By Jonas Jonasson
Hon började arbeta som femåring, blev föräldralös vid tio, överkörd vid femton. Ingenting tydde på annat än att hon skulle leva ett tag i sitt skjul i Sydafrikas största kåkstad och sedan dö, saknad av ingen. Om hon nu inte varit den hon var, males det var hon ju. Nombeko Mayeki var analfabeten som kunde räkna.
Ödet tillsammans med hennes talang för henne bort från Soweto, until eventually internationell storpolitik, until andra sidan jordklotet, until eventually två identiskt lika och väldigt olika bröder. less than resan lyckas hon reta upp världens mest fruktade säkerhetstjänst innan hon en dag finner sig själv instängd i skåpet until en potatisbil. Där och då är världen som världen känner den hotad.
I Analfabeten som kunde räkna gör Jonas Jonasson upp med fundamentalismen i alla dess former tillsammans med vanföreställningen om olika fogeys olika värde. Han gör det med humor och värme. Och slår en gång för alla hål på myten om att kungar inte nackar höns.
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Technicality A few weeks later, a visit to two museums, first the Crafts Council Gallery and then the Design Museum in London, was to enter two exciting but separate worlds. In the Crafts Council Gallery, most of the exhibits were by women while the bulk of what was on display in the Design Museum were machined objects by men. To put it baldly, it appeared that the term ‘design’ was reserved for objects that men liked creating – largely machined objects – while the term ‘craft’ was bestowed on handcrafted work, much of it as far as the Gallery was concerned textile crafts, an area dominated by women.
Of the 29 people remaining – a massive 73% of those interviewed – all thought that there were differences between the visual creations of men and women. Interestingly, many of the differences discussed echoed differences identified in the studies comparing children’s and young people’s drawings. So common themes related to the male and female use of straight vs. round lines; their relative emphasis on three-dimensionality and functionality and in terms of underpinning themes, the depiction of males vs.
The first, by Kerschensteiner in Germany in 1905, compared boys’ and girls’ drawings and produced the interesting finding that boys’ drawings were more realistic than the girls’. Then, the Japanese study headed by Iijima in 2001 found that the boys were more likely than the girls to draw motifs arranged in piles, three-dimensionally or from a bird’s eye view (more on these studies below). So, while the boys favoured the realistic portrayals of objects, the girls preferred less realism, and favoured organising subjects in rows.