Page 22 - Windhoek Graduation (20 May)(SESSION 2)(PhDs, Masters)
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Executive Dean: Dr Alfonse Mosimane
            Faculty of Education and Human Sciences
            SCHOOL OF HUMANITIES, SOCIETY AND DEVELOPMENT
            Associate Dean: Dr Martha Akawa

            DOCTOR OF PHILOSOPHY IN ENGLISH STUDIES

            CANDIDATE: MIDZI Penelope T




            CIRRICULUM VITAE

            Penelope Midzi was  born in Kwekwe,  Zimbabwe, and relocated  with her
            parents to Namibia in 2009. She completed her high school at Karibib Private
            School in 2012, after which she enrolled for tertiary studies at the University of
            Namibia. Her qualifications include a Bachelor of Arts in English and Clinical
            Psychology honours degree from the University of Namibia, as well as a Master of Arts in English Studies degree
            from the University of Namibia, which was conferred to her in April 2019, the same year she enrolled at the same
            institution for her PhD in English Studies.

            CANDIDATE’S DISSERTATION

            THE FEMINISATION OF POVERTY AND VICTIMHOOD IN DANGAREMBGA’S PRINT OEUVRE: CYCLICAL EVOCATIONS
            OF NERVOUS CONDITIONS, SURVIVAL, AND AGENCY

            The doctoral study was undertaken and completed under the supervision of Dr Nelson Mlambo (University of
            Namibia) as the Main Supervisor and Dr Agnes Simataa (University of Namibia) as the Co-Supervisor.

            Feminisation of poverty is a  term that  was  coined by Diana Pearce in 1976 after  observing an increased
            concentration of income poverty among women in America. This is the term that was applied in the analysis of
            Tsitsi Dangarembga’s print oeuvre, mainly focusing on the victimhood, cyclical evocations of nervous conditions,
            survival strategies and the forms of agency that Zimbabwean women experienced and are still experiencing
            as presented through this print oeuvre. The study employed a qualitative desktop literary research approach in
            the examination of three novels, Nervous Conditions (1988), The Book of Not (2006), and This Mournable Body
            (2018), which make up a trilogy spanning over 30 years; and She No Longer Weeps (1987), a play. The candidate
            employed  Africana Womanism, STIWANISM, and Nego-feminism  literary theories  to underpin  this  study, by
            examining the complex position that African women face in the light of the detrimental effects of colonisation
            and its impacts, as it integrates with traditional patriarchal structures as articulated in Dangarembga’s texts.

            Africana Womanism as a concept was used to accommodate the characteristics of the African society which
            are uniquely different because of the exclusive cultural, political, historical and social backgrounds, as the other
            feminisms are peculiar to their place of origin. STIWANISM understands the female struggles from the perspective
            of African feminism which is dependent on the commitment from both sexes, and not simply a ‘woman affair’
            as emphasised by other feminisms. Nego-feminism places both genders side by side as men and women, to
            try and negotiate their places in life, and establishing harmonious co-existence, with the negative patriarchal
            structures melting away.

            The study analysed how the author used the texts to expose issues related to post-colonial conditions, gender
            inequalities, cultural limitations, female self-definition and struggles for survival. The findings of the study revealed
            that the women in the Shona society are presented diversely depending on their specific socio-cultural
            background. Dangarembga strategically captured a world before and after independent Zimbabwe (1980s),
            where her main themes were her two protagonists’ struggles to reshape women’s heterosexuality and femininity
            in a religiously and culturally conservative society. The shared themes of womanhood that are depicted in all
            the texts are the need for a shift of women from the margins of the society to becoming priorities economically,
            socially, and culturally. This is the recurring theme whether the setting is in the 1980s or the 2000s, rural or urban;
            Shona women are still victims of the nervous conditions surrounding them, and it is through their agency that
            they can innovately navigate through the challenges they face on a daily basis.





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