英语论文网

l, he has been acclaimed as “one of the most high-spirited and irreverent new voices of South Africa’s post-apartheid literary scene” by the New York Times. (Donadio, 2006) In recent years, South African scholars have paid increasing attention to his works while most Chinese researchers are still unfamiliar with Niq Mhlongo’s works. 

The second part deals with the domestic research on Mhlongo’s Dog Eat Dog and Way Back Home. In 2017, Jiang Hui, a visiting scholar at University of Witwatersrand in South Africa, published an interview article When Freedom Comes Suddenly---Interview with South African Novelist Niq Mhlongo, which mainly reveals Mhlongo’s literary influence, creative motives, audiences of fiction, and so on. It also discusses the similarities and differences between Mhlongo’s debut novel Dog Eat Dog and Wang Meng’s Long Live Youth, pointing out that South African young people lack the ability to manage freedom and the subject consciousness to write national history after they gained hard-won freedom and democracy. (Jiang, 2017)

Chapter 2 Njabulo S. Ndebele’s Ordinary Theory

2.1 The Ordinary Theory: End of Protest Literature

Ndebele (2015:60) defines the ordinary as “the opposite of the spectacular”. “It is sobering rationality; it is the forcing of attention on necessary detail.” (Ndebele, 2015:60) This definition of the ordinary reveals that “the opposite of the spectacular” is a key phrase to understand what the ordinary is. In order to figure out the meaning of the “ordinary”, it is crucial to get to know what the “spectacular” is in the first place. Actually, the “spectacular” is a word chosen by Ndebele to generalize the typical characteristics of South African Black English literature. In his view, “The history of black South African literature has largely been the history of the representation of spectacle” and the form of literary representation is “highly dramatic and highly demonstrative”. (Ndebele, 2015:44) He briefly reviews the history of South African black English literature from the stories of R.R.R. Dhlomo (the beginning of South African Black English fiction in 1928), to the stories in Drum magazine in the early years of fifties and to the Protest Literature in the 1950s and 1960s. Moreover, a detailed analysis of Protest Literature has been given. The first two periods, in his opinion, demonstrate a similar penchant for the spectacular while Protest Literature reveals “the spectacular ugliness of the South African situation in all its forms”. (Ndebele, 2015:48) Based on these, he summarizes the major characteristics of the “spectacular” at full length.

“The spectacular documents; it indicts implicitly; it is demonstrative, preferring exteriority to interiority; it keeps the larger issues of society in our minds, obliterating the details; it provokes identification through recognition and feeling rather than through observation and analytical thought; it calls for emotion rather than conviction; it establishes a vast sense of presence without offering intimate knowledge; it confirms without necessarily offering a challenge. It is the literature of the powerless identifying the key factor responsible for their powerlessness.”              (Ndebele, 2015:55) 

2.2 Two Key Points of the Ordinary Theory

This thesis argues that redefining political rel本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。