'She travels alone and unattended’: the visit to the Eastern Cape of the botanical artist, Marianne North
- Authors: Beard, Margot
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147759 , vital:38668 , https://doi.org/10.1080/00043389.2007.11877077
- Description: The visit of the botanical artist, Marianne North, to South Africa during 1882 to 1883, although frequently referred to, has not received much close attention; nor has her account of the visit, in her ‘Recollections of a happy’ life, been set against the actual conditions she would have encountered. This paper attempts to flesh out at least part of that visit, specifically the weeks she spent in the Eastern Cape Colony and, more particularly, her visits to Port Elizabeth, Grahamstown and Port Alfred. What were these three centres like at the time? Who were the people she mentions? Where did she stay? How do her observations tally with other accounts of the period?.
- Full Text:
- Date Issued: 2017
- Authors: Beard, Margot
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147759 , vital:38668 , https://doi.org/10.1080/00043389.2007.11877077
- Description: The visit of the botanical artist, Marianne North, to South Africa during 1882 to 1883, although frequently referred to, has not received much close attention; nor has her account of the visit, in her ‘Recollections of a happy’ life, been set against the actual conditions she would have encountered. This paper attempts to flesh out at least part of that visit, specifically the weeks she spent in the Eastern Cape Colony and, more particularly, her visits to Port Elizabeth, Grahamstown and Port Alfred. What were these three centres like at the time? Who were the people she mentions? Where did she stay? How do her observations tally with other accounts of the period?.
- Full Text:
- Date Issued: 2017
Aporias of Rock Art interpretation: advancing a phenomenological reading
- Authors: Horwitz, Nomvuyo
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145609 , vital:38451 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00342
- Description: A porias—from the Greek a + poros (“without” + “passage”)—are defined by Jacques Derrida (1993) as philosophical expressions of doubt and confusion; they are irresolvable logical disjunctions in a given line of enquiry. Stuart Murray (2009:11) describes aporias as being constituted by “an intrinsic undecidability … a contradiction, a puzzle or a paradox.” In this article, I argue that academic interpretation of San rock art has been marked by certain aporias—moments of inherent, irresolvable confusion or doubt—because of the methodological tendencies that contemporary researchers have employed. By viewing the interpretation of San paintings as a detective-like “deciphering”—that is, as a journey that must end at the “arrival” of a static meaning— researchers have created pockets of contradictions: San rock art paintings are part of a process of perceptual meaning-making through aesthetic expression, not merely clues for deciphering a simplified “bygone” past. In this view, I advance a phenomenological approach to interpreting these paintings.
- Full Text:
- Date Issued: 2017
- Authors: Horwitz, Nomvuyo
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145609 , vital:38451 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00342
- Description: A porias—from the Greek a + poros (“without” + “passage”)—are defined by Jacques Derrida (1993) as philosophical expressions of doubt and confusion; they are irresolvable logical disjunctions in a given line of enquiry. Stuart Murray (2009:11) describes aporias as being constituted by “an intrinsic undecidability … a contradiction, a puzzle or a paradox.” In this article, I argue that academic interpretation of San rock art has been marked by certain aporias—moments of inherent, irresolvable confusion or doubt—because of the methodological tendencies that contemporary researchers have employed. By viewing the interpretation of San paintings as a detective-like “deciphering”—that is, as a journey that must end at the “arrival” of a static meaning— researchers have created pockets of contradictions: San rock art paintings are part of a process of perceptual meaning-making through aesthetic expression, not merely clues for deciphering a simplified “bygone” past. In this view, I advance a phenomenological approach to interpreting these paintings.
- Full Text:
- Date Issued: 2017
Bodies in agitation: Wilma Cruise's recent works
- Authors: Schmahmann, Brenda
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147770 , vital:38670 , https://doi.org/10.1080/00043389.2002.11876996
- Description: Wilma Cruise is probably best known for Strike the Woman Strike the Rock (2000), a public work produced collaboratively with Marcus Holmes which commemorates the march of women on the Union Buildings on 9 August 1956 to protest against the pass laws. This government commission tallies with Cruise's longstanding interest in feminism. Also, through its incorpora tion of sound, the written word and projections of imagery, Strike the Woman Strike the Rock coheres with an interest in combining a diversity of media and art forms that has been evident in her work during the last few years.
- Full Text:
- Date Issued: 2017
- Authors: Schmahmann, Brenda
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147770 , vital:38670 , https://doi.org/10.1080/00043389.2002.11876996
- Description: Wilma Cruise is probably best known for Strike the Woman Strike the Rock (2000), a public work produced collaboratively with Marcus Holmes which commemorates the march of women on the Union Buildings on 9 August 1956 to protest against the pass laws. This government commission tallies with Cruise's longstanding interest in feminism. Also, through its incorpora tion of sound, the written word and projections of imagery, Strike the Woman Strike the Rock coheres with an interest in combining a diversity of media and art forms that has been evident in her work during the last few years.
- Full Text:
- Date Issued: 2017
Perturbation–Response Scanning reveals key residues for Allosteric Control in Hsp70:
- Penkler, David L, Sensoy, Özge, Atilgan, Canan, Tastan Bishop, Özlem
- Authors: Penkler, David L , Sensoy, Özge , Atilgan, Canan , Tastan Bishop, Özlem
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/148195 , vital:38718 , DOI: 10.1021/acs.jcim.6b00775
- Description: Hsp70 molecular chaperones play an important role in maintaining cellular homeostasis, and are implicated in a wide array of cellular processes, including protein recovery from aggregates, cross-membrane protein translocation, and protein biogenesis. Hsp70 consists of two domains, a nucleotide binding domain (NBD) and a substrate binding domain (SBD), each of which communicates via an allosteric mechanism such that the protein interconverts between two functional states, an ATP-bound open conformation and an ADP-bound closed conformation. The exact mechanism for interstate conversion is not as yet fully understood. However, the ligand-bound states of the NBD and SBD as well as interactions with cochaperones such as DnaJ and nucleotide exchange factor are thought to play crucial regulatory roles. In this study, we apply the perturbation–response scanning (PRS) method in combination with molecular dynamics simulations as a computational tool for the identification of allosteric hot residues in the large multidomain Hsp70 protein.
- Full Text:
- Date Issued: 2017
- Authors: Penkler, David L , Sensoy, Özge , Atilgan, Canan , Tastan Bishop, Özlem
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/148195 , vital:38718 , DOI: 10.1021/acs.jcim.6b00775
- Description: Hsp70 molecular chaperones play an important role in maintaining cellular homeostasis, and are implicated in a wide array of cellular processes, including protein recovery from aggregates, cross-membrane protein translocation, and protein biogenesis. Hsp70 consists of two domains, a nucleotide binding domain (NBD) and a substrate binding domain (SBD), each of which communicates via an allosteric mechanism such that the protein interconverts between two functional states, an ATP-bound open conformation and an ADP-bound closed conformation. The exact mechanism for interstate conversion is not as yet fully understood. However, the ligand-bound states of the NBD and SBD as well as interactions with cochaperones such as DnaJ and nucleotide exchange factor are thought to play crucial regulatory roles. In this study, we apply the perturbation–response scanning (PRS) method in combination with molecular dynamics simulations as a computational tool for the identification of allosteric hot residues in the large multidomain Hsp70 protein.
- Full Text:
- Date Issued: 2017
Reimagining our missing histories: Eria Nsubuga SANE and Sikhumbuzo Makandula in conversational partnership
- Makandula, Sikhumbuzo, Nsubuga, Eria
- Authors: Makandula, Sikhumbuzo , Nsubuga, Eria
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145620 , vital:38452 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00345
- Description: While an interview could be described as a view among, between, betwixt, or in the midst of two subjects—from s'entrevoir (see each other); entre (between) and vue (view)—many interviews in art history are hierarchical not only in the sense of an interviewer “authoring” the material received from the respondent, but also in the sense of the theorist or writer shaping the ideas of the practitioner. As discussed in the First Word, “Situating Africa,” there is a tendency for writers in the “north” to theorize the professional practice of artists in the “south,” developing what Gordon Lewis (2006) refers to as a geography of reason. In their book Qualitative Interviewing: The Art of Hearing Data, Herbert J. Rubin and Irene S. Rubin (2012:7) develop the term “conversational partnership” to describe two or more participants who play an active role in shaping content as they cocreate meaning. This conversational partnership between two artists—one based in Uganda and the other based in South Africa—developed out of the publishing workshop at Rhodes University in June 2016, which aimed to approach the creation of knowledge from the perspective of “sideways learning” (see “Reaching Sideways, Writing Our Ways” in this issue). —Ruth Simbao.
- Full Text:
- Date Issued: 2017
- Authors: Makandula, Sikhumbuzo , Nsubuga, Eria
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145620 , vital:38452 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00345
- Description: While an interview could be described as a view among, between, betwixt, or in the midst of two subjects—from s'entrevoir (see each other); entre (between) and vue (view)—many interviews in art history are hierarchical not only in the sense of an interviewer “authoring” the material received from the respondent, but also in the sense of the theorist or writer shaping the ideas of the practitioner. As discussed in the First Word, “Situating Africa,” there is a tendency for writers in the “north” to theorize the professional practice of artists in the “south,” developing what Gordon Lewis (2006) refers to as a geography of reason. In their book Qualitative Interviewing: The Art of Hearing Data, Herbert J. Rubin and Irene S. Rubin (2012:7) develop the term “conversational partnership” to describe two or more participants who play an active role in shaping content as they cocreate meaning. This conversational partnership between two artists—one based in Uganda and the other based in South Africa—developed out of the publishing workshop at Rhodes University in June 2016, which aimed to approach the creation of knowledge from the perspective of “sideways learning” (see “Reaching Sideways, Writing Our Ways” in this issue). —Ruth Simbao.
- Full Text:
- Date Issued: 2017
“[A] ll just surface and veneer”: the challenge of seeing and reading in Ishtiyaq Shukri’s I See You
- Authors: Dass, Minesh
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142577 , vital:38092 , DOI: 10.1080/17533171.2017.1312749
- Description: This article considers challenges posed to reading practices and hermeneutics by Ishtiyaq Shukri’s I See You. The content of the novel is at times didactic, and surface reading might seem an appropriate means of analysis, yet the form is experimental: it includes radio reports, characters’ reflections and journalistic work. The connection between these “documents” is not readily apparent, thus one is obliged to study the gaps between them to make sense of the text. Symptomatic reading might seem apposite, but the protagonist’s photographic work reveals the limits of this form of reading, too. I argue that Shukri’s text demands a process that interweaves symptomatic and surface reading in complex ways that require the reader to assess the ideological position from which s/he reads. The novel therefore draws attention to the ways in which reading, like seeing, is a political act.
- Full Text:
- Date Issued: 2017
“[A] ll just surface and veneer”: the challenge of seeing and reading in Ishtiyaq Shukri’s I See You
- Authors: Dass, Minesh
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142577 , vital:38092 , DOI: 10.1080/17533171.2017.1312749
- Description: This article considers challenges posed to reading practices and hermeneutics by Ishtiyaq Shukri’s I See You. The content of the novel is at times didactic, and surface reading might seem an appropriate means of analysis, yet the form is experimental: it includes radio reports, characters’ reflections and journalistic work. The connection between these “documents” is not readily apparent, thus one is obliged to study the gaps between them to make sense of the text. Symptomatic reading might seem apposite, but the protagonist’s photographic work reveals the limits of this form of reading, too. I argue that Shukri’s text demands a process that interweaves symptomatic and surface reading in complex ways that require the reader to assess the ideological position from which s/he reads. The novel therefore draws attention to the ways in which reading, like seeing, is a political act.
- Full Text:
- Date Issued: 2017
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