FyaMoneka: exploring the erasure of women within Zambian history
- Authors: Kalichini, Gladys Melina
- Date: 2018
- Subjects: Women -- Zambia -- Historiography , Women -- Zambia -- History , Women -- Political activity -- Zambia , Women -- Zambia -- Social conditions , Collective memory -- Zambia , Death in art , Feminism -- Zambia , Male domination (Social structure) -- Zambia , Sex discrimination against women -- Zambia
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/63186 , vital:28371
- Description: This Master of Fine Art submission, comprising of an exhibition and mini-thesis, explores the erasure of women’s narratives from Zambian history and collective memory. As a point of entry into the broader conversation of narratives of women marginalised in certain historicised events, this research analyses the narratives of Julia Chikamoneka and Alice Lenshina that are held in the collective memory of Zambian history. It focuses on the representations of narratives of women during and beyond colonial times, while hinging particularly on these two characters’ encounters with and against British rule in Northern Rhodesia (Zambia). Titled FyaMoneka: Exploring the Erasure of Women Within Zambian History, the mini-thesis examines the representations and positioning of women’s political activities within the liberation narrative that is recorded in the National Archives of Zambia (NAZ) and the United National Independence Party (UNIP) Archives. This mini-thesis highlights the fact that women have been written out of Zambia’s liberation narrative in the NAZ and the UNIP Archives, and remains mindful of the inherent modifications and erasures of women’s accounts over time, including the obfuscation or the absence of certain archival materials. This mini-thesis prospectively reconstructs Chikamoneka’s and Lenshina’s narratives using traces of their histories within collective memory through re/visiting processes of re-archivisation. The exhibition, titled ChaMoneka (It Has Become Visible): UnCasting Shadows, explores death and representations of death, where death is conceptualised as a metaphor for the erasure of women’s historical narratives, whereas the body represents the narrative. Based on an exploration of the relationship and tensions between collective memory and history, death within this exhibition is thematised as the course of fading away and a continuous process in which women’s narratives are erased.
- Full Text:
- Date Issued: 2018
- Authors: Kalichini, Gladys Melina
- Date: 2018
- Subjects: Women -- Zambia -- Historiography , Women -- Zambia -- History , Women -- Political activity -- Zambia , Women -- Zambia -- Social conditions , Collective memory -- Zambia , Death in art , Feminism -- Zambia , Male domination (Social structure) -- Zambia , Sex discrimination against women -- Zambia
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/63186 , vital:28371
- Description: This Master of Fine Art submission, comprising of an exhibition and mini-thesis, explores the erasure of women’s narratives from Zambian history and collective memory. As a point of entry into the broader conversation of narratives of women marginalised in certain historicised events, this research analyses the narratives of Julia Chikamoneka and Alice Lenshina that are held in the collective memory of Zambian history. It focuses on the representations of narratives of women during and beyond colonial times, while hinging particularly on these two characters’ encounters with and against British rule in Northern Rhodesia (Zambia). Titled FyaMoneka: Exploring the Erasure of Women Within Zambian History, the mini-thesis examines the representations and positioning of women’s political activities within the liberation narrative that is recorded in the National Archives of Zambia (NAZ) and the United National Independence Party (UNIP) Archives. This mini-thesis highlights the fact that women have been written out of Zambia’s liberation narrative in the NAZ and the UNIP Archives, and remains mindful of the inherent modifications and erasures of women’s accounts over time, including the obfuscation or the absence of certain archival materials. This mini-thesis prospectively reconstructs Chikamoneka’s and Lenshina’s narratives using traces of their histories within collective memory through re/visiting processes of re-archivisation. The exhibition, titled ChaMoneka (It Has Become Visible): UnCasting Shadows, explores death and representations of death, where death is conceptualised as a metaphor for the erasure of women’s historical narratives, whereas the body represents the narrative. Based on an exploration of the relationship and tensions between collective memory and history, death within this exhibition is thematised as the course of fading away and a continuous process in which women’s narratives are erased.
- Full Text:
- Date Issued: 2018
Death and transcendence in northern European art
- Authors: Pratt, S R
- Date: 1977
- Subjects: Death in art , Art -- Europe, Northern
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2505 , http://hdl.handle.net/10962/d1015230
- Description: [From Introduction]. Time has revealed two distinct tendencies in the history of thought and art in Europe. That development in European culture which began in Ancient Greece is marked by a positive confidence in the relationship of man to his world. Parallel with but in opposition to this development is a separate progression in culture. The continuity of art in Northern Europe appears to be associated with the adherence of Northern man to a negative, fatalistic sense of being - to a spirit which is in conflict with a hostile violent environment. The purposo of this investigation is to determine, through art the nature of this sense of being in Northern Europe. No direct definition would be capable of conveying the fullest meaning of that spirit. lt is a feeling. To understand this morbid fatalism, it is therefore necessary to refer to the pre-Christian religion of the Germanic Barbarians - through which the Northern spirit manifested itself in the form of ragnarök. Ragnarök which can be translated as a moaning obscurity, shadows, twilight, fateful destiny, was a term used by Nordic bards in its broadest sense to describe the end of the world - the inevitable destruction of life.
- Full Text:
- Date Issued: 1977
- Authors: Pratt, S R
- Date: 1977
- Subjects: Death in art , Art -- Europe, Northern
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2505 , http://hdl.handle.net/10962/d1015230
- Description: [From Introduction]. Time has revealed two distinct tendencies in the history of thought and art in Europe. That development in European culture which began in Ancient Greece is marked by a positive confidence in the relationship of man to his world. Parallel with but in opposition to this development is a separate progression in culture. The continuity of art in Northern Europe appears to be associated with the adherence of Northern man to a negative, fatalistic sense of being - to a spirit which is in conflict with a hostile violent environment. The purposo of this investigation is to determine, through art the nature of this sense of being in Northern Europe. No direct definition would be capable of conveying the fullest meaning of that spirit. lt is a feeling. To understand this morbid fatalism, it is therefore necessary to refer to the pre-Christian religion of the Germanic Barbarians - through which the Northern spirit manifested itself in the form of ragnarök. Ragnarök which can be translated as a moaning obscurity, shadows, twilight, fateful destiny, was a term used by Nordic bards in its broadest sense to describe the end of the world - the inevitable destruction of life.
- Full Text:
- Date Issued: 1977
Art and the Nekyia : a study of the significance of the symbolic descent into Hades in art, myth and ritual
- Authors: Place, L B
- Date: 1975
- Subjects: Hell in art , Death in art , Death -- Psychological aspects , Hell in literature
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2490 , http://hdl.handle.net/10962/d1013039
- Description: Art has very littlo to do with the dead. Death alone is the negation of creation, ,while art is a vital force, a deeply instinctive, everlasting, continual revitalisation. Art is life and nature and it lives in the realms of imagination, magic and mystery. Its language is the language of myth, and its aim is Truth. Art is action and reaction and is reached in silence by the artist alone and individually - its climate is solitude and its paths are as devious and labyrinthine as any the soul can follow in search of self-knowledge and the divine. Chap. 1, p. 1.
- Full Text:
- Date Issued: 1975
- Authors: Place, L B
- Date: 1975
- Subjects: Hell in art , Death in art , Death -- Psychological aspects , Hell in literature
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2490 , http://hdl.handle.net/10962/d1013039
- Description: Art has very littlo to do with the dead. Death alone is the negation of creation, ,while art is a vital force, a deeply instinctive, everlasting, continual revitalisation. Art is life and nature and it lives in the realms of imagination, magic and mystery. Its language is the language of myth, and its aim is Truth. Art is action and reaction and is reached in silence by the artist alone and individually - its climate is solitude and its paths are as devious and labyrinthine as any the soul can follow in search of self-knowledge and the divine. Chap. 1, p. 1.
- Full Text:
- Date Issued: 1975
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