ABSTRACT This article questions the meanings ascribed to memory and reconciliation after the Truth and Reconciliation Commission (TRC) in South Africa. It discusses these meanings through an analysis of the subjectivities projected in John Kani's play Nothing but the Truth (published in 2002). This play is one of the few theatrical projects that boldly address the elastic concepts of (dis)locations and disjunctures, memory, and reconciliation both spatially and temporally. Zakes Mda asserts that “the past will always be a powerful presence in the present” (Nothing but the Truth. Johannesburg: University of Witwatersrand Press, 2002, 3) and concludes that Kani's play intricately unpacks the perplexities of freedom. Freedom ceases to be perceived as a monolithic experience: it is as personal as it is socio-political and as vexed as it is taken for granted. Post-apartheid experiences convey a lot more than dreams of freedom. Arjun Appadurai's concept of “vernacular globalization” is used to frame this article.

中文翻译：

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错位：约翰·卡尼（John Kani）的《只有真相》中的记忆动力和自由困惑

摘要 本文质疑南非真相与和解委员会 (TRC) 之后的记忆与和解的含义。它通过分析约翰·卡尼 (John Kani) 的戏剧《只有真相》（2002 年出版）中投射的主观性来讨论这些含义。这部戏剧是为数不多的在空间和时间上大胆解决（错位）位置和分离、记忆和和解的弹性概念的戏剧项目之一。Zakes Mda 断言“过去将永远是现在的强大存在”（Nothing but the Truth. Johannesburg: University of Witwatersrand Press, 2002, 3）并得出结论，Kani 的戏剧错综复杂地解开了自由的困惑。自由不再被视为单一的体验：它既是个人的，也是社会政治的，也是理所当然的。种族隔离后的经历所传达的不仅仅是自由的梦想。Arjun Appadurai 的“本土全球化”概念被用来构建这篇文章。