place of authenticity – though the poet is concerned to tag his own identity as male.
In Ingoapele Madingoane’s Africa My Beginning (Johannesburg: Ravan Press,
1988), the dichotomies are starker: the mother is the comforting custodian of
Africanness who serves to guarantee the ‘manhood’ of Africa’s black men (pp. 4–5).
See also Deborah Gaitskell and Elaine Unterhalter, ‘Mothers of the nation: a comparativeanalysis’, in Nira Yuval-Davis and Floya Anthias (eds), Woman-NationState (London: Macmillan 1989), p. 72. It is worth adding that, in societies where
Postcolonial women writers in a transnational frame
’s Butterﬂy Burning’, and Emmanuel Chiwome, ‘A comparativeanalysis of Solomon Mutswairo and Yvonne Vera’, in Robert Muponde and Mandi
Taruvinga (eds), Sign and Taboo: Perspectives on the Poetic Fiction of Yvonne Vera
(Harare: Weaver Press, 2002), pp. 108 and 179–90, respectively.
Fredric Jameson, ‘Third-World literature in the era of multinational capitalism’,
Social Text, 15 (1986), 65–88.
Gillian Rose, Feminism and Cultural Geography: The Limits of Geographical
Knowledge (Oxford: Polity Press, 1993).
Rosemary M. George, The Politics of Home: Postcolonial Relocations and
Literary appreciation, comparatism, and universalism in the Straits
shift after 1700 from a rhetorical culture where reading was primarily seen as an instrument of social power to a new kind of cultural arrangement centred on literary appreciation, in particular on a close reading of literary ‘classics’ (western and non-western). 19 In this formulation, literature became the ‘domain of a universalized, cosmopolitan discourse of the value of culture’, which simultaneously sought to theorise culture as, in Arnold’s words, ‘the best that has been thought or said’ and to see it trans-historically as ‘the fruit of comparativeanalysis
(perhaps such details
were uncertain until a very late stage); Okes is named the following
year, when an additional 300 copies were ordered.
The earliest surviving printed and illustrated text of a European royal
entertainment – in this case, an entry into Bruges – was published in
Paris in 1515 (see Kipling, ‘The King’s Advent Transformed’, pp. 92
and 121 n. 4). Prior to that, manuscript accounts of ﬁfteenth-century
London pageantry were sometimes compiled (see Barron, ‘Pageantry
on London Bridge’, p. 93). Comparativeanalysis of ‘festival books’ as
a genre has been