Supporting Advocacy, Deliberation, and Civic Learning in the Classroom

We live, teach and learn in complicated times. As faculty in higher education, we have the opportunity to help uphold the civic purpose of higher education. We are accustomed to helping students navigate academic information, and to equipping them for more standard academic tasks. Through thoughtful course design, we can also help our students become better consumers and evaluators of less traditionally academic information: from critically interpreting what they read and see in the news media, to engaging the arguments of their friends, peers and family members. Further, we can challenge our students to use these evaluative skills to engage in debate and advocacy activities around critical issues of the day

Crime fiction, South Africa : a critical introduction

Crime fiction is an emergent category in South African literary studies. This introduction positions South African crime fiction and its scholarship in a global lineage of crime and detective fiction. The survey addresses the question of its literary status as ‘highbrow’ or ‘lowbrow’. It also identifies and describes two distinct sub-genres of South African crime fiction: the crime thriller novel; and the literary detective novel. The argument is that South African crime fiction exhibits a unique capacity for social analysis: a capacity which is being optimised by authors and interrogated by scholar

Screaming 'Black' Murder: Crime Fiction and the Construction of Ethnic Identities

A significant segment of crime fiction is concerned with the representation of ethnic identities and may to some extent be considered paradigmatic of the participation of literary texts in discourses on race and minorities. This article explores constructions of ethnic identities in American, British, and South African crime fiction from the 1920s to the early twenty-first century. In particular, the focus will be on such texts in which the ethno-cultural identity of the detective gives special prominence not only to the ethnic particularity of the fictional character itself and of its environs but frequently also to that of its author. Main texts discussed are Rudolph Fisher’s The Conjure Man Dies (1932), Earl Derr Biggers’ The House Without a Key (1925) and The Black Camel (1929), Walter Mosley’s Devil in a Blue Dress (1990) and Little Scarlet (2004) as well as James McClure’s The Gooseberry Fool (1974) and Patrick Neate’s City of Tiny Lights (2005). It is argued that all of these texts have a distinct subversive potential of which the construction of ethnic identities becomes the main vehicle because these identities are the products and the catalysts of the conflicts negotiated in ethnic crime fiction and correlating to ‘reality’

En-gendering theatre in Eritrea : the roles and representations of women in the performing arts

This thesis is a first attempt at writing a modern theatre historiography of Eritrea, with emphasis on the roles and representations of women. It covers a period of some fifty years, from the late 1930s to 1991, the year of the country's de facto independence. The study is divided into three major sections; Part One providing the context of theatre in Eritrea, Part Two dealing with the emergence of modern Eritrean theatre arts, and Part Three covering the rise of the fighter performing arts during the thirty-year liberation struggle against Ethiopia. After an introduction to Eritrean history and theatre arts as well as the theoretical framework of the study, Chapter 1 examines women's roles and representations in Eritrean societies and selected traditional performing arts as the matrix onto which modern performance practices are built. Chapter 2 starts with a portrayal of early urban women performers in the late 1930s and early 1940s as singers and krar-players in local drinking houses, followed by the gradual expansion of Eritrean theatre arts under the British Military Administration. Thereafter the establishment of three well-known Eritrean theatre associations is examined, with Chapter 3 focusing on the Asmara Theatre Association, Mahber Theatre Asmara, whose work was eventually brought to a halt by the rise of the Ethiopian Derg regime. An investigation into the cultural troupes of the two liberation movements, the Eritrean Liberation Front (ELF) and the Eritrean People's Liberation Front (EPLF) is dealt with in Part Three. Chapter 4 outlines theatre work in the ELF, while Chapters 5-7 present details of EPLF performing arts. Chapter 5 begins with early performance activities until the strategic retreat in 1978/79, followed by Chapter 6 with an analysis of drama work after the reorganisation of the Division of Culture. Chapter 7 covers theatre activities in mass organisations and supporting departments and outlines cultural developments during the final years of the liberation war. In conclusion, major trends and directions in post-independence Eritrean theatre arts are summarised as they continue to negotiate recent socio-political problems and developments