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Everyone is present: essays on photography, memory and family
Safundi ( IF 0.2 ) Pub Date : 2019-11-26 , DOI: 10.1080/17533171.2020.1693764
Andrew van der Vlies 1
Affiliation  

Terry Kurgan is one of South Africa’s most accomplished and sophisticated theorists of her own photographic practice. Her projects, both studio-based and publicly engaged, have frequently explored the mediations of power relations at play in domestic photography. In Everyone is Present, the product of an MA in Creative Writing at Wits University in Johannesburg, she offers as its own kind of experimental art practice a set of sensitive readings of a small cache of her grandfather’s photographs from the mid to late 1930s and early 1940s, and of his diary entries from the same period (he kept a diary obsessively, in handmade books, in Polish, which Kurgan was not able to read without the aid of a translator). The result is both a deeply personal engagement with her family’s history and a meditation on authorship, memory, and photography. Everyone is Present won the 2019 Sunday Times Alan Paton Prize for Non-Fiction in September 2019. The reader encounters the title in an episode narrated at beginning of the book’s second part, on the day of the German invasion of Poland. Kurgan’s grandfather, Jasek Kallir, ignores protests from his wife Tusia that they leave Bielsko (present-day Bielsko-Biała) to join her parents in Body, further east. She senses something is wrong; there are officials on the streets announcing a mock alarm. Instead, Jasek makes his way to the pharmaceutical facility he manages in a town 13 kilometers distant in order to pay his workers (it is the first of the month). “Everyone is present, but in a state of nervous anxiety” (79). Whose presence registers, and is registered, in multiple discourses, histories, and forms of representation and self-reflection, is inmanyways the subject of Kurgan’s enquiry, as are the states of nervous anxiety bequeathed by that which unfolds as a result of world-historical events initiated on this fateful day. Jasek returns to find the apartment empty, Tusia having left with the couple’s two daughters (Kurgan’s mother Leonia, then four years old, and Sophie, aged eight). His taxing journey, often by foot, to catch up with them, takes several days, and initiates the remarkable stop-start flight that will take this middle-class, secular Jewish couple with their two children, Tusia’s mother Roza Gruft, Tusia’s brother Wilek, his wife Lilka, their baby, Lilka’s brother, and Roza’s niece (and companion and minder) Elza, out of Poland. They make it over the border to Romania on the day before the bridge is closed, thence across the Balkans and through Turkey to Syria, Iraq, Iran, and India (Bombay), over several years, on a series of temporary transit papers. The group of ten (remarkably, everyone remains present throughout the odyssey) hopes for safe haven in theWest, but country after country is closing its borders to Jews. Brazil remains receptive, and it is thence they are heading when a member of the party contracts smallpox and the family is put ashore while he is quarantined in Mombasa. By the time they reach Cape Town in early 1941, the visas have expired and Brazil wants no more refugees. Here they remain trapped, in a country they never thought they’d see and in which they had no intention of settling, unable to work in the trades for which they are qualified, until, through the offices of Jewish charities, they are granted the right to stay in South Africa.

中文翻译:

每个人都在场:有关摄影,记忆和家庭的文章

特里·库尔甘(Terry Kurgan)是南非自己摄影实践中最完善,最精巧的理论家之一。她的项目都是基于工作室的项目,也是由公众参与的项目,经常探索家庭摄影中权力关系的调解。她在约翰内斯堡Wits大学获得创意写作文学硕士学位的作品《每个人都存在》中提供了一些敏感的阅读资料,作为对她祖父1930年代中后期至早期照片的一小部分的敏感读物。 1940年代,以及他同期的日记条目(他用波兰语手工制作的书迷恋日记,而库尔干在没有翻译的帮助下无法阅读)。结果既是她对家庭历史的深刻亲密接触,又是对作者,记忆和摄影的沉思。每个人都在场,于2019年9月获得了2019年《星期日泰晤士报》非小说类艾伦·帕顿奖。在本书第二部分开头(德国入侵波兰的那天)叙述的一集中,读者会遇到标题。库尔干的祖父贾塞克·卡里尔(Jasek Kallir)无视他的妻子图西亚(Tusia)的抗议,抗议他们离开比尔斯科(现称比尔斯科·比亚瓦(Bielsko-Biała)),与她的父母在更东的Body一起。她感觉到出了什么问题;大街上有官员宣布模拟警报。取而代之的是,Jasek前往他所管理的一家制药厂,该制药厂位于距离他13公里的小镇上,以支付工人工资(这是该月的第一天)。“每个人都在场,但处于焦虑状态”(79)。谁的存在在多方面的论述,历史以及代表性和自我反思的形式中进行了注册和注册,这是库尔干询问的主题,因为在这一重要的日子里发生的世界历史事件所导致的焦虑状态已经遗留了下来。Jasek返回,发现公寓空了,Tusia带着这对夫妇的两个女儿(库尔根的母亲Leonia,四岁,而Sophie八岁)离开了。他的徒步旅行通常要步行数天才能赶上他们,历时数天,然后开始了非凡的启停飞行,这将带这对中产阶级,世俗的犹太夫妇带着他们的两个孩子,图西亚的母亲Roza Gruft,图西亚的兄弟Wilek ,他的妻子利尔卡(Lilka),他们的孩子,利尔卡(Lilka)的兄弟以及罗莎(Roza)的外女(以及同伴和看护者)埃尔扎(Elza)出波兰。他们在桥梁关闭的前一天越过边境到达罗马尼亚,从那里穿过巴尔干半岛,再经过土耳其到达叙利亚,伊拉克,几年来,伊朗和印度(孟买)发表了一系列临时过境文件。十人小组(整个漫游过程中每个人都在场)希望在西方避风港,但一个国家又一个国家关闭与犹太人的边界。巴西仍然很乐于接受,因此当党的成员染上天花并在蒙巴萨隔离他的家人时,他们就被送往巴西。当他们于1941年初到达开普敦时,签证已经过期,巴西不再需要任何难民。他们仍然被困在这里,在一个他们从未想到过的国家中,他们没有定居的意图,无法在他们有资格的行业中工作,直到通过犹太慈善机构的办公室被授予留在南非的权利。在一系列临时过境文件上。十人小组(整个漫游过程中每个人都在场)希望在西方避风港,但一个国家又一个国家关闭与犹太人的边界。巴西仍然很乐于接受,因此当党的成员染上天花并在蒙巴萨隔离他的家人时,他们就被送往巴西。当他们于1941年初到达开普敦时,签证已经过期,巴西不再需要任何难民。他们仍然被困在这里,在一个他们从未想到过的国家中,他们没有定居的意图,无法在他们有资格的行业中工作,直到通过犹太慈善机构的办公室被授予留在南非的权利。在一系列临时过境文件上。十人小组(整个漫游过程中每个人都在场)希望在西方避风港,但一个国家又一个国家关闭与犹太人的边界。巴西仍然很乐于接受,因此当党的成员染上天花并在蒙巴萨隔离他的家人时,他们就被送往巴西。当他们于1941年初到达开普敦时,签证已经过期,巴西不再需要任何难民。他们仍然被困在这里,在一个他们从未想到过的国家中,他们没有定居的意图,无法在他们有资格的行业中工作,直到通过犹太慈善机构的办公室被授予留在南非的权利。在整个冒险之旅中,每个人都仍然在场)希望在西方避风港,但一个国家又一个国家关闭与犹太人的边界。巴西仍然很乐于接受,因此当党的成员染上天花并在蒙巴萨隔离他的家人时,他们就被送往巴西。当他们于1941年初到达开普敦时,签证已经过期,巴西不再需要任何难民。他们仍然被困在这里,在一个他们从未想到过的国家中,他们没有定居的意图,无法在他们有资格的行业中工作,直到通过犹太慈善机构的办公室被授予留在南非的权利。在整个冒险之旅中,每个人都仍然在场)希望在西方避风港,但一个国家又一个国家关闭与犹太人的边界。巴西仍然很乐于接受,因此当党的成员染上天花并在蒙巴萨隔离他的家人时,他们就被送往巴西。当他们于1941年初到达开普敦时,签证已经过期,巴西不再需要任何难民。他们仍然被困在这里,在一个他们从未想到过的国家中,他们没有定居的意图,无法在他们有资格的行业中工作,直到通过犹太慈善机构的办公室被授予留在南非的权利。因此,当该党的一名成员染上天花并在蒙巴萨被隔离时,一家人被搁置时,他们便要去了。当他们于1941年初到达开普敦时,签证已经过期,巴西不再需要任何难民。他们仍然被困在这里,在一个他们从未想到过的国家中,他们没有定居的意图,无法在他们有资格的行业中工作,直到通过犹太慈善机构的办公室被授予留在南非的权利。因此,当该党的一名成员染上天花并在蒙巴萨被隔离时,一家人被搁置时,他们便要去了。当他们于1941年初到达开普敦时,签证已经过期,巴西不再需要任何难民。他们仍然被困在这里,在一个他们从未想到过的国家中,他们没有定居的意图,无法在他们有资格的行业中工作,直到通过犹太慈善机构的办公室被授予留在南非的权利。
更新日期:2019-11-26
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