Kronos最新文献

{"title":"Theorising the Image as Act: Reading the Social and Political in Images of the Rural Eastern Cape","authors":"Candice Steele","doi":"10.17159/2309-9585/2020/V46A10","DOIUrl":"https://doi.org/10.17159/2309-9585/2020/V46A10","url":null,"abstract":"Certain anthropological narratives of South Africa’s Eastern Cape province, such as Monica Hunter’s 1936 Reaction to Conquest and Philip Mayer’s 1963 Townsmen or Tribesmen, persist as potent referential ‘bodies of knowledge’. By laying down the coordinates of Black rural and urban experience, such studies continue to animate concepts of tradition and modernity, effectively conjuring up notions of ‘the border’, both literally and metaphorically. Encountering Pauline Ingle’s photographic collection amidst these circuits of knowledge and ways of seeing is to recognise that it is both unusual and exceptional. It is a collection of over 4000 images that are not only located in a rural area but also covers a sustained time period, corresponding to the period of formal apartheid. The concept of the rural is amplified in the collection, positioning it as a site of development, as the ‘not yet modern’, in which subjects are figured both in class hierarchies and in relation to Daniel Morolong’s urban photographs in and around East London in the 1950s. Employing the theory of social acts enables a re-contemplation of the subject, and a reading of the social that suggests a set of possibilities and futures beyond what currently constitutes the rural and the urban; and upturns the disciplinary optics that condition the predominating ethnographies and historiographies of the Eastern Cape. The whole problem is born of the fact that we have come to the image with the idea of synthesis... The image is an act and not a thing. – Jean-Paul Sartre, L’imagination","PeriodicalId":53088,"journal":{"name":"Kronos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75673826","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Brown Photo Album: An Archive of Feminist Futurity","authors":"Jordache A. Ellapen","doi":"10.17159/2309-9585/2020/V46A5","DOIUrl":"https://doi.org/10.17159/2309-9585/2020/V46A5","url":null,"abstract":"This photo-essay considers the other lives of family photographs by offering an analysis of my mother’s collection of professional studio portraits and other vernacular photographs shot between the mid 1950s and late 1960s. How do we read the photoarchive of an ‘Indian’ woman born in 1941 to parents who were wards of the colonial state? A woman who was one generation removed from the sugar-cane plantations and coal mines where Indians were indentured as a coercive labour force? Influenced by Santu Mofokeng’s project The Black Photo Album and Tina Campt’s method of ‘listening to’ rather than ‘looking at’ photos, I refigure the family photo-archive to produce The Brown Photo Album, which is an experiment in seeing and being seen. In a context where the institutional visual archives of colonialism and apartheid have trained South African publics to see and thus know the Indian in very specific ways, this article redirects us away from the violence of the visual to the relationship between race, aesthetics and affect. It positions the family photo album not only as an alternative archive of the Indian experience but also as an archive through which we can begin to comprehend the Indian experience otherwise. This project probes the making of Indianness in the Natal Midlands, shifting the lens from urban centres like Durban and Johannesburg. As a work in progress, I present The Brown Photo Album as an experiment, an iteration of a project, a praxis of refiguring family photos in order to understand what this archive can reveal about our past, presents and futures. The Brown Photo Album: An Archive of Feminist Futurity is an artistic project that refigures the photo-archive of my mother, Velliammah Ellapen (née Moodley), an Indian South African woman born in 1941. In this iteration of The Brown Photo Album, I focus on a collection of her professional studio photos shot between the mid 1950s and late 1960s in Ladysmith by Bully Narrandes, an Indian photographer who ran the now defunct Victory Studios. Since I was young, I have been drawn to my mother’s performances in these photos and her attention to style and fashion. The photos directed me to her dreams and desires and offered a sense of her personhood","PeriodicalId":53088,"journal":{"name":"Kronos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89018997","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"PART 1 LATENCIES The Phototextual Emergence of Hysteria: From the Iconographie Photographique de la Salpêtrière to J. M. Coetzee's Slow Man","authors":"Iona Gilburt","doi":"10.17159/2309-9585/2020/V46A6","DOIUrl":"https://doi.org/10.17159/2309-9585/2020/V46A6","url":null,"abstract":"This article seeks to examine the emergence of the image of hysteria that originated at the Salpêtrière Hospital in Paris in the late nineteenth century and has since been transferred across new generations of phototexts through ekphrasis. It is first shown how this stereotypically feminine and sexualised image was initiated by the medical tome Iconographie Photographique de la Salpêtrière – an effect that belies the physicians’ original intentions – and is then taken up in the public imagination by the surrealists André Breton and Louis Aragon before emerging in Georges DidiHuberman’s 1982 critical text Invention of Hysteria. Didi-Huberman’s monograph offers insight into how persistent this image becomes, even taking shape in discourses that attempt to undermine it. Didi-Huberman furthermore highlights how developments in photographic technology have contributed to the shaping of hysteria. Finally, this article considers how the figure of the hysteric appears in J. M. Coetzee’s 2005 novel Slow Man in the character of Marianna. The manner in which she is depicted presents an ekphrasis that can be matched to the vision of hysteria that began with the Iconographie Photographique de la Salpêtrière, thereby showing how this histrionic and gender-stereotyped iteration of hysteria from the nineteenth century remains a readily accessible mode of expression.","PeriodicalId":53088,"journal":{"name":"Kronos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84455030","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Atlas of an Empire: Photographic Narrations and the Visual Struggle for Mozambique","authors":"Rui Assubuji","doi":"10.17159/2309-9585/2020/V46A8","DOIUrl":"https://doi.org/10.17159/2309-9585/2020/V46A8","url":null,"abstract":"This article engages with the historiography of the Portuguese empire with reference to Mozambique. It explores the impact of visual archives on existing debates and asks what difference photographs make to our interpretation and understanding of this colonial past. Deprived of their ‘historical rights’ by the requirements of the Berlin treaties that insisted on ‘effective occupation’, the Portuguese started to employ a complex of knowledge-producing activities in which photography was crucially involved. This article examines different photographic moments before and during the ‘Pacification Campaign’ that assured Portugal’s authority over the Gaza Empire in southern Mozambique in the 1890s, by official, commercial and missionary photographers. It identifies controversies over the small number of portraits of the Gaza king Ngungunyane that took on distinctive and disputed ‘other lives’ after their initial production. The realisation of how one image might be disassembled to generate others becomes an exercise – in visual terms – of rethinking colonial violence. A critical engagement with the slippages and repositionings around photographs, and the errors or disputes in various captions, allows for a better understanding of the production of both silence and particular narratives in the archives and popular history. The demonstration of these other lives matters because it stimulates awareness of what is seen, what is made visible, and addresses the desire to look beyond the image to find others in a continuous interrogation of photographic excess. Introduction: Portraits and Silences in the Archive Atlas often begins...in an arbitrary or problematic way...quite unlike the beginning of a story or the promise of an argument; and as for the end, it often reveals the emergence of a new country, a new zone of knowledge to be explored.1 This study analyses photographs from different archives against a backdrop of related information that is mostly focused on the ‘effective occupation’ of Mozambique 1 G. Didi-Huberman, Atlas, or the Anxious Gay Science (Chicago: University of Chicago Press, 2018), 3.","PeriodicalId":53088,"journal":{"name":"Kronos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80549223","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ambivalent: Photography and Visibility in African History","authors":"Ross Truscott","doi":"10.17159/2309-9585/2020/V46A16","DOIUrl":"https://doi.org/10.17159/2309-9585/2020/V46A16","url":null,"abstract":"","PeriodicalId":53088,"journal":{"name":"Kronos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77270994","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Putting Gestures to Work: Georges Didi-Huberman, Uprisings","authors":"S. Longford","doi":"10.17159/2309-9585/2020/V46A13","DOIUrl":"https://doi.org/10.17159/2309-9585/2020/V46A13","url":null,"abstract":"","PeriodicalId":53088,"journal":{"name":"Kronos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74296084","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Attempted Portraits: Photography, Obscurity, and the Articulation of the Past","authors":"C. Morton","doi":"10.17159/2309-9585/2020/V46A3","DOIUrl":"https://doi.org/10.17159/2309-9585/2020/V46A3","url":null,"abstract":"The essay draws on two case studies from the photographic archive of British social anthropologist Edward Evan Evans-Pritchard (1902–73) on a fieldwork expedition to Kenya and South Sudan in 1936. The case studies reveal how connections can be made within an archive to articulate new narratives around often well-known photographs. The case studies explore the relationship between two different practices of looking: that involved in the act of photography, and that of looking at archival photographs as historical sources. Whilst the abundance of visual information in the archive reveals photography’s endless potential for recodability, the essay argues that the photographic archive is also characterised by obscurity and limitation, and that the small dramas that are sometimes fleetingly glimpsed in the photographic hinterland will for the most part remain partial, unintelligible, and unarticulable by historians. Although there is a visual abundance in the photographic archive with which we might engage, what is shown to us is not abundantly clear. The essay argues that the important historical connections between the concepts of visibility and knowledge in a discipline such as anthropology often break down when the archive is recalcitrant, revealing its own limits as much as its bounty.","PeriodicalId":53088,"journal":{"name":"Kronos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78344676","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"In and Out of Sight: The Afterlife of Official Photography from Idi Amin's Uganda","authors":"R. Vokes","doi":"10.17159/2309-9585/2020/V46A2","DOIUrl":"https://doi.org/10.17159/2309-9585/2020/V46A2","url":null,"abstract":"ABSTRACT This article examines the output of Uganda's official Photographic Section from the years of the Idi Amin regime (1971-9), an archive of 60,000 black and white images from which have recently come to light in the stores of the Uganda Broadcasting Corporation in Kampala. Drawing on recent developments in African visual studies, the article focuses in particular upon what this archive reveals about photographic circulations in and from Amin's Uganda. It finds that this new trove of negatives -when compared with press archives from around the world - is especially revealing of a growing nexus between official photography and all kinds of commercial photographies in the 1970s. This nexus played a key role in shaping both how the Amin regime was pictured at the time, and how its afterlife has continued to reflect down to the present time.","PeriodicalId":53088,"journal":{"name":"Kronos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90964103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Future of the Witness: Nature, Race and More-than-Human Environmental Publics","authors":"S. Sheikh","doi":"10.17159/2309-9585/2018/V44A9","DOIUrl":"https://doi.org/10.17159/2309-9585/2018/V44A9","url":null,"abstract":"Taking leave from obstacles to the creation of an 'environmental public' in contemporary post-apartheid South Africa and the political silencing and objectification of both nature and racialised subjects, this article interrogates and seeks to expand a specific figure: that of the witness. In the broader, global context of environmental violence, the witness – who, according to classical theories of testimony, is a sovereign subject who speaks in their own name – is considered in the context of constructed categories of active/passive and subject/object as these play out across race, nature and shifting conceptions of the human. The title, 'the future of the witness', prompts two questions: (i) In the context of (missing) environmental publics, in what ways we must reconceptualise the figure of the witness – on ontological, epistemological and political levels – as we move into the future? (ii) Faced with ever-escalating Anthropocenic destruction, is it possible for a witness to testify not only to past events and experiences, as per the generally accepted temporal schema of witnessing, but also to ongoing experiences that unfold into the future? In responding to these questions, it is argued (a) that the witness can no longer be considered as an isolated figure, but rather must be conceived as part of a testimonial constellation; and (b) that, in responding to ecological concerns, this constellation must be a more-than-human collective: an entangled form of sociality between humans and nonhumans that does not take recourse to modernist categories of 'human' and 'nature'. \u0000 \u0000Moving, via South Africa, from the European Holocaust to global humanitarian and forensic practices, through European and North American science and technology studies as well as Amerindian thinking, the article gathers a generalised set of questions and propositions that might in turn be folded back into specific locales. Key is the classic postcolonial question of who ought to or has the right to speak in the name of whom. Where the witness is often denied self-representation or, more gravely, entirely absent or missing, the article surveys various practices of supplementary witnessing. However, such practices ofen find themselves caught within a representational dilemma whereby, despite the necessity of defending the rights of humans and nonhumans alike, 'speaking for' or 'giving voice' to dispossessed or missing subjects – including nature – runs the risk of further replicating the original colonial matrix of being, knowledge and power that is being contested. Drawing from aesthetic and speculative practices, the article asks what possible strategies might be available for navigating the challenges of representation and for conceiving of more-than-human environmental publics that contest the neoliberal indivisualization of responsibilty and actively bear witness both to unfolding environmental degradation and possible more liveable futures.","PeriodicalId":53088,"journal":{"name":"Kronos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85184696","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Fighting over the Archive: Politics and Practice of the Art World in Angola","authors":"Suzana Sousa","doi":"10.17159/2309-9585/2019/v45a4","DOIUrl":"https://doi.org/10.17159/2309-9585/2019/v45a4","url":null,"abstract":"If the ambivalent figure of the nation is a problem of its transitional history, its conceptual indeterminacy, its wavering between vocabularies, then what effect does it have in narratives and discourses that signify a sense of ‘nationness’: the heimlich pleasures of the heart, the unheimlich terror of the space or race of the Other; the comfort of social belonging, the hidden injuries of class; the customs of taste, the powers of political affiliation; the sense of social order, the sensibility of sexuality; the blindness of bureaucracy, the strait insight of institutions; the quality of justice, the common sense of injustice; the langue of the law and the parole of the people.1","PeriodicalId":53088,"journal":{"name":"Kronos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74806385","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}