"Memory is a weapon" : the uses of history and myth in selected post-1960 Kenyan, Nigerian and South African plays

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dc.contributor.advisorHauptfleisch, Templeen_ZA
dc.contributor.advisorBreitinger, H. E. (Habil Eckhard)en_ZA
dc.contributor.authorHutchison, Yvetteen_ZA
dc.contributor.otherStellenbosch University. Faculty of Arts and Social Sciences. Dept. of Drama.en_ZA
dc.date.accessioned2012-08-27T11:34:27Z
dc.date.available2012-08-27T11:34:27Z
dc.date.issued1999-12en
dc.descriptionThesis (PhD)--Stellenbosch University, 1999.en_ZA
dc.description.abstractENGLISH ABSTRACT: In hierdie proefskrif word gekyk na die verwantskap tussen geskiedenis, mite, geheue en teater. Daar word ook gekyk na die mate waartoe historiese of mitiese toneelstukke gebruik kan word om die amptelike geheue en identiteite, soos deur bewindhebbers in post-koloniale Nigerie en Kenya geskep, terug kon wen of uit kon daag. Hierdie werke word dan vergelyk met die soort teater wat tydens die Apartheidbewind in Suid-Afrika geskep is, om verskille en ooreenkomste in die gebruik van historiese en mitiese gegewens te bekyk. Die slotsom is dat een van die belangrikste kenmerke van die teater in vandag se samelewing sy vermod is om alternatiewe historiese narratiewe te ontwikkel wat kan dien as teen-geheue ("counter-memory") vir die dominante narratief van amptelike geskiedenisse. Sodoende bevraagteken die teater dan ook 'n liniere en causale siening van die geskiedenis, maar interpreteer dit eerder as meervoudig en kompleks.en_ZA
dc.description.abstractAFRIKAANSE OPSOMMING: This thesis considers the relationship between history, myth, memory and theatre. The study explores the extent to which historic or mythic plays were used to either reclaim or challenge the official memories and identities created by those in power in the postcolonial Kenyan and Nigerian context. These are then compared to the South African theatre created during Apartheid, exploring the similarities and differences in the South Africans use of historic or mythic referents. The conclusion reached is that one of the most powerful aspects of theatre in society is its ability to create alternate historic narratives that become a counter-memory to the dominant narrative of official histories. It also challenges seeing history as linear and causal, and makes it more plural and complex.af_ZA
dc.format.extent287 pagesen_ZA
dc.identifier.urihttp://hdl.handle.net/10019.1/51338
dc.language.isoen_ZAen_ZA
dc.publisherStellenbosch : Stellenbosch Universityen_ZA
dc.rights.holderStellenbosch Universityen_ZA
dc.subjectAfrican drama -- History and criticismen_ZA
dc.subjectTheater -- Africaen_ZA
dc.subjectPolitics and literature -- Africaen_ZA
dc.subjectTheater and state -- Africaen_ZA
dc.title"Memory is a weapon" : the uses of history and myth in selected post-1960 Kenyan, Nigerian and South African playsen_ZA
dc.typeThesisen_ZA
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