Theoretical Image or the Artist Facing History (notice n° 521869)
[ vue normale ]
| 000 -LEADER | |
|---|---|
| fixed length control field | 01221cam a2200157 4500500 |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20250121100114.0 |
| 041 ## - LANGUAGE CODE | |
| Language code of text/sound track or separate title | fre |
| 042 ## - AUTHENTICATION CODE | |
| Authentication code | dc |
| 100 10 - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Ndiaye, Malick |
| Relator term | author |
| 245 00 - TITLE STATEMENT | |
| Title | Theoretical Image or the Artist Facing History |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. | |
| Date of publication, distribution, etc. | 2013.<br/> |
| 500 ## - GENERAL NOTE | |
| General note | 10 |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | This paper attempts to demonstrate the theoretical nature of artwork from Jane Alexander’s The Butcher Boys. The formal indeterminacy of this artwork is related to the ambivalence as mentioned by Homi Bhabha about deconstructionist theory. The author underlines the influence of poststructuralist theory on postcolonial discourse and considers the hypothesis that the problem of ambivalence and the critic of temporality are the main ideas that get The Butcher Boys in the center of postcolonial deconstructionism. From this point of view, the artwork is analyzed in relation to time, memory, and history in view of South Africa’s historical events. The author demonstrates what he names the corporeity of memory as the support of making history. |
| 786 0# - DATA SOURCE ENTRY | |
| Note | Multitudes | o 53 | 2 | 2013-10-01 | p. 97-107 | 0292-0107 |
| 856 41 - ELECTRONIC LOCATION AND ACCESS | |
| Uniform Resource Identifier | <a href="https://shs.cairn.info/journal-multitudes-2013-2-page-97?lang=en&redirect-ssocas=7080">https://shs.cairn.info/journal-multitudes-2013-2-page-97?lang=en&redirect-ssocas=7080</a> |
Pas d'exemplaire disponible.
Réseaux sociaux