ENG2603 Assignment 3
(COMPLETE ANSWERS) 2024
- DUE 13 September 2024
100% GUARANTEED
, ENG2603 Assignment 3 (COMPLETE ANSWERS) 2024 -
DUE 13 September 2024
In Welcome to Our Hilbrow, Refentše is depicted as a
creative writer who notes a problem with the suppression
of writing literature in African languages. In one of the
passages in the novel Refentše is addressing Refilwe
about the difficulties of writing in a language NOT of one’s
own. Refentše says: She did not know that writing in an
Afri-can language in South Africa could be such a curse.
She had not anticipated that the publishers’ reviewers
would brand her novel vulgar. Calling shit and genitalia by
their cor-rect names in Sepedi was apparently regarded
as vulgar by these reviewers, who had for a long time
been reviewing works of fiction for educational
publishers, and who were deter-mined to ensure that
such works did not of-fend the systems that they served.
These systems were very inconsistent in their attitudes to
education. They considered it fine, for instance, to call
genitalia by their cor-rect names in English and Afrikaans
biology books—even gave these names graphic pic-tures
as escorts—yet in all other languages, they criminalised
such linguistic honesty. . . . In 1995, despite the so-called
new dispensa-tion, nothing had really changed. The leg-
acy of Apartheid censors still shackled those who
dreamed of writing freely in an African The leg-acy of
Apartheid censors still shackled those who dreamed of
writing freely in an African language. Publishers, scared of
being found to be on the financially dangerous side of the
censorship border, still rejected manuscripts that too
realistically called things by their proper names—names
that people of Tirag-along and Hillbrow and everywhere in
the world used every day. (Welcome to Our Hillbrow, 56,
(COMPLETE ANSWERS) 2024
- DUE 13 September 2024
100% GUARANTEED
, ENG2603 Assignment 3 (COMPLETE ANSWERS) 2024 -
DUE 13 September 2024
In Welcome to Our Hilbrow, Refentše is depicted as a
creative writer who notes a problem with the suppression
of writing literature in African languages. In one of the
passages in the novel Refentše is addressing Refilwe
about the difficulties of writing in a language NOT of one’s
own. Refentše says: She did not know that writing in an
Afri-can language in South Africa could be such a curse.
She had not anticipated that the publishers’ reviewers
would brand her novel vulgar. Calling shit and genitalia by
their cor-rect names in Sepedi was apparently regarded
as vulgar by these reviewers, who had for a long time
been reviewing works of fiction for educational
publishers, and who were deter-mined to ensure that
such works did not of-fend the systems that they served.
These systems were very inconsistent in their attitudes to
education. They considered it fine, for instance, to call
genitalia by their cor-rect names in English and Afrikaans
biology books—even gave these names graphic pic-tures
as escorts—yet in all other languages, they criminalised
such linguistic honesty. . . . In 1995, despite the so-called
new dispensa-tion, nothing had really changed. The leg-
acy of Apartheid censors still shackled those who
dreamed of writing freely in an African The leg-acy of
Apartheid censors still shackled those who dreamed of
writing freely in an African language. Publishers, scared of
being found to be on the financially dangerous side of the
censorship border, still rejected manuscripts that too
realistically called things by their proper names—names
that people of Tirag-along and Hillbrow and everywhere in
the world used every day. (Welcome to Our Hillbrow, 56,
