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Language portraits are useful instruments to elicit speakers' reflections on the languages in their repertoires. In this study, we implement a "portrait-corpus approach" (Peters and Coetzee-Van Rooy 2020) to investigate the conceptualisations of the languages Afrikaans and English in 105 language portraits. In this approach, we use participants' reflections about their placement of the two languages on a human silhouette as a linguistic corpus. Relying on quantitative and qualitative analyses using WordSmith, Statistica and Atlas.ti, our study shows that Afrikaans is mainly conceptualised as a language that is located in more peripheral areas of the body (for example, the hands and feet) and, hence, is perceived as less important in participants' repertoires. The central location of English in the head reveals its status as an important language in the participants' multilingual repertoires. We argue that these conceptualisations of Afrikaans and English provide additional insight into the attitudes towards these languages in South Africa.
This paper reads ‘The Detainee’s Tale as told to Ali Smith’ (2016) as an exemplary demonstration of the work of world literature. Smith’s story articulates an ethics of reading that is grounded in the recipient’s openness to the singular, unpredictable, and unverifiable text of the other. More specifically, Smith’s account enables the very event that it painstakingly stages: the encounter with alterity and newness, which is both the theme of the narrative and the effect of the text on the reader. At the same time, however, the text urges to move from an ethics of literature understood as the responsible reception of the other by an individual reader to a more explicitly convivial and political ethics of commitment beyond the scene of reading.
This paper reads ‘The Detainee’s Tale as told to Ali Smith’ (2016) as an exemplary demonstration of the work of world literature. Smith’s story articulates an ethics of reading that is grounded in the recipient’s openness to the singular, unpredictable, and unverifiable text of the other. More specifically, Smith’s account enables the very event that it painstakingly stages: the encounter with alterity and newness, which is both the theme of the narrative and the effect of the text on the reader. At the same time, however, the text urges to move from an ethics of literature understood as the responsible reception of the other by an individual reader to a more explicitly convivial and political ethics of commitment beyond the scene of reading.
Despite their overt focus on inexplicable alien forces, cosmic horror stories are also determined by their human cast. Far from being merely fodder for horror, the characters significantly contribute to the generation of meaning, including that of the supernatural entity or phenomenon itself. The same holds for the narrators' (implicitly) political perspectives on the world of which they are part. Much of the perspective propounded in Lovecraft's cosmic horror stories partakes of myth, adopting in particular the latter's universal view and pronounced sidelining of humanity as a whole, which it intensifies to the point of horror. Appearances to the contrary notwithstanding, this universal perspective is consistent with the racism permeating and structuring Lovecraft's writing. Though eschewing racism and universalism, the cosmic horror of Kiernan's "Tidal Forces" negotiates literary reflections of colonialism from an unreflective white perspective.
Deleuze and the digital
(2021)
In his short and often quoted essay 'Postscript on the Societies of Control', Gilles Deleuze famously describes the structures of power in the dawning twenty-first century as driven by 'machines of a third type, computers', as novel and predominantly digital infrastructures. In fact, from a Deleuzian perspective the entire ecosystem of the digital transformation can be described as a larger shift in modes of production and the political economy. This essay proposes to read this 'technological evolution' as the power of algorithms and their material substance - digital infrastructures that entail a different mode of interaction between humans and technology. In looking at these infrastructures from a materialist position, my essay reconceptualises the digital as the unfolding logic of assemblages that have been shaping a 'long now' of technological modernity. In bringing a Deleuzian reading of infrastructures to the study of technology and society, this essay seeks to shed a new light on the political function-and the increasing abstraction-of infrastructures in the realm of the digital.
Digital surveillance fiction
(2021)
“Embodied Practices – Looking From Small Places” is an edited transcript of a conversation between theatre and performance scholar Sruti Bala (University of Amsterdam) and sociologist, criminologist and anthropologist Dylan Kerrigan (University of Leicester) that took place as an online event in November 2020. Throughout their talk, Bala and Kerrigan engage with the legacy of Haitian anthropologist Michel-Rolph Trouillot. Specifically, they focus on his approach of looking from small units, such as small villages in Dominica, outwards to larger political structures such as global capitalism, social inequalities and the distribution of power. They also share insights from their own research on embodied practices in the Caribbean, Europe and India and answer questions such as: What can research on and through embodied practices tell us about systems of power and domination that move between the local and the global? How can performance practices which are informed by multiple locations and cultures be read and appreciated adequately? Sharing insights from his research into Guyanese prisons, Kerrigan outlines how he aims to connect everyday experiences and struggles of Caribbean people to trans-historical and transnational processes such as racial capitalism and post/coloniality. Furthermore, he elaborates on how he uses performance practices such as spoken word poetry and data verbalisation to connect with systematically excluded groups. Bala challenges naïve notions about the inherent transformative potential of performance in her research on performance and translation. She points to the way in which performance and its reception is always already inscribed in what she calls global or planetary asymmetries. At the conclusion of this conversation, they broach the question: are small places truly as small as they seem?
Fin du globe
(2021)
This essay argues that Oscar Wilde noticeably contributed to the emerging discourse about world literature, even though his views in this regard have to be unearthed from the margins of his works, from his early and unpublished American lectures and 'between the lines' of his major critical essays. Wilde's implicit ideas around world literature can be understood as being closely related to his broader endeavour of redirecting and revaluing the pejorative discourse around 'decadence' in art and literature. More specifically, the arch-aesthete preferred to use the word 'romance' rather than 'decadence' (a term he hardly used at all in his writings), signalling a sensitivity attuned to what he called the 'love of things impossible'. This reconceptualization of the decadent outlook was to inspire a critical ideal of literature which relied on creatively activating the other as Other, culminating in a vision of intersubjective, transcultural and unlimited literary communication. Wilde's thought can be more specifically understood as anticipating central tenets of Gayatri Chakravorty Spivak's evocations of the planetary, thus preparing the way for an alterity-oriented understanding of literary cosmopolitanism.
From Brock to Brett
(2021)
This master's thesis in US American cultural studies posits that the phenomenon of rape culture represents a socio-cultural system of social power structures and cultural myths. Based on so-called rape myths, this system also constitutes an ideology. The thesis aims to demonstrate how these rape myths are instrumentalized in order to protect (primarily white, cis-male) perpetrators and instead assign responsibility to those affected by sexualized violence. In doing so, the thesis shows that young men like Brock Turner, who benefit from patriarchal power structures, grow up to become men like Brett Kavanaugh, who not only benefit from the fact that rape culture excuses their abusive behavior, but also from the fact that this enables them to reach positions of power through which they, as decision-makers, can in turn maintain the structures underlying rape culture.
The thesis focuses on the rape myths of so-called victim blaming and shaming as well as the victimization of perpetrators. These myths are examined by analyzing 19th-century newspaper articles and then traced into the 21st century. Based on Mary Douglas' theory on ideas of purity, the thesis shows the extent to which not only social categories, namely gender, race, socio-economic status, and age, but also the sexual purity or impurity of those affected have an impact on the societal response to rape cases.
Furthermore, the thesis demonstrates how female bodies function as an ideological battleground for political and social change in the US, and how perceived threats to the patriarchal status quo are framed in public discourse as moral dangers posed by female bodies. The paper argues that rape culture is driven by (white cis) male entitlement to female bodies but moreover to positions of power in the patriarchal system. The thesis shows how this system instrumentalizes rape culture to maintain its underlying structures that favor (cis) men and, in contrast, disadvantage (cis) women and other marginalized and non-heteronormative groups. This is illustrated by analyzing the 2016 Stanford rape case and the 2018 Kavanaugh hearing.