Relevant bibliographies by topics / Primitivism and Postcolonial Studies

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  2. Dissertations / Theses
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  4. Book chapters
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Academic literature on the topic 'Primitivism and Postcolonial Studies'

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Published: 29 March 2025

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Journal articles on the topic "Primitivism and Postcolonial Studies"

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Harney, Elizabeth. "The Persistence of Primitivism and the Debt Collectors." ARTMargins 11, no. 3 (October 1, 2022): 105–25. http://dx.doi.org/10.1162/artm_r_00327.

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Abstract As the discipline of Art History increasingly aims to decolonize the gaze, questions have become paramount around cross-cultural influence and indebtedness, the traffic and translation of forms and ideas in the colonial modern era, and the mechanisms of postcolonial retrospection. Harney addresses these questions and the resonances of aesthetic primitivism in scholarship on African and diasporic modernisms and global contemporary artistic practices through a critical review of their weight within three recent volumes: Suzanne Preston Blier's Picasso's Demoiselles: The Untold Origins of a Modern Masterpiece (Duke UP, 2019), Joshua I. Cohen's The Black Renaissance: African Sculpture and Modernism Across Continents (UC Berkeley, 2020) and David Joselit's Heritage and Debt: Art in Globalization (MIT, 2020).
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Meier, Verena. "‘Neither bloody persecution nor well intended civilizing missions changed their nature or their number’." Critical Romani Studies 1, no. 1 (April 13, 2018): 86–126. http://dx.doi.org/10.29098/crs.v1i1.7.

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Christian missionaries played a major role in the process of Othering Sinti and Roma. This “Other” was – like the colonial subject – mainly viewed as primitive, uncivilized, superstitious, and heathen. From the early nineteenth century, Protestant missions were established in Germany to “civilize” and educate Sinti and Roma. This paper takes a critical stance on these Protestant missionary efforts in the nineteenth and early twentieth centuries, highlighting the relevance of postcolonial studies for Romani studies. Firstly, I outline interconnections between stereotypes related to Zigeuner in the colonial metropole and “primitives” in the peripheral areas, which is then followed by an analysis of Protestant views on these two subordinate groups and the ways in which knowledge was transferred between Protestant missionaries across time and space. Finally, this analysis is followed by a methodological reflection on the benefits and limitations of postcolonial studies for critical Romani studies.
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Bixby, Patrick. "KIND OF MAN ARE YOU?: Beckettian Anthropology, Cultural Authenticity, and Irish Identity." Samuel Beckett Today / Aujourd'hui 15, no. 1 (November 1, 2005): 71–85. http://dx.doi.org/10.1163/18757405-015001009.

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Situating Beckett's writing in relation to anthropological accounts of Ireland, this article examines how his postcolonial parody of ethnographic discourse serves to critique the notion of cultural authenticity. Since the late nineteenth-century anthropological representations, from A.C. Haddon's studies for The Royal Anthropological Institute of Great Britain and Ireland to Conrad Arensberg's ethnographies of western Ireland, had incorporated native culture into a fundamentally primitivist perspective. In , however, Beckett revises this perspective to offer overtly constructed images of authentic Irishness, which refuse the hegemonic modes of cultural identification and epistemological mastery implicit in more conventional anthropological representations of Ireland.
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Matusiak, Thomas. "A jaguar in Paris: Teo Hernández’s shamanic cinema." Studies in Spanish & Latin-American Cinemas 18, no. 3 (September 1, 2021): 341–50. http://dx.doi.org/10.1386/slac_00060_1.

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Teo Hernández (Ciudad Hidalgo 1939‐Paris 1992) began a prolific career as an experimental filmmaker after entering a self-imposed exile in Paris in 1966. With no formal training, he completed dozens of films on the amateur format of Super 8 before his untimely death at the height of the AIDS epidemic in France. Hernández’s cinema cannot be separated from his postcolonial experience as an undocumented immigrant in Europe. Based on his audio-visual and written work, this article examines how the filmmaker elaborated a unique film theory grounded in an auto-ethnographic appropriation of primitivist tropes. Through this queer exilic cinema, Hernández crafted an authorial persona around the figure of a shamanic filmmaker. I take the films Nuestra senõra de París/Our Lady of Paris (Hernández 1981‐82) and Pas de ciel/No Sky (Hernández 1987) as a point of departure to examine the construction of a cinematic ritual capable of inducing trance in the body of the spectator and the filmmaker.
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Daniels, Timothy P. "Islam Obscured." American Journal of Islam and Society 25, no. 2 (April 1, 2008): 123–25. http://dx.doi.org/10.35632/ajis.v25i2.1479.

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Daniel Martin Varisco’s Islam Obscured: The Rhetoric of AnthropologicalRepresentation provides a very sound and well-informed literary critique ofClifford Geertz’s Islam Observed (1968), Ernest Gellner’s Muslim Society(1981), Fatima Mernissi’s Beyond the Veil (1975), and Akbar Ahmed’s DiscoveringIslam (1988). The author, an experienced ethnographer of MiddleEastern societies, examines the treatments and representations of Islam inthese seminal texts. After presenting his topic and background in the introduction,he demonstrates how these four authors obscured, misrepresented,and elided the everyday lives of Muslims. In the epilogue, Varisco gleanssome important lessons for the study of Islam from his entertaining andwitty exploration of these social science texts.In the book’s introduction, the author briefly discusses the intellectualhistory of anthropology and ethnographic studies of Muslims. He notes thatthe discipline of anthropology has encountered numerous problems, includingits recognition of Victorian traveler’s reports, Spencerian “evolutionism,”and the postcolonial critique of Eurocentric textual representations ofnon-western others. Addressing the current state of anthropological theory,Varisco mentions the blurring of boundaries between established disciplinesas well as the particularly American problem over whether to maintain thefour-field approach of holistically studying human beings.In keeping with this Eurocentric slant toward “primitives,” he observesthat there were very few ethnographic studies of Muslims, except Evans-Pritchard’s 1940s work on Cyrenaican Bedouins and those by others followinghis example, until ethnographers began to produce Robert Redfieldinfluencedcommunity studies.Yetmany of these latter studies were done byresearchers who, with little proficiency inArabic, wrote from a distance andthus barely penetrated the surface of Islam in local Muslims’ lives. Varisco ...
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Etherington, Ben, and Samuel J. Spinner. "Primitivism Now, Primitivism Again: Introduction." Comparative Literature 76, no. 2 (June 1, 2024): 125–34. http://dx.doi.org/10.1215/00104124-11060583.

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Abstract This essay revisits critical issues in the scholarship on primitivism in the light of recent theoretical and historical developments. Particularly, it considers whether the expansion of primitivism studies to take in a range of contexts and cultures beyond the western European and North American ones with which it has so long been associated calls for new theorizations and historicizations. Along the way, it assesses why primitivism’s purview had previously been so narrow by tracing the development of scholarship associated with primitivism in modernist visual arts, and it weighs up the risks and opportunities in using the term to consider a broader spectrum of cultures and artistic media. It concludes that primitivism’s breadth reflects the magnitude of the crises that it has attempted to negate: a world facing multiple and overlapping extinction crises.
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Shipley, Jesse Weaver. "From Primitivism to Pan-Africanism: Remaking Modernist Aesthetics in Postcolonial Nigeria." Ghana Studies 20, no. 1 (2017): 140–74. http://dx.doi.org/10.1353/ghs.2017.0008.

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Sen, Uditi. "Developing Terra Nullius: Colonialism, Nationalism, and Indigeneity in the Andaman Islands." Comparative Studies in Society and History 59, no. 4 (September 29, 2017): 944–73. http://dx.doi.org/10.1017/s0010417517000330.

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AbstractThis article explores the legal structures and discursive framings informing the governance of one particular “backward” region of India, the Andaman Islands. I trace the shifting patterns of occupation and development of the islands in the colonial and postcolonial periods, with a focus on the changes wrought by independence in 1947 and the eventual history of planned development there. I demonstrate how intersecting discourses of indigenous savagery/primitivism and the geographical emptiness were repeatedly mobilized in colonial-era surveys and postcolonial policy documents. Postcolonial visions of developing the Andaman Islands ushered in a settler-colonial governmentality, infused with genocidal fantasies of the “dying savage.” Laws professing to protect aboriginal Jarawas actually worked to unilaterally extend Indian sovereignty over the lands and bodies of a community clearly hostile to such incorporation. I question the current exclusion of India from the global geographies of settler-colonialism and argue that the violent and continuing history of indigenous marginalization in the Andaman Islands represents a de facto operation of a logic of terra nullius.
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Belyaev, V. A. "Militant primitivism of F.I. Girenok and the logic of “cultural” self-awareness." Voprosy kul'turologii (Issues of Cultural Studies), no. 1 (January 30, 2024): 34–47. http://dx.doi.org/10.33920/nik-01-2401-03.

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The article analyzes the speech of F.I. Girenok at the Philosophical Council in 2022. The author identifies two components in Girenko’s position. The first is primitivism in thinking. The author examines the logic of sociocultural primitivism in its many historical manifestations, highlighting its ideal-typical form. The logic of primitivism is revealed as a response to the negatively understood complexity of sociocultural existence. The second component is “cultural” self-awareness. The author reveals the logic of this type of self-awareness, contrasting it with “postcultural-intercultural” self-awareness. At the same time, the logic of the sociocultural development of humanity is affirmed as moving in a “postcultural” direction. The author reveals a negative version of “cultural” self-awareness as a closure on one’s system of ultimate ideas about the world. Girenko's philosophical position is considered as a combination of an extreme version of primitivism with an extreme version of “cultural” self-awareness.
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Misra, Sanghamitra. "The Customs of Conquest: Legal Primitivism and British Paramountcy in Northeast India." Studies in History 37, no. 2 (August 2021): 168–90. http://dx.doi.org/10.1177/02576430211042143.

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The discourse around indigeneity, customary rights of possession and claims to political autonomy in Northeast India conventionally traces the postcolonial protectionist legislation for ‘tribes’ to various acts passed under the late colonial state, the most significant precursor being seen as the Government of India Act, 1935. This article will argue that one can in fact trace the ‘original moment’ in the idea of customary law for ‘tribes’ much further back in history, to the early decades of the nineteenth century. This historical moment was anchored in the beginnings of the East India Company’s conquest of the Garo hills in the late eighteenth and early nineteenth centuries, in the appropriation of the land and revenue of the Garos and in the ethnogenesis of the ‘hill Garo’. The article will explore the ways in which the beginning of the invention of customary law and traditional authority in Northeast India under East India Company rule was impelled by the Company’s demands for revenue and was shielded and secured by the deployment of military power across the hills. Over the course of the nineteenth century, the strategies of imperial control first introduced in the region were reproduced across the rest of Northeast India, underscoring the significance of the Garo hills as the first ‘laboratory’ of colonial rule in the region as well as sharpening our understanding of the character of the early colonial state. The article thus takes as its task the historicization of the categories of ‘customary law’, ‘traditional/indigenous authority’ and the ‘hill tribe’, all of which form the basis of late colonial and postcolonial legislation on the ‘tribe’.
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Dissertations / Theses on the topic "Primitivism and Postcolonial Studies"

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Norton, Steven. "Primitivism and Contemporary Popular Cinema." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19678.

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This dissertation is a postcolonial analysis of four films: The Gods Must Be Crazy (1980), Dances with Wolves (1990), The Last Samurai (2003), and Avatar (2009). While previous scholarship has identified the Eurocentric worldview of early 20th-century ethnographic film, no book-length work has analyzed the time consciousness of turn-of-the-21st century films that feature portrayals of the colonial encounter. By harmonizing film theory with postcolonial theory, this dissertation explores how contemporary films reiterate colonial models of time in ways which validate colonial aggression. This dissertation concludes that the aesthetics of contemporary popular cinema collude with colonial models of time in such a way as to privilege whiteness vis-à-vis constructions of a primitive other. Contemporary primitivism works through the legacy of classical Hollywood style, nostalgia for the western film, the omnipotence of the white male gaze, and a reverence for technology.
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Fleury, Hélène. "Réception et globalisation des peintures du Mithila : médiations dans un champ culturel transnational." Electronic Thesis or Diss., université Paris-Saclay, 2024. http://www.theses.fr/2024UPASK013.

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L'art du Mithila désigne des formes rituelles et artistiques pratiquées au Bihar (Inde) et au Teraï (Népal). Issue de fresques réalisées par les femmes, aux marges de valeurs brahmaniques androcentrées, l'artification marchande globalisée des peintures conduit à des reconfigurations créatives, discursives, sociales, déplaçant vers le centre les peintres du Mithila.Le montage de plus de 500 expositions dans 36 pays (1935-2019) montre une accélération des circulations des œuvres artifiées et de leurs créatrices du Sud global, jouissant de formes de reconnaissance dans un monde de l'art dominant dont elles sont souvent exclues, en raison de subalternisations multiples (genre, caste, classe, clivages Nord/Sud et urbain/rural). L'histoire connectée de la réception transnationale de leur art s'étend du moment colonial tardif et de la postindépendance au moment postmoderne, en lien avec le tournant global, catalysé par le kairos indophile et contreculturel des Long Global Sixties. Une pensée critique prônant l'empowerment, basée sur le lien entre féminismes et indophilie contreculturelle favorise l'engagement sur le terrain de l'artification de médiateurs transculturels.Le moment colonial tardif et de la postindépendance est représenté par M. et W. Archer et des artistes-médiateurs gouvernementaux indiens comme U. Maharathi, fondateur de l'institut de design de Patna. Les Archer interprètent des pratiques à l'aune d'une vision organique de l'art et d'une esthétique universelle liées au freudisme et aux avant-gardes. Leader indépendantiste, Maharathi expose et commercialise l'art du Mithila. Ses ambitions de patrimonialisation résonnent avec l'affirmation d'une indianité liée à la construction de l'identité nationale. L'artification marchande se construit vers les années 1930, avant qu'une crise agricole, alimentaire et politique (1966-67) n'agisse comme catalyseur des circulations globales et de la légitimation des peintres. Avec l'entrée dans la première phase de mondialisation de la réception, celle de l'indophilie contreculturelle, des médiateurs transculturels (Y. Véquaud, E. Moser Schmitt, R. et N. Owens, T. Hasegawa) se situent dans un champ culturel transnational postbourdieusien traversé par des tensions, des convergences idéelles (féminisme, justice sociale) et des dissonances: bohème artistique et littéraire vs anthropologie appliquée au développement; intensification des flux marchands globaux vs idéalisme critique contreculturel et utopie communautaire villageoise. L'éphémère convergence de passeurs de (contre)culture et de médiateurs indiens autour d'un modèle alternatif fait advenir un kairos et un monde de l'art transculturel, décloisonné. Ce nexus entre médiateurs construit des figures féministes de peintres autour d'un art des marges et de la résistance créative. Le moment postmoderne de la globalisation tardive introduit pluralité discursive et déconstruction de visions du Nord-global réifiées, androcentrées et primitivistes et de la triangulation féminisme libéral-développement-tourisme. Les peintures sont réinterprétées à l'aune d'une « contemporanéité multiple » axée sur le flux ou d'identités imbriquées translocales, subversives au prisme des tournants postcolonial et de genre.Le kairos contreculturel est unique dans l'histoire de la réception de l'art maïthil, dont l'éphémère convergence des artificateurs est souvent occultée. Il ouvre la voie aux circulations globales, à la construction d'un champ transnational, à la déconstruction de la valeur d'«authenticité». L'art des femmes peintres entre sur la scène contemporaine globalisée, réapprécié à l'aune de canons transnationaux. En résultent transferts et hybridations entre contreculture et féminismes, en Inde et dans le Nord global. S'y forge une pépinière artistique et un catalyseur du mouvement des femmes, ouverts au féminisme inclusif et à une effervescence créative, leviers d'un changement de paradigme dans les renouvellements des artistes du Mithila
Mithila art refers to ritual and artistic forms practised in Bihar (India) and the Terai (Nepal). Originating in frescoes painted by women on the margins of androcentric Brahmanic values, the globalised commercial artification of paintings has led to creative, discursive and social reconfigurations, moving the Mithila painters from the periphery to the centre.The setup of more than 500 exhibitions in 36 countries (1935-2019) illustrates an acceleration in the circulation of artified artworks and their creators from the global South, who are enjoying forms of recognition in a dominant art world from which they are frequently excluded, due to multiple oppressions (gender, caste, class, North/South and urban/rural divides). The connected history of the transnational reception of their art can be traced from the late colonial and post-independence moment to the postmodern moment, in connection with the global turn that was catalysed by the indophile and countercultural kairos of the Long Global Sixties. Critical thinking that advocates empowerment, based on the nexus between feminisms and countercultural indophilia, fosters a commitment to the artification of transcultural mediators.The late colonial and post-independence moment is represented by M. and W. Archer and Indian government artist-mediators such as U. Maharathi, the founder of the Patna Design Institute. The Archers employ practices an organic conception of art and a universal aesthetics, which is linked to Freudism and the avant-garde, to interpret practices. Maharathi, an independence leader, exhibits and commercialises Mithila art. His ambitions for heritagisation resonates with the assertion of an Indianness linked to the construction of national identity. Commercial artification began to develop in the 1930s, preceding an agrarian, food and political crisis (1966-67) that acted as a catalyst for global circulation and the legitimisation of painters. With the entry into the first phase of globalisation of the reception, that of the countercultural indophilia, transcultural mediators (Y. Véquaud, E. Moser Schmitt, R. and N. Owens, T. Hasegawa) are situated within a post-Bourdieusian transnational cultural field characterised by an array of tensions, ideological convergences (feminism, social justice) and dissonances: artistic and literary bohemia vs. anthropology applied to development; intensification of global trade flows vs. critical countercultural idealism and village community utopia. The ephemeral convergence of (counter)cultural brokers and Indian mediators around an alternative model has given rise to a kairos and a transcultural, decompartmentalised art world. This nexus between mediators constructs feminist figures of painters around an art of the margins and creative resistance.The postmodern moment of late globalisation introduces a discursive plurality and the deconstruction of reified, androcentric and primitivist visions of the Global North, as well as the ‘liberal feminism-development-tourism' triangulation. The paintings are reinterpreted in terms of a ‘multiple contemporaneity' centred on flux, or of overlapping translocal and subversive identities, in the prism of postcolonial and gender shifts.The countercultural kairos is unique in the history of the reception of Maithil art, whose ephemeral convergence of artificators is often overshadowed. This paves the way for global circulation, the construction of a transnational field, and the deconstruction of the value of ‘authenticity'. The art of women painters enters the globalised contemporary scene, reappraised in the terms of transnational canons. This has resulted in transfers and hybridisations between counterculture and feminism, in India and in the Global North. An artistic incubator and a catalyst for the women's movement is being forged, open to inclusive feminism and creative effervescence, which serve as levers for a paradigm shift in the renewal of Mithila artists
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Dacey, Katherine. ""Gershwin Gone Native!": The Influence of Primitivism and Folk Music on "Porgy and Bess"." W&M ScholarWorks, 2001. https://scholarworks.wm.edu/etd/1539626290.

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Smart, Kirsten. "National consciousness in Postcolonial Nigerian children's literature." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/22880.

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This project highlights the role of locally produced children's written literature for ages six to fourteen in postcolonial Nigeria as a catalyst for national transformation in the wake of colonial rule. My objective is to reveal the perceived possibilities and pitfalls contained in Nigerian children's literature (specifically books published between 1960 and 1990), for the promotion of a new national consciousness through the reintegration of traditional values into a contemporary context. To do this, I draw together children's literature written by Chinua Achebe, Cyprian Ekwensi and Mabel Segun in order to illustrate the emphasis Nigerian children's book authors writing within the postcolonial moment placed on the concepts of nation and national identity in the aim to 'refashion' the nation. Following from this, I examine the role of the child reader in relation to the adult authors' intentions and pose the question of what the role of the female is in the authors' imagining of a 'new nation'. The study concludes by reflecting on the persistent under-scrutiny of children's literature in Africa by academics and critics, a preconception that still exists today. I move to suggest further research on the genre not only to stimulate an increased production of children's literature more conscious in content and aware of the needs of its young, (male and female) African readership, but also to incite a change in attitude toward the genre as one that is as deserving of interest as its adult counterpart.
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York, Christopher W. (Christopher Warren) 1972. "Anthropology of nostalgia : primitivism and the antimodern vision in the American Southwest, 1880-1930." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/39224.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2001.
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Includes bibliographical references (leaves 120-123).
Introduction: Zoo, garden, arcade--three places emblematic of European society's pleasure in and subjugation of animal and plant nature, of the texture of civilized life in a world created by Industry and Progress. This triad, it seems, would stand in opposition to Lummis' oft-repeated formula of "sun, silence, and adobe," and the vision of stillness in the Southwestern hinterland that it evokes. Indeed, few other regions of the United States have so consistently nurtured the cult of the primitive and the peasant that inheres in Lummis' simple paean to adobe. Indian and Hispano both build from adobe; and it, being earth, absorbs these populations back into the land, wedding artisanal, agrarian, and pastoral lives into an integrated vision of ethnicity and region, a spirit of the desert and of the sky. Here only, the modernist regional aesthete would argue, could the authentic American pastoral be found: "there is that genuineness of unfettered simplicity; the closeness to elemental realities in peasant life, which only in New Mexico, of all states, is indigenous." Hence the modernist Southwest was manifestly not a place of Victorian zoos, picturesque gardens, or Parisian shopping arcades. And yet, I would like to argue, the evanescent afterimages of these places--the ways of being and relating that they nurtured and expressed--appear before and behind the crystalline pictures of snow-blanketed desert and azure sky, the lines of Pueblo dancers, the Hispano santero with his wood and his knife, distorting and fragmenting any purely localist vision of Southwestern regionalism. The scent of piñon smoke mingled in the nose of the newly-arrived traveler with smog from factories in New York, Chicago, or Boston, and smelled all the more pungent because of this mixture.
by Christopher W. York.
S.M.
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Francis, Toni P. "Identity Politics: Postcolonial Theory and Writing Instruction." Scholar Commons, 2007. https://scholarcommons.usf.edu/etd/711.

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In this dissertation I intend to apply postcolonial theory to primary pedagogical and administrative concerns of the writing program administrator. Writing Program Administrators, or WPAs, take their responsibilities seriously, remaining cognizant of both the negative and positive repercussions of the pedagogical decisions that take shape in the scores of composition classrooms they administer. This dissertation intends to infuse the WPA position with the ethos of scholarly praxis by historicizing and contextualizing the field of composition, and by placing the teaching of writing within the historical memory of slavery and colonialism. Sound WPA research is theoretically informed, systematic, principled inquiry that works toward producing strong writing programs. This dissertation provides such inquiry, drawing the field's attention to the reality of postcoloniality and presenting an understanding of the work of composition as informed by and complicit in the history of racialized forms of oppression. From this context, the dissertation analyzes three major issues faced by the WPA: the debate over standardized discourse, the influence of the job market on pedagogical decisions, and the (de)politicizing of the composition classroom. In the following sections, these issues will be related directly to critical theories from postcolonial and composition studies that assist in articulating the issues of identity politics, hegemonic struggle, interpellation and interpolation, subaltern voice, and hybridity that are so crucial to writing program pedagogy and administration in the postcolonial age, for it is my argument that the writing classroom is a crucial site of contention in which the politics of identity are manifested as students appropriate and are appropriated by discourse.
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Settler, Federico. "The production of the sacred in postcolonial Africa." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8192.

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Includes bibliographical references (leaves 167-185).
This study seeks to discuss the persistence of religion in colonial and postcolonial narratives of confinement and exclusion. I begin by first exploring the history of religion in relation to colonial representations of Africa(ns) as savage and, situating the narratives of confinement and exclusion in the context of South Africa's colonial history, I set out to demonstrate the temporal and spatial expressions of the sacred as it is invoked/ produced by both the colonized and colonizer. I then proceed to explore such contests of power to produce the sacred in Frantz Fanon's On National Culture and the indigenous authorities in post-apartheid South Africa. In doing so, I draw upon the resources of postcolonial theory, subaltern studies and African/Fanon studies to demonstrate how strategies of containment and exclusion have been employed to mediate the persistence of the sacred in colonial, anti-colonial and African nationalist discourses. A further distinguishing feature of this study is that it seeks demonstrate through the metaphor of infection, the persistence of religion regardless of, and in fact activated by, these strategies that seek to domesticate and disinfect the sacred.
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Noman, Abu Sayeed Mohammad. "Africological Reconceptualization of the Epistemological Crises in Postcolonial Studies." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/491533.

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African American Studies
Ph.D.
“Africological Reconceptualization of the Epistemological Crises in Postcolonial Studies” aims at investigating the epistemological problems and theoretical inconsistencies in contemporary post-colonial studies. Capitalizing the Afrocentric theories of location, agency, and identity developed by Molefi Kete Asante and Ama Mazama, this research takes Afrocentricity beyond the Africological analysis of African phenomenon and demonstrates its applicability in resolving issues that concern human liberation irrespective of race, class, gender, and nationality. To do so, this project juxtaposes the theories of Edward Said, Homi Bhabha, and Gayatri Spivak with the Afrocentric theories of Molefi Asante and Ama Mazama, and demonstrates that the application of Afrocentric methods can help answering severe allegations against postcolonialism raised by a number of critics from within the school itself. Issues concerning spatial and temporal location of the term post-colonial, commodity status of post-colonialism, and crises in the post-colonial pedagogy can be addressed from an Afrocentric perspective based on a new historiography. To support the proposed arguments, the paper provides an Afrocentric analysis of some postcolonial works and shows how the very radical stance of postcoloniality has been neutralized by the Western academy. Simultaneously, the research also shows, despite being ridiculously disparaged as essentialist and racist, Afrocentricity is fundamentally radical and quintessentially emancipatory in its relentless fight against misrepresentation, pseudoscience, and injustice in the name of objective scholarship perpetrated by Eurocentric intellectuals—particularly from Asia and Africa.
Temple University--Theses
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Ranwalage, Sandamini Yashoda. "Reperforming Sarachchandralatory:A Nationalist Discourse of Postcolonial Theatre in Sri Lanka." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami15640466703959.

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Terpenning, Steven Tyler Spinner. "Choral Music, Hybridity, and Postcolonial Consciousness in Ghana." Thesis, University of Colorado at Boulder, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10271023.

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Ghanaian choral music emerged from the colonial experience through a process of musical hybridity and became relevant in the post-independent state of Ghana. This dissertation begins by exploring how two distinct musical forms developed from within the Methodist and Presbyterian missions in the nineteenth and early twentieth centuries. These musical forms utilized both European hymn harmony and local musical features. The institutional histories and structures of these missions explain the significance of this hybridity and distinct characteristics of the forms. These local-language choral works spread through these institutions despite the attempts of people in leadership positions to keep local culture separate from Christian schools and churches. The fourth chapter explores the broader social impact of the choral tradition that emerged from the Presbyterian mission, and its implications for the national independence movement through the history of one choral work composed by 1929 by Ephraim Amu. Then, based on a case study of the Ghana Broadcasting Corporation and its workplace choir, I examine how intellectual leaders such as Kwabena Nketia have, in the context of the post-independent state of Ghana, promoted choral music as an aspect of national development and unity. Ethnographic work at the GBC reveals the sometimes contentious negotiations that are involved in this process. This dissertation is based on both ethnographic and archival research conducted during three research trips to Ghana from 2012 to 2015. This research reveals how Ghanaians have challenged colonial ideology through composing and performing choral music. Peircian semiotics and postcolonial theory provides a framework for exploring how the hybridity of choral music in Ghana has contributed to the development of postcolonial consciousness there.

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Books on the topic "Primitivism and Postcolonial Studies"

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Nayar, Pramod K., ed. Postcolonial Studies. Chichester, UK: John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781119118589.

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Kim, David D., ed. Reframing Postcolonial Studies. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-52726-6.

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Flannery, Eóin. Ireland and Postcolonial Studies. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230250659.

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Reuter, Julia, and Alexandra Karentzos, eds. Schlüsselwerke der Postcolonial Studies. Wiesbaden: VS Verlag für Sozialwissenschaften, 2012. http://dx.doi.org/10.1007/978-3-531-93453-2.

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Ecole normale supérieure de Lyon and Collectif Write Back, eds. Postcolonial studies: Modes d'emploi. Lyon: Presses universitaires de Lyon, 2013.

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Oriana, Palusci, ed. Postcolonial studies: Changing perceptions. Trento: Dipartimento di studi letterari, linguistici e filologici, Università degli studi di Trento, 2006.

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editor, Schwarz Henry, Villacañas Berlanga, J. L., editor, Moreiras Alberto editor, and Shemak April Ann editor, eds. Encyclopedia of postcolonial studies. Chichester, West Sussex: Wiley Blackwell, 2016.

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Sorensen, Eli Park. Postcolonial Studies and the Literary. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230277595.

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Schwarz, Henry, and Sangeeta Ray, eds. A Companion to Postcolonial Studies. Malden, MA, USA: Blackwell Publishing Ltd, 2005. http://dx.doi.org/10.1002/9780470997024.

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Brantlinger, Patrick. Victorian literature and postcolonial studies. Edinburgh: Edinburgh University Press, 2009.

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Book chapters on the topic "Primitivism and Postcolonial Studies"

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Schweiger, Hannes. "Postcolonial Studies." In Handbuch Biographie, 408–13. Stuttgart: J.B. Metzler, 2009. http://dx.doi.org/10.1007/978-3-476-05229-2_53.

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Hardwick, Lorna. "Postcolonial Studies." In A Companion to the Classical Tradition, 312–27. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996775.ch22.

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Schweiger, Hannes. "Postcolonial Studies." In Handbuch Biographie, 581–87. Stuttgart: J.B. Metzler, 2022. http://dx.doi.org/10.1007/978-3-476-05843-0_64.

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Reuter, Julia, and Monica van der Haagen-Wulff. "Postcolonial Studies." In Handbuch Körpersoziologie 1, 373–83. Wiesbaden: Springer Fachmedien Wiesbaden, 2022. http://dx.doi.org/10.1007/978-3-658-33300-3_42.

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Mascat, Jamila M. H. "Postcolonial Studies." In The SAGE Handbook of Marxism, 959–79. 1 Oliver's Yard, 55 City Road London EC1Y 1SP: SAGE Publications Ltd, 2022. http://dx.doi.org/10.4135/9781529714371.n53.

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Sarkowsky, Katja, and Frank Schulze-Engler. "Postcolonial Studies." In English and American Studies, 301–13. Stuttgart: J.B. Metzler, 2012. http://dx.doi.org/10.1007/978-3-476-00406-2_22.

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Kravagna, Christian. "Postcolonial Studies." In Critical Studies, 65–83. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-10412-2_5.

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Young, Robert JC. "Postcolonial Remains." In Postcolonial Studies, 125–43. Chichester, UK: John Wiley & Sons, Ltd, 2016. http://dx.doi.org/10.1002/9781119118589.ch8.

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Fanon, Frantz. "The Fact of Blackness." In Postcolonial Studies, 15–32. Chichester, UK: John Wiley & Sons, Ltd, 2016. http://dx.doi.org/10.1002/9781119118589.ch1.

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Veracini, Lorenzo. "Historylessness." In Postcolonial Studies, 161–74. Chichester, UK: John Wiley & Sons, Ltd, 2016. http://dx.doi.org/10.1002/9781119118589.ch10.

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Conference papers on the topic "Primitivism and Postcolonial Studies"

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Pujadas, Anna. "Primitivism & Modern Design." In 9th Conference of the International Committee for Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0005.

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Heng, Xuemin. "Studies of Postcolonial Theory and Postcolonial Translation Theory." In Proceedings of the 2018 2nd International Conference on Education Innovation and Social Science (ICEISS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iceiss-18.2018.25.

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Slonevska, I. B., and S. Yu Piroshenko. "UKRAINIAN CULTURE IN THE OPTICS OF POSTCOLONIAL STUDIES." In RESEARCH AND DEVELOPMENTS IN SOCIAL SCIENCES. Izdevnieciba “Baltija Publishing”, 2023. http://dx.doi.org/10.30525/978-9934-26-376-7-8.

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Li, Ying. "On the Postcolonial Hybridity Theory in Translation Studies." In 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/iccessh-16.2016.103.

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"Ranajit Guha: Tribute to a Scholarly Life in Postcolonial Studies." In Visions of Community. Vienna: Austrian Academy of Sciences Press, 2018. http://dx.doi.org/10.1553/anzeiger144_1s5.

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Rauf, Ramis, M. Ridha Ajam, Arlinah Majid, and Afriani Ulya. "Subaltern Bugis Women in Short Story “Ketika Saatnya”: Spivakian Postcolonial Studies." In The Asian Conference on Arts and Humanities 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2186-229x.2023.24.

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Issafi, Hamid. "New Trajectories in Postcolonial Narratives: The Predicament of the Immigrant in the Host Country in Laila Lalami’s The Other Americans." In XII Congress of the ICLA. Georgian Comparative Literature Association, 2024. http://dx.doi.org/10.62119/icla.1.8211.

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During the last few decades Postcolonial studies have evolved to a considerable extent. The abundance of Postcolonial writings and rising polemical debates among Postcolonial writers, scholars and critics are benchmarks that marked the evolvement of Postcolo-nialism in the realm of intelligentsia. Among the most prominent and innovative key-figures of Postcolonial and diaspora writers is Laila Lalami. This paper seeks to explore new routings in Postco-lonial writings. Therefore, the dynamic shift from locality to cosmo-politanism inscribed within Laila Lalami’s The Other Americans (2019) will be discussed. How the migrant’s moving identity is manifested in the Western host country through the prism of the Self and Other dynamics will be given much emphasis. Methodologically speaking, Mikhail Bakhtin’s dialogism will be used as a tool to discuss the polyphony of the novel; by the same token, this study draws upon Postcolonial theory; concepts such as displacement, moving identities, and Homi Bhabha’s third space will be used as tools of analysis.
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Shen, Yuan. "Review: A Postcolonial-feminist Interpretation of Marlene Nourbese Philip’s Poetry." In Proceedings of the International Conference on Contemporary Education, Social Sciences and Ecological Studies (CESSES 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/cesses-18.2018.113.

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Tarasiuk, Andriana. "Challenging the Settler Narrative: A Postcolonial Critical Discourse Analysis of a Social Studies Curriculum." In 2023 AERA Annual Meeting. Washington DC: AERA, 2023. http://dx.doi.org/10.3102/2006305.

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Rahman, Ainur, and Burhan Nurgiyantoro. "Subalternity of Hindia Women in Racun untuk Tuan Short Story by Iksaka Banu: Postcolonial Studies." In 1st International Conference on Language, Literature, and Arts Education (ICLLAE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200804.074.

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