compares with how other African countries have approached rewriting their history in the post-colonial context (Neale, 1985). This project takes its starting point from Desmond Tutu’s formulation of post-apartheid South Africa as the ‘rainbow nation’, a formulation that was elaborated on by Mandela (1995) in his first month of office. It was adopted by the ANC as the political symbol of unity for a 134 South African performance and archives of memory country of diverse and divided people. This chapter explores how Mbeki used the South Africa–Mali project, within the

in South African performance and archives of memory
Abstract only
The Voortrekker Monument and Freedom Park

3 Staging a nation: the Voortrekker Monument and Freedom Park The past is never dead. It’s not even past. (William Faulkner, Requiem for a Nun, Act 1, sc. 3, p. 85) 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 (Rokem, 2000), especially insofar as they affected the social structure of the nation, beyond apartheid legislation. This chapter looks at how

in South African performance and archives of memory
The role of theatre practitioners in exploring the past

and political story out of this unruly multivocality’ (Coplan, 2000: 138). These challenges have been made in fiction and non-fiction prose as well as in performances, which to date include Mike van Graan’s Dinner Talk (1996) and Green Man Flashing (first performed 2004), PieterDirk Uys’s Truth Omissions (1996), Paul Herzberg’s The Dead Wait (1997), Walter Chakela’s Isithukuthu (1997), Nan Hamilton’s No. 4 56 South African performance and archives of memory (1997), André Brink’s Die Jogger (The Jogger, 1997), Jane Taylor and the Handspring Puppet Company’s Ubu

in South African performance and archives of memory

1 Popular music and the ‘cultural archive’ This book began its Introduction, and begins its chapter structure, not in the mainstream of international affairs (the politics of state socialist Non-Alignment, or postsocialist European border control) but with what might seem a more distant topic: popular music. It does so because the everyday structures of feeling perceptible through popular music are a readily observable sign that ideas of race are part of identity-making in the Yugoslav region; proving this point opens the way to revisiting

in Race and the Yugoslav region
Italian Narratives and the Late Romantic Metrical Tale

This essay addresses Gothic constructions of Italy by reconsidering Romantic-period literary works that capitalised on stereotypes of the country as a land ridden with violence, vice and dangers. If Gothic discourse ‘pre-scribed’ Italy as a country of terrifying events, Gothic writings also reworked an Italy that was already ‘pre-scribed’ according to hostile notions within a stratified geo-cultural archive dating back at least to the Renaissance. This combination of disparaging images was not created exclusively on the basis of British anti-Catholic feelings and other cultural hostility. Often it originated from Italian documentary sources and, particularly Italian literature, itself the object of increasing scrutiny in the Romantic period. This essay examines the Gothic construction and uses of Italy in verse tales published in the later Romantic period and inspired by Dante‘s Divina Commedia and Boccaccio‘s Decameron, among them Edward Wilmot‘s Ugolino; or, the Tower of Famine, Felicia Hemans‘s ‘The Maremma’, William Herbert‘s Pia della Pietra, John Keats‘s Isabella and Barry Cornwall‘s A Sicilian Story. These narrative poems employ Italy as an archive of Gothic plots, atmospheres and situations, making plain its double status: that of a fictitious, approximative set of geo-cultural notions, as well as that of a repertoire of fictional materials.

Gothic Studies

enter the European cultural bloodstream. Representations came in many forms, from published travelogues and the printed illustrations that accompanied them to individual images and archival accounts of personal experiences in the landscape. Published works are inflected by the expectations of the reading audience to whom they are directed. Archives, on the other hand, are often plumbed to their depths for what

in Representing Africa

This article describes the rise of MA programmes in audio-visual archiving, preservation and presentation. It distinguishes between two key developments that are transforming the contemporary graduation education in AV heritage: digital developments that significantly impact the professional field, and new governance structures that comprise a (forced) move away from film studies as disciplinary home. It is the latter, this article argues, that poses the real threat for the future of professional education in preservation and presentation of moving images.

Film Studies
Tales of four eighteenth-century recipe books

least) four different histories (and thus historiographies). It will consider how the contemporary archival situations in which they are located, the routes by which they arrived there and even the developing, non-physical means of accessing them work to complicate the contexts in which they were produced, and our means of comprehending them. The (at least) four different histories of these

in Reading and writing recipe books, 1550–1800
Empirical, named and implied author

coverage of Britannia Hospital , the assignments of authorship they make can be shaped by the cultural formations within which they work. ‘Anderson’ perceived with archival assistance How should Anderson’s authorship of his films be attributed some twenty years after his death? As Stephen Crofts notes, perceived authors are constructed differently in different times and places probably

in Lindsay Anderson

4813 The ARC - PT/gk.qxd 1111 21 3 4 51 6 7 8 9 10 1 1112 3 4 5 6 7 8 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 4211 19/4/07 10:59 Page 103 3 Those with whom the archive dwells1 ROM stands for read only memory; [the PC] can read the contents of a ROM chip but it can’t change them. A ROM chip’s software is there for good . . . the only real threat to ROM is an electrical mishap such as a power surge . . . (Heid, 1991: 266) The body turns in its sleep and says ‘I’m dreaming of you, user’. (Harwood, 1997c) Chapter 2 of this book set out to consider

in The arc and the machine