Summary Borders between states are spaces of aggression and anxiety about ownership, inclusion, exclusion and group identity, and they are often reinforced by shows of force that can yield to violence. Apartheid in South Africa was primarily and explicitly an attempt at controlling who could occupy space. The erection and maintenance of borders within the country, between spaces, became more aggressive and rigid as the era progressed and it became apparent that the Nationalist dream of racially pure spaces was not going to be feasible. Since the transition to democracy in 1994, borders have remained contested since different areas have continued to be apportioned, albeit informally, for different racial groups. Confident assertions of white supremacy yield to anxiety and even paranoia when owners feel that their borders are not secure. In this article, I explore the use of monstrous insect imagery in three post- transitional South African texts − The Ugly NooNoo (Buckland & Kani, 1994); District 9 (dir. Blomkamp, 2009) and Nineveh (Rose-Innes, 2011). In each of these texts, insects serve as metaphors for aggressive border-crossing by racial others, who are figured as undesirable and myriad.

中文翻译：

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“警务边界”：三个南非文本中昆虫的灭绝和迁移

总结 国家之间的边界是关于所有权、包容、排斥和群体认同的侵略和焦虑的空间，而且它们常常被可以屈服于暴力的武力展示所强化。南非的种族隔离主要是为了控制谁可以占据空间。随着时代的发展，国家内部、空间之间边界的建立和维护变得更加激进和僵化，很明显，民族主义纯种族空间的梦想是行不通的。自 1994 年向民主过渡以来，边界一直存在争议，因为不同的地区继续被分配给不同的种族群体，尽管是非正式的。当所有者觉得他们的边界不安全时，对白人至上的自信主张会屈服于焦虑甚至偏执。在这篇文章中，我探讨了在三个后过渡时期的南非文本中使用可怕的昆虫图像——丑陋的 NooNoo（巴克兰和卡尼，1994）；第 9 区（导演 Blomkamp，2009 年）和尼尼微（Rose-Innes，2011 年）。在这些文本中的每一个中，昆虫都充当了其他种族侵略性越境的隐喻，他们被认为是不受欢迎的和无数的。