Transnational imaginaries and the negotiation of sexual rights during the South African transition

Carolin, Andy; Frenkel, Ronit

doi:10.1080/00020184.2019.1569439

Cited by 1 publication

(2 citation statements)

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“…Basically, the layered structure of the boat reflects the buoyancy of allochthonous memory amid the cross-currents of the mobility of what Carolin and Frenkel (2019) aptly describe as "transcultural flows" (p. 14). The transformation inherent in this mobility is antithetical to either a reverential relationship or faithful representation of the event because it is at this point remembered within one of the pentangular frames of allochthonous memory: ethics.…”

Section: Resultsmentioning

confidence: 99%

“…Similarly, the constructed temporality-or, indeed what Carolin and Frenkel (2019) describe as 'the transcultural flows' (p. 14)-of Touch My Blood (2006) opens with a scene in Ottawa, Canada, where he finds himself in a nightclub fight with a South African exile; the plot of Seven Steps To Heaven (2007) crosses over to Harare in Zimbabwe, where Thulani is to face the death penalty. Whereas the tension of unbelonging amongst blacks has been recently deftly framed in Foucouldian terms by Edith Dinong Phaswana (2019) as "overdetermined from without" (p. 161), in its analysis, this paper also recognizes merit in Ronit Frenkel's (2013) discernment of the fecundity of a palimpsestic reading that lies in the revelation "of how one transitional experience is already present in another" (p. 25).…”

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confidence: 99%

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African Cultural Memory in Fred Khumalo’s Touch my Blood and its Metafictional Para-texts

Masemola

2020

Journal of Black Studies

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This article gleans its momentum from Ronit Frenkel’s palimpsestic observation that the local and the global exist as “coeval discourses of signification in South African transitional literature,” with the intention to push the boundaries set in a recent issue of the Journal of Black Studies that carried a literature-inspired title, “Cultural Memory and Ethnic Identity Construction in Toni Morrison’s A Mercy” by Zhou Quan. The latter prompted a consideration whether a peculiarly South African literary representation of cultural memory is possible or not, or whether it is monolithic or multiplicitous. Therefore, partly in response, I introduce the transcendent idea of allochthonous memory, taking my cues from Molefi Kete Asante’s Kemet, Afrocentricity, and Knowledge where he elucidates that the Afrocentrist “seeks to uncover and use codes, paradigms, symbols, motifs, myths, and circles of discussion that reinforce the centrality of African ideals and values as a valid frame of reference for acquiring and examining data” (p. 6). One such paradigm is Allochthonous memory, which is here defined as a configuration of cultural memory that finds expression in references that are simultaneously intertextual, transnational, transcultural, and ethical.

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Section: Resultsmentioning

confidence: 99%

mentioning

confidence: 99%