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Literary and Cinematic Explorations of War, Inequality, and Migration
Series:
Cross/Cultures, Volume: 221
An important task for scholars of cultural studies and the humanities, as well as for artistic creators, is to refigure the frames and concepts by which the world as we know it is kept in place. Without these acts of refiguration, the future could only ever be more of the (violent) same. In close dialogue with literary and cinematic works and practices, the essays of this volume help refigure and rethink such pressing contemporary issues as migration, inequality, racism, post-coloniality, political violence and human-animal relations. A range of fresh perspectives are introduced, amounting to a call for intellectuals to remain critically engaged with the social and planetary.
Literary and Cinematic Explorations of War, Inequality, and Migration
Series:
Cross/Cultures, Volume: 221
An important task for scholars of cultural studies and the humanities, as well as for artistic creators, is to refigure the frames and concepts by which the world as we know it is kept in place. Without these acts of refiguration, the future could only ever be more of the (violent) same. In close dialogue with literary and cinematic works and practices, the essays of this volume help refigure and rethink such pressing contemporary issues as migration, inequality, racism, post-coloniality, political violence and human-animal relations. A range of fresh perspectives are introduced, amounting to a call for intellectuals to remain critically engaged with the social and planetary.
Visa Balladur, Kwassa Kwassa, (im)mobilité et géopoét(h)ique relationnelle aux Comores
Series:
Africa Multiple, Volume: 2
Author:
« Entré en tant que cousin, sorti en tant que gendarme ». Cette anecdote révèle le paradoxe identitaire aux Comores et le drame ‘migratoire’ qui se déroule dans l’Archipel depuis l’instauration arbitraire du Visa Balladur en 1995. L’île de Mayotte, officiellement française, est taxée de « plus grand cimetière marin du monde. » Comment des œuvres d’imagination sur la « migration » d’Anjouan vers Mayotte peuvent-elles constituer une thérapie collective et une intervention sociale ? Cet ouvrage répond entre autres à cette question en analysant 18 textes et en associant études littéraires, anthropologie, sociologie, histoire et droit international.
« He came as a cousin and left as a gendarme. » This anecdote expresses the identity paradox in the Comoros and the ‘migration’ drama that has been happening in the Archipelago since the arbitrary introduction of the Balladur Visa in 1995. Mayotte that is ‘officially’ French has been labelled “the biggest marine graveyard in the world”. How can works of imagination on “migration” from Anjouan to Mayotte constitute a kind of collective social therapy and social intervention? This book answers this question (among others) by studying 18 works, and combining literary studies with anthropology, sociology, history and international law.
« He came as a cousin and left as a gendarme. » This anecdote expresses the identity paradox in the Comoros and the ‘migration’ drama that has been happening in the Archipelago since the arbitrary introduction of the Balladur Visa in 1995. Mayotte that is ‘officially’ French has been labelled “the biggest marine graveyard in the world”. How can works of imagination on “migration” from Anjouan to Mayotte constitute a kind of collective social therapy and social intervention? This book answers this question (among others) by studying 18 works, and combining literary studies with anthropology, sociology, history and international law.
Visa Balladur, Kwassa Kwassa, (im)mobilité et géopoét(h)ique relationnelle aux Comores
Series:
Africa Multiple, Volume: 2
Author:
« Entré en tant que cousin, sorti en tant que gendarme ». Cette anecdote révèle le paradoxe identitaire aux Comores et le drame ‘migratoire’ qui se déroule dans l’Archipel depuis l’instauration arbitraire du Visa Balladur en 1995. L’île de Mayotte, officiellement française, est taxée de « plus grand cimetière marin du monde. » Comment des œuvres d’imagination sur la « migration » d’Anjouan vers Mayotte peuvent-elles constituer une thérapie collective et une intervention sociale ? Cet ouvrage répond entre autres à cette question en analysant 18 textes et en associant études littéraires, anthropologie, sociologie, histoire et droit international.
« He came as a cousin and left as a gendarme. » This anecdote expresses the identity paradox in the Comoros and the ‘migration’ drama that has been happening in the Archipelago since the arbitrary introduction of the Balladur Visa in 1995. Mayotte that is ‘officially’ French has been labelled “the biggest marine graveyard in the world”. How can works of imagination on “migration” from Anjouan to Mayotte constitute a kind of collective social therapy and social intervention? This book answers this question (among others) by studying 18 works, and combining literary studies with anthropology, sociology, history and international law.
« He came as a cousin and left as a gendarme. » This anecdote expresses the identity paradox in the Comoros and the ‘migration’ drama that has been happening in the Archipelago since the arbitrary introduction of the Balladur Visa in 1995. Mayotte that is ‘officially’ French has been labelled “the biggest marine graveyard in the world”. How can works of imagination on “migration” from Anjouan to Mayotte constitute a kind of collective social therapy and social intervention? This book answers this question (among others) by studying 18 works, and combining literary studies with anthropology, sociology, history and international law.
Vers une France décoloniale?
Series:
Francopolyphonies, Volume: 32
Author:
Troisième homme de la négritude, Léon Damas s’alignait sur la Harlem Renaissance (Langston Hughes, Claude McKay) et Richard Wright, sur des surréalistes comme Apollinaire et G. Luca pour transmettre son message d’urgence : ‘a ti pa’, la France opère sa mue décoloniale. Damas est « l’antillectuel transfuge » qui, traversant les Lignes de couleur, de classe, de genre, annonce la « Cité de demain » où les différences de tout genre sont tolérées et respectées.
Third man of négritude, Léon Damas aligned himself with the Harlem Renaissance (Langston Hughes, Claude McKay), and Richard Wright, as well as with the surrealists like Apollinaire and G. Luca to transmit his urgent message: “a ti pa”, France is little by little undergoing its decolonial transformation. Damas is the “antillectuel transfuge” who crosses boundaries of color, “race”, class and gender. Hereby he announces the “City of tomorrow” where differences of all kind are tolerated and respected.
Third man of négritude, Léon Damas aligned himself with the Harlem Renaissance (Langston Hughes, Claude McKay), and Richard Wright, as well as with the surrealists like Apollinaire and G. Luca to transmit his urgent message: “a ti pa”, France is little by little undergoing its decolonial transformation. Damas is the “antillectuel transfuge” who crosses boundaries of color, “race”, class and gender. Hereby he announces the “City of tomorrow” where differences of all kind are tolerated and respected.
Vers une France décoloniale?
Series:
Francopolyphonies, Volume: 32
Author:
Troisième homme de la négritude, Léon Damas s’alignait sur la Harlem Renaissance (Langston Hughes, Claude McKay) et Richard Wright, sur des surréalistes comme Apollinaire et G. Luca pour transmettre son message d’urgence : ‘a ti pa’, la France opère sa mue décoloniale. Damas est « l’antillectuel transfuge » qui, traversant les Lignes de couleur, de classe, de genre, annonce la « Cité de demain » où les différences de tout genre sont tolérées et respectées.
Third man of négritude, Léon Damas aligned himself with the Harlem Renaissance (Langston Hughes, Claude McKay), and Richard Wright, as well as with the surrealists like Apollinaire and G. Luca to transmit his urgent message: “a ti pa”, France is little by little undergoing its decolonial transformation. Damas is the “antillectuel transfuge” who crosses boundaries of color, “race”, class and gender. Hereby he announces the “City of tomorrow” where differences of all kind are tolerated and respected.
Third man of négritude, Léon Damas aligned himself with the Harlem Renaissance (Langston Hughes, Claude McKay), and Richard Wright, as well as with the surrealists like Apollinaire and G. Luca to transmit his urgent message: “a ti pa”, France is little by little undergoing its decolonial transformation. Damas is the “antillectuel transfuge” who crosses boundaries of color, “race”, class and gender. Hereby he announces the “City of tomorrow” where differences of all kind are tolerated and respected.
Thematically and structurally, the work of the Kittitian-British writer Caryl Phillips reimagines the notion of genealogy. Phillips’s fiction, drama, and non-fiction foreground broken filiations and forever-deferred promises of new affiliations in the aftermath of slavery and colonization. His texts are also in dialogue with multiple historical figures and literary influences, imagining around the life of the African American comedian Bert Williams and the Caribbean writer Jean Rhys, or retelling the story of Othello. Additionally, Phillips’s work resonates with that of other writers and visual artists, such as Derek Walcott, Toni Morrison, or Isaac Julien. Written to honor the career of renown Phillipsian scholar Bénédicte Ledent, the contributions to this volume, including one by Phillips himself, explore the multiple ramifications of genealogy, across and beyond Phillips’s work.
Series:
Cross/Cultures, Volume: 220
Thematically and structurally, the work of the Kittitian-British writer Caryl Phillips reimagines the notion of genealogy. Phillips’s fiction, drama, and non-fiction foreground broken filiations and forever-deferred promises of new affiliations in the aftermath of slavery and colonization. His texts are also in dialogue with multiple historical figures and literary influences, imagining around the life of the African American comedian Bert Williams and the Caribbean writer Jean Rhys, or retelling the story of Othello. Additionally, Phillips’s work resonates with that of other writers and visual artists, such as Derek Walcott, Toni Morrison, or Isaac Julien. Written to honor the career of renown Phillipsian scholar Bénédicte Ledent, the contributions to this volume, including one by Phillips himself, explore the multiple ramifications of genealogy, across and beyond Phillips’s work.
The electronic version of the Cross/Cultures series.
Cross/Cultures covers the whole range of the colonial and post-colonial experience across the English-speaking world as well as the literatures and cultures of non-anglophone countries. The series accommodates both studies by single authors and edited critical collections.
The broad spectrum of Cross/Cultures can be illustrated by book topics as diverse as black South African autobiography, Kenyan settler writing, the African-Jamaican aesthetic, Australian and New Zealand poetry, Southeast Asian art after 1990, diasporic trauma in Caribbean writing and women’s fiction of the Sri Lankan diaspora. Cross/Cultures has also published monograph treatments of such writers as Chinua Achebe, J.M. Coetzee, Kate Grenville, Caryl Phillips, Raja Rao, Derek Walcott, and Patrick White.
Included in Cross/Cultures are collections of selected and revised papers from important conferences (ASNEL Papers = GAPS; ACLALS; EACLALS).
Cross/Cultures covers the whole range of the colonial and post-colonial experience across the English-speaking world as well as the literatures and cultures of non-anglophone countries. The series accommodates both studies by single authors and edited critical collections.
The broad spectrum of Cross/Cultures can be illustrated by book topics as diverse as black South African autobiography, Kenyan settler writing, the African-Jamaican aesthetic, Australian and New Zealand poetry, Southeast Asian art after 1990, diasporic trauma in Caribbean writing and women’s fiction of the Sri Lankan diaspora. Cross/Cultures has also published monograph treatments of such writers as Chinua Achebe, J.M. Coetzee, Kate Grenville, Caryl Phillips, Raja Rao, Derek Walcott, and Patrick White.
Included in Cross/Cultures are collections of selected and revised papers from important conferences (ASNEL Papers = GAPS; ACLALS; EACLALS).
What is the role of literature in our global landscape today? How do local authors respond to the growing worldwide power of English and the persisting effects of the colonial systems that paved the way for globalization today? These questions have often been approached very differently by postcolonialists and by students of world literature, but over the past two decades, a developing dialogue between these divergent approaches has produced robust scholarship and sometimes fractious debate, as issues of language, politics, and cultural difference have come to the fore. Drawing on a wide variety of cases, from medieval Wales to contemporary Syria and Australia, and on works written in Arabic, Basque, English, Hindi, and more, this collection explores the mutual illumination that can be gained through the interaction of postcolonial and world literary perspectives.
What is the role of literature in our global landscape today? How do local authors respond to the growing worldwide power of English and the persisting effects of the colonial systems that paved the way for globalization today? These questions have often been approached very differently by postcolonialists and by students of world literature, but over the past two decades, a developing dialogue between these divergent approaches has produced robust scholarship and sometimes fractious debate, as issues of language, politics, and cultural difference have come to the fore. Drawing on a wide variety of cases, from medieval Wales to contemporary Syria and Australia, and on works written in Arabic, Basque, English, Hindi, and more, this collection explores the mutual illumination that can be gained through the interaction of postcolonial and world literary perspectives.
Author:
The present volume is to date the only comprehensive study of the beginnings of narrative prose writing in South Africa, covering the period from the 1890s to the 1920s. As can only be expected from a multi-ethnic as well as multicultural society, a varied history like this does not lend itself to being presented as a narrative of literary development and change along a linear continuum. If literature is conceived of as a cultural activity whose task it is to process and reflect upon the social experience and the discourses prevalent in a given society, a context as diverse as the South African one can only give rise to a number of competing stories that refuse to be merged into a single and coherent literary history. The authors thus dealt with in more detail are Sol T. Plaatje, Thomas Mofolo, Douglas Blackburn, Olive Schreiner, Samuel E.K. Mqhayi, Herman Charles Bosman, Stephen Black, C.J. Langenhoven and Louis Leipholdt.