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The contemporary South African trauma novel: Michiel Heyns' Lost Ground (2011) and Marlene van Niekerk's The Way of the Women (2008)

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dc.title The contemporary South African trauma novel: Michiel Heyns' Lost Ground (2011) and Marlene van Niekerk's The Way of the Women (2008) en
dc.contributor.author Mengel, Ewald
dc.relation.ispartof Anglia-Zeitschrift Fur Englische Philologie
dc.identifier.issn 0340-5222 Scopus Sources, Sherpa/RoMEO, JCR
dc.date.issued 2020
utb.relation.volume 138
utb.relation.issue 1
dc.citation.spage 144
dc.citation.epage 165
dc.type article
dc.language.iso en
dc.publisher De Gruyter
dc.identifier.doi 10.1515/ang-2020-0007
dc.relation.uri https://www.degruyter.com/view/journals/angl/138/1/article-p144.xml
dc.description.abstract After the end of apartheid in 1990 and the new constitution of 1994, the genre of the contemporary South African novel is experiencing a heyday. One reason for this is that, with the end of censorship, the authors can go about unrestraint to take a critical look at the traumatized country and the state of a nation that shows a great need to come to terms with its past. In this context, trauma and narration prove to be a fertile combination, an observation that stands in marked contrast to the deconstructionist view of trauma as 'unclaimed' experience and the inability to speak about it. Michiel Heyns' Lost Ground (2011) and Marlene van Niekerk's The Way of the Women (2008) are prime examples of the contemporary South African trauma novel. As crime fiction, Lost Ground not only tells a thrilling story but is also deeply involved in South African politics. The novelist Heyns plays with postmodernist structures, but the real strength of the novel lies in its realistic milieu description and the analysis of the protagonist's traumatic 'entanglements'. The Way of the Women is mainly a farm novel but also shows elements of the historical novel and the marriage novel. It continues the process of the deconstruction of the farm as a former symbol of the Afrikaner's pride and glory. Both novels' meta-fictional self-reflections betray the self-consciousness of their authors who are aware of the symbolization compulsions in a traumatized country. They use narrative as a means of 'working through', coming to terms with trauma, and achieving reconciliation. Both novels' complex narrative structures may be read as symbolic expressions of traumatic 'entanglements' that lie at the heart of the South African dilemma. © 2020 Walter de Gruyter GmbH, Berlin/Boston. en
utb.faculty Faculty of Humanities
dc.identifier.uri http://hdl.handle.net/10563/1009632
utb.identifier.scopus 2-s2.0-85082319652
utb.identifier.wok 000519965300008
utb.source j-scopus
dc.date.accessioned 2020-04-03T15:08:55Z
dc.date.available 2020-04-03T15:08:55Z
dc.rights Attribution-NonCommercial-NoDerivs 3.0 Unported
dc.rights.uri http://creativecommons.org/licenses/by-nc-nd/3.0/
dc.rights.access openAccess
utb.contributor.internalauthor Mengel, Ewald
utb.wos.affiliation [Mengel, Ewald] Tomas Bata Univ Zlin, Zlin, Czech Republic
utb.scopus.affiliation Tomas Bata University, Zlin, Czech Republic
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