to the other’s images and cultural cues occurred. Observations were also reported from ethnographic excursions across Des Moines, Iowa, a city and state where African Americans and Mexicans are numerical rarities or minorities. Results revealed that the majority of informants spontaneously delivered responses that reflected salience with the other group. In fact, both groups saw themselves as a part of a greater people of color community--extending their ethnic identities. Furthermore, informants exhibited a provisional ethnic backlash against viewing Anglos in product advertisements in their ethnic magazines. However, when ads presented a message about diversity, informants thought Anglo images should be included. Both groups said they valued the use of people of color and socially responsible messages in ads for high involvement and low involvement products, however, these images and cultural cues would not lead to purchases of new brands because informants were weary about wasting money on unfamiliar brands in a stressed economy. Consumers also scanned ads for models’ races, and paid attention to how their ethnic group and other people of color were treated in ads. Also, informants reported discussing racial issues often in social circles. A black-brown racial divide was expressed when there was a perceived scarcity of resources and when one group discussed how they felt the other group perceived their race. Finally, class and having on-going personal relationships with members of the other group affected responses. This study offers many academic, managerial, practitioner, social and political implications and recommendations. / text

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Throughout the twentieth century so-called Poor Whites caused anxiety in countries where racial domination was crucial, such as South Africa, the colonies of European empire and the United States. The Poor Whites were troubling for a number of reasons, not least because they threatened white prestige and the entire system of racial control. The efforts of various governments, organisations and experts to discipline, control and uplift the group necessarily disadvantaged other races. These controls, such as colour bars and Jim Crow laws, had an enormous effect on the countries where the Poor Whites were seen as a problem. The results can still be seen in the profoundly unequal contemporary racial landscape, and which is given expression by protest groups such as Black Lives Matter. Yet the efforts to manage the Poor Whites have thus far been examined on a national basis — as a problem of the United States, or of South Africa, to name just the most significant locales and regimes. This dissertation attempts to expand our understanding of the geography of the Poor Whites by arguing that the ‘Poor White Problem’ was a transnational concern rooted in racial interests that transcended national concerns. The racial solidarity displayed by so-called ‘white men’s countries’ was also extended to the Poor Whites. Efforts to control and discipline the population were thus in service of the white race as a whole, and ignored national interests and national borders. The transnational management of the Poor Whites was done through a network of transnational organisations such as the League of Nations and the Rockefeller Foundation, as well as the careering experts they employed. The dissertation argues that these attempts constituted a transnational ‘governmentality’ according to which these organisations and their experts attempted to discipline a Poor White population that they viewed as transnational in order to uphold white prestige and tacitly maintain both global and local racial systems. This dissertation examines some of the ways in which Poor Whites were disciplined and racially rehabilitated. It examines health and sanitation, education and training, housing standards and the management of urban space, and finally photographic representation.

The presence of human destitution, impoverishment and degradation in the midst of plenty has puzzled social thinkers for millennia. One of the oldest and grandest of theories: the theory of ideology attempts to provide an answer to the puzzle of domination in society. Michael Rosen, in his book On Voluntary Servitude (1996), argues that the solution provided by the theory of ideology is problematic. Furthermore, on the basis of his critique, Rosen argues that we should abandon the theory of ideology and consider alternatives to it. Even though many contemporary academics have turned away from the theory of ideology, because they view it as an imprisoning meta-theory, this study explores the possibility of there being a meta-theory that could help us to make sense of the world. Through an examination of Rosen's critique this thesis shows that Rosen is too quick in his dismissal of the theory of ideology because he fails to consider that a revised functionalist theory of ideology can be expanded to account for the mechanism(s) that ensure that, over time, the society in question acquires ideological consciousness to further its welfare. This thesis shows that Rosen is correct in his criticism of the theory of ideology's explanation of domination because the content, history and social effects of ideological consciousness cannot be fully explained in terms of their role in promoting or stabilising relations of domination. In light of Rosen's criticism the thesis shows that if one provides both an explanation of the psychological motivations of individuals and of the nature of the oppressive society in which they find themselves then what I call an integrated theory of ideology can be developed. In order to illustrate the importance of an integrated theory of ideology the study moves away from high-level theoretical abstraction to concrete social analyses, focusing on the work of Frantz Fanon and Steve Biko and their explanations of domination. The reason this study focuses on their work is because in their role as social scientists, Fanon and Biko provided a powerful critique of colonial, post-colonial and neo-colonial society. It will be argued that Fanon and Biko were able to provide a lasting critique of colonial reality because they offered their critique within the framework of such an integrated theory. Consequently, this study argues that, as Fanon and Biko's work illustrate, an integrated theory of ideology qua critical theory ought not to be abandoned because it is crucial for understanding and resisting forms of oppression that exist in the world today.

For a 25-year period during the apartheid era in South Africa, all school-leaving white men were issued with a compulsory call-up to national military service in the South African Defence Force. It is estimated that 600 000 men were conscripted between 1968 and 1993, undergoing military training and being deployed in Namibia, Angola and South Africa. The purpose of this system of military conscription was to support both the apartheid state’s role in the “Border War” in Namibia and Angola and the suppression of anti-apartheid resistance within South Africa. It formed part of the National Party’s strategy of a “total response” to what it perceived as the “total onslaught” of communism and African nationalism. While recruiting and training young white men was the focus of the apartheid government’s strategy, all of white South African society was caught up in supporting, contesting, avoiding and resisting this system in one way or another. Rather than being a purely military endeavour, conscription into the SADF therefore comprised a social and political system with wide-ranging ramifications. The 1994 democratic elections in South Africa heralded the advent of a very different political, social and economic system to what had gone before. The focus of this research is SADF conscripts’ narrations of identity in the contested narrative terrain of post-apartheid South Africa. The thesis begins with a contextual framing of the historical, social and political systems of which conscription was a part. Drawing on narrative psychology as a theoretical framework, the thesis explores discursive resources of whiteness, masculinities and perceptions of threat in conscripts’ narrations of identity, the construction of memory fields in narrating memories of war and possible trauma, and the notions of moral injury and moral repair in dealing with legacies of war. Using a narrative discursive approach, the thesis then reflects on historical temporal threads, and narrative patterns that emerge when analysing a range of texts about the psychosocial legacies of conscription, including interviews, research, memoirs, plays, media reports, video documentaries, blogs and photographic exhibitions. Throughout the thesis, conscripts’ and others’ accounts of conscription and its legacies are regarded as cultural texts. This serves as a means to highlight both contextual narrative negotiations and the narrative-discursive patterns of conscripts’ personal accounts of their identities in the post-apartheid narrative terrain. The original contribution of this research is the development of conceptual and theoretical framings of the post-apartheid legacies of conscription. Key to this has been the use of narrative-based approaches to highlight the narrative-discursive patterns, memory fields and negotiations of narrative terrains at work in texts that focus on various aspects of conscription and its ongoing aftereffects. The concept of temporal threads has been developed to account for the emergence and shifts in these patterns over time. Existing narrative-discursive theory has formed the basis for conscripts’ negotiations of identity being identified as acts of narrative reinforcement and narrative repair. The thesis concludes with reflections on the future possibilities for articulating and supporting narrative repair that enables a shift away from historical discursive laagers and a reconfiguration of the narrative terrain within which conscripts narrate their identities. / Also known as: Edlmann, Theresa