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| Author | : Jane Taylor |
| Publisher | : Juta and Company Ltd |
| Total Pages | : 100 |
| Release | : 1998 |
| Genre | : Drama |
| ISBN | : 9781919713168 |
"Ubu and the Truth Commission" is the full play text of a multi-dimensional theatre piece that tries to make sense of the madness that overtook South Africa during apartheid.
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| Publisher | : BRILL |
| Total Pages | : 294 |
| Release | : 2020-09-25 |
| Genre | : Social Science |
| ISBN | : 1848880855 |
This ebook presents conference proceedings from the 1st Global Conference Trauma: theory and practice, held in Prague, Czech Republic in March 2011.
| Author | : Véronique Tadjo |
| Publisher | : Taylor & Francis |
| Total Pages | : 266 |
| Release | : 2019-03-18 |
| Genre | : Literary Criticism |
| ISBN | : 0429534361 |
This volume deals with the manifold ways in which histories are debated and indeed historicity and historiography themselves are interrogated via the narrative modes of the truth commissions. It traces the various medial responses (memoirs, fiction, poetry, film, art) which have emerged in the wake of the truth commissions. The 1990s and the 2000s saw a spate of so-called truth commissions across the Global South. From the inaugural truth commissions in post-juntas 1980s Latin America, to the Truth and Reconciliation Commission set up by the incoming post-apartheid government in South Africa and the twinned gacaca courts and National Unity and Reconciliation Commission in Rwanda and that in indigenous Australia, various truth commissions have sought to lay bare human rights abuses. The chapters in this volume explore how truth commissions crystallized a long tradition of dissenting and resisting cultures of memorialization in the public sphere across the Global South and provided a significant template for contemporary attempts to work through episodes of violence and oppression across the region. Drawing on studies from Latin America, Africa, Asia and Australia, this book illuminates the modes in which societies remember and negotiate with traumatic pasts. This book will be of great interest to scholars and researchers of human rights, popular culture and art, literature, media, politics and history.
| Author | : Shane Graham |
| Publisher | : Macmillan |
| Total Pages | : 256 |
| Release | : 2009-04-15 |
| Genre | : Fiction |
| ISBN | : 9780230615373 |
In the wake of apartheid, South African culture conveys the sense of being lost in time and space. The Truth Commission provided an opportunity for South Africans to find their bearings in a nation changing at a bewildering pace; the TRC also marked the beginning of a long process of remapping space, place, and memory. In this groundbreaking book, Shane Graham investigates how post-apartheid theatre-makers and writers of fiction, poetry, and memoir have taken this project forward, using their art to come to terms with South Africa’s violent past and rapidly changing present.
| Author | : Paul Gready |
| Publisher | : Routledge |
| Total Pages | : 279 |
| Release | : 2010-10-18 |
| Genre | : History |
| ISBN | : 1136902201 |
First Published in 2011. Routledge is an imprint of Taylor & Francis, an informa company.
| Author | : Jill Bennett |
| Publisher | : Stanford University Press |
| Total Pages | : 212 |
| Release | : 2005 |
| Genre | : Art |
| ISBN | : 9780804751711 |
This book analyzes contemporary visual art produced in the context of conflict and trauma from a range of countries, including Colombia, Northern Ireland, South Africa, and Australia. It focuses on what makes visual language unique, arguing that the "affective" quality of art contributes to a new understanding of the experience of trauma and loss. By extending the concept of empathy, it also demonstrates how we might, through art, make connections with people in different parts of the world whose experiences differ from our own. The book makes a distinct contribution to trauma studies, which has tended to concentrate on literary forms of expression. It also offers a sophisticated theoretical analysis of the operations of art, drawing on philosophers such as Gilles Deleuze, but setting this within a postcolonial framework. Empathic Vision will appeal to anyone interested in the role of culture in post-September 11 global politics.
| Author | : Rosalind E. Krauss |
| Publisher | : MIT Press |
| Total Pages | : 153 |
| Release | : 2024-02-06 |
| Genre | : Art |
| ISBN | : 0262551233 |
A personal journey leads a celebrated critic to discover “knights of the medium,” contemporary artists who battle the aesthetic meaninglessness of the post-medium condition. In Under Blue Cup, Rosalind Krauss explores the relation of aesthetic mediums to memory—her own memory having been severely tested by a ruptured aneurysm that temporarily washed away much of her short-term memory. (The title, Under Blue Cup, comes from the legend on a flash card she used as a mnemonic tool during cognitive therapy.) Krauss emphasizes the medium as a form of remembering; contemporary artists in what she terms the “post-medium” condition reject that scaffolding. Krauss explains the historical emergence of the post-medium condition and describes alternatives to its aesthetic meaninglessness, examining works by “knights of the medium”—contemporary artists who extend the life of the specific medium. These artists—including Ed Ruscha, William Kentridge, Sophie Calle, Harun Farocki, Christian Marclay, and James Coleman—reinstate the recursive rules of a modernist medium by inventing what Krauss terms new technical supports, battling the aesthetic meaninglessness of the post-medium condition. The “technical support” is an underlying ground for aesthetic practice that supports the work of art as canvas supported oil paint. The technical support for Ruscha's fascination with gas stations and parking lots is the automobile; for Kentridge, the animated film; for Calle, photojournalism; for Coleman, a modification of PowerPoint; for Marclay, synchronous sound. Their work, Krauss argues, recuperates more than a century of modernist practice. The work of the post-medium condition—conceptual art, installation, and relational aesthetics—advances the idea that the “white cube” of the museum or gallery wall is over. Krauss argues that the technical support extends the life of the white cube, restoring autonomy and specificity to the work of art.
| Author | : Jane Taylor |
| Publisher | : University of Chicago Press |
| Total Pages | : 177 |
| Release | : 2017-05-25 |
| Genre | : Art |
| ISBN | : 0226791203 |
South African artist William Kentridge’s drawings, films, books, installations, and collaborations with opera and theater companies have established him as a world-class star in contemporary art, media, and theater. In 2010, and again in 2013, he staged Dmitri Shostakovich’s The Nose at the Metropolitan Opera; after the premiere, the New York Times noted that “Kentridge, who directed this production, helped design the sets and created the videos that animate the staging, received the heartiest bravos.” In this book, Jane Taylor, Kentridge’s friend and frequent collaborator, invites us to take an extraordinary behind-the-scenes look at his work for the show. Kentridge has long been admired for his unconventional use of conventional media to produce art that is stunning, evocative, and narratively powerful—and how he works is as important as what he creates. This book is more than just a simple record of The Nose. The opera serves as a springboard into a bracing conversation about how Kentridge’s methods serve his unique mode of expression as a narrative and political artist. Taylor draws on his etchings, sculptures, and drawings to render visible the communication that occurs between his mind and hand as he thinks through the activity of making. Beautifully illustrated in color, William Kentridge offers striking insights about one of the most innovative artists of our present moment.
| Author | : Gitti Salami |
| Publisher | : John Wiley & Sons |
| Total Pages | : 650 |
| Release | : 2013-12-24 |
| Genre | : Art |
| ISBN | : 1444338374 |
Offering a wealth of perspectives on African modern and Modernist art from the mid-nineteenth century to the present, this new Companion features essays by African, European, and North American authors who assess the work of individual artists as well as exploring broader themes such as discoveries of new technologies and globalization. A pioneering continent-based assessment of modern art and modernity across Africa Includes original and previously unpublished fieldwork-based material Features new and complex theoretical arguments about the nature of modernity and Modernism Addresses a widely acknowledged gap in the literature on African Art
