Search results

You are looking at 1 - 10 of 417 items for :

  • "Reconciliation" x
  • Literature and Theatre x
  • Refine by access: All content x
Clear All
The role of theatre practitioners in exploring the past
Yvette Hutchison

Dramatising the TRC 2 Dramatising the Truth and Reconciliation Commission: the role of theatre practitioners in exploring the past Throw a clatter of memories at the mirror of your life and watch the pieces scatter on the ground. There’s no pattern. They glint in the shadows, demanding inspection as you hesitate to choose which one you’ll pick up first. Some pieces choose themselves, however much you try to avoid them. (Hugh Lewin, 2011: 17) The end of apartheid brought with it many changes, including changes to the memories with which we engage. The TRC and

in South African performance and archives of memory
Remembering and forgetting
Yvette Hutchison

The TRC’s reconfiguring of the past 1 The Truth and Reconciliation Commission’s reconfiguring of the past: remembering and forgetting We are charged to unearth the truth about our dark past, to lay the ghosts of that past so that they will not return to haunt us. And [so] that we will thereby contribute to the healing of a traumatised and wounded people – for all of us in South Africa are wounded people – and in this manner to promote national unity and reconciliation. (Desmond Tutu)1 Because of this very fullness, the hypothetical fullness, of this archive

in South African performance and archives of memory
T. B L Webster
Bulletin of the John Rylands Library
Melissa Edmundson

Throughout the nineteenth century, the term ‘uncomfortable houses’ was used to describe properties where restless spirits made life unpleasant for any living persons who tried to claim these supernatural residences as their own. This article uses the idea of ‘uncomfortable houses’ to examine how this ghostly discomfort related to larger cultural issues of economics and class in Victorian Britain. Authors such as Charlotte Riddell and Margaret Oliphant used the haunted house story as a means of social critique which commented on the financial problems facing many lower- and middle-class Victorians. Their stories focus on the moral development of the protagonists and reconciliation through the figure of the ghost, ultimately giving readers the happy endings that many male-authored ghost stories lack. Riddell‘s ‘The Old House in Vauxhall Walk’ and ‘Walnut-Tree House’ and Oliphant‘s ‘The Open Door’ serve as important examples of this ‘suburban Gothic’ literature.

Gothic Studies
Vivienne Westbrook

In 1611 the King James Bible was printed with minimal annotations, as requested by King James. It was another of his attempts at political and religious reconciliation. Smaller, more affordable, versions quickly followed that competed with the highly popular and copiously annotated Bibles based on the 1560 Geneva version by the Marian exiles. By the nineteenth century the King James Bible had become very popular and innumerable editions were published, often with emendations, long prefaces, illustrations and, most importantly, copious annotations. Annotated King James Bibles appeared to offer the best of both the Reformation Geneva and King James Bible in a Victorian context, but they also reignited old controversies about the use and abuse of paratext. Amid the numerous competing versions stood a group of Victorian scholars, theologians and translators, who understood the need to reclaim the King James Bible through its Reformation heritage; they monumentalized it.

Bulletin of the John Rylands Library

This book explores the place of memory in post-apartheid South Africa by analysing state sanctioned-performances of the nation. It first explores how the Truth and Reconciliation Commission (TRC) archive was created, and what it means to contemporary South Africa. The book then explores creative responses to the TRC. It examines individual narratives that have become iconic; asking why these have been chosen to represent the experiences of the broader majority. It analyses how contemporary cultural practitioners are particularly exploring various non-realistic, highly performative forms in conjunction with verbatim narratives to reflect on diverse lived realities in South Africa. The inherited apartheid archives embody particular narratives of South Africa, especially those that defined separate cultural identities, with their relative worth and histories. The way these archives of memory were constructed and controlled is important, especially insofar as they affected the social structure of the nation, beyond apartheid legislation. The book looks at how at moments of political crisis or transition, specific narratives of history, from particular cultural perspectives, have been performed in public spaces to define national identities. It also explores how Mbeki used the South Africa-Mali project, within the context of the New Partnership for Africa's Development (NEPAD) to extend the imagined boundaries of the nation. Finally, the book explores contemporary popular performance and theatrical engagements with history and memory.

Cary Howie

do it, something happens to you: you grow. You become a bigger person, able to understand, or reconcile, more. 1 “If you can do it,” Iimmi says, “something happens to you”; the reconciliation of disorder with order occurs both actively and passively. “Reconcile that,” Iimmi suggests, “do it,” and, as a result, “you grow.” Growth figures, here, the imbrication of what you do with what is done to you, the interminable process by which you become at once more complicated and more connected, by which you become, as Iimmi puts it, “bigger.” Now, reconciliation

in Transfiguring medievalism
Abstract only
South African fiction in the interregnum
Tim Woods

class and gender rather than race (Ngcobo 1992 : 167). With the world transfixed upon this experiment in national ‘reconciliation’, part of whose laboratory has been the national public hearings as well as legal proceedings of the Truth and Reconciliation Commission, the social transformation has been constantly cast in the metaphor of healing a national trauma. As writers who have been part of that

in African pasts
Abstract only
Aspects of Trevor’s England
George O’Brien

to consider the events as ‘grotesque and inconsequential’12 overlooks the possibility that it is through their grotesquerie, their restless usurpation of checks and balances, that the events enact the difficulty but also the desirability of reconciling to each other the vagaries of human cupidity and malice. As Trevor’s oeuvre evolves, the drama of reconciliation – of saving at least some of his characters from themselves as well as the situation into which they haplessly have fallen – becomes at once more subtle and more pressing, lending to his later English

in William Trevor
David Alderson

definitive political commitments, substituting a family crisis and its reconciliation for the consideration of global questions. My view is that this substitution is actually a means of pursuing those questions in different ways through its deployment of ideological tropes which have been integral to the overlapping histories of imperialism and the Enlightenment, whose relationship will be the central theoretical preoccupation of this chapter. I am concerned therefore with the complex ways in which the legacies of British colonialism have served to legitimate a quite

in End of empire and the English novel since 1945