Jeanne-Marie Viljoen
Biographic Data
| ID | 4052382 |
|---|---|
| NAME | Jeanne-Marie Viljoen |
| GIVEN NAMES | Jeanne-Marie |
| FAMILY NAME | Viljoen |
| SIGNATURE | VILJOEN J |
| AFFILIATIONS | University of South Australia |
| ORCID | 0000-0001-8197-0292 |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 5 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2013 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 2 |
Wakanda’s ‘digital colonialism’
With the box office success of the recent Black Panther films it may seem that Hollywood's approach to such films is slowly accommodating a domestic audience's demand for diversity. Yet, there is a danger in assuming that these films are still largely made for white audiences, since these audiences and their representatives in Hollywood boardrooms may become convinced that films like this are proof of Hollywood having engaged with Africa and done…
Multilingualism, translanguaging and transknowledging
Key findings, analysis and recommendations that have emerged from a research project, ‘Using Human Language Technology to enhance academic integrity, inclusivity, knowledge exchange, student diversity and retention’ at the University of South Australia conducted in 2019 are discussed in this article. The primary purpose of the project was to address some of the challenges and opportunities afforded by increasing student and teacher diversity at a…
Reimagining cultural memory of the arctic in the graphic narratives of Oqaluttuaq
The Greenlandic oral story-telling tradition, Oqaluttuaq, meaning “history,” “legend,” and “narrative,” is recognized as an important entry point into Arctic collective memory. The graphic artist Nuka K. Godtfredsen and his literary and scientific collaborators have used the term as the title of graphic narratives published from 2009 to 2018, and focused on four moments or ‘snippets’ from Greenland’s history (from the periods of Saqqaq, late Dors…
Expanding ‘conceptual horizons’
Intercultural pedagogies are increasingly seen as affording opportunities for students to share perspectives, understandings and knowledge. In the shift towards such pedagogies, ways that language is conceptualised and the interrelationship between language, culture and knowing are often underexplored. This paper reports on an auto-ethnographic study that explores our experience as teachers of extending intercultural pedagogies beyond the context…
Decolonising violence through the ineffable
Some aspects of violent experiences seem difficult to express. Furthermore, directly describing what one knows about these experiences seems to be of limited value in enhancing one’s understanding of them. Thus, merely representing what one already knows about violence and conflict seems inadequate. To overcome this, this paper proposes the accommodation of the ineffable in representations of violence and trauma to destabilise reductive, binary r…
Productive Myopia’
In disallowing the inaccuracies of memory to infiltrate stories of war, one condemns oneself to remain forever blinded by the obvious, shielded from the invisible violence that often lurks beneath the visible. Following Žižek, this article posits that invisible violence should be glimpsed indirectly, through aesthetic representations often excluded from the annals of the official history of war. The argument is made through a close reading of Joe…
Engaging an aesthetics of the ‘invisible’ in graphic narratives to represent violence ethically
For Žižek (Violence: Six Sideways Reflections, 2008) the apparently imperceptible aspects of ‘objective’ violence perpetuate the cycle of visible, subjective violence. The representation of violence – itself a necessary and necessarily brutal process – intimately involves one in ‘invisible’ violence. Therefore, the search for an ethical representation of violence becomes crucial. An ethical representation of violence compels a reconsideration of …
Waltz with Bashir
How to represent extreme, traumatic experience has long been a predicament in social science and literary criticism. This quandary is sometimes dealt with by claiming that such experiences are forgotten or leave their victims claiming they have had experiences that are too horrific to represent. This explanation leads to the position that representation is distinctly different from experience, and indeed insufficient by comparison. Waltz with Bas…
Representing the “unrepresentable”
In this paper, I wish to explore the apparent unrepresentability of some forms of extreme experience. Following a line of thought expressed by Steiner (that some experiences must remain unspoken because they are too traumatic for words) and Caruth (that some experiences cannot be represented), Van Alphen (1999: 24) asserts that some “experiences” are not representable through discursive means and so cannot occur successfully. This is because he v…
Expanding ‘conceptual horizons’
Intercultural pedagogies are increasingly seen as affording opportunities for students to share perspectives, understandings and knowledge. In the shift towards such pedagogies, ways that language is conceptualised and the interrelationship between language, culture and knowing are often underexplored. This paper reports on an auto-ethnographic study that explores our experience as teachers of extending intercultural pedagogies beyond the context…
Engaging an aesthetics of the ‘invisible’ in graphic narratives to represent violence ethically
For Žižek (Violence: Six Sideways Reflections, 2008) the apparently imperceptible aspects of ‘objective’ violence perpetuate the cycle of visible, subjective violence. The representation of violence – itself a necessary and necessarily brutal process – intimately involves one in ‘invisible’ violence. Therefore, the search for an ethical representation of violence becomes crucial. An ethical representation of violence compels a reconsideration of …
Reimagining cultural memory of the arctic in the graphic narratives of Oqaluttuaq
The Greenlandic oral story-telling tradition, Oqaluttuaq, meaning “history,” “legend,” and “narrative,” is recognized as an important entry point into Arctic collective memory. The graphic artist Nuka K. Godtfredsen and his literary and scientific collaborators have used the term as the title of graphic narratives published from 2009 to 2018, and focused on four moments or ‘snippets’ from Greenland’s history (from the periods of Saqqaq, late Dors…
Representing the “unrepresentable”
In this paper, I wish to explore the apparent unrepresentability of some forms of extreme experience. Following a line of thought expressed by Steiner (that some experiences must remain unspoken because they are too traumatic for words) and Caruth (that some experiences cannot be represented), Van Alphen (1999: 24) asserts that some “experiences” are not representable through discursive means and so cannot occur successfully. This is because he v…
Waltz with Bashir
How to represent extreme, traumatic experience has long been a predicament in social science and literary criticism. This quandary is sometimes dealt with by claiming that such experiences are forgotten or leave their victims claiming they have had experiences that are too horrific to represent. This explanation leads to the position that representation is distinctly different from experience, and indeed insufficient by comparison. Waltz with Bas…
Productive Myopia’
In disallowing the inaccuracies of memory to infiltrate stories of war, one condemns oneself to remain forever blinded by the obvious, shielded from the invisible violence that often lurks beneath the visible. Following Žižek, this article posits that invisible violence should be glimpsed indirectly, through aesthetic representations often excluded from the annals of the official history of war. The argument is made through a close reading of Joe…
Engaging an aesthetics of the ‘invisible’ in graphic narratives to represent violence ethically
For Žižek (Violence: Six Sideways Reflections, 2008) the apparently imperceptible aspects of ‘objective’ violence perpetuate the cycle of visible, subjective violence. The representation of violence – itself a necessary and necessarily brutal process – intimately involves one in ‘invisible’ violence. Therefore, the search for an ethical representation of violence becomes crucial. An ethical representation of violence compels a reconsideration of …
Decolonising violence through the ineffable
Some aspects of violent experiences seem difficult to express. Furthermore, directly describing what one knows about these experiences seems to be of limited value in enhancing one’s understanding of them. Thus, merely representing what one already knows about violence and conflict seems inadequate. To overcome this, this paper proposes the accommodation of the ineffable in representations of violence and trauma to destabilise reductive, binary r…
Reimagining cultural memory of the arctic in the graphic narratives of Oqaluttuaq
The Greenlandic oral story-telling tradition, Oqaluttuaq, meaning “history,” “legend,” and “narrative,” is recognized as an important entry point into Arctic collective memory. The graphic artist Nuka K. Godtfredsen and his literary and scientific collaborators have used the term as the title of graphic narratives published from 2009 to 2018, and focused on four moments or ‘snippets’ from Greenland’s history (from the periods of Saqqaq, late Dors…
Expanding ‘conceptual horizons’
Intercultural pedagogies are increasingly seen as affording opportunities for students to share perspectives, understandings and knowledge. In the shift towards such pedagogies, ways that language is conceptualised and the interrelationship between language, culture and knowing are often underexplored. This paper reports on an auto-ethnographic study that explores our experience as teachers of extending intercultural pedagogies beyond the context…
Multilingualism, translanguaging and transknowledging
Key findings, analysis and recommendations that have emerged from a research project, ‘Using Human Language Technology to enhance academic integrity, inclusivity, knowledge exchange, student diversity and retention’ at the University of South Australia conducted in 2019 are discussed in this article. The primary purpose of the project was to address some of the challenges and opportunities afforded by increasing student and teacher diversity at a…
Wakanda’s ‘digital colonialism’
With the box office success of the recent Black Panther films it may seem that Hollywood's approach to such films is slowly accommodating a domestic audience's demand for diversity. Yet, there is a danger in assuming that these films are still largely made for white audiences, since these audiences and their representatives in Hollywood boardrooms may become convinced that films like this are proof of Hollywood having engaged with Africa and done…
Sociology (8 works) · Aesthetics (7 works) · Art (7 works) · Law (6 works) · Literature (6 works) · Political science (6 works) · Law (5 works) · Memory, Trauma, and Commemoration (5 works) · History (4 works) · History (4 works)