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Forwarded message, posted on request:
>From: TOMASELL@superbowl.und.ac.za
>Date: 16 Apr 93 11:40:44 +0200 SAST
>Subject: cALL FOR pAPERS2
>Priority: normal
>X-Mailer: Pegasus Mail v2.3 (R5).

>Critical Arts: a Journal for Media Studies 
CCentre for Cultural and Media Studies
>University of Natal
>King George V Avenue
>Durban 4001

>Tel: 031-816-2505
>Fax: 27-31-816-2214

>Call for Papers

>Recuperating the San

>Volume 7 (1993) of Critical Arts will be devoted to 
aan archaeology a positive view of the San. 

>The 'New' South Africa has recuperated a different, affirmative, image of the
San, in comparison to the negative, prejudiced, representation of 'bushmen'
previously popularised by pro-apartheid media. 

>The new image, perhaps excavated from Lourens van der Post's original
nostalgic
descriptions, projects the San as the bridge between the past and the future.
Analysis of this positive, future-oriented view of the San has been
under-researched by anthropologists critical of Jamie Uys's Gods Must be Crazy
films and recently, of Paul Myburgh's People of the Great Sandface (1985). 

>A latter-day bridge-building view of the San has been appropriated by a number
of corporate advertisers, for example, Spoornet and the SA Broadcasting
Corporation's 1991/2 advertising/PR campaigns. The Lemontwist TV ads, and a
group of San being outpaced by a Toyota four wheel drive vehicle, are both
send-ups of the Gods films.

>The trend is visible across of number of textual genres: a mystical, perhaps
Jungian, representation is found in film narratives (eg. Sarah), TV (eg. The
Honeybird, The Mantis Project), literature (Van der Post, Stuart Cloete), TV
documentaries and magazines (Sandface, 50/50), PR and advertising (Mazda),
tourist brochures, popular photo essays, etc. There has also been an explosion
of books on San rock art, especially of introductory volumes in recent years. 

>At an ideological level, one scholar has tried to recuperate Lourens Van der
Post's writings on the "First People" as a way of identifying a common cultural
heritage which predated all later immigrants to South Africa. Through such
analysis, this writer sees in San culture a means to avoid the destructive
competing nationalisms which threaten to sink the emergence of a non-racial
South Africa.

>What are the implications of the above genuflections to the classical
historical image of the San in our age of post-modern TV advertising, CODESA
deliberations and our history of annihilation of the San and KhoiKhoi? Critical
Arts will deal with this and related questions evoked by the current
recuperation of the San in popular media. 

>Three copies of articles intended for publication should be submitted to the
Editor at the above address. Following refereeing procedures authors of papers
selected will be requested to submit their papers on MS-DOS IBM compatible disc
form (Wordperfect, XYWrite, Wordstar). 

>Submission deadline: 1 October 1993 for publication in 1994. 

>Post to the editor, Keyan Tomaselli, at the above address.