Книги з теми "Colonialité du genre"
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1
Varikas, Eleni, and Maria Eleonora Sanna. Genre, modernité et colonialité du pouvoir. Paris: Harmattan, 2011.
2
Berger, Anne-Emmanuelle. Genre et postcolonialismes: Dialogues transcontinentaux. [Paris]: Editions des archives contemporaines, 2011.
3
Berger, Anne-Emmanuelle. Genre et postcolonialismes: Dialogues transcontinentaux. [Paris]: Editions des archives contemporaines, 2011.
4
Roth, Julia. Occidental readings, decolonial practices: A selection on gender, genre, and coloniality in the Americas. Tempe, AZ: Bilingual Press/Editorial Bilingüe, 2014.
5
Ayouch, Thamy. Psychanalyse et Hybridite: Genre, Colonialite, Subjectivations. Leuven University Press, 2018.
6
Fonseca, Susan Campos, and Julianne Graper. Noise, Sonic Experimentation, and Interior Coloniality in Costa Rica. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0009.
Анотація:
This chapter explores how conceptual disputes over genre boundaries, noise, and music open a window into a society that debates and constructs its own contemporaneity, in dialogue with conceptions about what is meant by indigeneity, music, musical composition, musicality, and experimentalism in the twenty-first century. The chapter inquires into how discourses about experimentation and innovation coming from the realm of Noise are constructed under specific technological assumptions; it also explores how these discourses might play out within the Costa Rican artistic scene. On an aesthetic level, this chapter problematizes how the “noise community” (formed by sound artists) imagines itself in the face of a “community of musicians,” separated by the principles of “academic training,” and how Noise, without the noise community, conceives itself as an anomalous zone in Costa Rican society, evidencing processes of “interior coloniality” that function on a micropolitical level.
7
Forter, Greg. Critique and Utopia in Postcolonial Historical Fiction. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198830436.001.0001.
Анотація:
Postcolonial historical fiction offers readers valuable resources for thinking the prehistory of our present. The genre’s treatment of colonialism as geographically omnivorous yet temporally “out of joint” with itself gives it a special purchase on the continuities between the colonial era and our own. These features also enable the genre to distill from our colonial pasts the evanescent, utopian intimations of a properly postcolonial future. Critique and Utopia in Postcolonial Historical Fiction arrives at these insights by juxtaposing novels from the Atlantic world with books from the Indian subcontinent. Attending to the links across these regions, Forter develops luminous readings of novels by Patrick Chamoiseau, J. G. Farrell, Amitav Ghosh, Marlon James, Hari Kunzru, Toni Morrison, Marlene van Niekerk, Arundhati Roy, Kamila Shamsie, and Barry Unsworth. He shows how these works not only transform our understanding of the colonial past and the futures that might issue from it, but also contribute to pressing debates in postcolonial theory—debates about the politics of literary forms, the links between cycles of capital accumulation and the emergence of new genres, the meaning of “working through” traumas in the postcolonial context, the relationship between colonial and panoptical power, the continued salience of hybridity and mimicry for the study of colonialism, and the tension between national liberation struggles and transnational forms of solidarity. Beautifully written and meticulously theorized, Critique and Utopia in Postcolonial Historical Fiction will be of interest to students of world literature, Marxist critics, postcolonial theorists, and thinkers of the utopian.
8
Sargent, Lyman Tower. Colonial Utopias/Dystopias. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199609932.003.0018.
Анотація:
This chapter explores colonial utopias/dystopias. Utopianism and colonialism have had direct connections from the time Thomas More inadvertently created a genre of literature when he published what is now known as his Utopia, in 1516. Utopia reflected the process of exploration taking place in the early sixteenth century that resulted in the discovery of the lands that were to become colonies. Colonists generally have the expectation of achieving a much better life by settling, while producing an actual dystopia for the original inhabitants. While the colonists did not always find what they expected, they were often led to settle by clearly utopian projections of what life would be like in the new place. Those settlers who had the leisure to write about their hopes for the future in the new place sometimes depicted what that place might look like in the future.
9
Kagen, Melissa. Wandering Games. The MIT Press, 2022. http://dx.doi.org/10.7551/mitpress/13856.001.0001.
Анотація:
An analysis of wandering within different game worlds, viewed through the lenses of work, colonialism, gender, and death. Wandering in games can be a theme, a formal mode, an aesthetic metaphor, or a player action. It can mean walking, escaping, traversing, meandering, or returning. In this book, game studies scholar Melissa Kagen introduces the concept of “wandering games,” exploring the uses of wandering in a variety of game worlds. She shows how the much-derided Walking Simulator—a term that began as an insult, a denigration of games that are less violent, less task-oriented, or less difficult to complete—semi-accidentally tapped into something brilliant: the vast heritage and intellectual history of the concept of walking in fiction, philosophy, pilgrimage, performance, and protest. Kagen examines wandering in a series of games that vary widely in terms of genre, mechanics, themes, player base, studio size, and funding, giving close readings to Return of the Obra Dinn, Eastshade, Ritual of the Moon, 80 Days, Heaven's Vault, Death Stranding, and The Last of Us Part II. Exploring the connotations of wandering within these different game worlds, she considers how ideologies of work, gender, colonialism, and death inflect the ways we wander through digital spaces. Overlapping and intersecting, each provides a multifaceted lens through which to understand what wandering does, lacks, implies, and offers. Kagen's account will attune game designers, players, and scholars to the myriad possibilities of the wandering ludic body.
10
Sepinwall, Alyssa Goldstein. Slave Revolt on Screen. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496833105.001.0001.
Анотація:
This book analyzes how films and video games from around the world have depicted slave revolt, focusing on the Haitian Revolution (1791–1804). This event, the first successful revolution by enslaved people in modern history, sent shockwaves throughout the Atlantic world. However, despite its historical significance, this revolution is less well-known—and appears less often on screen—than most other revolutions; its story, involving enslaved Africans liberating themselves through violence, does not match the suffering-slaves-waiting-for-a-white-hero genre that pervades Hollywood treatments of Black History. Despite Hollywood’s near-silence on this event, some films on the Revolution do exist—from directors in Haiti, the U.S., France, and elsewhere. Slave Revolt on Screen offers the first-ever comprehensive analysis of Haitian Revolution cinema, including completed films and planned projects that were never made. In addition to studying cinema, the book breaks ground in examining video games. It scrutinizes video game depictions of Haitian slave revolt that appear in games like the Assassin’s Creed series which have reached millions more individuals than comparable films. In analyzing films and games on the Revolution, this book calls attention to the ways that economic legacies of slavery and colonialism warp pop-culture portrayals of the past and leave audiences with distorted understandings. It also contributes to important conversations about how Hollywood depicts Black History, as well as to research on slavery and memory, Haitian Studies, France, French colonialism, the French Revolution, Film and History, Cinema and Media Studies, Africana Studies, Caribbean literature, American culture studies, Francophone cinema, and Game Studies.
11
Ahmida, Ali Abdullatif. Libya. Edited by Waïl S. Hassan. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199349791.013.20.
Анотація:
This chapter discusses the development of the novelistic tradition in Libya. Until the mid-twentienth century, literary writing in Libya was dominated by classical and oral folk poetry. The modern prose and short story genres began in 1936 and flourished in the three decades after Libyan independence in 1951 and the discovery of oil in 1958. This chapter first provides an overview of Libyan state, society, and culture in the postcolonial period before identifying and contextualizing the origins of the Libyan novel. It then considers the works of the main novelists, the contributions of women authors, and novels written by Libyan dissident writers who were forced into exile by the Qaddafi dictatorship. It suggests that the Libyan novel reflects periods of profound social transformation, from the era of Italian colonialism to the Qaddafi regime.
12
Osborn, Emily Lynn. Work and Migration. Edited by John Parker and Richard Reid. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199572472.013.0010.
Анотація:
This chapter assesses major trends in the historiography on work and migration in the twentieth century. It argues that four methodologies dominate this literature: what can be called the ‘primitivist’ interpretation, followed by the modernist, Marxist, social history approaches. Analysis of representative works and major themes from each of these genres reveals that capitalism, colonialism, and local practice figure centrally in all, although the explanatory weight each is granted varies considerably. In its consideration of the history and historiography of work and migration, the chapter points to exemplary new studies and promising future directions. It also discusses scholarly blind spots, in particular the tendency of historians to treat the history of work as the history of wage labour, which has created a bias in the literature towards male employees who work in industry, mines, and railways.
13
Reilly, John. Tony Hillerman. Greenwood, 1996. http://dx.doi.org/10.5040/9798216026419.
Анотація:
Edgar Award-winning writer Tony Hillerman has earned a reputation as a Grand Master of the popular mystery. This is the first full-length examination of his work. One of the most successful contemporary American writers, Hillerman has made his stories of Native American detectives instrumental in understanding modern American life. Through the creation of his Navajo detective characters, Hillerman has given new vigor to the popular genre of mystery fiction with his treatment of the problems of order and identity in modern society. This study examines each of his 13 novels in turn and includes a biographical chapter and a chapter on his innovations in the genre of detective fiction. This careful study of the narrative techniques and thematic investigations of Hillerman's detective fiction illuminates the way he has crafted a new and profound method for understanding the conditions of modern life. A biographical chapter traces the influence of his life on his writing. Individual chapters on his novels are divided into sections on setting, plot, generic conventions, character development, and themes. In addition, Reilly offers alternate approaches—such as feminist criticism or post-colonialism—from which to read the novel, which gives the reader another perspective on the fiction. This study discusses all of Hillerman's novels:The Blessing Way,The Fly on The Wall,Dance Hall of the Dead,People of Darkness,The Dark Wind,Listening Woman,The Ghostway,Skinwalkers,A Thief of Time,Talking God,Coyote Waits,Sacred Clowns, andFinding Moon. A complete bibliography of Hillerman's work, critical and biographical sources, and a list of reviews of each of his novels completes the work. Because Hillerman is considered a serious writer of popular detective fiction and has a wide following of adult and young readers, this work is an essential purchase by public and secondary school libraries, as well as college and university libraries.
14
Caronan, Faye. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039256.003.0001.
Анотація:
This book explores how Filipino American and U.S. Puerto Rican cultural critiques are delegitimized and obscured by U.S. imperialism and global power. Drawing on Raymond Williams's dual definitions of culture as both the experience of everyday life within a society and the cultural productions that circulate within society, the book analyzes the ways that Filipinos and Puerto Ricans have been represented to affirm narratives of U.S. exceptionalism in the early twentieth century and today. It considers how recent Filipino American and U.S. Puerto Rican cultural productions across multiple genres critique these justifications, and how the U.S. cultural market contains these critiques to reaffirm revised narratives of U.S. exceptionalism. This introduction provides an overview of the institutionalized narrative of U.S. colonialism in the Philippines and Puerto Rico, the politics and economics of Filipino American and U.S. Puerto Rican cultural representation, and hegemonic narratives of racial stereotypes in the United States.
15
Lye, Colleen, and Christopher Nealon, eds. After Marx. Cambridge University Press, 2022. http://dx.doi.org/10.1017/9781108776523.
Анотація:
After Marx:Literature, Theory and Value demonstrates the importance of Marxist literary and cultural criticism for an era of intersectional politics and economic decline. The volume includes fresh approaches to reading poetry, fiction, film and drama, from Shakespeare to contemporary literature, and shows how Marxist literary criticism improves our understanding of racial capitalism, feminist politics, colonialism, deindustrialization, high-tech labor, ecological crisis, and other issues. A key innovation of the volume's essays is how they attend to Marx's theory of value. For Marx, capitalist value demands a range of different kinds of labor as well as unemployment. This book shows the importance of Marxist approaches to literature that reach beyond simply demonstrating the revolutionary potential or the political consciousness of a 19th-century-style industrial working class. After Marx makes an argument for the twenty-first century interconnectedness of widely different literary genres, and far-flung political struggles.
16
Copeland, Rebecca. Handbook of Modern and Contemporary Japanese Women Writers. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789048558353.
Анотація:
The Handbook of Modern and Contemporary Japanese Women Writers offers a comprehensive overview of women writers in Japan, from the late 19th century to the early 21st. Featuring 24 newly written contributions from scholars in the field—representing expertise from North America, Europe, Japan, and Australia—the Handbook introduces and analyzes works by modern and contemporary women writers that coalesce loosely around common themes, tropes, and genres. Putting writers from different generations in conversation with one another reveals the diverse ways they have responded to similar subjects. Whereas women writers may have shared concerns—the pressure to conform to gendered expectation, the tension between family responsibility and individual interests, the quest for self-affirmation—each writer invents her own approach. As readers will see, we have writers who turn to memoir and autobiography, while others prefer to imagine fabulous fictional worlds. Some engage with the literary classics—whether Japanese, Chinese, or European—and invest their works with rich intertextual allusions. Other writers grapple with colonialism, militarism, nationalism, and industrialization. This Handbook builds a foundation which invites readers to launch their own investigations into women’s writing in Japan.
17
Chang, Jing Jing. Screening Communities. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888455768.001.0001.
Анотація:
Screening Communities uses multi-media archival sources, including government archives, memoirs, fan magazines, newspaper reports, and films to narrate the complexity of social change and political turmoil, both screened and lived, in postwar Hong Kong. In particular, Screening Communities explores the political, ideological, and cultural work of Hong Kong film culture and its role in the building of a postwar Hong Kong community during the 1950s and 1960s, which was as much defined by lived experiences as by a cinematic construction, forged through negotiations between narratives of empire, nation, and the Cold War in and beyond Hong Kong. As such, in order to appreciate the complex formation of colonial Hong Kong society, Screening Communities situates the analysis of the “poetics” of postwar Hong Kong film culture within the larger global processes of colonialism, nationalism, industrialization, and Cold War. It argues that postwar Hong Kong cinema is a three-pronged process of “screening community” that takes into account the factors of colonial governance, filmic expression of left-leaning Cantonese filmmakers, and the social makeup of audiences as discursive agents. Through a close study of genre conventions, characterization, and modes of filmic narration across select Cantonese films and government documentaries, I contend that 1950s and 1960s Hong Kong cinema, broadly construed, became a site par excellence for the construction and translation (on the ground and onscreen) of a postwar Hong Kong community, whose context was continually shifting—at once indigenous and hybrid, postcolonial and global.
18
O' Dochartaigh, Killian. Uppland. University of Edinburgh, 2024. http://dx.doi.org/10.2218/ed.9781836450290.
Анотація:
Uppland is a 30-minute research film tracing the complex relationship between landscape, displacement and the global extractive industries within, and beyond, sub-Saharan Africa. The film documents a new-town called Yekepa, designed and built by and for a mining company prospecting for iron-ore in the late 1950s, that exploited and transformed the indigenous landscapes of Yeke’pa. The film represents an original collaboration between an architect and a filmmaker. This research took them to the remote highlands of Liberia, once a thriving mining community, now a concrete ruin in the West African bush. Exploring the town, the researchers discovered promises of prosperity, abandonment and forgotten injustices. They revealed insights about western architecture, the remnants of colonialism, and the spiritual costs of mining. The main outputs from this work are a number of international screenings at major film festivals, architectural biennales, as well as contributions to an international conference in Sweden. Educational rights to the film were acquired for the distributing to international research institutions and universities across Europe and North-America. ‘It is a galling portrait of the harvesting of African resources and the damage done to both land and people... Uppland avoids most of the pitfalls of the narrated, exploitation documentary genre, its disembodied voice- over never becoming too authoritative, outraged, or self-indulgent – a rare achievement in this ever-expanding field.’ Danny Hoffman, Africa’s a Country, May 2019.
19
Chacón, Gloria Elizabeth. Indigenous Cosmolectics. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469636795.001.0001.
Анотація:
Latin America's Indigenous writers have long labored under the limits of colonialism, but in the late twentieth and twenty-first centuries, they have constructed a literary corpus that moves them beyond those parameters. Gloria E. Chacón considers the growing number of contemporary Indigenous writers who turn to Maya and Zapotec languages alongside Spanish translations of their work to challenge the tyranny of monolingualism and cultural homogeneity. Chacón argues that these Maya and Zapotec authors reconstruct an Indigenous literary tradition rooted in an Indigenous cosmolectics, a philosophy originally grounded in pre-Columbian sacred conceptions of the cosmos, time, and place, and now expressed in creative writings. More specifically, she attends to Maya and Zapotec literary and cultural forms by theorizing kab'awil as an Indigenous philosophy. Tackling the political and literary implications of this work, Chacón argues that Indigenous writers' use of familiar genres alongside Indigenous language, use of oral traditions, and new representations of selfhood and nation all create space for expressions of cultural and political autonomy. Chacón recognizes that Indigenous writers draw from universal literary strategies but nevertheless argues that this literature is a vital center for reflecting on Indigenous ways of knowing and is a key artistic expression of decolonization.
20
Esser, Helena. Steampunk London. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350433939.
Анотація:
Tracing the genre through fiction, visual art, film and videogames from the 1980s to the present, this book offers a comprehensive exploration of the intersection between neo-Victorianism, urban spaces and Steampunk. Characterised by its interplay between past and present and its anachronistic retro-speculation, Neo-Victorian-infused Steampunk remixes modern collective memory to produce a re-imagined vision of Victorian London. Investigating how Steampunk’s re-calibrated Londons both source from and subvert Victorian discourse about the city, Steampunk London offers a deeper understanding of how a popular cultural memory of the Victorian past is shaped and transmitted in light of present-day identity politics. Covering key themes including retrofuturism, gender and sexuality, colonialism and postcolonialism, it considers such ideas as how early Steampunk synthesizes Victorian urban ethnography; how Victorian urban Gothic shapes shared transmedia memory to challenge reactionary, nostalgic meta-narratives; how Steampunk video games mobilize urban space as an immersive storytelling device with cities open to play; and how Steampunk interprets the modern metropolis as an opportunity for feminist and queer agency. Through examination of Victorian-era writers from Charles Dickens to Arthur Conan Doyle, the book digs into works of fiction and media alike, looking at The Difference Engine, Soulless, and The League of Extraordinary Gentlemen, From Hell, Guy Ritchie’s Sherlock Holmes, cyberpunk classic Blade Runner, and Assassin’s Creed: Syndicate and The Order 1886. An important intervention in the study of steampunk, Helena Esser demonstrates how the works explored invite participatory consumption and considers the genre’s potential—and failures—to interrogate and challenge our relationship with the Victorian past.
21
Perea, Jessica Bissett. Sound Relations. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190869137.001.0001.
Анотація:
Sound Relations: Native Ways of Doing Music History in Alaska delves into histories of Inuit musical life in Alaska to amplify the broader significance of sound as integral to Indigenous self-determination and resurgence movements. The book offers relational and radical ways of listening to a vast archive of Inuit presence across a range of genres—from hip hop to Christian hymnody and drumsongs to funk and R&B—to register how a density (not difference) of Indigenous ways of musicking invites readers to listen more critically to and for intersections of music, Indigeneity, and colonialism in the Americas. The research aims to dismantle stereotypical understandings of “Eskimos,” “Indians,” and “Natives” by considering how Indigenous-led and Indigeneity-centered analyses of Native musicking can reframe larger debates of race, Indigeneity, power, and representation in twenty-first-century American music historiography. Instead of proposing singular truths or facts, this book asks readers to consider the existence of multiple simultaneous truths, a density of truths, all of which are culturally constructed, performed, and in some cases politicized and policed. A sound relations approach advances a more Indigenized sound studies and a more sounded Indigenous studies that works to move beyond colonial questions of containment—“who counts as Native” and “who decides”—and colonial questions of measurement—“what exactly is ‘Native’ about Native music”—and toward an aesthetics of self-determination and resurgent world-making.
22
Sugden, Edward. Emergent Worlds. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479899692.001.0001.
Анотація:
Emergent Worlds reframes the modernity of nineteenth-century America by displacing three central critical narratives about the era: the westward spread of imperialism, the redemptionist story of black freedom, and the notion that the United States constituted a new world. It begins by identifying dissonant forms of time that ought not to have existed if these three metanarratives were total: chance on a Pacific whaling vessel, a calm on a Caribbean slave ship, and a near apocalypse on an Atlantic merchant ship. These oceanic times provide a gateway into larger historical and geographical frames. They reveal that nineteenth-century America existed in historical interstices in the world-system: between colonialism and the nation, slavery and freedom, subject and citizen, old world and new. With this historical repositioning, Emergent Worlds makes visible a series of transitional ideologies and figures that emblematize them, such as the queer migrant, the suspended state, and the living dead, which are passed over if the modernity of the era is assumed. Such configurations in turn produced symptomatic forms of consciousness oriented around the perception of time. These four domains—oceanic space, transitional historical position, emergent ideology, and dissonant time—created the conditions of possibility for three previously uncataloged genres of the 1850s: the Pacific elegy, the black counterfactual, and the immigrant gothic. Emergent Worlds thus carries out a generic reclassification that brings together this international mix of canonical and noncanonical books of the 1850s, showing how they internalized and attempted to transcend their own historical conditions of possibility.
23
Howells, Coral Ann, Paul Sharrad, and Gerry Turcotte. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199679775.003.0001.
Анотація:
THE Oxford History of the Novel in English concludes with the present volume, which focuses on the novels written in Australia, Canada, New Zealand, and the South Pacific since 1950. A sequel of sorts to Volume 9, The World Novel in English to 1950, the present work examines the literary production of a set of diverse writings from a geographically varied and extensive region. Its component cultural entities are connected by historical networks of trading and colonialism and by contemporary systems of global production and circulation. The fiction covered in this volume emanates from countries either bordering on the Pacific Ocean or surrounded by it. For at least one century they were all interconnected by sailing ships, and they have all faced the crisis of reinventing themselves as postcolonial nations since the Second World War. In that regard, this volume—allowing for many differences in historical and sociological circumstances—also serves as a companion to studies of Asian and African fiction in Volumes 10 and 11. At the same time, each zone of literary production surveyed here retains specific differences of temporal, political, and ethnic formations that cannot be contained within one neat comparative frame. This fact is reflected in the structure of the volume: a mix of comparative surveys centred on genres or modes, a section on book history, another providing sociocultural contexts focused on the notion of shifting identities, a series of regional analyses with more detailed discussion of key figures from each zone, and concluding with chapters on the periodicals supporting literary production and on literary histories across the entire area....