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• W271352862 abstract "The Bushmen's letters are in their bodies. They [the letters] speak, they move, they make their [the Bushmen's] bodies move. They [the Bushmen] order others to be silent .... A dream speaks falsely, it is [a thing] which deceives.Bleek & Lloyd 1911:331The Bleek and Lloyd collection of /Xam materials is a rich and extensive record of culture of a people whose language and huntinggathering economic system had all but disappeared by end of nineteenth century. The collection has been widely celebrated. David Lewis-Williams, doyen of Bushman rock art research, describes it as the most amazing ethnographic source in world. Nothing comparable preceded it, and nothing like it has been compiled since (2007:180). Only /Xam texts, according to archaeologist, Anne Solomon, provide us with detailed and richly textured insights into thought worlds of southern San (2007:150). Unlike many in field of rock art research, Solomon regards understanding of rock art that is generously distributed through region as a matter of educated conjecture and interpretation rather than of scientific certainty. In absence of indigenous commentary or explanation, rock art interpretation relies on an unreliable mix of archaeological technique, archival sources (including Bleek and Lloyd collection), and comparisons with contemporary Bushman practice elsewhere in me region. The /Xam materials, by contrast, offer unprecedented access to what might be called, with considerable qualification as we shall see, voice of people themselves. Historian Andrew Bank concludes his historical reconstruction of Bleek and Lloyd's project by claiming that ability of researchers and informants to sustain a decade of is without precedent in history of this country [South Africa] and perhaps mat of world (2006:397) . Bank argues that this is case even when project is considered in context of Wilhelm Bleek's broader intellectual program, which involved mapping of race, language and culture on an asymmetrical evolutionary scale. This paper examines nature of this dialogue in relation, particularly, to type of hybrid texts mat it produced.The archive, comprising narrative, biography, and history and running to more than 12,000 notebook pages of text in /Xam with translations in English, was assembled in second half of nineteenth century through collective efforts of German philologist, Wilhelm Bleek, his sister-in-law, Lucy Lloyd, and seven or eight /Xam informants, nearly all of whom had been imprisoned in Cape Town's Breakwater prison before their release into Bleek's custody. The materials in collection have been described in various ways over years: narrative, mythology, folklore, oral literature, and Kukummi (plural of kumm) , word /Xam used to signify things that were told. While materials as a whole have acquired these sorts of broad classification, their component parts have been separated into sub-categories, as befits their obvious heterogeneity. Lucy Lloyd herself, for example, divides them into legends, animal fables, personal histories, and superstitions in Specimens of Bushman Folklore, selection of materials from notebooks that was published in 191 1 (Bleek & Lloyd 191 1 :xvii-xx) . This paper is chiefly concerned, I should note at outset, with stories in collection, traditional folktales or myths, rather than with biographical or cultural materials that are also a major feature of archive.Although use of specific generic terms has been debated in wider andiropological and folkloristic literature,1 it has seldom been contested or defended in /Xam studies itself. The classification of /Xam materials might not have invited much discussion, but it is worth noting that this is certainly not case with some of other questions that attend their study and use. …" @default.
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• W271352862 date "2012-01-01" @default.
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• W271352862 title "The /Xam Narratives of the Bleek and Lloyd Collection: Questions of Period and Genre" @default.
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