The primary aim of this study is to contextualize contemporary migrant experience in South Africa and the diverse and creative ways this has been captured in poetic forms. The whole notion of postcolonial mobilities within the globalized context of the all-subsuming movement known as globalization, has been employed by these poets. With Africa itself – to paraphrase Manthia Diawara (1998) – often characterized as a continent sitting on top of infectious diseases, strangled by corruption and tribal vengeance, and populated by people with hands and mouths open to receive international aid – the migrant’s experience in South Africa provides a basis for the interrogation of the intractable term known as globalization or what Fredric Jameson (1998) has described as ‘a sign of the emergence of a new kind of social phenomenon, and one that falls outside the established academic disciplines’. Rodwell Makombe’s terse haiku-like poem entitled ‘Why are you here’, among other contributions in the anthology, Splinters of a Mirage Dawn, summarizes the migrant’s experience: ‘Please Sir, I can’t go back to that country/Look at the boils on my back/If you send me back there, they will finish me off’ (Makombe 20). Where ‘that country’ is located remains an object of mere speculation but the migrant parades unabashedly the ‘boils on my back’ as an identity – an identity which the people ‘waiting to finish me off’ are ready to reinforce if ‘you send me back there’. To inhabit ‘riparian zones’ as another contributor to Splinters of a Mirage Dawn, Sarah Rowland Jones (21), has termed it, ‘ … those which threaten infestation,/are subject to compulsory removal’. From this perspective, the study examines globalization and the cultural, political and intellectual space it occupies, including the transcolonial situation it animates. Mapping the transcolonial situation implies an awareness of the local emergence of difference or what Fredric Jameson describes further as ‘specificity’ against ‘the old universalism that so often underwrote an imperial knowledge/power system’ (Jameson xiii), among other conceptual axes. The poets employ a combination of poetic forms and artistic experimentations, ranging from the Haiku and Spoken Word Poetry to Performance Poetry and African oral traditional modes, to convey the varied and diverse range of the migrants’ experience.

中文翻译：

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“你为什么在这里？”：多元文化主义与移民——南非移民诗歌研究

本研究的主要目的是将南非的当代移民经历以及以诗意形式捕捉到的多样化和创造性方式置于语境中。在被称为全球化的无所不包的运动的全球化背景下，后殖民流动的整个概念已被这些诗人采用。对于非洲本身——套用 Manthia Diawara (1998) 的话说——通常被描述为一个处于传染病之上的大陆，被腐败和部落报复扼杀，并且居住着张开双手张嘴接受国际援助的人——移民在南方的经历非洲为质疑被称为全球化或弗雷德里克詹姆森（Fredric Jameson，1998）所描述的“一种新型社会现象出现的标志，和一个不属于既定学科的学科”。Rodwell Makombe 的一首类似俳句的简洁诗题为“你为什么在这里”，以及《幻影黎明的碎片》选集中的其他贡献，总结了移民的经历：“先生，我不能回到那个国家/看看我背上长了疖子/如果你把我送回那里，他们会把我弄死'（Makombe 20）。“那个国家”的位置仍然只是猜测的对象，但移民毫不掩饰地将“在我背上沸腾”作为一种身份——如果“你送我”，“等着把我干掉”的人们准备加强这种身份回到那里'。作为幻影黎明分裂的另一个贡献者，莎拉·罗兰·琼斯 (Sarah Rowland Jones)（21 岁）将其居住在“河岸区”中，称其为“……威胁侵扰的那些，/必须被强制移除”。从这个角度来说，该研究考察了全球化及其所占据的文化、政治和知识空间，包括它所激发的跨殖民地局势。映射跨殖民地情况意味着意识到差异的本地出现，或者弗雷德里克詹姆逊进一步描述为“特殊性”，以反对“经常支持帝国知识/权力体系的旧普遍主义”（詹姆逊十三世），以及其他概念轴。诗人运用诗歌形式和艺术实验相结合，从俳句和口语诗到表演诗和非洲口头传统模式，传达了移民经历的多样化和多样化。映射跨殖民地情况意味着意识到差异的本地出现，或者弗雷德里克詹姆逊进一步描述为“特殊性”，以反对“经常支持帝国知识/权力体系的旧普遍主义”（詹姆逊十三世），以及其他概念轴。诗人运用诗歌形式和艺术实验相结合，从俳句和口语诗到表演诗和非洲口头传统模式，传达了移民经历的多样化和多样化。映射跨殖民地情况意味着意识到差异的本地出现，或者弗雷德里克詹姆逊进一步描述为“特殊性”，以反对“经常支持帝国知识/权力体系的旧普遍主义”（詹姆逊十三世），以及其他概念轴。诗人运用诗歌形式和艺术实验相结合，从俳句和口语诗到表演诗和非洲口头传统模式，传达了移民经历的多样化和多样化。