By sheer serendipity I was lucky enough to attend the first sessions of the Print, Publishing and Cultural Production in (South) Africa Seminar at the University of Pretoria Graduate Centre this morning. Supported by the University of Pretoria, Oxford Brookes University, the British Academy and the French Institute of South Africa (IFAS), the event brought together scholars from the motley fields that kindle the interdisciplinary study of Book History. The sessions gave both an introduction to the value of Book History in general and some unique interpretations of what this field means in Africa, where "books" do not always involve either paper or text. Although I was only able to attend the first few presentations, they were so thought-provoking that I would like to briefly share their essence here in the next few posts, beginning with the first presentation of the day.
Book History in South Africa: Recent Developments and Prospects
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| Image: UKZN Press |
Professor Archie Dick's recent book The Hidden History of South Africa's Book and Reading Cultures (pictured left) has established him as something of a figurehead among local Book History scholars. During this presentation he successfully demonstrated the value of the study of Book History with a teasing glimpse into his own detective work on books and reading in South Africa's checquered past.
The presenter's central argument was that this field of study intersects significantly with other areas of society and culture throughout history. Two examples from his own research cemented the point.
On the one hand, he quoted an "unsolved mystery" in the the history of the Afrikaans language. This case involved a comparative glossary of words in the Dutch, Khoi and Latin languages compiled by an early Dutch settler at the Cape. While correspondence regarding the list survives, it seems there was a huge bungle with the attribution of authorship commonly acknowledged in histories of the language, while no trace of the actual original list has yet been found. This very crucial link in the development of a language that became so contentious at the southern tip of Africa is simply missing, leaving a trail of unanswered questions.
On the other, he referred to the unexpected impact on South Africa of an unlikely agent: none other than the nineteenth century novelist Charles Dickens. It turns out that Dickens had a fourfold influence on affairs here in the south of the supposedly Dark Continent. Firstly, his works were serialised (generally without the disgruntled novelist's permission) in South African newspapers, and became wildly popular, being read aloud and passed along. Secondly, the arrival of his full novels in local libraries stirred up a furore over what virtuous locals considered to be their questionable morals. Thirdly, Dickens' disctinctive characters soon found their way (once again without their creator's consent) to the stage in homespun scripts that brought ephemeral stardom to amateur thespians around the country. Finally, and most strikingly, works like Great Expectations and A Tale of Two Cities played a cameo role in South Africa's own revolution. Since these novels were considered classics, they were freely available, unlike overtly political books that were banned lest they foment uprising. Yet the powerful undercurrents of class conflict in these works played an insidious role in inspiring young intellectuals during the liberation struggle against the apartheid regime. "It was the best of times, it was the worst of times," Dickens had written in A Tale of Two Cities. He may as well have been describing the Struggle.
These fascinating flights through the past served to demonstrate how Book History casts a unique light on what the speaker calls "the making, un-making and re-making of history". It is not at all impossible that this engaging presentation recruited more than a few newcomers into the fold.
My burning question: During the seminar several references pointed to forms of cultural production that, although they are not "books" made of paper or containing alphabetic texts, have been massively significant in South African culture. These include rock art and story cloths. I would love to know where Book History situates these very important artifacts in its study. Are they the "books" of history?
My burning question: During the seminar several references pointed to forms of cultural production that, although they are not "books" made of paper or containing alphabetic texts, have been massively significant in South African culture. These include rock art and story cloths. I would love to know where Book History situates these very important artifacts in its study. Are they the "books" of history?
