Haunted House, Haunted Nation: Triomf and the South African Postcolonial Gothic

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If you are authenticated and think you should have access to this title, please contact your librarian. Institutions can purchase access to individual titles; please contact manchesterhive manchester. Don’t have an account? Gothic as it is being written in postmillennial South Africa is a particularly engaged, particularly politically aware form of fiction-making. The monstrous, the horrifying and the weird hallmarks of gothic narrative are being mobilised in the post-apartheid culture of letters as one literary means through which to negotiate dissonant relationships with the neocolonial operation of neoliberal capital.

Gothic seeks to occasion intense, sensory engagements with its readers and audiences, to the extent that it positions these as vulnerable or affectable.

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Images of the respective SABS certification Hallmarks in use between – , , and from onwards. An example of the Gothic on top and Roman lettering, below, used to denote the year in which precious metals were made in South Africa. Photo: Ms C. Meyer, Ditsong Museum, Pretoria, A long overdue first step in proper hallmarking practice. Photo: F. Some of the founder members of the Goldsmiths Guild of South Africa. Outline of a unicorn.

Sometimes his surname Jobst was added to the mark or the letters Jk with the vertical lines of the letters blended into one line. Mirror image of a rounded letter e of which the top leg extends above a rounded letter w. The mirror image creates the impression of a w followed by a b.

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Gothic urbanism in contemporary African fiction Login. JavaScript is disabled for your browser. Some features of this site may not work without it. This project surveys representations of the African city in contemporary Nigerian and South African narratives by focusing on how they employ Gothic techniques as a means of drawing the African urban landscape into being. The texts that comprise my objects of study are South African author Henrietta Rose-Innes’s Nineveh , which takes as its setting contemporary Cape Town; Lagoon by American-Nigerian author Nnedi Okorafor, who sets her tale in present-day Lagos; and Zoo City by Lauren Beukes, another South African author who locates her narrative in a near-future version of Johannesburg.

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To browse Academia. Skip to main content. Log In Sign Up. Download Free PDF. Esther de Bruijn. Afro-Gothic: Testing the Term in South African Theater Esther de Bruijn University of Toronto In the past few years, the term Afro-Gothic has begun to move from the informal academic language of university hallways and conference rooms into the lexicon of literary critics and writers. In scholarly circles, the formulation follows from the continuous expansion of Gothic studies over the past two decades, particularly into the fast-growing areas of imperial, African-American, and postcolonial Gothic.

But along with the analytic possibilities that the term Afro-Gothic opens up come significant catches. On the one hand, Afro-Gothic may help draw meaningful connections between the literatures of Africa and its diaspora, as a new lens through which to view shared representations of the unheimlich nature of legacies of colonial and racial oppression and with which to consider common religio-spiritual topographies.

Where African-American and African writers have responded to both of these inflections with Gothic adaptations, recent South African dramatists have labelled their adaptations Afro-Gothic.

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Gothic: fear, enlightenment and the supernatural; Situating gothic in the African imagination; The Online publication date: March A young Xhosa woman in South Africa is confined to a convent, a ‘cure’ for the spirits that she has​.

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Academic journal article Journal of Literary Studies. By drawing upon contemporary loci of fear and cultural anxiety, Gothic literature continually reinvents itself across international borders. This article places Marlene van Niekerk’s Triomf within the context of the Gothic novel as a uniquely South African development of the postcolonial Gothic mode.

In Triomf, Van Niekerk reworks the conventions common to Gothic fiction to create a literature of terror that captures the Zeitgeist of Afrikaner anxieties–the novel functions as a critique of white South Africa’s civil religion of cultural dominion. Specifically, Van Niekerk deploys a hauntology of the Voortrekker tradition that questions the congruence of South Africa’s mythologised past and the nation’s projected postcolonial claims for the present and future; as Sophiatown’s buried past rises to the surface, the Benade family find themselves haunted by the apartheid policies that constructed their suburban home–the haunted house becomes the haunted nation.

To illustrate the spectral purpose at work in Triomf, I reference Jacques Derrida’s Specters of Marx as a framework from which to view the ideological haunting that Van Niekerk uses in her narrative. As the free elections of draw near in the novel, haunting gives way to the possibilities of a Gothic apocalypse that threatens not only the Benades, but also the self-sustaining colonial ideology that enables Afrikaner cultural and political superiority.

Gotiese letterkunde herskep sigself voortdurend oor internasionale grense heen deur te steun op kontemporere setels van vrees en kulturele angs. Hierdie artikel plaas Marlene van Niekerk se Triomf in die konteks van die Gotiese roman as ‘n uniek Suid-Afrikaanse ontwikkeling van die postkoloniale Gotiese vorm. In Triomf hersien Van Niekerk die gebruike wat algemeen in Gotiese fiksie voorkom en skep sodoende ‘n letterkunde van terreur wat die Zeitgeist van Afrikaner-angst vasvang–die roman is ‘n resensie van wit Suid-Afrika se burgerlike geloof in kulturele oorheersing.

Meer spesifiek span Van Niekerk ‘n skim van die Voortrekkertradisie in wat die bestaanbaarheid van Suid-Afrika se gemitologiseerde verlede en die nasie se geprojekteerde postkoloniale aansprake op die hede en die toekoms bevraagteken.

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