Prompted by Paul Gilroy's question as to how active remembrance in black expressive culture is associated with a distinctive and disjunctive temporality (1993: 212), this article brings to view ...divided autobiographical subjectivities through the problematic, if double, temporality of Bloke Modisane's Blame Me on History (1963) and Miriam Makeba's Makeba: My Story (1988) such as they are framed between popular culture and figures of memory that straddle Tinseltown and Sophiatown. It does so by referring to these two prominent Sophiatown figures' preoccupation with voyaging - discursively through figures of memory and bodiographically - in performative Hollywood en route to exile in the geopolitical West. The two autobiographical texts that record each moment of the memoric and material journeys - entries and exits - effectively bear witness to rhizomatic alliances that are fore-grounded by Hollywood-mediated agential discourses of performativity. The paper concludes that the signifying time of Modisane's and Makeba's self-representation is doubled by temporal and spatial deixes of both Tinseltown and Sophiatown in general and the margins of reconstructive memory and spectatorship of cinematic popular culture in particular.
In this paper we present an attack to the BLOKE and BRAKE hash functions, which are weakened versions of the SHA-3 candidate BLAKE. In difference to BLAKE, the BLOKE hash function does not permute ...the message words and constants in the round computation of the compression function, and BRAKE additionally removes feedforward and zeroes the constants used in each round of the compression function. We show that in these cases we can efficiently find, for any intermediate hash value, a fixed-point block giving us an internal collision, thus producing collisions for messages of equal length in case of BLOKE, and internal collisions for BRAKE.
Modisane's weddings Sanders, Mark
Social dynamics,
01/2010, Letnik:
36, Številka:
3
Journal Article
Recenzirano
'All Sons of Gaika', a newly discovered unpublished story by Bloke Modisane, has a marriage plot. The present commentary compares that plot to Modisane's description of his own wedding in Blame Me on ...History, his autobiography.
In his memoir Blame Me on History (19861963), a reflection on the impact of state power on what has been termed by Gwen Bergner "raced masculine subject formation", Bloke Modisane reflects on the ...nature of law and policing during apartheid. Performing a kind of Fanonism avant la lettre, Modisane undercuts the liberal ideology of the Rule of Law by revealing law and its enforcement in the colonial context as an oppressive exercise of state power. He represents law and policing as instances of material, discursive and psychic violence inflicted for the purpose of perpetuating the subordination of the colonised subject. In this essay, I consider Modisane's account of law and policing, the psychic debilitation they produce, as well as his commitment to resistance.
The unusual form and style of Modisane's hitherto unpublished short story 'All Sons of Gaika' presents the reader with various challenges. It differs in tone and style from his previously published ...work, and its rather contrived dialogue and somewhat obscure plot are puzzling. Is this some kind of satire, and, if so, what is the target? Thematically, the story seems (at face value) to be another examination of the tensions between tradtion and modernity, and focuses in particular on the issue of lobola ('bride-price'). The young couple at the centre of the story are at pains to distance themselves from traditional pieties. To complicate matters, a secret resistance movement is seeking recruits in the area, and our protagonist, Jason, is somehow implicated. Two security policemen are the pantomime villains of the piece, as they seek to either coopt or frame Jason. The hybrid figure of a diviner conducts a cleansing ceremony, and this is the occasion for an excursion into postcolonial metacommentary, drawing on the Prospero-Caliban topos. The story concludes with a wedding, and comes to an enigmatic conclusion. Is this is a sustained exercise in irony or mockery? How much (or how little) does it revel of the author, writing from exile in London?
Extended description:
Smučarji oldtimerji so pripravili bloške teke. Izjave: Bogo Puc, najstarejši tekmovalec, Vasja Rupnik, državni reprezentant, poroča Matevž Podjed, Bloke, Leopold Mišič, ...koordinator snemanja filma o bloškem smučarju, Ines Hižar, najhitrejša ženska.
Information:
Bloke: smučarski teki z opremo, ki jo na Blokah uporabljajo že stoletja.
Original language summary:
Bloke: smučarski teki z opremo, ki jo na Blokah uporabljajo že stoletja.
The article focuses on radio as cultural mediator and maker. It discusses a particular moment in the early 1960s when Africa seemed to those closely involved in its cultural and political affairs to ...be 'on the rise'. It focuses on the role of Lewis Nkosi, and partly, too, that of Bloke Modisane, in the 'Africa Abroad' radio programme run from the London-based Transcription Centre in the early 1960s. It argues that the programmes reveal a moment of diasporic and transnational connection when the histories of Africa and African Americans appeared particularly tightly entwined. As the civil rights movement struggled towards success and Africa began to gain political independence, it was Africa that seemed ascendant. The linkage of ideas and influences and the shifts of discourse that radio could show have not been sufficiently acknowledged. The performative flow of ideas and culture that marked the 'Africa Abroad' programmes was in itself both creative and resistant, and Nkosi and Modisane were a part of its making.
Culture as a means of resistance is traced from the Bambatha rebellion in 1906, considering, among other issues, the response to the nationalist victory in 1948, the Freedom Charter of 1955, the ...counter-texts of the Pan-Africanist Congress and the Black Consciousness movement, and the uprising of 1976. The writings of Sol Plaatje, Peter Abrahams, and Bloke Modisane are explored as exemplars of the shifting function of the literary, rhetorical, poetic and other forms of writing that characterized the various phases of the cultural struggle. The chapter ends with the productions of the years of the Emergency of 1984-1986 and after, arguing that the narratives produced by writers like Menán du Plessis, Njabulo Ndebele, and Zoë Wicomb are neither black nor white, but are a rich and complex exfoliation of the empowering openness of the Freedom Charter. They are multipersonal, polyphonic; they refuse, in the name of the singular, all totalizing or homogenizing perspectives, including those that have been elaborated in the name of freedom.
Extended description:
Izjave Jana Kus Veenvliet, poroča Matevž Podjed, Stane Korenjak, izdelava bloških smuči, panorama, hiše.
Information:
Bloke: People from Bloke are considering a skiing museum ...for quite some time now.
Original language summary:
Bloke: na Blokah že vrsto let razmišljajo, da bi ustanovili bloški muzej.
PDF
