By Carrol Clarkson
"Art, like morality, contains drawing the road somewhere", G.K. Chesterton wrote in 1928, insisting at the necessity - if additionally the contingency - of marking a restrict within the act of creating a call, even if that call is a moral or a cultured one. Drawing the road examines the several ways that cultural, political and criminal traces are imagined, drawn, crossed, erased, and redrawn in post-apartheid South Africa - via literary texts, works of art, and other kinds of cultural creation. less than the rubric of a philosophy of the restrict, and as regards to quite a number signifying acts and occasions, this e-book asks what it takes to recalibrate a socio-political scene, moving perceptions of what counts and what issues, of what should be noticeable and heard, of what will be valued or considered as significant. those delineations are inextricably sure up in questions of social justice, and within the enjoying out of political and felony identities. it really is during this context that the chapters, taken jointly, make an issue for an aesthetics of transitional justice, and an charm for a post-apartheid aesthetic enquiry, instead of easily a political or a felony one. the purpose of departure in each one bankruptcy is a South African paintings, or textual content, or speech, or construction, or social stumble upon . . . however the discussions convey every one neighborhood "aesthetic act" (to borrow Jacques Ranciere's time period) into dialogic dialog with debates in serious thought and Continental philosophy: what are the permitting positive aspects of ecu thought in a South African context, yet what problem do those South African acts of signification and resignification pose to present literary-philosophical debates? The e-book makes a contribution to modern aesthetic discourses via conversations at the borderlines of philosophy and literature, literature and the legislation, legislation and politics, politics and justice, justice and paintings.
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Additional resources for Drawing the Line: Toward an Aesthetics of Transitional Justice (Just Ideas: Transformative Ideals of Justice in Ethical and Political Thought)
It is just a matter of time before Ettinger is found with a bullet in his back” (Coetzee 1999a, 204). Lucy’s understanding of her own position is not contained by Western colonial conceptions of supposed legal boundaries, of land arrogation or proprietorship, which puts her views into stark contrast with those of her father. In some respects at least, Lucy’s attitudes are reminiscent of those of Michael K in Coetzee’s early novel Life & Times of Michael K. indb 42 6/26/13 11:41:20 AM Drawing the Line 43 Every mile or two there was a fence to remind him that he was a trespasser as well as a runaway.
Because the British Government wanted to give the vote to any Cape Coloured person walking about with a kroes head and cracks in his feet” [Bosman 2006, 263]), insists instead on the uncertainties it is meant to fence out. Bosman’s story, published in February 1949, is surely prescient and subversive in foregrounding the insecurities created by the attempt to explain and justify exclusionary racial, religious, and colonial lines. The magnitude of the apartheid government’s self-constructed sense of threat, at the same time as the publication of Bosman’s story, can surely be registered in the spectacularly divisive laws it instituted immediately upon coming into power: 1949 saw the Prohibition of Mixed Marriages Act; 1950, the Suppression of Communism Act, the Population Registration Act, the Group Areas Act, the Immorality Amendment Act, and the banning of the South African Communist party.
This presence of the god is in itself the extension and delimitation of the precinct as a holy precinct” (Heidegger 1993, 167). Thus, even while it portrays nothing, it is the temple building that signiﬁes the ground as sacred, that creates within it the shape of meaning and human destiny in acts of nature (birth, death, and other natural phenomena, such as the existence of other animals or the weather) that in themselves are void and heedless of any meaning that humans might attribute to them.