Piercing together a girlhood : (re)visiting memories of site using nostalgia as a catalyst for coping with atopia

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dc.contributor.advisorFleishman, Marken_ZA
dc.contributor.authorMahali, Aludeen_ZA
dc.date.accessioned2014-10-08T09:42:11Z
dc.date.available2014-10-08T09:42:11Z
dc.date.issued2009en_ZA
dc.descriptionIncludes abstract.en_ZA
dc.descriptionIncludes bibliographical references (leaves 60-63).en_ZA
dc.description.abstractMy research has been preoccupied with the playing of memory with reference to narratives of loss. This loss has been represented by a loss of language, place and family, resulting in the playing of unnerving memory fragments. The primary driving force of this loss has been the notion of a disrupted or uprooted childhood. The subject of this enquiry is black girlhood; in particular, the relationships between black girls/women. Consequently a large part of 'piecing together a girlhood' involves engaging with what Quashie (2004) calls the 'girlfriend aesthetic'. Quashie's 'girlfriend aesthetic' offers a methodology for re-membering by providing a reflective surface; you see in the experience of the girlfriend other something that triggers or incites your own memory that aids you in working towards completion of self. This explication traces my interest in this subject matter as a direct result of feeling that black girlhood as a topic is under-represented, explores my development of a viable creative methodology for this kind of work, interrogates the meaning of 'site' in this context, maps out the origin of nostalgia and how it affects the afficted in relation to lost 'site', unpacks the girlfriend aesthetic as a practice and reveals how the nostalgic searcher's obsession with the irrecoverability of the past manifests in corporeal ways. Whether or not completion of self is possible, what is discovered is theatre's ability to aid in coping with a feeling of placelessness or atopia. Although nostalgia may indicate a fixation with the past, it can be a valuable and restorative way of emancipating oneself from it.en_ZA
dc.identifier.apacitationMahali, A. (2009). <i>Piercing together a girlhood : (re)visiting memories of site using nostalgia as a catalyst for coping with atopia</i>. (Thesis). University of Cape Town ,Faculty of Humanities ,Department of Drama. Retrieved from http://hdl.handle.net/11427/8256en_ZA
dc.identifier.chicagocitationMahali, Alude. <i>"Piercing together a girlhood : (re)visiting memories of site using nostalgia as a catalyst for coping with atopia."</i> Thesis., University of Cape Town ,Faculty of Humanities ,Department of Drama, 2009. http://hdl.handle.net/11427/8256en_ZA
dc.identifier.citationMahali, A. 2009. Piercing together a girlhood : (re)visiting memories of site using nostalgia as a catalyst for coping with atopia. University of Cape Town.en_ZA
dc.identifier.ris TY - Thesis / Dissertation AU - Mahali, Alude AB - My research has been preoccupied with the playing of memory with reference to narratives of loss. This loss has been represented by a loss of language, place and family, resulting in the playing of unnerving memory fragments. The primary driving force of this loss has been the notion of a disrupted or uprooted childhood. The subject of this enquiry is black girlhood; in particular, the relationships between black girls/women. Consequently a large part of 'piecing together a girlhood' involves engaging with what Quashie (2004) calls the 'girlfriend aesthetic'. Quashie's 'girlfriend aesthetic' offers a methodology for re-membering by providing a reflective surface; you see in the experience of the girlfriend other something that triggers or incites your own memory that aids you in working towards completion of self. This explication traces my interest in this subject matter as a direct result of feeling that black girlhood as a topic is under-represented, explores my development of a viable creative methodology for this kind of work, interrogates the meaning of 'site' in this context, maps out the origin of nostalgia and how it affects the afficted in relation to lost 'site', unpacks the girlfriend aesthetic as a practice and reveals how the nostalgic searcher's obsession with the irrecoverability of the past manifests in corporeal ways. Whether or not completion of self is possible, what is discovered is theatre's ability to aid in coping with a feeling of placelessness or atopia. Although nostalgia may indicate a fixation with the past, it can be a valuable and restorative way of emancipating oneself from it. DA - 2009 DB - OpenUCT DP - University of Cape Town LK - https://open.uct.ac.za PB - University of Cape Town PY - 2009 T1 - Piercing together a girlhood : (re)visiting memories of site using nostalgia as a catalyst for coping with atopia TI - Piercing together a girlhood : (re)visiting memories of site using nostalgia as a catalyst for coping with atopia UR - http://hdl.handle.net/11427/8256 ER - en_ZA
dc.identifier.urihttp://hdl.handle.net/11427/8256
dc.identifier.vancouvercitationMahali A. Piercing together a girlhood : (re)visiting memories of site using nostalgia as a catalyst for coping with atopia. [Thesis]. University of Cape Town ,Faculty of Humanities ,Department of Drama, 2009 [cited yyyy month dd]. Available from: http://hdl.handle.net/11427/8256en_ZA
dc.language.isoengen_ZA
dc.publisher.departmentDepartment of Dramaen_ZA
dc.publisher.facultyFaculty of Humanitiesen_ZA
dc.publisher.institutionUniversity of Cape Town
dc.subject.otherTheatre and Performanceen_ZA
dc.titlePiercing together a girlhood : (re)visiting memories of site using nostalgia as a catalyst for coping with atopiaen_ZA
dc.typeMaster Thesis
dc.type.qualificationlevelMasters
dc.type.qualificationnameMAen_ZA
uct.type.filetypeText
uct.type.filetypeImage
uct.type.publicationResearchen_ZA
uct.type.resourceThesisen_ZA
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