The paper seeks to demystify Nietzsche’s concept of genealogy. Genealogy tells the story of historical origins in the form of a myth that is betrayed fromwithin, while readers have naively assumed it tells a story that Nietzsche endorses—whether of history or naturalized origins. Looked at more closely, genealogy,I claim, tells the story of human consciousness and its extraordinary fallibility. It relates the conditions and limits of consciousness and how these are activelyavoided and forgotten, for the most part in vain. The (...) lessons are these: there is no human time before consciousness; no unconscious activity that is uncontaminated by consciousness or culture; no period of prehistory that isn’t already historical or historicized, hence subject to dehistoricization (for prehistory, Urzeit, always comes after history, in the form of a myth); no primordial “innocence of becoming,” let alone any future condition free of these same constraints. Genealogy is the critique of the myth of knowing critique. (shrink)

The well-known label of “theater of the absurd” is based on the Aristotelian logic of the nonincluded middle, the common interpretation being that of the chaotic and irrational character of the universe, human destiny, and language. However, we propose another view on the subject, relying on the discoveries of quantum physics, the main principles of transdisciplinarity, and the literary theory of the possible worlds. We applied these ideas to some of Eugene Ionesco’s fa-mousplays, concluding that absurd becomes (...) an irrelevant notion if analyzed in this perspective. (shrink)

We’d like to do a little hypnosis on you. Imagine that you’re ensconced in your own family room, your study, or your queen-sized bed. Settling back, you pick up the remote, flick on the TV, and naturally you turn to PBS. This is what you hear:Host 1: Good evening. Welcome to Masterpiece Theatre. Because Alistair Cooke is away on assignment in Alaska, we’ve agreed to host the show tonight, and that’s both a pleasure and a privilege because our program this (...) evening marks the beginning of a fascinating new series, a first on television: Masterpiece Theatre will present you with a docudrama entitled “Masterpiece Theatre.”Host 2: Like “The First Churchills,” this show analyzes the situation of real-life people—tonight, people in the academy. Names have not been changed to protect either the innocent or the guilty, but all the situations are fictive and at times words that may never have been spoken are put into the mouths of people who did not speak them. Other lines, however, are direct quotations from various written sources, although none of the characters, as we depict them, should be confused with any “actual” persons, whether or not those persons would scribe to the idea of their own reality. Like “Upstairs/Downstairs,” this program will introduce you to a spectrum of characters from many walks of life. What’s different about tonight’s episode, though, is that all these characters have passionate opinions about the show itself. Why, the very idea of Masterpiece Theatre drives some of them to Guerrilla Theatre, others to Theatre of the Absurd. Yes, you’ve always already guessed it: we focus tonight on a drama involving what we used to call humanists—now for some a dirty word—and most of our characters are in deep trouble. Sandra M. Gilbert, professor of English at the University of California, Davis, and Susan Gubar, professor of English at Indiana University, are coauthors of No Man’s Land: The Place of the Woman Writer in the Twentieth Century, Volume 1: The War of the Words and Volume II: Sexchanges , the first installments of a three-part sequel to their Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination . They have also coedited The Norton Anthology of Literature by Women: The Tradition in English. (shrink)

This essay looks at two young English-speaking Iraqi bloggers whose internationally recognized writings describe the chaos in post-Saddam Iraq. It examines sarcasm as a mode of resistance as employed by Salam Pax, characterized by BBC Radio in 2003 as “the most famous diarist in the world,” and Riverbend, whose blog was published as a book and translated into several languages. By subjecting the colonial discourse to ridicule, they not only successfully convey the angst their people suffer, but also mock a (...) stereotypical rhetoric that haunts the Western mentality regarding the Middle East. This essay negotiates their use of sarcasm as a means of non-violent resistance. It demonstrates how, for instance, they shift from the sarcastic to the absurd to unravel the banality of the colonial mind and the conceited position of its liberating enterprises. The aim of the paper is, therefore, to shed light on the emergence of a digitalized group of subalterns who write back to the center in the wake of the American intervention to topple the Baath regime in Iraq. Pax and Riverbend distinctively succeed in subverting the colonial and hegemonic gaze by unravelling the encroaching uncertainties of war through the deployment of sarcasm to signify resistance, and by transforming the coalition forces’ theatre of war into a theatre of the absurd. (shrink)

With the global spread of Chekhov’s plays in the 20th century, his works have transcended their literary origins to become foundational texts in modern theatre, influencing both dramatic realism and avant-garde experimentation. Beyond their structural and thematic innovations, Chekhov’s plays engage deeply with existential, metaphysical, and spiritual questions, making them fertile ground for religious and philosophical inquiry. His dramatic texts possess a _meta-theatrical_ quality, not only reflecting the human condition but also serving as a medium for grappling with themes of (...) faith, meaning, and transcendence. This study examines Chekhov’s plays as philosophical theatre, exploring how they resonate with religious and metaphysical thought in their engagement with fate, suffering, and the search for purpose. Through an analysis of theatrical interpretations—including Stanislavsky’s psychological realism, the metaphysical dimensions in productions by the Koriada Theater, Red Torch Theater, and Alexander Linski Theater—this research reveals how Chekhov’s works have been adapted to reflect contemporary existential and spiritual concerns. His dramas often evoke a sense of waiting, disillusionment, and silent prayer, mirroring theological reflections on divine silence, existential uncertainty, and the search for redemption in a seemingly indifferent world. By examining the interplay between _theatrical realism_, _meta-theatrical awareness_, and _philosophical reflection_, this study highlights Chekhov’s enduring influence as a dramatist whose works not only depict reality but also invite meditations on the sacred, the absurd, and the metaphysical. This research contributes to the broader discourse on religious philosophy and dramatic arts, arguing that Chekhov’s theatre functions as a _metaphysical space_ where philosophical and theological themes—such as the confrontation with mortality, the longing for transcendence, and the ethical dilemmas of human agency—are staged and explored. Future studies should further investigate how Chekhov’s dramaturgy engages with religious existentialism and the spiritual dimensions of theatrical performance, deepening the connection between theatre, philosophy, and metaphysical inquiry. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.4 (2002) 641-644 [Access article in PDF] Erich Segal. The Death of Comedy. Cambridge, Mass.: Harvard University Press, 2001. xiv + 589 pp. Cloth, $35. "In a grand tour of comic theater over the centuries," says the jacket blurb, "Erich Segal traces the evolution of the classical form from its beginnings... to Samuel Beckett. With fitting wit, profound erudition lightly worn, and instructive [End (...) Page 641] examples from the mildly amusing to the uproarious, his book fully illustrates comedy's glorious life cycle from its first breath to its death in the Theater of the Absurd." I agree, in part: It's a grand tour, after the fashion of Segal's Dionysian Ivy-League lectures, mixing pleasure with instruction and reminding the reader of comedy's changing devices, delights, and powers in the different periods and locales in which Segal has made himself comfortably at home. He doesn't, of course, "fully illustrate"—and I don't think he's gotten comedy's "life cycle" quite right, especially that titular death. Rival comedy tour guides like myself will question this or that judgment call, especially in their specialties (and still more when their own supremely valuable writings go unacknowledged). Yet there is much to praise in this highly readable, highly entertaining book, which I shall happily put on the reserve shelf next time I teach Honors 28 ("Comedy and Satire") to my laughter-loving sophomores and juniors at UNC.Segal's first 250 pages, more than half the book, take us from comedy's hypothetical beginnings in holiday fun and revelry to Terence's beleaguered Hecyra. To the usual etymologies of "revel-" and "country-song" (from komos and kome) he adds the less familiar "nightsong" (from koma, "sleep"), anticipating the prominent place of dreamlike disguises, confusions, and misadventures in comedy and in the human unconscious as explored by Freud. In subsequent chapters, Segal sketches the rise and fall of Old Comedy, which reaches new heights in the imaginatively playful erections of Aristophanes' Acharnians, Peace, and Birds, thenceforth declining towards Middle Comedy as sex gives way to money, Phales to Plutus. A chapter on Euripides' Ion entitled "The Comic Catastrophe" (why not "Eucatastrophe"?) provides a helpful bridge to the familial concerns and dramatic conventions of the New Comedy of Menander. From there, pivoting on Plautus and Terence, Segal follows "the evolution and transmutations of the classical literary form" (256), from Machiavelli and Marlowe, through Shakespeare, Molière, Jonson, Wycherley, and Beaumarchais, to what he regards as its foul and unnatural murder by the Surrealists and Absurdists of the last century—even as the beginning of Beckett's Waiting for Godot ironically completes a great circle by recalling the beginning of Aristophanes' Birds.Through all this, Segal keeps up a good, brisk pace. He chooses his plays well, discussing them with a skillful mix of plot summary, paraphrase, quotation (the good, clear translations are his own), and lively running commentary. As classicists, we readers of AJP will have our professional quibbles, our personal bones to pick (some of them juicy) about Aristophanes' Clouds (underrated by Segal), say, or Terence's borrowings from Plautus (which he plays down); but we are amateurs, too, more easily pleased when it comes to Shakespeare or Molière. Here, two of Segal's leitmotifs seem most effective and affecting: First, the dreamlike movement of events in Comedy of Errors (after Menaechmi, but we should add Amphitruo for the twice-doubling) and in Twelfth Night, drifting out of shipwreck, through confusion of identity approaching nightmare and madness, to the komos and gamos of festive comedy—or is it Freudian wish-fulfillment?; second, the sad clown or playwright, poor old cuckolded Molière, pushing to his life's very [End Page 642] end the comic enactments of cuckoldry, sickness, aging, and (near) death. Which reminds me, painfully, of what a difference it would make to our overly naive or sophisticated readings of Aristophanes or Terence if we knew more, even a little more, about their life and work than the usual, all too meager hearsay.Like his beloved Plautus, Segal... (shrink)

This chapter explores the notion of territory in the works of both Gilles Deleuze and Martin Heidegger. It examines whether race and its minor theatre want a dwelling place and investigates whether there is a political potential within the body without organs which offers a resistance to the homely conception of dwelling. It provides a contextualisation of this future theatre in the Deleuzo-Guattarian project of minor literature as a whole and questions the practicality of the schizo-stroll and the BWO. It (...) also discusses the notion of Heideggerian deterritorialisation. (shrink)

During the nineteen years of her play-writing career, Aphra Behn had far more new plays staged than anyone else. This book is the first to examine all her theatrical work. It explains her often dominant place in the complex theatrical culture of Charles II's reign, her divided political sympathies, and her interests as a free-thinking intellectual. It also reveals her as a brilliant theatrical practitioner, who used the seen as richly and significantly as the spoken.

In this article I have written about a set of experiences with theatre productions over the last few years that have appealed strongly, in different ways, to the heart. To contextualise the phenomenon, I have coined the phrase theatre of the heart, and have provided an analysis of its manifestations with reference to non-linear theatre, atmosphere, love, and wisdom and age. I have provided examples for each of those contexts from recent theatre practice. In sharing this experience and my interpretation (...) of it, I hope to enable other spectators to make sense of experiences they have encountered but may not be able to place, or to open them up to such experience in the first instance. My considerations may also support theatre artists to be courageous and develop the theatre of the heart further. (shrink)

Notable theorists have argued that theatre and drama play positive roles in the moral education of children and adults, including cultivating their capacity for empathy. Yet other theorists have expressed concerns that plays and educational practices involving improvisation might not lead to positive changes in real life, and might even have negative influences on actors and audiences. This paper focuses in particular on the dramatic methods employed by Theatre of the Oppressed, devised by Augusto Boal, and on the methods involved (...) in the development of the play The Laramie Project, developed by Moisés Kaufman and the Tectonic Theatre Project. It argues that Theatre of the Oppressed and The Laramie Project cultivate actors’ and audiences’ empathetic capacities, while overcoming many theorists’ worries about the impact of drama. (shrink)

In view of the enormous and expanding body of literature on Sartre the best one might expect of a new study would be a profound new insight or a significant new systemization of existing insights; the worst would be either a rehash of old opinions or a deliberate effort to be ‘new’ at all costs If Mrs McCall’s book falls somewhat short of the first category she certainly avoids most of the pitfalls of the second.

The oil-rich nation-states of the Arabian Peninsula are investing large sums in the development of an international sports industry for the region. In an effort to field its own national sports tea...

KUŠNÍROVÁ, Eva : The Theatre of Particular Features. Theatre Ensemble Hviezdoslav Spišská Nová Ves. Prešov: Faculty of Arts, Prešov university of Prešov in Prešov. ISBN 978-80-555-1818-3. 305 p.

Using the Lao PDR as a case study, this paper analyses human trafficking as discourse. Human trafficking is identified as a global discourse that is globalized through a set of powerful relations and actors. Following Appadurai, it is argued that this global discourse is not passively received by local actors such as the Lao state. This demonstrated by unravelling the global–local interactions through which it has entered the Lao social landscape. This is complemented with an analysis of a series of (...) events in which the human trafficking discourse is staged on Lao soil. On this basis, the paper argues that the global human trafficking discourse is actively indigenized through, amongst other things, the social practice of staging. In addition, the paper argues that this indigenized discourse is employed by actors in more localized power struggles; in this case, by the Lao state as a response to boundary crises triggered by the phenomenon of cross-border migration into Thailand as an important manifestation of the overarching process of transition. (shrink)

In the 1880s and 1890s, performance played a significant role in the lives of the American philosopher Charles Sanders Peirce (1839–1914) and his second wife, Juliette Peirce (185?–1934). Having moved to Milford, Pennsylvania, in April 1887, Charles and Juliette were still adjusting to country life. Milford, situated on the Delaware River among forests that seemed inexhaustible, had been settled by Hugenot immigrants whose French language and cultural influence were still strong. When the Peirces arrived, the town was already shifting from (...) the lumber industry to tourism, particularly as a summer retreat for the wealthy. Nearby Port Jervis offered relatively easy access by train to the cosmopolitan life in New.. (shrink)

Druzhinin’s insistence that the behaviour portrayed in fictional films can be considered a “reliable source of evidence for […] experiential analysis” of the cognitive use of ….

In lieu of an abstract, here is a brief excerpt of the content:On Franco-Ferraz, Theism and the Theatre of the Mind MiguelA. Badia-Cabrera In "Theatre andReligiousHypothesis,"1 MariaFranco-Ferraz offersan eloquent and reasoned argument in favour ofa fresh and different sort of hermeneutic approach to the Dialogues Concerning Natural Religion as a suitable means to disentangle the web of proverbially difficult philosophical questions posed by Hume in that work. In order to arrive at a coherent understanding ofthe Dialogues as a whole and (...) perhaps also to calm the sense of bafflement which the confrontation with this enigmatical text always provokes, many Hume scholars have taken as a point of departure and clue for unravelling it either one or two of Hume's principal philosophical doctrines or a presumedly unitary view of Hume's philosophy in general. Equipped with one or both of these instruments, they proceed to dissect the arguments of the Dialogues with the intention of determining what Hume's position really is. This task also almost invariably ends by assigning the victory in the dialectical struggle and the representation of the author's 'true' opinions to the character (sometimes even more than one) in whom they are more or less able to find the purest expression ofwhat theyhave previously decided is the kernel oressence ofHume's philosophy. Franco-Ferraz has taken a very different route. For her the key point of the Dialogues lies in the fictional setting in which the theological discussion takes place. She goes on to show that the literary form of the Dialogues is intrinsically connected with its philosophical content so as to serve to elucidate the precise nature ofthe conclusion which is established at the end, in Part XII. In other words, the theatrical structure facilitates a more profound and detailed investigation ofthe problems dealing with the existence and nature of God. In fact, Hume offers no final solutions to these problems and thereby none ofthe characters ofthe Dialogues can properly be said to present the victorious point of view or the one counting with the complete authority ofthe author ofthe play: The most important aspect of this text is the interaction between the different characters' points of view, which, by being in confrontation with each other, undergo reciprocal transformations. (Franco-Ferraz, 228) Volume XVI Number 2 131 MIGUEL A. BADÍA-CABRERA With this one cannot but agree. In addition she clinches her case by 'ai-trull·/ and convincingly showing that there is a profound relation between this theatrical form and some substantive philosophical theses which Hume developed in the Treatise, the first Enquiry, and The Natural History ofReligion. In reality, the theatre metaphor clarifies the sense ofthose philosophical doctrines, which in turn throw light on and corroborate her main contention about the conclusion of the Dialogues. For according to her, any definitive solution to the problems ofnatural theology is not presented at the end by any ofthe characters on behalfofa God-like author (Dieu auteur), and furthermore this deus ex machina solution would conflict especially with Hume's conception of the mind as being une pièce sans théâtre, a drama without a stage (Franco-Ferraz, 234). Such is the substance ofher thesis, if I have succeeded in giving a fairrepresentationofit. I thinkthatherinterpretation providesa novel outlook and one fruitful means ofaccess to an adequate understanding of the Dialogues. But I am quite hesitant with some particular and important aspects ofher reading of that text for the 'inconveniences', in Philo's sense ofthe word, which seem to follow from it, and alsohave a few difficulties in assessing the exact import of one or two of her central claims due to the somewhat vague manner in which, I think, these are formulated. First, at the verybeginningofher paper, Franco-Ferraz quotes the followingpassagefromPartIIIoftheDialoguesin which Demeaobjects to Cleanthes' claim, defended by two very ingenious analogies, that an orderly world like a coherent, articulate speech will always be taken as a sign ofintelligent design: When I read a volume, I enter into the mind and intention of the author: I become him, in a manner, for the instant; and have an immediate feeling and conception of those ideas, which revolved in his imagination, while employed in that composition. (D 155-56) I take issue with... (shrink)

The term Kathakali has by far become a word that is known widely among theatre lovers all over the world. It is no longer an art intended to perform within the four walls of a temple in Kerala, with only a limited educated upper class to appreciate. In its evolution, it has become a symbol that represents a society, culture and tradition. This paper explores Kathakali art form, tracing its origin and evolution and analyzing how it hasbecome a socio-cultural icon. (...) The paper also intends a comparative analysis of Kathakali with its counterparts – Krishnanaattam, Koodiyattam and Yakshagana – in order to substantiate its pre-eminence. (shrink)

This book provides both a historical analysis of the philosophical problem of individuation, and a new trajectory in its treatment. Drawing on the work of Gilles Deleuze, as well as C.S. Peirce and the lesser-known Gilbert Simondon, Alberto Toscano takes the problem of individuation, as reconfigured by Kant and Nietzsche, into the realm of modernity, providing a unique and vibrant contribution to contemporary debates in European philosophy.

This essay explores the discursive invocation of ‘civil war’ to describe the polarization of the political terrain in post-Referendum Britain in order to contextualize the National Theatre’s production of Carol Ann Duffy and Rufus Norris’s ‘verbatim’ play My Country and its representation of Brexit. It shows how the political reality of Brexit, understood as a crisis of ‘general enculturation’, undermined the NT’s attempt to transcend the impasse of the political context. It argues that in identifying the NT with the play’s (...) central figure of Britannia, an image of reconciliation, the theatre failed to account for its own implication in the wider crisis of enculturation. (shrink)

continent. 1.4 (2011): 242—252. Introduction The following two works were produced by visual artist Jonas Staal and writer Vincent W.J. van Gerven Oei during a visit as artists in residence at The Bag Factory, Johannesburg, South Africa during the summer of 2010. Both works were produced in situ and comprised in both cases a public intervention conceived by Staal and a textual work conceived by Van Gerven Oei. It was their aim, in both cases, to produce complementary works that could (...) be read “through each other,” in which the movement of artistic construction would be imitated by textual deconstruction and vice versa. Both works deal with the way in which capital, apartheid, and monumentality are interwoven in South-African society. The Missing Link addresses a monument for democracy, erected on the premises of a private corporation running both an amusement park and the Apartheid Museum franchise. The textual intervention accompanying this public intervention investigates the limits of the inclusiveness of the anti-discrimination section in the South-African constitution, itself a monumental work of democracy. The Monument for the Distribution of Wealth deals with the history and eventual dissolution of a monumental square, commemorating the Soweto Uprising, in one of the poorest townships of Johannesburg. The history accompanying this public dismemberment of memory is equally fragmented, which is expressed by the many voices recounting uncertain and perhaps even irrelevant “facts” about the genius loci, the way in which the memorial space has actually entered into the memory of the inhabitants surrounding it. Next to their individual practices, Staal and Van Gerven Oei have worked together on a number of projects ever since 2007, including several art residencies. Their work involves an investigation of the different interfaces between art, politics, and public space in media ranging from theater and public interventions, to video installations and (co-authored) textual works. The Missing Link Missing Link (1) Missing Link (2) Missing Link (3) Intervention on the monument entitled The Seven Pillars of the Constitution , part of the Apartheid Museum in Johannesburg, South Africa. The Seven Pillars represent the constitutional values propagated in South Africa since the abolition of the apartheid regime. The monument and museum were built by the Gold Reef Resorts corporation, which is also responsible for the theme park and casino next to it. By placing the word “capitalism” on the wall surrounding the museum, the capitalist system and the constant social divisions that it implies are interpreted as sophistic continuations of apartheid politics. Through the capitalist system, apartheid is still operational within South African society. Whereas during the apartheid regime, the separation clearly ran along race divisions, in the current, “democratic” system, the same actual separation is sustained without it being an explicit element of the foundations of the country, i.e. the constitution. This intervention foregrounds the constant role of capitalism is both periods. At the same time the intervention acknowledges that contemporary Western artisthood is a mirror of the privileges that are offered by the capitalist system, and the type of artist that it produces. The intervention initiates a critical discourse concerning the capitalist system situated within the disaster of capitalism itself, in other words: through the desire to break with the presumption that art would be able to operate outside the capitalist system and to confirm that art—and the artist himself—is in fact modeled on this system. The public intervention by Staal was supplemented by a textual intervention by Van Gerven Oei: a proposition to alter the seventeenth amendment of the South African constitution. Even though the anti-discrimination legislation in South-Africa is one of the most stringent and inclusive in the world, one factor—wealth—remains outside its scope, thus continuing the schisms along racial lines produced during the apartheid regime: §9.3. The state may not unfairly discriminate directly or indirectly against anyone on one or more grounds, including race, gender, sex, pregnancy, marital status, ethnic or social origin, colour, sexual orientation, age, disability, religion, conscience, belief, culture, language, birth, and wealth. Monument for the Distribution of Wealth Intervention concerning the June 16 Memorial Acre in Central Western Jabavu, one of the poorest townships of Johannesburg. The monument comprises a park on which different are placed recalling an important protest the black population against the former apartheid regime. In 1976, from a school adjacent to the park, they started a massive protest against the introduction of Afrikaans in the school curriculum. The police reacted violently, and shot several hundreds of students. The construction of the June 16 Memorial Acre was started in 2005, and from the start was the paragon of corruption. Coordinated by local politicians, some family members of the protest leader from 1976 gained control of the realization of the monument, outside the regulation through external institutions. The available budget of 41 million rand (at that time well over 5 million euro) was largely embezzled. In the meantime, the monument has become fully dilapidated and defaced. The park has become overgrown with weeds and covered in a layer of dirt, and the local population is slowly plundering the square to use the material for the construction and decoration of their own houses. The Monument for the Distribution of Wealth develops the dynamics already existent around the June 16 Memorial Acre. Without obtaining official permission in advance, several local inhabitants were hired to break down the monument, sort the materials, and offer it to the neighborhood. Thus, the redistribution of wealth after the fall of the apartheid regime is finally taking place, albeit from the mere remains of the capital that was once invested in the community. The words “monument” and “for free” are spray-painted on the stacks of material, both in English and Zulu, as these are locally the most common languages. Van Gerven Oei supplemented Staal’s public intervention with an account of the history of the monument based on a series of interviews. The account clarifies how the different interests within the protest 1976 are reflected in the exceeding decay of the park, and how in the end those interests were represented by the June 16 Memorial Acre. Monument for the Distribution of Wealth 1: Removing stones Monument for the Distribution of Wealth 3: Pulling down statues Monument for the Distribution of Wealth 4: Offering the material Monument for the Distribution of Wealth 5: Offering the material Monument for the Distribution of Wealth 6 The next day A Fragmentary History of the Monument for the Distribution of Wealth, Formerly Known as the June 16 Memorial Acre in Central Western Jabavu, Soweto Vincent W.J. van Gerven Oei The following text, based on interviews and online research aims to provide parts of a history of the park in front of Morris Isaacson High School in Central Western Jabavu, Soweto. The idea for the transformation of the park into a memorial site has its source in the events of June 16, 1976: the start of the the student uprising in Soweto. The development of the park was started in the early 1980s, and the actual transformation into a memorial site, the June 16 Memorial Acre, was initiated in 2005. Over the last few years, several monumental additions have been made to the park: A marble monument with three pillars was revealed on June 16, 2006. A sculpture of a book and several billboards on June 16, 2008. A sculpture of student leader Tsietsi Mashinini on June 16, 2010. The park was transformed into the Monument for the Distribution of Wealth on August 3, 2010. According to the entry “Youth Struggle” on the website South African History Online, the Bantu Education Act was introduced in 1953 . In 1954 , Dr Verwoerd, Minister of Native Affairs, stated: “What is the use of teaching the Bantu child mathematics when it cannot use it in practice? That is quite absurd.” According to the entry “Soweto uprising” on Wikipedia, the Afrikaans Medium Decree was issued in 1974 , forcing all black schools to use Afrikaans and English in a 50-50 mix as languages of instruction. The Regional Director of Bantu Education (Northern Transvaal Region), J.G. Erasmus, told Circuit Inspectors and Principals of Schools that from January 1, 1975 , Afrikaans had to be used for mathematics, arithmetic, and social studies from standard five (7th grade). English would be the medium for general science and practical subjects. Indigenous languages would be used for religion instruction, music, and physical culture. According the entry “Soweto uprising” on Wikipedia, on April 30, 1976 , students from the Orlando West Junior School in Soweto went on strike, refusing to go to school. Their example was followed by other schools in Soweto. A student from Morris Isaacson High School, Toboho “Tsietsi” Mashinini, proposed a meeting on June 13, 1976 to discuss further action. According to Weizmann Hamilton’s article “The Soweto Uprising 1976,” which appeared in the September 1986 edition of Inqaba Ya Basebenzi (Fortress of the Revolution), on June 13, 1976 , the South African Students’ Movement called a meeting at the Donaldson Community Center in Orlando. 300-400 Students representing 55 schools decided to hold a mass demonstration on June 16. According to Brian Mokhele, member of the Joint Community Safety Forum, Dr Edelstein was the first victim of the Soweto uprising and killed the day before the march on June 15, 1976 . Edelstein was an administrator at the pass office in Jabavu and gave golf courses to the local community. Edelstein was put in a garbage bin and pierced by pickaxes. The garbage bin was left at the very spot of the murder for many years. A few years ago, a child was beheaded at the same spot, and the basketball court next to it has been abandoned since. According to Marcus Neustetter, founder of the Trinity Session, this story is untrue. According the entry “Soweto uprising” on Wikipedia, on June 16 , Tsietsi Mashinini led students from Morris Isaacson High School to join up with others who walked from Naledi High School. A crowd of between 3,000 and 10,000 eventually ended up near Orlando High School. According to Raymond Marlowe, a local photographer, Tsietsi Mashinini was heading the march. According to the entry “Hector Pieterson” on Wikipedia, Dr Edelstein died on June 16, 1976 , stoned to death by mob and left with a sign around his neck proclaiming “Beware Afrikaaners.” The first child to die that day was called Hastings Ndlovu. According to Pat Motsiri, Orlando West is claiming struggle heritage through the Hector Pieterson Museum, while Hector Pieterson was from Jabavu. According to Pat Motsiri, his generation effectively struggled between 1980 and 1991, forcing the release of Nelson Mandela and negotiations with the apartheid regime while the 1976-generation was safely in exile. Nevertheless, this has not been recognized in any monument. After the abolition of apartheid, the generation from 1976 returned from exile, occupied important government and ANC positions, creating an abundance of 1976 memorials and refusing to acknowledge that this was only possible because of the younger generation’s struggle. He calls this a generational conflict. According to Archibald Dlamini, the park officer responsible for the Memorial Acre, he started working for the municipality in 1978. In 1981/82 , Isaac Makhele from Pimville, who used to work in the cemetery business, was the first developer of the park. It used to be just a normal park until City Parks decided to develop the Memorial Acre in 2006. In 2007 the work was stopped by the community. According to Brian Mokhele, he left the country in 1989 after he participated in the riots of 1986. But when he returned in 1999 he found that nothing had changed. He says that they were promised to be protected by the Constitution, but that reality is different. The police uses fear to suppress them so that they don’t come out to talk openly. He has been arrested twice, both times harassed and tortured by the police, but in the end always released without indictment. He says that this is their way to threaten communities to back off from politics. According to Moses, who is sitting outside rolling a joint, Brian knows everything. He tells Brian to tell me everything he knows. According to Brian Mokhele, Tsietsi Mashinini was possibly murdered in 1990 during his exile in New York. Two weeks before he was supposed to return to South Africa, his papers in order, he was found dead under mysterious circumstances. His coffin was sealed when he was buried. According to Pat Motsiri, he came up with the idea for the Memorial Acre in 2003 . He submitted the documents for the proposal to the council, which sidelined him as soon as the budget came out in 2005 . According to Brian Mokhele, there was on estimation R 41,000,000 spent to redesign the park and turn it into the Memorial Acre. The millions were divided by Amos Masondo, the mayor of Soweto, the local councilor Bongani D. Zondi, and the director of the city of Johannesburg, Pat Lephunya. They were dividing the money between several contractors: Tsietsi Mashinini’s brothers were involved in the development of the park, they got the tender to do the green areas, the landscaping. Construction was done by other companies, some did the paving, the toilets, etc. EMBA, a private company appointed by the municipality was in control of the money flow, but the money was quickly gone. According to Raymond Marlowe, the contractor bought a BMW with the money. According to Archibald Dlamini, the Mashinini brothers got the tender, so the space would look more like the other places around in Soweto. It was agreed that after they were done, they would return the property to the municipality. They did whatever they could do. According to Mafaisa, a member of the Jabavu business community, he was one of the contractors for the landscaping and the pavement under Mpho Mashinini, one of the brothers. He says that I should contact Mavi for information on Mpho. According to Poi Stuurman, a local youth worker, Mafaisa is one of the guys who ran away with the money. According to Mavi, Mpho Mashinini was never a contractor. The contracts were organized by Sbu Butelezi, the former head of the Gauteng Department for Public Works. The June 16 Foundation and the Mashinini brothers will be the beneficiaries of the park when it is finished. According to Brian Mokhele, City Parks did not accept the Memorial Acre because it was not finished. The rest of the year, the unfinished park is not maintained, as should have happened. This was done deliberately so that in the end they can just clean the whole thing up and have a reason to redo the whole park. According to Brian Mokhele, the Mashinini brothers now work for the government. People that manipulate for money purposes always come from the government’s side. Because the park was left unfinished, the people from the neighborhood are taking away the stones to decorate their own homes with. According to Archibald Dlamini, because City Parks doesn’t accept responsibility of the park, he officially has nothing the guard, except for his cottage, which is municipal property. The thieves come at night and destroy the park, but he cannot do anything because he is sleeping. According to the website of the Thanda Foundation on June 16, 2006 a bronze statue of Hector Pieterson, the first child to die in the 1976 protests, made by Kobus Hattingh and Jacob Maponyane was unveiled in the Maponya Mall in Soweto. The statue is sculpted after the famous image shot by Sam Nzima of Mbuyisa Makhubo carrying the dead body of the boy. The sculpture was sponsored by the Thanda Foundation, founded by the Swedish entrepreneur Dan Olofsson and South-African entrepreneur Matthews Phosa. According to the official website of the City of Johannesburg, the Memorial Acre and Artwork were unveiled in 2006. According to a blog post on sowetouprisings.com, the Memorial Acre was still under development on July 24, 2006. According to Archibald Dlamini, City Parks only cleans up the park once a year just before the June 16 celebrations. Everybody is waiting for the Mashinini brothers to finish their job. The last time he talked with them was in 2007 . According to a sign on the school grounds of the Morris Isaacson High School, the June 16 Trail will be finished in 2008 . According to a blog post on sowetouprisings.com, the Memorial Acre contains another monument erected in Tsietsi’s honor. The monument was created as part of the Sunday Times Heritage Public Art program. Its physical form resembles a giant book which symbolizes the crisis in education experienced in 1976. On the face of the book is the map of the route taken by the students from Morris Isaacson High School in Central Western Jabavu to Phefeni Junior Secondary in Orlando West (currently the site of the Hector Pieterson Museum), while the back cover of the ‘book’ is inscribed with a tribute to Tsietsi Mashinini. The monument was revealed on June 16, 2008 . According to Marcus Neustetter, the billboards on the Memorial Acre were part of a school project realized in 2008. Following several workshops, the students from different high schools along the June 16 Trail were invited to work with artists on the billboards, while the neighborhood community was invited to watch the process during the festivities on June 15 and 16, 2008 . The billboards were supposed to be removed because of construction works on the Memorial Acre, which never ended up happening. According to Brian Mokhele, the former toilet facilities were converted into a house for the park officer. This park officer has been working for city parks for more than 12-15 years, but does nothing here, because the park, including the new toilet buildings, is not finished. The government is now moving around looking for people to take this job because they stopped it. They confronted everybody who was going in and chased them away. According to John, in 2009 , some girls, around 16 or 17 years old, were raped by four men who had been drinking in a local shebeen. When the bar quit they said that they would go home by car, but instead raped the girls on the Memorial Acre nearby. This happened in the unfinished toilets, because the doors couldn’t be closed. According to Brian Mokhele, there used to be some fences around the park because of the construction work that was eventually stopped, but these were also stolen. According to Archibald Dlamini, people from the neighborhood started about two and a half years ago, and the last piece was stolen near the end of 2009 . Sometimes he would catch someone with a roll of fence, and then use it for his own cottage. According to the official website of the City of Johannesburg, a statue of Tsietsi Mashinini by Johannes Pokhela was revealed on June 16, 2010 , “Youth Day.” According to Shirley Makutoane, deputy principal of Isaac Morrison High School, the statue of Tsietsi Mashinini, funded by the June 16 Foundation, has temporarily been placed within the school perimeter. The statue will be moved to the Memorial Acre when it will be finished, in 2011 . According to Brian Mokhele, beside the June 16 Foundation, there is also a June 16 Memorial Acre Foundation. Both foundations are quarreling about the money involved in the Memorial Acre project. Nobody knows who’s involved in them. According to Marcus Neustetter, the June 16 Foundation consists of people that were part of 1976 protest movement, local government officials, representatives of the Hector Pieterson Museum, and the council. According to students from the Isaac Morrison High School, the statue of Tsietsi Mashinini is on the school ground because on the Memorial Acre it would be vandalized by youths from White City, an adjacent neighborhood. Accorcing to Brian Mokhele, the statue of Tsietsi should eventually be mounted on the Memorial Acre. It is wrong that the statue is in the school at the moment, because it is not a public school. He wants the statues to depict the massiveness of the force that was coming into Soweto after the protests. According to Brian Mokhele, City Parks, City of Jo’burg, City Lights, and SAPS are making some sort of plan to take the plan back. They want to remove the trees from the Memorial Acre, and redesign the Memorial Acre into a relaxing park, without political content. They want to depoliticize the square. In doing so,they will have their own employment and not use local workforces. According to Brian Mokhele, the community wants to remove the monuments, amphitheater, and sculptures from the Memorial Acre because they do not resemble anything. The sculptures should be depicting the truth of what happened, because the Memorial Acre is a political heritage site. He wants to involve the people that actually participated in the struggle to make the monument so that everyone can enjoy it and get a better understanding of the struggle heritage. Therefore, he proposes collective ideology in which everyone has a say. This would prevent future vandalization of the monument. According to Pat Motsiri, the sculptures must depict the event around June 16, 1976. Like the story of Dr Edelstein, who was pierced by pickaxes, forced into a garbage bin and burned alive. According to Jonas Staal, the Memorial Acre should be destroyed, its elements stacked on pallets, thus forming the Monument for the Distribution of Wealth . According to Mafaisa, his men can do the work quickly. He has about twenty men working under him. (shrink)

This chapter examines the relevance of Gilles Deleuze's work for the works of Italian director Carmelo Bene. It argues that Deleuze's One Less Manifesto conceived the theatre of continuous variation, particularly Bene's theatre, as one that is initiated and sustained by subtraction. It also questions the compatibility of Deleuze's vitalist concept of subtraction with Bene's own concept of the subtractive.

This article addresses the architecture of the Inns of Court, the home of the Common Law. The approach taken, however, rejects an approach that would reduce the Inns to a roster of historical details and laudatory description. Instead, the Inns are seen, if not actually felt, as the embodiment of the “original” ground of law. This experience is revealed through a three-stage discovery process that situates the Inns within the medieval context of symbol and ritual as informed by Turner’s concept (...) of liminality; analyzes the space of the Inns using concepts of bodily disunity derived from the psychoanalysis of Lacan and Klein; relates this space to the “body of Law” in phenomenological terms, as a function of the irresolvable priority of either arché or anarché. The article concludes with a series of speculative propositions on a series of originary architectonic sites: the labyrinth, the pinnacle, and the door. These culminate in the assertion that the architecture of the Inns of Court stages the deferral of bodily interiority through which the Law simultaneously derives its infinite remove and its authority. (shrink)