[PDF] Ubu And The Truth Commission eBook

Author : Jane Taylor
Publisher : Juta and Company Ltd
Page : 100 pages
File Size : 25,68 MB
Release : 1998
Category : Drama
ISBN : 9781919713168

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"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.

Author :
Publisher : BRILL
Page : 294 pages
File Size : 17,28 MB
Release : 2020-09-25
Category : Social Science
ISBN : 1848880855

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This ebook presents conference proceedings from the 1st Global Conference Trauma: theory and practice, held in Prague, Czech Republic in March 2011.

Author : Paul Gready
Publisher : Routledge
Page : 279 pages
File Size : 36,7 MB
Release : 2010-10-18
Category : History
ISBN : 1136902201

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First Published in 2011. Routledge is an imprint of Taylor & Francis, an informa company.

Author : Ed Charlton
Publisher : Oxford University Press
Page : 219 pages
File Size : 49,69 MB
Release : 2021-11-15
Category : History
ISBN : 1800349262

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An Open Access edition of this book will be made available on the Liverpool University Press website and the OAPEN library on publication. Improvising Reconciliation is prompted by South Africa's enduring state of injustice. It is both a lament for the promise, since lost, with which non-racial democracy was inaugurated and, more substantially, a space within which to consider its possible renewal. As such, this study lobbies for an expanded approach to the country's formal transition from apartheid in order to grapple with reconciliation's ongoing potential within the contemporary imaginary. It does not, however, presume to correct the contradictions that have done so much to corrupt the concept in recent decades. Instead, it upholds the language of reconciliation for strategic, rather than essential, reasons. And while this study surveys some of the many serious critiques levelled at the country's Truth and Reconciliation Commission (1996-2001), these misgivings help situate the plural, improvised approach to reconciliation that has arguably emerged from the margins of the cultural sphere in the years since. Improvisation serves here as a separate way of both thinking and doing reconciliation. It recalibrates the concept according to a series of deliberative, agonistic and iterative, rather than monumental, interventions, rendering reconciliation in terms that make failure a necessary condition for its future realisation.

Author : Jill Bennett
Publisher : Stanford University Press
Page : 212 pages
File Size : 26,9 MB
Release : 2005
Category : Art
ISBN : 9780804751711

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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
Page : 153 pages
File Size : 16,72 MB
Release : 2024-02-06
Category : Art
ISBN : 0262551233

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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
Page : 177 pages
File Size : 40,13 MB
Release : 2017-05-25
Category : Art
ISBN : 0226791203

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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.