By Jean-Pierre Durix (auth.)
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Extra info for Mimesis, Genres and Post-Colonial Discourse: Deconstructing Magic Realism
Example text
Lukacs' vision appears to be that of a nostalgic man who thinks he can isolate a moment close to the paradise of origins when art was simpler because it meant fusion with the supernatural. The epic has also given rise to a specific form of drama developed by the German Expressionist Erwin Piscator in the 1920s and by Bertold Brecht. The intention was to educate and entertain at the same time. But the audience never forgot that they were in a theatre. A major purpose of this art form was to urge the audience to react and take action to restore justice in their own world after seeing the play.
His narrator apostrophizes the responsible readers who might feel concerned with the revolutionary mission of artists: You hearers, seers, imaginers, thinkers, rememberers, you prophets called to communicate truths of the living way to a people fascinated unto death, you called to link memory with forelistening, to join the unaccountable seasons of our flowing to unknown tomorrows even more numerous, communicators doomed to pass on truths of our origins to a people rushing deathward, grown contemptuous in our ignorance of our source, prejudiced against our survival, how shall your vocation's utterance be heard?
Initially enigmatic, they are later related to the ritual dance of the black man who is thus reinstated as the rightful owner of the land. S. Naipaul's A House for Mr Biswas - is a common metaphor in the New Literatures which was interpreted by the authors of The Empire Writes Back1 in terms of the constitution of post-colonial identity. In Rabie's story, the action of erecting the white man's house soon evokes building the 'house' or nation of South Africa, a struture in which the two 'races' should be able to cohabit.