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1
Lugones, María. "La colonialité du genre". Les cahiers du CEDREF, n. 23 (1 settembre 2019): 46–89. http://dx.doi.org/10.4000/cedref.1196.
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Nabaneh, Satang, Kuukuwa Andam, Kerigo Odada, Åsa Eriksson e Marion Stevens. "Contester le genre et la colonialité". Politique africaine 168, n. 4 (11 maggio 2023): 25–51. http://dx.doi.org/10.3917/polaf.168.0025.
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Mendoza, Breny. "La question de la colonialité du genre". Les cahiers du CEDREF, n. 23 (1 settembre 2019): 90–116. http://dx.doi.org/10.4000/cedref.1218.
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Marteu, Élisabeth. "Cahiers du genre N? 50, 2011. Genre, modernité et « colonialité » du pouvoir". Nouvelles Questions Féministes 32, n. 1 (2013): 132. http://dx.doi.org/10.3917/nqf.321.0132.
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Sanna, Maria Eleonora, e Eleni Varikas. "Genre, modernité et ?colonialité? du pouvoir : penser ensemble des subalternités dissonantes". Cahiers du Genre 50, n. 1 (2011): 5. http://dx.doi.org/10.3917/cdge.050.0005.
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Dayan-Herzbrun, Sonia. "Quand des féministes africaines remettent en question l’universalité de la domination masculine". Articles 34, n. 2 (13 settembre 2022): 149–64. http://dx.doi.org/10.7202/1092235ar.
Abstract (sommario):
L’afroféminisme se propose d’interroger le genre et les concepts qui lui sont associés à partir de leur expérience comme femmes africaines et d’une épistémologie africaine, en remplaçant l’universel abstrait par le principe de l’Ubuntu, selon les personnes ne sont humaines qu’à travers l’humanité des autres. La colonisation a imposé une conception binaire du monde et importé le genre dans différentes régions d’Afrique où la logique sociale était celle de la séniorité. Par l’établissement de la binarité, la colonisation a institué et légitimé la domination masculine. La décolonisation a laissé en place les structures mêmes du pouvoir. La colonialité du genre s’est maintenue et a même été intériorisée par beaucoup d’intellectuelles et d’intellectuels ainsi que de politiques africains. Les historiennes, anthropologues et juristes afroféministes mettent en lumière la flexibilité en matière de sexualité dans l’Afrique précoloniale, de même que la large présence de femmes dans des positions de pouvoir politique, économique, spirituel. Elles proposent de s’appuyer sur ce passé non pour y revenir, mais pour lutter contre les différentes formes d’oppression.
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Preux, Raphaël. "Perspectives inappropriées et significations inattendues. Corps, lieux et théories autochtones face à la colonialité du genre". Les Cahiers du CIÉRA, n. 20 (2022): 5. http://dx.doi.org/10.7202/1092545ar.
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Tierney, Dolores. "Interrogating (neo)colonialism in the contemporary western: Alejandro González Iñárritu’s The Revenant (2015)". Studies in Spanish & Latin American Cinemas 18, n. 1 (1 marzo 2021): 89–104. http://dx.doi.org/10.1386/slac_00038_1.
Abstract (sommario):
This article analyses Alejandro González Iñárritu’s The Revenant (2015) as a contemporary western, exploring how it interrogates the overt coloniality and Anglocentrism associated with the western genre and the source story of nineteenth-century fur trapper Hugh Glass on which the film is based. Through narrative and textual analysis, the article suggests that the addition of active indigenous characters into Glass’ story, as well as the film’s focus on the genocidal violence inflicted on native peoples and self-conscious realist strategies, challenge the inherent colonialism of the western. It also points out, however, that the scope of these indigenous narratives is limited and made secondary to the narrative of the White fur trapper and how The Revenant falls back on some of the stereotypical representational norms of the generic western. The article argues that this duality, where the film both challenges and reifies the colonialist norms of the western, is a result of the film’s interstitial position in-between the industrial and genre norms of contemporary Hollywood filmmaking and Iñárritu’s specific auteurist, postcolonial and ideological vision.
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Schlenker, Alex. "Descolonizar con la minga visual: una placa de vidrio y un retrato de familia". CALLE14: revista de investigación en el campo del arte 11, n. 18 (4 ottobre 2016): 30. http://dx.doi.org/10.14483/10.14483/udistrital.jour.c14.2016.1.a03.
Abstract (sommario):
DESCOLONIZAR CON LA MINGA VISUAL: UNA PLACA DE VIDRIO Y UN RETRATO DE FAMILIARESUMENEste artículo recoge una serie de reflexiones en torno a las estrategias decoloniales que, desde las llamadas mingas visuales –prácticas artísticas centradas en (re)leer e intervenir imágenes de archivo– desarrollaron dos artistas ecuatorianas entre el 2012 y 2015 para (re)leer la representación fotográfica de género, clase y etnia inscrita en un retrato grupal titulado Retrato de familia, producido por el fotógrafo ecuatoriano Miguel Ángel Rosales en su estudio en la ciudad de Ibarra en la década de 1930.PALABRAS CLAVEFotografía, retrato, familia, racismo, archivo, arte, colonialidad, decolonialidad, minga visual.MANA MINISTIDU KAWASPALLA RURAI: SUG KILKAI VIDRIOWA RURASKA SUG FAMILIARURASUGLLAPIKai mailla kilkapi llullachiku tukuikunata imasami iachaskakuna sutichinga minga kawaspa maquiwa ruraska chagpimanda kawai kallariska ñugpamanda kausaikuna ka iska warm, Ecuador nimanda kai watapi 2012-2015 kawachinaku tukui kaugsai, fotokuna. Pikunami kanchi, kai kilkai sutika. Parla kuna nukanchipa falicunamanda, chasallata sug iacha runa Migeul Angel Rosales mas iachakuspa maipi vida llukskapi kai watapi, 1930.IMA SUTI RIMAI SIMI:Fotokuna, kawai, nukanchipura, ñugpamanda rurai, subrigcha minga, kawaspa.DECOLONIZING WITH A VISUAL MINGA: A GLASS PLATE AND A FAMILY PORTRAITABSTRACTThis article contains a series of reflections on the decolonial strategies which were developed by two Ecuadorian artists, between 2012 and 2015, from the so called visual mingas – artistic practices focused on (re)reading and intervening archival footage – to (re)read the photographic representation of gender, class and ethnicity registered in a group portrait entitled Family Portrait, produced by the Ecuadorian photographer Miguel Angel Rosales in his studio in the city of Ibarra in the 1930s.KEYWORDSPhotography, portrait, family, racism, archive, art, coloniality, decoloniality, visual minga. tRetrato de familia, de la serie “Racializando al otro”; Foto Estudio Rosales, 1930-40 arteymemoria_DÉCOLONISER AVEC UN MINGA VISUELLE : UNE PLAQUE DE VERRE ET UN PORTRAIT DE FAMILLERÉSUMÉCet article contient une série de réflexions sur les stratégies décoloniales, qui, à partir de ce qu’on appelle les mingas visuelles - pratiques artistiques axées sur la (re)lecture et l’intervention des images d’archives - ont été développées par deux artistes équatoriens entre 2012 et 2015 pour (re)lire la représentation photographique du genre, des classes et de l’ethnicité enregistrée dans le portrait de groupe Portrait de famille, créé par le photographe équatorien Miguel Angel Rosales dans son atelier dans la ville de Ibarra dans les années 1930. MOTS-CLEFS Photographie, portrait, famille, racisme, archives, art, colonialité, decolonialité, minga visuelle.DESCOLONIZAR COM A “MINGA” VISUAL: UMA PLACA DE VIDRO E UM RETRATO DE FAMÍLIA.RESUMOEste artigo recolhe uma serie de reflexões em torno às estratégias de coloniais que, desde as chamadas “mingas” visuais – práticas artísticas centradas em (re) ler e intervir imagens de arquivo desenvolvido dos artistas equatorianas entre o 2012 e 2015 para (re) ler a representação fotográfica de gênero, aula e etnia inscrita em um relato grupal titulado Retrato de família, produzido pelo fotógrafo equatoriano Miguel Ángel Rosales no seu estudo na cidade de Ibarra na década de 1930. PALAVRAS CHAVES Fotografia, retrato, família, racismo, arquivo, arte, colonialidade, decolonialidade, “minga” visual. Recibido el 13 de noviembre de 2015 Aceptado el 16 de diciembre de 2015
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Wegner, Diana L., e Stephanie Lawless. "Missing and Murdered Indigenous Women and Girls National Inquiry:". Discourse and Writing/Rédactologie 31 (18 febbraio 2021): 1–37. http://dx.doi.org/10.31468/dw/r.835.
Abstract (sommario):
In this paper we present a rhetorical genre analysis of the Missing and Murdered Indigenous Women and Girls (MMIWG) National Inquiry. We focus on the concepts of meta-genre and genre hybridity in the context of social change to explore the dynamics of the MMIWG Inquiry as an instantiation of the “truth commission” (TC). Following Giltrow (2002), we treat meta-genre as advice and criticism from genre participants about how a genre should be performed. We apply Gready’s analysis (2011) of the TC as a hybrid genre that has emerged in the context of transitional justice and post-modern governance: the hybrid incorporates three sub-genres: the state (public/national) inquiry, the human rights report, and the official history (rewritten and archived). Our goals are to examine what the concepts of meta-genre and genre hybridity offer to help explain the difficulties of national inquiries/truth commissions in general, and specifically to help illuminate the problematics of the MMIWG Inquiry. Our qualitative analysis focuses on public and media metageneric commentary on the MMIWG Inquiry, including the Commissioners’ responses, in both mainstream traditional media and social media. Our findings show that meta-generic commentary on the MMIWG Inquiry falls into five main categories or themes, each deriving from stakeholders’ expectations raised by the tributary genres. By far, the most dominant theme is criticism of the Inquiry for its recolonizing legal framework: the ideology of colonialism that inhabits the TC’s state inquiry tributary genre is the object of significant meta-generic criticism. The other four recurrent themes are the perception that the Inquiry should be a criminal investigation, criticism of the Inquiry for its restriction to an “advisory” role only, calls for the inquiry to have a human rights framework, and the expectation that the inquiry is to facilitate meaningful reconciliation. We suggest that, as a recurring and constitutive feature of genre, and, as an arena of negotiation over how genre is to be performed, meta-genre can function as a kind of oversight and challenge that, as an index of social change, inhabits genre as a response to its own inertia. We also suggest that the TC genre creates genre confusion through its conflation of the widely divergent and broad exigences of its tributary genres. We conclude that, at the time of this writing, stakeholders’ diverse expectations, the TC’s problematic hybridity, and the MMIWG Inquiry’s colonizing, statist, legal framework constrain the impetus for change, rendering the Inquiry “truth-lite” (Gready, p. 50) and low impact, and affording only “thin reconciliation”.
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Mukafi, Muhammad Hamdan. "Indonesian Literature and Its Identity in the Mood of the Age". Digital Press Social Sciences and Humanities 2 (2019): 00014. http://dx.doi.org/10.29037/digitalpress.42265.
Abstract (sommario):
Globalization era is marked by information and technology advancement. It brings jungle of sign, obscuring definitive convention, or even creating a new definition, which is occurred in Indonesian literature. Colonialism history is a center convention which defines Indonesian literature, the literary genre is one of it. Reflecting a case of colonialism; England with its literary genre convention, that are a poem, fiction, and drama – are getting “resistance” from America, the continent that “occupied” by it, which had been opening free space to establish literary genres, such as sermon and speech are included. Therefore, in this case, innovation to Indonesian literary definition always a chance. Cross-media literature, in a blanket of information and technology advancement, had been born with hybridizing text, audio, and visual. Internet medium such as YouTube being its publication method. In 2011, Fahd Djibran and his colleagues gave birth to literary work named revolvere project – when the creation of audio-visual no longer arranged, but parting to literature. The born of revolvere project followed by many artists who answered to the mood of the age. Many new names come up like visual-poetry, visual-fiction, and more – putting them in one room known as Literary Reformer. It has its structure, interpreted in hybridative form, but opening to be studied in a different way when separated. This lead to a question of its legitimation in Indonesian literary world. So, Jane Stokes genre theory chose to examine its worthiness as Indonesian literature’s new creation room in genre classification. In this research, the theory of semiotics, the field of cultural production, and basic of taxonomy are implemented to observe its position to classify and struggle scheme in Indonesian literary world. Then, literary reformer denoted as Indonesian literature reflection, a success of mixing arts spices in one chalice, creating Indonesian literature new definitive identity.
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Olofinsao, Minister Abiodun. "The Genre and Trends of Crime Fiction in Nigeria". Scholars International Journal of Law, Crime and Justice 7, n. 03 (15 marzo 2024): 97–105. http://dx.doi.org/10.36348/sijlcj.2024.v07i03.001.
Abstract (sommario):
The field of crime fiction in Nigeria remains under-explored in scholarly discourse. This lacuna is particularly notable given the absence of comprehensive academic works dedicated to this genre. Crime fiction, which delineates narratives surrounding criminals, their crimes, detection and investigation processes, and underlying motivations, has been a prolific subject in Nigerian creative literature. Despite the substantial body of Nigerian literary works delving into themes of crime, punishment, and motivation, it is intriguing that the genre has not garnered significant critical analysis. This study adopts a diachronic approach to trace the historical evolution of crime fiction in Nigeria. It further investigates various sub-genres within this literary category and examines how a multitude of socio-political dynamics have influenced the thematic focus of Nigerian crime fiction. The study posits that crime fiction is gaining relevance in contemporary Nigerian society. It reveals that a significant corpus of these narratives grapple with issues such as colonialism, militarism, corruption, government apathy towards human and national development, and other opaque political and economic elements that perpetuate Nigeria’s precarious journey towards democratic stability.
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Catelli, Laura. "The Development of Casta Painting as Visual Genre in New Spain and the Production of Ethnoracial Stereotypes". Journal of Ethnic and Cultural Studies 11, n. 2 (9 maggio 2024): 123–39. http://dx.doi.org/10.29333/ejecs/1796.
Abstract (sommario):
The aim of this essay is to analyze the ways in which the development of the casta pictorial genre contributed to the production and stabilization of racializing and racist stereotypes. These racial stereotypes still persist in cultural imaginaries in and about Latin America as part of the long duration of coloniality. Casta painting from New Spain is analyzed here as a pictorial genre and as a colonial discourse in connection with situated social and racial concepts, such as Creole, caste, and calidad. The analysis develops through a dialogue with perspectives from Semiology of Art, Visual studies, Postcolonial studies, and Latin American Critique of Coloniality. In this regard, this essay intends to create a conversation among different disciplines and fields of study in order to develop a complex, transdisciplinary approach to a problem from colonial times: the production and circulation of ethnoracial stereotypes and their impact on social relations, lived experiences, and subjectivities.
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Filc, Dani. "Tintin and Corto Maltese". European Comic Art 13, n. 1 (1 marzo 2020): 95–121. http://dx.doi.org/10.3167/eca.2020.130106.
Abstract (sommario):
The Tintin and Corto Maltese series are among the most famous European adventure comics. The adventure genre – both in novels and comics – is deeply related to nineteenth-century colonialism. This article compares the ways in which colonialism and the relationship to the colonial Other appear in Hergé’s and Pratt’s creations, focusing on Tintin and Corto Maltese’s adventures in Africa and Latin America. The comparison between Tintin and Corto shows that although Hergé developed an ambivalent view of European colonialism, Eurocentrism is constant through all his work. Pratt’s Corto, in contrast, shows a more critical, though ambiguous, view of colonialism, and a more egalitarian, though also ambivalent, conceptualisation of the colonial Other.
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Deumert, Ana. "Settler colonialism speaks". Language Ecology 2, n. 1-2 (9 novembre 2018): 91–111. http://dx.doi.org/10.1075/le.18006.deu.
Abstract (sommario):
Abstract In this article I explore a particular set of contact varieties that emerged in Namibia, a former German colony. Historical evidence comes from the genre of autobiographic narratives that were written by German settler women. These texts provide – ideologically filtered – descriptions of domestic life in the colony and contain observations about everyday communication practices. In interpreting the data I draw on the idea of ‘jargon’ as developed within creolistics as well as on Chabani Manganyi’s (1970) comments on the ‘master-servant communication complex’, and Beatriz Lorente’s (2017) work on ‘scripts of servitude’. I suggest that to interpret the historical record is a complex hermeneutic endeavour: on the one hand, the examples given are likely to tell us ‘something’ about communication in the colony; on the other hand, the very description of communicative interactions is rooted in what I call a ‘script of supremacy’, which is quite unlike the ‘atonement politics’ (McIntosh 2014) of postcolonial language learning.
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Halim, Hala. "Forster in Alexandria: Gender and Genre in Narrating Colonial Cosmopolitanism". Hawwa 4, n. 2-3 (2006): 237–73. http://dx.doi.org/10.1163/156920806779152255.
Abstract (sommario):
AbstractLong associated with a cosmopolitanism that this article demonstrates was equally colonial, Alexandria's space also attests to variously gendered Orientalist constructions, as feminized and/or homoerotic. The article analyzes two texts that resulted from E. M. Forster's World War I Alexandrian sojourn—Alexandria: A History and a Guide, and a contribution to a Labour pamphlet, Notes on Egypt—to argue that whereas the former articulates a Eurocentric cosmopolitanism, the latter speaks up against British colonialism. Drawing on archival material relating to Mohammed El-Adl, the Egyptian tram conductor with whom Forster shared a homoerotic relationship, read as metonymic of subalternity, these paradoxes are explored in terms of gender and genre. The relationship between the guidebook genre and colonialism is pushed further in Forster's Alexandria where the subjectivity is a decidedly male imperial one. Simultaneously, El-Adl's dehumanization by the British informs Forster's condemnation in Notes on Egypt of the colonial conditions that underwrote an elite, Eurocentric cosmopolitanism.
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Turysbek, R. S., e U. Samenkyzy. "THE REVERSE IMPACT OF THE «SOCIALIST REALISM» METHOD IN CREATING A HERO'S PERSONALITY AND MODERN KAZAKH NOVEL". Bulletin of Dulaty University 1, n. 13 (26 marzo 2024): 39–46. http://dx.doi.org/10.55956/bjzh5861.
Abstract (sommario):
The era of the Soviet Union proved that real national literature cannot be created under colonialism. The "socialist realism" method created by the authorities had a reverse impact on the nature of the artistic image. The characters in the work are politicized. Special attention was paid to the class division (rich and poor), and the images were depicted one-sidedly. The collapse of the USSR allowed the development of a new type of literature in the post-Soviet countries. In the research paper, we made comparisons, and the damage caused by the method of "socialist realism" to fiction is mentioned. However, these years were also successful. Kazakh literature has developed in terms of genres. The genre of the novel has been mastered. Talented writers have mastered describing the reality of life with clues. Literary tradition and skill practices were used in the literature of the period of Independence. The fate and history of the nation were shown in innovative novels. Modern realities and changed human psychology were depicted together with the world space. A stream of postmodern, realistic novels came to literature. The release of the novel from political restrictions allowed genre change (historical, biographical, satirical, fantasy, etc.). The storytelling style has been renewed. There was new artistic and stylistic research in creating a hero’s personality.
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Fedakar, S. "THE REVERSE IMPACT OF THE «SOCIALIST REALISM» METHOD IN CREATING A HERO'S PERSONALITY AND MODERN KAZAKH NOVEL". Bulletin of Dulaty University 14, n. 2 (20 maggio 2024): 54–61. http://dx.doi.org/10.55956/efyh1176.
Abstract (sommario):
The era of the Soviet Union proved that real national literature cannot be created under colonialism. The "Socialist realism" method created by the authorities had a reverse impact on the nature of the artistic image. The characters in the work are politicized. Special attention was paid to the class division (rich and poor), and the images were depicted one-sidedly. The collapse of the USSR allowed the development of a new type of literature in the post-Soviet countries. In the research paper, we made comparisons, and the damage caused by the method of "socialist realism" to fiction is mentioned. However, these years were also successful. Kazakh literature has developed in terms of genres. The genre of the novel has been mastered. Talented writers have mastered describing the reality of life with clues. Literary tradition and skill practices were used in the literature of the period of Independence. The fate and history of the nation were shown in innovative novels. Modern realities and changed human psychology were depicted together with the world space. A stream of postmodern, realistic novels came to literature. The release of the novel from political restrictions allowed genre change (historical, biographical, satirical, fantasy, etc.). The storytelling style has been renewed. There was new artistic and stylistic research in creating a hero’s personality.
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Topan, Farouk. "Biography Writing in Swahili". History in Africa 24 (gennaio 1997): 299–307. http://dx.doi.org/10.2307/3172032.
Abstract (sommario):
Any meaningful assessment of biography and autobiography writing among the Swahili as a historical source needs to take at least three factors into consideration. The first is the influence of Arab literary traditions on the emergence of the genre on the East African coast; the second is the relationship between literacy and orality, and its implication for writing and narration in an African context. The role of colonialism, and the introduction of the Western “mode” of biography and autobiography writing, forms the third factor. The aim of the paper is to survey these factors, not chronologically, but as part of a general discussion on the notion and status of the genre in the Swahili context.Swahili interface with Arabic as an essential ingredient of Islamic practice laid the foundation for the development of literate genres on the East African coast, among them the biographical and the historical. In the process, Swahili adopted styles of narrative expression which are reflected in the terms employed for them. The most common are habari (from the Arabic khabar) and wasifu (from wasf). In its original usage, khabar denoted a description of an event or events that were connected in a single narrative by means of a phrase such as “in that year.” It lacked a genealogy of narrators, and the form was stylistically flexible to include verses of poetry relevant to the events. In Swahili the current meaning of the word habari is “information” and “news” (and, hence, also a greeting) but, as a historical genre, it has been used in two ways. The first is in relation to the history of the city-states recounted through documents whose titles include the word, khabari/habari, (or the plural, akhbar in Arabic), usually translated as “chronicle(s).”
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AISSA ASSIA, Amina. "Algerian Children’s Literature: From the Labyrinth of Colonialism to the Cornucopia of Postcolonialism". Arab World English Journal For Translation and Literary Studies 6, n. 2 (24 maggio 2022): 196–208. http://dx.doi.org/10.24093/awejtls/vol6no2.15.
Abstract (sommario):
Non-Western children’s literature has received significant attention in the past few decades. African and Arab children’s literature is not the exception to this surge in interest. However, the countries and communities denominated as African or Arab encompass heterogeneous communities and ethnicities. African children’s literature often refers to literature in Central and Southern African countries, and Arab children’s literature is often Middle-eastern, leaving the genre underexplored in many countries part of both. This article is a precursory sketch of children’s and young adult literature in Algeria, tackling the question of the idiosyncrasies of the genre from a cultural-historical perspective. It exposes the substantial historical and linguistic factors that denied the genre of an organic metamorphosis. With 130 years of French colonization, intensive acculturation policies, and the astounding illiteracy rate among Algerians, the post-colonial Algerian government devoted efforts to tending to the wounds and the trauma deeply inflected by the French. The endeavor to restore the Algerian identity made children’s literature its first and most indispensable outlet of the process, similar to how it served as a resistance front during the colonial period. The article concludes by addressing the place of Algerian children’s literature on the international scale, the meager yet increasing scholarship interested in this research area, and recommendations for an open, ideology-free conversation between all parties involved in children’s literature production, circulation, and consumption to yield an auspicious trajectory for the future of the genre. Thus, the paper conduces to scholarship on African and Arab children’s literature.
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Pierrot, Briggetta, e Nicole Seymour. "Contemporary Cli-Fi and Indigenous Futurisms". Departures in Critical Qualitative Research 9, n. 4 (2020): 92–113. http://dx.doi.org/10.1525/dcqr.2020.9.4.92.
Abstract (sommario):
In this essay, we survey recent prominent works of climate fiction, or cli-fi, through the lens of Indigenous futurism, arguing that several of these works pointedly absent or even appropriate Indigenous perspectives and traditions. We conclude that this genre potentially works to justify settler colonialism.
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Vićentić, Jelena. "When Scanguilt meets the reality show: 'Doing-good' entertainment and media reproduction of colonial imaginary of the 'South'". CM: Communication and Media 16, n. 50 (2021): 3–26. http://dx.doi.org/10.5937/cm16-33372.
Abstract (sommario):
This paper examines the humanitarian reality genre in Norway as a form of entertainment, education, and information. Norwegian 'doing-good' entertainment content is explored as representative of particular cultural and historical context, especially due to the popularity, frequency of broadcasting and the specific societal status assigned to this format. An overview and the consideration of the fundamental themes and elements of the genre elaborates on the concepts of 'Scanguilt' and 'regime of goodness', relevant for the interpretation of these programs. Differences in comparison to non-fiction journalistic storytelling are also pertinent. Drawing from Tvedt's thesis on the strategic communication regime, the methods, actors and effects of this genre of entertainment, education and information are seen in a wider spectrum, not limited to the socio-political outcomes apparent only in the Norwegian context. This point of departure enables the move from the consequences to the Norwegian identity and society in the direction of the effects of the media reproduction of coloniality.
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Posti, Piia K. "Concurrences in Contemporary Travel Writing: Postcolonial Critique and Colonial Sentiments in Sven Lindqvist’s Exterminate all the Brutes and Terra Nullius". Culture Unbound 6, n. 7 (15 dicembre 2014): 1319–45. http://dx.doi.org/10.3384/cu.2000.1525.1461319.
Abstract (sommario):
Recent research highlights contemporary travel writing’s complicity in global politics, and the genre is claimed to reproduce the discourses that constitute our understanding of the world. It has also been argued that the genre holds a possibility to help us gain further knowledge about contemporary global politics, as it may work as an arena where global politics is commented on, intervened with and re-shaped. With this double view, current research exemplifies how scholars today grapple with the challenge of accounting for simultaneous and sometimes conflicting histories and conditions that are altered and affected by colonial contacts, practices and ideologies, and by recent globalisation. This article explores this double characteristic of the travelogue through the concept of concurrence, and discusses how this concept is useful as a tool for a new understanding of the genre. How can this concept be employed in an analysis of travel writing that is deeply engaged in a critique of colonialism and its legacy in today’s globalism but is simultaneously enmeshed in and complicit with the legacy that is critiques? “Concurrence” is introduced as a concept for such analysis since it contains both the notion of simultaneity and competition. It is suggested that “concurrence” provides a conceptual framework that allows us to account for controversies, intersections and inequities without reinscribing them into a reconciled and universalizing perspective. In exploring the concept of concurrence, this article provides an initial analysis of two contemporary Swedish travel narratives by Sven Lindqvist. The analysis is focused on the genre’s tension between fact and fiction, its discursive entanglement in colonialism, and the problem and possibility of writing postcolonial critique by use of this genre.
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Kamau, Peter Ngugi, e Andrew Sluyter. "Challenges Of Elephant Conservation: Insights From Oral Histories Of Colonialism And Landscape In Tsavo, Kenya". Geographical Review 108, n. 4 (1 ottobre 2018): 523–44. http://dx.doi.org/10.1111/gere.12288.
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Yacine, Barka Rabeh, e Ahmad Y. Majdoubeh. "Reimagining Colonialism: Dune Within Postcolonial Science-Fiction". Theory and Practice in Language Studies 13, n. 2 (1 febbraio 2023): 501–7. http://dx.doi.org/10.17507/tpls.1302.27.
Abstract (sommario):
This research paper will examine the science-fiction novel Dune as a postcolonial work. Colonial history and literature that have been the central focus of postcolonial studies influenced the structure of many science-fiction novels. One of these was Herbert’s Dune (1965), which carries a colonial formula into a new fictionalized setting. However, very few postcolonial studies cross into the science-fiction novel, and fewer still consider the science-fictional element that sets it apart as a genre. Thus, this article attempts to provide a new perspective on Dune as a postcolonial novel that sets a new premise for our understanding of postcolonialism. In employing the early anticolonial thoughts of Amilcar Cabral and his notion of resistance, this study will trace these anticolonial notions throughout the novel. In addition, it will consider the novel’s science-fictional element of spice and how it proves detrimental in perceiving the novel as a new form of postcolonial narrative.
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Moura, Hudson. "Hollywood’s Viral Outbreaks and Pandemics: Horror, Fantasy, and the Political Entertainment of Film Genres". Revista Légua & Meia 13, n. 1 (26 gennaio 2022): 97–129. http://dx.doi.org/10.13102/lm.v13i1.7710.
Abstract (sommario):
Films revolving around big natural catastrophes, the end of the world, and global pandemics are viral in Hollywood. Some authors claim that 9/11 enticed the proliferation of disasters, zombies, and apocalyptical narratives. Will the coronavirus further increase these narrative tropes? A cinematic apocalypse takes many shapes, including zombie infestation, nuclear war devastation, and aliens’ attack. Watching films such as Twelve Monkeys (1995), Children of Men (2006), or Contagion (2011) during a real-life global pandemic creates a much different viewing experience than when these films were released. Certain films kill humans with a deadly virus and turn them into zombies emphasizing and pushing forward to a cinema of genre its entertainment features, such as I Am Legend (2007), Train to Busan (2016), or Blood Quantum (2020). However, they also use horror, science fiction, and fantasy genres to portray a realistic compelling family drama or discuss structural racism and systemic colonialism against America’s indigenous peoples. In all these films, scientific ambition, political greed, and economic power intermingle, becoming the unknown forces and real detractors behind these catastrophes. Whether or not the end of the world is an appropriate story for entertainment attracts most viewers to Hollywood cinema. Conventional postapocalyptic tropes create a film riddled with relevant political concerns. Every year, hundreds of films transpose to the screen compelling narratives related to pandemics and their effects. In Coronavirus’s times, I analyze and contextualize several of Hollywood’s viral outbreaks to situate their narratives to current political subjects and understand how disaster and pandemic films have become entertaining.
Keywords
Hollywood cinema, Film Genres, Pandemics, Coronavirus, Racism, Indigenous, Covid19, Politics, Film Aesthetic, Disaster Films.
27
Kidder, Orion Ussner. "Fire in the jungle: Genocide and colonization in Russell and Pugh’s The Flintstones". Studies in Comics 11, n. 2 (1 novembre 2020): 305–20. http://dx.doi.org/10.1386/stic_00032_1.
Abstract (sommario):
Mark Russell and Steve Pugh’s The Flintstones comic book (2016‐17) addresses US colonialism much more directly than most popular media but focalizes its story through a white, settler American. Thus, it represents an unwillingness and/or inability to think outside of that narrow perspective, i.e. while it is anti-colonial, it is not postcolonial. The book was published through a licensing agreement between Hanna-Barbara and DC Comics in which several Hanna-Barbera cartoons were combined with contrasting genres to create grim and/or mature stories. DC’s The Flintstones, in particular, takes on a collection of social issues, including religion as cynical manipulation, military-industrial propaganda, exploitation of foreign/immigrant labour and media depictions of the environmental crisis. However, it consistently undermines its own messages, often through visual jokes that end up confirming the ideas the book satirizes but also through sincere pronouncements that prevent the satirical critique from reaching a concrete conclusion. The overarching narrative of the series is about the lingering trauma of colonization. It equates the colonization of the land presently held by United States with that country’s war in Vietnam. This equation results from depicting the literal colonization of an Indigenous space and land but using imagery that reflects US media depictions of their war in Vietnam: colonialist soldiers in green fatigues use fire (i.e. napalm) to exterminate racist caricatures of Southeast Asian guerrilla fighters in order to clear a forest and expose the literal bedrock from which the Flinstone’s city will be built. Fred Flintstone, who represents a settler American, states quite directly that he ‘participated in a genocide’ as a soldier in that invasion, thus confirming an anti-colonialist critique. However, the book never takes on the perspective of the colonized peoples, who by then have been wiped out, which is why it stops short of a postcolonialist critique.
28
Mukherjee, Mithi. "A History of the Present". Law and History Review 23, n. 3 (2005): 697–702. http://dx.doi.org/10.1017/s0738248000000614.
Abstract (sommario):
In his comments Kunal Parker has framed my article within what he calls the “ontology of colonialism as difference.” He argues that my article “fits squarely” within a “self-consciously postcolonial scholarship” that in recent decades has been centrally concerned with “the rendering of colonialism as difference.” My research in this article, however, was neither inspired nor guided by the historiography of difference. Indeed Parker's framing of my article in these terms prevents him from seeing the most important claims in it. If I were to characterize the nature of my essay in terms of a genre of historiography, I would place it in the genre of the history of the present. My aim in this article, which is part of a larger project, was to make the postcolonial political formation in India intelligible in the light of its pre-independence historical origins. While most historians of modern India terminate their research at 1947, the year of India's independence, assuming postcolonial political development to be inaccessible to historical research, most studies by political scientists have taken 1947 as their point of departure, as if the postcolonial political formation had emerged fully formed without any history. My larger project seeks to break through this historiographical barrier and make postcolonial India accessible to historical research.
29
Creswell, Robyn. "Poets in Prose: Genre & History in the Arabic Novel". Daedalus 150, n. 01 (ottobre 2020): 147–59. http://dx.doi.org/10.1162/daed_a_01839.
Abstract (sommario):
Novelists in many literary traditions have come to terms with the distinctiveness of their art form by thinking about poets and poetry. The need to differentiate the novel from poetry is especially pressing for Arab prose writers because of poetry's preeminent status in that literary corpus. Many twentieth-century Arab intellectuals have valorized the novel as the representative genre of modernity–whether conceived as an absent ideal or the epoch of consumerist capitalism–while situating poetry as a backward element of contemporary life. But poetry has also offered prose writers such as Muhammad al-Muwaylihi, in A Period of Time, and novelists such as Tayeb Salih, in Season of Migration to the North, a way to reflect on the ambivalences engendered by modernity and the experience of colonialism. This tradition of using the novel to meditate on historical rupture and the fate of poetry continues into the present, even as poetry's relation to political and intellectual life becomes increasingly tenuous.
30
HIRSCHI, CASPAR. "REPUBLICANS OF LETTERS, MEMORY POLITICIANS, GLOBAL COLONIALISTS: HISTORIANS IN RECENT HISTORIES OF HISTORIOGRAPHY". Historical Journal 55, n. 3 (3 agosto 2012): 857–81. http://dx.doi.org/10.1017/s0018246x12000337.
Abstract (sommario):
ABSTRACTWriting the history of historiography is a tricky business. There is no unbiased way of doing it, and it can serve different goals that at best complement and at worst contradict each other. The genre can seem both suitable to promote one's own academic agenda and to reflect upon one's own ideological constraints, epistemological presumptions, and social aspirations. This article analyses the motivations and methods of recent authors in the field, and it does so principally by focusing on the roles they attribute to historians past and present. To enable comparisons, the article includes works with a national, European and global framework, on early modern and late modern historiography, by intellectual, cultural and post-colonialist historians. A general conclusion will be that while most publications use the genre to pursue academic interests with epistemic arguments, only few try to exploit its potential for critical self-reflexion. As a consequence, they tend to be of limited credibility and originality when it comes to describing historiography's functions and historians' roles. This article does not treat their lack of critical commitment as an isolated phenomenon in a historiographical sub-field, but as a symptom of a larger problem within academic scholarship today. There are, however, exceptions to the rule, and this article will also try to work out their particular strengths.
31
Rojas-Sotelo, Miguel L. "NO FUTURE: The Colonial Gaze, Tales of Return in Recent Latin American Film". Humanities 11, n. 2 (18 marzo 2022): 45. http://dx.doi.org/10.3390/h11020045.
Abstract (sommario):
The past is certain, the future an illusion. Contemporary films such as Ivy Maraey: land without evil (Juan Carlos Valdivia 2013), Embrace of the Serpent (Ciro Guerra 2015), The Fever (Maya Da Rin 2020), and Bacurau are border films, from the genre of contact films. They announce how coloniality maintains a grip on frontier territories in the Americas. These films also present particular indigenous visions that challenge western epistemes and confront audiences with particular ways of being in the world, where the modern subject finds its limit. The article introduces a critical perspective on cinema as a colonial tool, producing forms of capture that are part of the modern archive and the notion of linear time. These films also build on cinematic traditions such as tercer cine and afro-futurism, and are strong on concepts such as cosmopolitanism, resistance, and subalternity. They present forms of adaptation, reaction, return, and redemption while maintaining the status of cinema as a capturing device, entertainment, and capital investment (the triad of destruction in modernity/coloniality).
32
Dillon, Beth A. "Signifying the West: Colonialist Design in Age of Empires III: The WarChiefs". Eludamos: Journal for Computer Game Culture 2, n. 1 (29 febbraio 2008): 129–44. http://dx.doi.org/10.7557/23.5975.
Abstract (sommario):
"Forward," the highlighted Tomahawk and Rider units respond as they move across the mapped territory of a hill to a treasure guarded by two bears they must now kill. The WarChiefs, an expansion of the Age of Empires III Real Time Strategy (RTS) game for the PC, uses both Western and Native representations in game mechanics, sound, image, text, and narrative. This paper compares Indigenous and Western perspectives of interactivity, narrative, and space and time in a close reading of single-player campaign Fire and Shadow. In doing so, this paper asks: How does The WarChiefs, and thus the RTS genre, signify colonialist design aesthetic?
33
León, Christina A. "Exorbitant Dust". GLQ: A Journal of Lesbian and Gay Studies 27, n. 3 (1 giugno 2021): 357–77. http://dx.doi.org/10.1215/10642684-8994084.
Abstract (sommario):
Abstract This article traces the figure of polvo (dust) across the writing career of Puerto Rican and New York writer Manuel Ramos Otero. Polvo heralds the macabre sensuality of his early short stories, long before his diagnosis with HIV, and persists and morphs through his later essays and poetry up until his eventual death in 1990 from AIDS complications. Writing defiantly as a queer, a feminist, a Puerto Rican, and a sidoso, he produced work that invites death and desire to commingle through a figuration of dust, as a scattered substance that covers skin, coats translation, and dirties conventional genres. Polvo illuminates the dimensions and risks of relation as a particulate matter that exposes our porosity—clinging and hovering in the space between bodies, between the past and the future, between life and death. As the dust settles in the wake of Hurricane María, so too can polvo be read as prescient for how coloniality lingers as enduring conditions of debility and precarity. Ramos Otero's affinity for finitude, figured through polvo, counterintuitively conjures a relational desire that privileges the porous, the marginal, and the always precarious possibility of survival. Polvo moves across the different genres and phases of Ramos Otero's work as a matter that refuses to disentangle the material realities of queerness and coloniality.
34
Beattie, Melissa. "‘You can get it if you really want?’: The use of Caribbean music genres in Death in Paradise". Journal of Popular Television, The 10, n. 3 (1 ottobre 2022): 231–46. http://dx.doi.org/10.1386/jptv_00081_1.
Abstract (sommario):
Set on the fictional Caribbean island of Saint Marie and filmed on Guadeloupe, British/French co-production Death in Paradise (2011–present) frequently uses reggae, amongst other perceived local styles, as its diegetic and non-diegetic music. Reggae is historically a music of resistance, specifically resistance to oppression by White colonial power structures. That a British/French co-production uses reggae to reinforce an elided pan-Caribbean location featuring a White, male, British or Irish DI in charge of a local Black police force can be read as stereotypical. When added to a British/French series such as this, with what can be read as colonialist discourses, the readings can become problematic. This article argues that, rather than simply being part of the series’ banal diegetic nationalism (i.e. the series’ flagging itself as a particular identity/-ties), the use of Caribbean music genres in this context can be read as subverting their original anti-colonialist context and both supporting and exacerbating a (perceived) colonialist reading for the series.
35
Jaya, Akmal. "UNBEATEN TRACKS IN JAPAN : LETTER I Tinjauan Women Travellers and Travel Writing". Poetika 6, n. 2 (31 dicembre 2018): 97. http://dx.doi.org/10.22146/poetika.v6i2.40167.
Abstract (sommario):
This research aims to show the influences of the power of discourse: genre, gender, and colonialism in Unbeaten Tracks in Japan by Isabella Lucy Bird. Some travel writing’s paradigms were used as theoretical background in this research, such Sara Mills and Carl Thompson. As an object of the research, the novel became the source of primary data. Another historical and cultural literary and also literary review of Unbeaten Tracks in Japan as secondary data. The result of the research examined that contestation of discourses implied the way of the author to preserve his stories.
36
Łaniewski, Paweł. "Zajełdyz. O postkolonialnych aspektach Jakucji Jegora Radowa". Miscellanea Posttotalitariana Wratislaviensia 8 (22 luglio 2021): 313–28. http://dx.doi.org/10.19195/2353-8546.8.20.
Abstract (sommario):
The author analyzes the relationship between post-colonialism and postmodernism on the basis of Egor Radov’s novel Yakutia. The two currents are interrelated and affect both the aesthetics and the structure of the works. Their Russian variants, due to their particular interpretation of the colonial issue, are very different from the Western models. Yakutia is an example of a postmodern novel in which the post-colonial context is a background for philosophical and socio-political reflections. The novel combines various motifs characteristic of the genre of dystopia, popular in Russian postmodernism.
37
Danso, Augustine. "Post-Coloniality: Projection of Ghana In Video-Films". CINEJ Cinema Journal 9, n. 2 (14 dicembre 2021): 100–113. http://dx.doi.org/10.5195/cinej.2021.347.
Abstract (sommario):
The rise of the mainstream video industry has been significant towards socio-cultural and economic development in Ghana; however, this study will not focus on the impacts of the video industry of Ghana. This article primarily examines the image construction of Ghana in video-films. Over the past few years, videofilms in Post-colonial Ghana have often been critiqued by film scholars and critics for reinforcing superstitious beliefs and instigating backward tendencies that derail national development. Normative scholarships have critically explored the visuality of Ghanaian video-films and their themes. Nonetheless, these normative scholarships have often overlooked the nexus between the Ghanaian society and video texts. It is against this scholarly gap that this study engages the meta-question of how video-films project Ghana in their texts. This article will engage a critical textual reading of a few popular films from the Pentecostal and Occult genres to contextualize the ideological sub-texts and the image construction of Ghana in these selected video-films. I argue that major ‘postmodern’ thematic concerns in Ghanaian video-films considerably denigrate and malign Ghana’s image, as well as neglect issues of national interests.
38
Shereck, Mbwera. "Ecologies of Knowledge in Chirere’s Tudikidiki (2007): on Decolonial Ontological Turn". Journal of African Languages and Literary Studies 2, n. 2 (1 agosto 2021): 69–90. http://dx.doi.org/10.31920/2633-2116/2021/v2n2a4.
Abstract (sommario):
This article is an attempt to bring decolonial strands of critical thinking to African/Zimbabwean literary tradition. It explores how Memory Chirere uses the short story genre as a territory of practical life where decolonial practical relations of emancipatory knowledge production are weighed. It argues that the anthology, Tudikidiki, (2007) as Chirere's territory of artisanship of practices, evokes ecologies of knowledge crucial for developing decolonial options. From decolonial epistemic perspective, the article posits that the enduring historical duration of coloniality has elucidated the presence of unequal relations in African knowledge production systems. In its multiple manifestations, coloniality has disfigured, distorted, reconfigured and eventually transformed African ways of knowing. The result is epistemicide, in which Western epistemic systems are valorised as indispensable and unassailable, while indigenous forms of African knowing are vilified as setting a site for conflicting savage desires and derisions. Against this background, this paper considers the imperative need for engaging both indigenous theoretical and practical epistemological projects in terms of the nuances of decoloniality within literary studies. It insists that decolonial turn necessitates a process of ontological change that speaks to the emergency of nascent ecologies of knowledges.
39
Junaeda, St, Andi Ima Kesuma, Dimas Ario Sumilih, Mubarak Dahlan e Bahri. "Cultivating Nationalism and National Insight Through Film for Students at MTs Miftahul Ulum, Gowa Regency, South Sulawesi". SHS Web of Conferences 149 (2022): 01013. http://dx.doi.org/10.1051/shsconf/202214901013.
Abstract (sommario):
This study aims to foster the spirit of nationalism and or national insight in students at MTs Miftahul Ulum, Gowa Regency through Indonesian genre films. Film is a medium that is easily understood and digested by students compared to other media that tend to be conventional. The method used is watching Indonesian genre films. Through watching this film, students gain an aspect of consciousness, so that after watching the film, students feel and bring up in their minds the importance of protecting and loving Indonesia, both as a homeland and as a nation. The results showed that after they finished watching several films such as: Denias, Senandung di Atas Awan and Tanah Surga “Katanya”, it showed that they were able to have knowledge and understanding that nationalism and national insight were not only about fighting the colonialists (Dutch and Japanese Colonial). They have an understanding that nationalism can be expressed in different forms according to the context of the era. Students love and are proud of Indonesia.
40
Pexa, Christopher J. "More Than Talking Animals: Charles Alexander Eastman's Animal Peoples and Their Kinship Critiques of United States Colonialism". PMLA/Publications of the Modern Language Association of America 131, n. 3 (maggio 2016): 652–67. http://dx.doi.org/10.1632/pmla.2016.131.3.652.
Abstract (sommario):
Red Hunters and the Animal People (1904), an early collection of stories for children by Charles Alexander Eastman, a Dako$$ta author, was largely viewed by his critical contemporaries as a politically innocuous analogue to Kipling's Jungle Book Stories. Through consideration of the Dako$$ta oral-historical genre of hituᒋkaᒋkaᒋpi (“long ago stories”) and of Dako$$ta peoplehood more broadly, this article proposes an alternative view of Eastman as a resistance writer who cited a long-circulating Dako$$ta kinship philosophy to criticize the enduring conditions of United States settler colonialism—a criticism that would become more pointed in his later, better-known autobiography, From the Deep Woods to Civilization (1915). In viewing Eastman's animal tales as opposed to United States colonialism, we may see more clearly his innovative translations of Dako$$ta politics into narratives that both appealed to and challenged United States settler society. These challenges were made in relation to Dako$$ta conceptions of peoplehood, power, and gift.
41
Aurylaite, Kristina. "Decolonial Gestures in Canada’s Settler State: Contemporary Indigenous Writers Jordan Abel and Leanne Simpson". Baltic Journal of English Language, Literature and Culture 7 (14 luglio 2017): 4–25. http://dx.doi.org/10.22364/bjellc.07.2017.01.
Abstract (sommario):
This paper discusses the ways recent texts by two Indigenous Canadian writers, Jordan Abel’s collection of conceptual poetry Un/Inhabited and Leanne Simpson’s short stories and poems Islands of Decolonial Love, engage in what Walter Mignolo terms ‘decolonial gestures’ to expose the workings of contemporary settler colonialism and counter their effects. The theoretical section explains the specificities of settler colonialism that make decolonization in the sense of regaining freedom from the colonizers impossible; it then discusses the possibilities for decolonization that exist in settler countries, particularly those that refer to cultural and artistic practices. The analytical section focuses on the different strategies Abel and Simpson use in their work to enact what Mignolo calls ‘epistemic disobedience.’ Abel resorts to decolonial violence in appropriating selected texts of the genre of the Western and erasing from them to undo their loaded ideological messages. Simpson’s work, marked by explicitly confrontational rhetoric, focuses on Indigenous characters and communities, foregrounding their colonial traumas and the role of traditional knowledge and cultural practices in healing them. The paper argues that the decolonial gestures Abel and Simpson undertake work to reject the mainstream rhetoric of reconciliation, inviting Indigenous people to recognize the workings of settler colonialism and look for ways of extricating from them.
42
Chaudhary, Zahid R. "Desert Blooms". October 168 (maggio 2019): 92–109. http://dx.doi.org/10.1162/octo_a_00351.
Abstract (sommario):
This essay considers the place of abstraction in documentary photography, a genre whose primary aesthetic-political commitment is usually assumed to be on the side of figuration, denotation, and facticity. Taking up photographer Fazal Sheikh's photographic series Desert Bloom, which records natural and human-made disturbances in the Naqab/Negev desert, the essay considers artistic abstraction in relation to other forms of economic, juridical, and political abstraction critical to settler colonialism in particular and capitalism more generally. How might abstraction be the very condition of politics? What might this imply for our understandings of documentary aesthetics?
43
Aman, Robert. "Ridiculous Empire". European Comic Art 15, n. 2 (1 settembre 2022): 80–106. http://dx.doi.org/10.3167/eca.2022.150205.
Abstract (sommario):
This article analyses the works of Olivier Schrauwen with a particular focus on his comic Arsène Schrauwen, which plays out in the colonial context of the Congo. It argues that Schrauwen’s comics exploit the formal qualities of the colonial adventure genre that is frequent in traditional European comics as a way of subverting and satirising them. It further argues that through a constant reliance on meta-references to other works and tropes recognisable from adventure tales, in combination with the adoption of a strict colonialist world view, Schrauwen humorously ridicules the asymmetrical binaries between coloniser and colonised.
44
Young, Alex Trimble. "Settler Colonial Studies and/as the Transnational Western". History of the Present 11, n. 1 (1 aprile 2021): 80–105. http://dx.doi.org/10.1215/21599785-8772463.
Abstract (sommario):
Abstract The article explores contemporary debates regarding the representation of Indigenous resistance in the field of settler colonial studies by putting the work of Australian theorist Patrick Wolfe into conversation with the political allegories articulated in two contemporary Western films. Its first section, tracing what Wolfe called his “pharmacological indebtedness” to Gayatri Spivak, considers the methodological problems for settler colonial studies that have emerged from Wolfe’s critique of the settler intellectual’s representation of Indigenous resistance. The second section suggests an alternative direction for transnational settler colonial studies by undertaking a comparative reading of two films—Hell or High Water (2016) written by US settler filmmaker Taylor Sheridan, and Goldstone (2016) written and directed by Indigenous Australian (Gamilaroi) director Ivan Sen. Both films collapse the detective genre with settler colonialism’s most recognizable representational genre: the Western. In so doing, they articulate narratives about the ongoing crimes of settler colonialism that offer novel perspectives on the question of what is knowable—and by whom—under settler colonialism’s structure of violence.
45
Dalley, Hamish. "The Meaning of Settler Realism: (De)Mystifying Frontiers in the Postcolonial Historical Novel". Novel 51, n. 3 (1 novembre 2018): 461–81. http://dx.doi.org/10.1215/00295132-7086499.
Abstract (sommario):
Abstract Dominant theorizations of settler colonialism identify it as a social form characterized by a problem with historical narration: because the existence of settler communities depends on the dispossession of indigenous peoples, settlers find themselves trapped by the need both to confront and to disavow these origins. How might this problem affect the aesthetics of the realist novel? This article argues that the historical novels produced in places like Australia and New Zealand constitute a distinctive variant of literary realism inflected by the ideological tensions of settler colonialism. Approaching the novel from the perspective of settler colonialism offers new ways to consider classic theories of realism and, in particular, reframes Georg Lukács's concept of reification—and the critical distinction between realism and naturalism he derived from it—as an unexpectedly useful tool for analyzing postcolonial literatures. Doing so, however, requires us to jettison Lukács's progressive historicism in favor of a model of literary history shaped by uneven temporalities and a fundamental disjunction between the historical perspectives of settler and nonsettler communities—thus complicating our narratives of the development of the novel genre. This argument is illustrated through an extended analysis of two of the most significant young novelists to engage recently with issues of settler colonial history: Eleanor Catton of New Zealand and Rohan Wilson of Australia.
46
Johnson, Sylvester A. "Colonialism, Biblical World-Making, and Temporalities in Olaudah Equiano's Interesting Narrative". Church History 77, n. 4 (dicembre 2008): 1003–24. http://dx.doi.org/10.1017/s0009640708001601.
Abstract (sommario):
The autobiography of Olaudah Equiano (1745–1797) offers an unusual portrait of the dynamic relationship between scripture and colonialism. In 1789 Equiano, who also went by the name Gustavus Vassa, related his experience of slavery to support abolitionism in Britain in the form of a best-selling, two-volume autobiography titled The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African, Written by Himself. Equiano's autobiography comprises a striking description of religion and culture among the Igbo of West Africa, the nation with which he identified by birth. According to Equiano, the Igbo were descended from ancient Jews, and their religion was a modern survival of ancient biblical religion. This claim, seemingly casual at first, is actually a complicated maneuver that reveals how deeply he had mined a trove of biblical commentary to shape his interesting narrative for a skeptical readership. The early modern genre of biblical commentary, which was deeply influenced by the exigencies of European colonialism, constitutes in its own right an authoritative literature that proved quite useful for Equiano.
47
Roshanravan, Shireen. "Motivating Coalition: Women of Color and Epistemic Disobedience". Hypatia 29, n. 1 (2014): 41–58. http://dx.doi.org/10.1111/hypa.12057.
Abstract (sommario):
This essay engages Chandra Mohanty, M. Jacqui Alexander, and María Lugones in a “plurilogue” to elaborate and exhibit a method that animates the differential mode of Women of Color politics while rendering more acute the strategies each scholar offers against the racialized, gendered oppressions of colonialism and global capitalism. Ella Shohat describes “a multifaceted plurilogue” as a “dissonant polyphony” that “links different yet co‐implicated constituencies and arenas of struggle” (Shohat 2001, 2). The emphasis on reading differences within Women of Color theorizing resists the homogenizing tendency of superficial engagement that glosses Women of Color scholarship as a unified genre of thought. A plurilogue thus pursues dissimilarities to clarify the conceptual interventions made within Women of Color theorizing and the relationship among the different patterns of oppression that each intervention exposes. Plurilogued engagements bring these conceptual strategies and understandings of multiple oppressions together, not to resolve or rank them, but to more effectively ascertain the complexities of, and varied coalitional strategies for, resisting the racialized, heteropatriarchal oppressions of global capitalism and colonialism.
48
Jouay, Mohamed El Mehdi, e K. El Fouadi. "Exploring the Phenomenon of Timelessness in Morocco: Insights from Paul Bowles and Other Travel Writers". European Scientific Journal, ESJ 20, n. 2 (31 gennaio 2024): 46. http://dx.doi.org/10.19044/esj.2024.v20n2p46.
Abstract (sommario):
This article aims to explore the phenomenon of timelessness in Morocco through the insights of renowned travel writers such as Paul Bowles. The semi-systematic method was used primarily due to the limited amount of research done on the topic of timelessness. It will analyze the representations of Morocco in Western discourse, particularly in the context of Western Orientalism. Thanks to decolonization, deconstructionism, and Edward Said’s Orientalism, hitherto neglected travel writing has elicited academic responses from scholars who have recognized that travel writing is not simply an innocent and objective description of a traveler’s encounters in a foreign land. Instead, it is a genre that is inherently political, intertwined with projects of orientalism, colonialism, imperialism, and post-colonialism, and characterized by a hegemonic gaze directed towards the other, often marginalizing the voices of peripheral people. This research references books, notable authors, and Western explorers who commonly mention the unchanging quality of time in the Orient, particularly in Morocco. Additionally, the study will draw on the insights of Edward Said to explain why this timelessness was prevalent in the 20th century.
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Leonandho, Muhammad Adam Akbar, Lisetyo Ariyanti, S.S., M.Pd., Prof Slamet Setiawan, M.A., Ph.D. e Lina Purwaning Hartanti, S.Pd., M.EIL. "PRESUPPOSITION AND OTHERING IN A DYSTOPIAN NOVEL RED RISING". Prosodi 16, n. 2 (17 ottobre 2022): 168–82. http://dx.doi.org/10.21107/prosodi.v16i2.13573.
Abstract (sommario):
The researcher has analyzed the concept of Colonialism Discourse in a dystopian novel titled Red Rising using qualitative method to gather the data. Othering is used to explain the colonialism discourse in the novel. The researcher used Focault (1990) theory to describe how othering happened in the novel’s background story. Beside othering, presupposition is also used to gather the data. For the presupposition, the researcher used Yule (1996) theory which has six types of presupposition. The purpose of this research is how Othering which is part of colonialism discourse could happened in a dystopian novel which is a new genre in this modern era. By using presupposition to understand the othering concept in the novel, this research focused on the meaning of the utterances using the types of presupposition and how those presupposed meaning can give the pragmatics function in the concept of Othering. The researcher found that presupposed meaning of the utterances could help to determine the othering expression based on the context in the story. The researcher found that the most used presupposition is existential because it contains adjective pronouns to emphasize the characters’ thoughts or feeling to the readers. Other types of presupposition are existed in the story being viewed as the way the characters showed their identity as an individual in the society. As a dystopian novel which has some elements of colonialism discourse, Red Rising often uses humiliation to mock or underestimate other colors society. The researcher found that the othering expression used in this novel depicts the concept of colonialism literature about the oppressing leader in one social hierarchy. The totalitarian leader has created label to identify each individual with their own position and authority to gain easy access to control everything in the social system. In a word, othering has its own role in the colonized society by showing how the system of social hierarchy works in the story.
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Thomas, Sara. "Vincent Toro’s Hurricane Formalism". MELUS: Multi-Ethnic Literature of the United States 48, n. 4 (1 dicembre 2023): 27–52. http://dx.doi.org/10.1093/melus/mlad077.
Abstract (sommario):
Abstract Vincent Toro’s poetry and essays critique the ways that US actions in the wake of natural disasters damage Puerto Rican ecologies and culture. The entwinement of colonialism and natural disaster is the subject of Toro’s two collections, Stereo. Island. Mosaic. (2016) and Tertulia (2020). These collections instruct readers to toggle between close reading of language and formal analysis of genre and shape. In Stereo, Toro produces a geo-formal poetics that takes a Taíno hurricane zemi as its central organizing form, an aesthetic choice that foregrounds non-Western literary forms in communicating Puerto Rican economic and ecological atmospheres. In Toro’s collections, the air and atmosphere are sites where anti-colonial critique and aesthetic innovation merge.