Developing images of self: childhood, youth and family photographs in works by three South African women artists
- Authors: Schmahmann, Brenda
- Date: 2012
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147571 , vital:38650 , https://doi.org/10.1162/AFAR_a_00024
- Description: In 1996, South African artist Bridget Baker (b. 1971), completed So It Goes (Fig. 1), a work comprising four Vicks Vapour Rub containers which each feature the same photograph. A representation of the artist being taught to swim by her father, who died when she was a child, this is the only shot she possesses that shows them together. The photograph is overlaid with progressively increased amounts of the Vapour Rub until, in the last of the four tins, the image is almost entirely obliterated.
- Full Text:
- Authors: Schmahmann, Brenda
- Date: 2012
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147571 , vital:38650 , https://doi.org/10.1162/AFAR_a_00024
- Description: In 1996, South African artist Bridget Baker (b. 1971), completed So It Goes (Fig. 1), a work comprising four Vicks Vapour Rub containers which each feature the same photograph. A representation of the artist being taught to swim by her father, who died when she was a child, this is the only shot she possesses that shows them together. The photograph is overlaid with progressively increased amounts of the Vapour Rub until, in the last of the four tins, the image is almost entirely obliterated.
- Full Text:
Trauma, (Mis) Perception and Memory in Uwem Akpan's ‘Fattening for Gabon’:
- Authors: Njovane, Thandokazi
- Date: 2012
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142726 , vital:38111 , https://doi.org/10.1080/00138398.2012.731303
- Description: It is a generally accepted principle in contemporary poststructuralist literary studies that language can only ever partially succeed in signifying that which it purports to signify. Where the profoundly dislocating experience of trauma is concerned, language loses even this partial success, and the victim of psychic violence is forced to resort to silence, a silence which is all the more expressive precisely because it overwhelms language. Thus, trauma fiction reveals what Steiner refers to as ‘the revaluation of silence’ which emphasises ‘the conceit of the word unspoken’ (67). Uwem Akpan's short story, ‘Fattening for Gabon’, from his collection Say You're One of Them (2008), is concerned with the culpability of socio-economic structures in giving rise to and perpetuating trauma in children. This paper will examine the retrospective narration of the protagonist by paying particular attention to the motif of memory. A discussion of the painful ambivalence of the experience and textualization of trauma, as conveyed through the story's use of silence and the disruption of the conventional bildung typical of narratives of remembrance, will form a substantial part of the paper.
- Full Text:
- Authors: Njovane, Thandokazi
- Date: 2012
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142726 , vital:38111 , https://doi.org/10.1080/00138398.2012.731303
- Description: It is a generally accepted principle in contemporary poststructuralist literary studies that language can only ever partially succeed in signifying that which it purports to signify. Where the profoundly dislocating experience of trauma is concerned, language loses even this partial success, and the victim of psychic violence is forced to resort to silence, a silence which is all the more expressive precisely because it overwhelms language. Thus, trauma fiction reveals what Steiner refers to as ‘the revaluation of silence’ which emphasises ‘the conceit of the word unspoken’ (67). Uwem Akpan's short story, ‘Fattening for Gabon’, from his collection Say You're One of Them (2008), is concerned with the culpability of socio-economic structures in giving rise to and perpetuating trauma in children. This paper will examine the retrospective narration of the protagonist by paying particular attention to the motif of memory. A discussion of the painful ambivalence of the experience and textualization of trauma, as conveyed through the story's use of silence and the disruption of the conventional bildung typical of narratives of remembrance, will form a substantial part of the paper.
- Full Text:
Violence and the cultural logics of pain: representations of sexuality in the work of Nicholas Hlobo and Zanele Muholi
- Authors: Makhubu, Nomusa
- Date: 2012
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147814 , vital:38675 , https://0-doi.org.wam.seals.ac.za/10.1080/02560046.2012.723843
- Description: Nicholas Hlobo and Zanele Muholi have raised critical issues regarding sexual identity in patriarchal contexts since they premiered at the Michael Stevenson Gallery in 2005. Nicholas Hlobo, a sculptor and performance artist, and Zanele Muholi, a photographer and activist, explore different ways of representing sexuality – in particular, homosexuality. Hlobo investigates notions of masculinity and the practice of circumcision, while Muholi documents the existence of transgender and homosexuality in township spaces (her recent work expands to various other spaces). This article focuses on the roles that violence plays in the sexual politics represented in Hlobo and Muholi’s work.
- Full Text:
- Authors: Makhubu, Nomusa
- Date: 2012
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147814 , vital:38675 , https://0-doi.org.wam.seals.ac.za/10.1080/02560046.2012.723843
- Description: Nicholas Hlobo and Zanele Muholi have raised critical issues regarding sexual identity in patriarchal contexts since they premiered at the Michael Stevenson Gallery in 2005. Nicholas Hlobo, a sculptor and performance artist, and Zanele Muholi, a photographer and activist, explore different ways of representing sexuality – in particular, homosexuality. Hlobo investigates notions of masculinity and the practice of circumcision, while Muholi documents the existence of transgender and homosexuality in township spaces (her recent work expands to various other spaces). This article focuses on the roles that violence plays in the sexual politics represented in Hlobo and Muholi’s work.
- Full Text:
- «
- ‹
- 1
- ›
- »