Shane Moran - Alternation Journal

C'orlnne .sunr/~i~th X,vo wo~orrzen Critics c7nd .\'o~lfh / ~~?~CCIYE Eng[is/~ Literor-)) cS/~~tlies
odied in English Literature, and
relationship between white and
111oral and social collventions of the period. Accordingly, her critical method
South Africans is defined in terms of liberal patronage rather than any kind of
dominated by detailed attention to literary form (rhythm, use of language and ilnage
and her critical gaze is directed towards anarrow canon ofEuropean texts.
Finally, what does the teaching of English Literature in South Africa entail
Van Heyningen? Or, to return to the original question: how might f;llglisl
contribute to a critical public sphere and democratic citizenly in South Africa?
South Africa from Aberdeen in
Heyningen's understanding of this question is best grasped by focusing on her thoug
ebosch, whereupon J.G. Taylor
about the encounter between black South Africans and Europeal high culture alld
t the University of Cape Town.
attendant aesthetic imperatives. For Van Heyningen, art reveals the universal huln
zes in the early 1930s. In 1939,
riodical Trek-then edited by
condition, 'penetrates through all the 'wrappings to the lnan in all men'
reviews and feature articles
and-in a version of Matthew Arnold's Culture and Anarchy thesis-she su tially drawn towards a cluster
art can combat race prejudice by directing individuals towards their cornmoll hu112~n f whom were theinselves immigrants) centred at the
John Dronsfield's drawings of the coloured corn~nunity are held up as
because in them
lor subsequently became a member of the Trotskyist
helped form the Non-European Unity Movement ill
r core through the 1940s and 1950s' (Drew 1996:36).
we see tile colo~~red people not as a class or a racc, as wc are accustomed to
sccing tllem. but as a pcople. This is why ofall tliosc who serve l~nmanit)~. the
oration with 1.B. Tabata, founder member of the All
artist p1:iys [lie greatest part. even \vhen aii unconscious one. in b~~ildirrg up
e NEUM. Described by Tom Lodge (1 983 39) as 'the
oiir ii~iman solidarity. Wlicn Sliakespearz turned traitor and tried to write a
red intellectuals', the NEUM was part of a new spirit
pop~iiar anti-Semitic play. he couldn't (lo it. llis imagination took control.
ican, Indian and Coloured
tile deeper part of liis artistry struggled with the sl~allower part. with the
40s, and which was in marked
result Lliat the play became the monster it is. and I'ortia, Antollio and .lessica ation. According to Neville
dxvindle and ti-eeze, against their creator's will, because Shylock is realised
(I 942: 12).
a Iliglrly distinctive Soutlr African liberation organisatio~l [wl~ich] . . .
An article entitled 'Entering a New World' published in the Afrikaans periodical, remained independent and mostly derisive of other more promirte~lt
ITand~rg, records her experience of marking the English examinatio1.r papers of African national opposition forces (1990:92)'.
students.
ent, Taylor gave lectures in
[Iln the Bantu essays 1 saw apeople turning over. waking up in the brave nekv
nd was also the author of a number
world. and rubbing their eyes wit11 wonder: and I found it so touching and so
interesting that I should like Lo show it to otl~crpeople (194611:9).
n.jan~ili Farrington. Lancelot I-fogben
Her excitement at the prospect of being witness to this intoxicating and liberatin t student movements in Britain. See
cultural encounter is marred only by a concern that this might soon be denied them:
One ruust fear Ibr thcse young Hantu. wlien one sczs how, rooted irl the old
tribal tradition. tiley love to'spread tljcir branches a~ld breathe and flowel;
and expect to go Ilowering, in the new and enchanting air of white
Rasool, DoraTaylor's contribution to
civilisation .... Will they swectril the air? Or must they withcr too'? Mllst frican poliLics and 1ettel.s Iias been largely ignol-ed. Thcl-e is a short biographical note in
tiicy too hc poisoned? (1 94611: 14) in South Africa. The Role oJ [he
name Nosipho Ma.jekc. For two short