Reworkings of an Icon: Hector Pieterson, Intermedial Adaptations, and Transmedial Narratives

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F70883521%3A28150%2F21%3A63544198" target="_blank" >RIV/70883521:28150/21:63544198 - isvavai.cz</a>

Výsledek na webu

—

DOI - Digital Object Identifier

—

Jazyk výsledku

angličtina

Název v původním jazyce

Reworkings of an Icon: Hector Pieterson, Intermedial Adaptations, and Transmedial Narratives

Popis výsledku v původním jazyce

This paper will trace the phenomenon of repetition in the arts not only through various visual media but also through literature. In South Africa, the iconic Hector Pieterson photo is the starting point for many artists to deal with their personal trauma and the communal trauma of their nation. The iconicity of this photo has sparked many different adaptations, and its repercussions can still be felt today. I want to suggest that repetition in the arts in a South African context is not so much a sign of confinement and restriction, but that the many intermedial adaptations of the iconic Hector Pieterson photo can be understood as attempts at working through collective trauma. In their entirety, these intermedial adaptations “re-late” South African history in a new way. They create a transmedial narrative that speaks of South Africa’s unfinished past and tries to make new sense of history. In this context, literature plays a special role. Mzamane’s novel The Children of Soweto from 1982 stands out as a strange attempt to go against the grain in history, by writing against a well-established historical truth and even of falsifying history. The novel challenges the “truth” of the iconic Hector Pieterson photo and replaces it with a different concept of truth that creates historical facts in its own literary way but, nevertheless, lays claim to authenticity

Název v anglickém jazyce

Reworkings of an Icon: Hector Pieterson, Intermedial Adaptations, and Transmedial Narratives

Popis výsledku anglicky

This paper will trace the phenomenon of repetition in the arts not only through various visual media but also through literature. In South Africa, the iconic Hector Pieterson photo is the starting point for many artists to deal with their personal trauma and the communal trauma of their nation. The iconicity of this photo has sparked many different adaptations, and its repercussions can still be felt today. I want to suggest that repetition in the arts in a South African context is not so much a sign of confinement and restriction, but that the many intermedial adaptations of the iconic Hector Pieterson photo can be understood as attempts at working through collective trauma. In their entirety, these intermedial adaptations “re-late” South African history in a new way. They create a transmedial narrative that speaks of South Africa’s unfinished past and tries to make new sense of history. In this context, literature plays a special role. Mzamane’s novel The Children of Soweto from 1982 stands out as a strange attempt to go against the grain in history, by writing against a well-established historical truth and even of falsifying history. The novel challenges the “truth” of the iconic Hector Pieterson photo and replaces it with a different concept of truth that creates historical facts in its own literary way but, nevertheless, lays claim to authenticity

Druh

C - Kapitola v odborné knize

CEP obor

—

OECD FORD obor

60206 - Specific literatures

Projekt

—

Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2021

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název knihy nebo sborníku

Literature and Media: Productive Intersections

ISBN

978-3-631-81556-4

Počet stran výsledku

17

Strana od-do

45-61

Počet stran knihy

219

Název nakladatele

Peter Lang GmbH

Místo vydání

Berlin

Kód UT WoS kapitoly

—