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"My heart's land": The significance...

Hall, Lezlie Margaret.

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"My heart's land": The significance of topography and the natural world in the works of Olive Schreiner, Isak Dinesen, Beryl Markham, and Nadine Gordimer.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	"My heart's land": The significance of topography and the natural world in the works of Olive Schreiner, Isak Dinesen, Beryl Markham, and Nadine Gordimer./
Author:	Hall, Lezlie Margaret.
Description:	271 p.
Notes:	Source: Dissertation Abstracts International, Volume: 61-09, Section: A, page: 3580.
Contained By:	Dissertation Abstracts International61-09A.
Subject:	Literature, African. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9985562
ISBN:	9780599921382

"My heart's land": The significance of topography and the natural world in the works of Olive Schreiner, Isak Dinesen, Beryl Markham, and Nadine Gordimer.
Hall, Lezlie Margaret.

"My heart's land": The significance of topography and the natural world in the works of Olive Schreiner, Isak Dinesen, Beryl Markham, and Nadine Gordimer. - 271 p.

Source: Dissertation Abstracts International, Volume: 61-09, Section: A, page: 3580.

Thesis (Ph.D.)--The University of Iowa, 2000.

"My Heart's Land": The Significance of Topography and the Natural World in the Works of Olive Schreiner, Isak Dinesen, Beryl Markham, and Nadine Gordimer re-reads imperialist political attitudes toward indigenous African peoples and landscapes through the texts of four colonial women, and asserts that European and Afro-European women occupied a different position within an imperialist culture than their male counterparts and inhabited it in dissimilar and varied ways. Although their narratives do not always countermand colonialist claims to the continent, they often present an uneasy and doubtful alliance with them. This work offers a two-fold reexamination of the English colonialist project in Africa, specifically Kenya and South Africa. First, it explores the manner in which four women, Olive Schreiner, Isak Dinesen, Beryl Markham, and Nadine Gordimer, writing from the 1880s to the present, represented their lives under colonialism in ways that often opposed an imperialist agenda engineered and administered by men. Secondly, it analyzes these gender differences within an environmental framework; that is, it explores the manner in which these women constructed and inhabited the land, and understood and appreciated nature in their works. Schreiner uses the desert of South Africa to reconsider sexual identity and argue for an independent space for women. Dinesen provides a moment of historical rupture in which the colonial suddenly realizes a potentially erasable self in Africa. Through her questioning, rather than questing, female persona, she resists the sovereign "I," and uses the land to rework representations of identity. Markham, a self-proclaimed "child of Africa," produces a text of bi-culturality, and absents herself from the imperial agenda of attempting to "re-educate" or "enlighten" Africans. Finally, Gordimer addresses the aftermath of colonialism, and examines the impact policies of land alienation have had on both indigenous and Afro-European women. In their texts, these four women provide a literary dialogue in which gender, race, and territory intersect, and help us better understand how the female voice encoded in her narratives in varying degrees a sustained critique about life under imperialism.

ISBN: 9780599921382Subjects--Topical Terms:

1022872
Literature, African.

"My heart's land": The significance of topography and the natural world in the works of Olive Schreiner, Isak Dinesen, Beryl Markham, and Nadine Gordimer.
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245 1 0 $a "My heart's land": The significance of topography and the natural world in the works of Olive Schreiner, Isak Dinesen, Beryl Markham, and Nadine Gordimer.
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500 $a Source: Dissertation Abstracts International, Volume: 61-09, Section: A, page: 3580.
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520 $a "My Heart's Land": The Significance of Topography and the Natural World in the Works of Olive Schreiner, Isak Dinesen, Beryl Markham, and Nadine Gordimer re-reads imperialist political attitudes toward indigenous African peoples and landscapes through the texts of four colonial women, and asserts that European and Afro-European women occupied a different position within an imperialist culture than their male counterparts and inhabited it in dissimilar and varied ways. Although their narratives do not always countermand colonialist claims to the continent, they often present an uneasy and doubtful alliance with them. This work offers a two-fold reexamination of the English colonialist project in Africa, specifically Kenya and South Africa. First, it explores the manner in which four women, Olive Schreiner, Isak Dinesen, Beryl Markham, and Nadine Gordimer, writing from the 1880s to the present, represented their lives under colonialism in ways that often opposed an imperialist agenda engineered and administered by men. Secondly, it analyzes these gender differences within an environmental framework; that is, it explores the manner in which these women constructed and inhabited the land, and understood and appreciated nature in their works. Schreiner uses the desert of South Africa to reconsider sexual identity and argue for an independent space for women. Dinesen provides a moment of historical rupture in which the colonial suddenly realizes a potentially erasable self in Africa. Through her questioning, rather than questing, female persona, she resists the sovereign "I," and uses the land to rework representations of identity. Markham, a self-proclaimed "child of Africa," produces a text of bi-culturality, and absents herself from the imperial agenda of attempting to "re-educate" or "enlighten" Africans. Finally, Gordimer addresses the aftermath of colonialism, and examines the impact policies of land alienation have had on both indigenous and Afro-European women. In their texts, these four women provide a literary dialogue in which gender, race, and territory intersect, and help us better understand how the female voice encoded in her narratives in varying degrees a sustained critique about life under imperialism.
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