The Theatre of Violence: Narratives of Protagonists in the South African Conflict

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Sovereign power and bare life.

Participatory Media Practices in Conflict Communities

Stanford: Stanford University Press. State of exception. Arendt Hanna.

On violence. Responsibility and judgment.

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The theatre of violence: narratives of protagonists in the South African conflict

New York: Schocken Books. Auden Wystan Hugh. The shield of Achilles. Bartnik Ryszard. Travelling texts: J. Coetzee and other writers — Frankfurt am Main: Peter Lang. Benjamin Walter. On the concept of history.

Defining Participatory Media

Jennings eds. Walter Benjamin: Selected writings.

Volume 4: — Butler Judith. Precarious life. The powers of mourning and violence.

Genre and genre conventions

Coetzee John Maxwell. London: Vintage. Das Veena. Language and body: Transactions in the construction of pain.


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In Daedalus 1 67— The theater of violence. In telling their stories, individuals on various sides of the apartheid divide, from the police force and intelligence officers to grassroots activists and members of township self-protection units, offer the first critical examination of the Truth and Reconciliation Commission's amnesty process, show how media representations of protagonists inform public perceptions, and scrutinize international scholarly writings on the issue of political violence.

Tracing political violence in South Africa from to , these accounts show how an overarching theater of violence forced protagonists to compete with each other, almost spiralling South Africans into a political vortex that risked outright societal disintegration. Popular representations of perpetrators.

Wider academic understandings. Victor is attracted to the direct correlation between the fragility of human life and the susceptibility of the physical image. For Victor, "the portraits are made with the deposits of carbon from candle smoke on white paper. They are exceedingly fragile and can be easily damaged, disintegrating with physical contact as the carbon soot is dislodged from the paper.

I was interested in the extremely fragile nature of these human lives and of all human life, attempting to translate this fragility into portraits made from a medium as impermanent as smoke itself"' [6].


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