The iconic Hector Pieterson photo and the power of adaptations
Identifikátory výsledku
Kód výsledku v IS VaVaI
<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F70883521%3A28150%2F19%3A63523699" target="_blank" >RIV/70883521:28150/19:63523699 - isvavai.cz</a>
Výsledek na webu
<a href="https://journals.assaf.org.za/index.php/tvl/article/view/6134" target="_blank" >https://journals.assaf.org.za/index.php/tvl/article/view/6134</a>
DOI - Digital Object Identifier
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Alternativní jazyky
Jazyk výsledku
angličtina
Název v původním jazyce
The iconic Hector Pieterson photo and the power of adaptations
Popis výsledku v původním jazyce
In South Africa, the iconic Hector Pieterson photo is the starting point for many artists to deal with their own personal trauma and the communal trauma of their nation. The iconicity of this photo has sparked many different adaptations in various fields of art. Considering that we are talking about a traumatized country, Freud's concept of “repetition compulsion” seems to be one explanation for this phenomenon. However, art is only seldom a mere product of traumatization. Quayson's concept of “symbolization compulsions” comes closer to explaining the phenomenon of repetition in the arts, because it leaves the artists more freedom of expression and does not suggest that art is the result of illness, while still implying 'compulsion' and 'obsession' in the act of creation. I want to suggest that 'repetition' in the arts in the South African context is not so much a sign of confinement and restriction, but that the many adaptations of the unique historical incident should rather be understood as attempts of 'working through' collective trauma, making sense of history, and contributing to the country's healing.
Název v anglickém jazyce
The iconic Hector Pieterson photo and the power of adaptations
Popis výsledku anglicky
In South Africa, the iconic Hector Pieterson photo is the starting point for many artists to deal with their own personal trauma and the communal trauma of their nation. The iconicity of this photo has sparked many different adaptations in various fields of art. Considering that we are talking about a traumatized country, Freud's concept of “repetition compulsion” seems to be one explanation for this phenomenon. However, art is only seldom a mere product of traumatization. Quayson's concept of “symbolization compulsions” comes closer to explaining the phenomenon of repetition in the arts, because it leaves the artists more freedom of expression and does not suggest that art is the result of illness, while still implying 'compulsion' and 'obsession' in the act of creation. I want to suggest that 'repetition' in the arts in the South African context is not so much a sign of confinement and restriction, but that the many adaptations of the unique historical incident should rather be understood as attempts of 'working through' collective trauma, making sense of history, and contributing to the country's healing.
Klasifikace
Druh
J<sub>SC</sub> - Článek v periodiku v databázi SCOPUS
CEP obor
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OECD FORD obor
60206 - Specific literatures
Návaznosti výsledku
Projekt
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Návaznosti
I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace
Ostatní
Rok uplatnění
2019
Kód důvěrnosti údajů
S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů
Údaje specifické pro druh výsledku
Název periodika
Tydskrif vir Letterkunde
ISSN
0041-476X
e-ISSN
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Svazek periodika
56
Číslo periodika v rámci svazku
2
Stát vydavatele periodika
ZA - Jihoafrická republika
Počet stran výsledku
6
Strana od-do
83-88
Kód UT WoS článku
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EID výsledku v databázi Scopus
2-s2.0-85076399786