The epistemic codification of satiric indictment and the decrying gender grotesque in Winnie Madikizela-Mandela’s 491 days and the Zimbabwean maverick movie, Neria.

Abstract

Language, law, and literatures have at times discernibly and theatrically attempted the development of satire in academic discourses. They have raised a poignant question on the articulation of gender in society. Critical discourses have valorised the epistemic exegesis on how language is transfigured and re-interpreted to spur the dramaturgy and trajectory of gender through autobiography, biography, fiction, and movies. This article crystallises the societal perception of how satire has been used to ridicule and make distinctions by invoking scorn and pity on both men and women in society. The article probes the sensitivity of contemporary male obsessions with phallic power under an apartheid government. It dovetails through the existing epistemic configurations exhibited to recuperate women in revoking the phallocentric codifications in Winnie Madikizela-Mandela’s epoch-making autobiography, 491 Days (1969). With the symbolic, ironic, iconic, and satiric prison number of “1322/69,” Winnie Madikizela-Mandela’s anti-apartheid autobiography re-invokes the male imperative devices built up for years against vulnerable Black females and weak Black males in the apartheid South African regime. Similarly, the same epistemic vein and codification are obsessively projected by possessed and aggressive phallic patriarchs in the Zimbabwean film Neria (1992). The article relies on the theory of Nawal El Saadawi, which proposes confrontation on the questions of female polarisation, women’s objectification, and the quest for resistance against legally recognised social exegesis. This includes the application of coercive force and the rejection of satiric linguistic indictments against women and the weak as exemplified in the autobiographic and filmic works from South Africa and Zimbabwe.