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The film District 9 made waves as an allegory of apartheid on the big screen, but it has not yet been given its rightful place as a landmark depiction within broader visual cultural studies of Johannesburg and cities in the Global South.
In this book, Landi Raubenheimer argues that District 9’s portrayal of Johannesburg reverberates within a larger body of representations of the city, collectively shaping a unique visual ‘idiom’ for the post-apartheid city as nostalgic dystopia. Delving deeply into District 9, Raubenheimer brings to light the fascination that images of the city as nostalgic dystopia has held for filmmakers, photographers, viewers, and lovers of Johannesburg alike.
In this book, Landi Raubenheimer argues that District 9’s portrayal of Johannesburg reverberates within a larger body of representations of the city, collectively shaping a unique visual ‘idiom’ for the post-apartheid city as nostalgic dystopia. Delving deeply into District 9, Raubenheimer brings to light the fascination that images of the city as nostalgic dystopia has held for filmmakers, photographers, viewers, and lovers of Johannesburg alike.
Series:
Contemporary Cinema, Volume: 10
Author:
The film District 9 made waves as an allegory of apartheid on the big screen, but it has not yet been given its rightful place as a landmark depiction within broader visual cultural studies of Johannesburg and cities in the Global South.
In this book, Landi Raubenheimer argues that District 9’s portrayal of Johannesburg reverberates within a larger body of representations of the city, collectively shaping a unique visual ‘idiom’ for the post-apartheid city as nostalgic dystopia. Delving deeply into District 9, Raubenheimer brings to light the fascination that images of the city as nostalgic dystopia has held for filmmakers, photographers, viewers, and lovers of Johannesburg alike.
In this book, Landi Raubenheimer argues that District 9’s portrayal of Johannesburg reverberates within a larger body of representations of the city, collectively shaping a unique visual ‘idiom’ for the post-apartheid city as nostalgic dystopia. Delving deeply into District 9, Raubenheimer brings to light the fascination that images of the city as nostalgic dystopia has held for filmmakers, photographers, viewers, and lovers of Johannesburg alike.
Intimations of the Local in a Globalised World
Series:
Cross/Cultures, Volume: 223
This volume examines how Indigenous theatre and performance from Oceania has responded to the intensification of globalisation from the turn of the 20th to the 21st centuries. It foregrounds a relational approach to the study of Indigenous texts, thus echoing what scholars such as Tui Nicola Clery have described as the stance of a “Multi-Perspective Culturally Sensitive Researcher.” To this end, it proposes a fluid vision of Oceania characterized by heterogeneity and cultural diversity calling to mind Epeli Hau‘ofa’s notion of “a sea of islands.”
Taking its cue from the theories of Deleuze and Guattari, the volume offers a rhizomatic, non-hierarchical approach to the study of the various shapes of Indigeneity in Oceania. It covers Indigenous performance from Aotearoa/New Zealand, Hawai’i, Samoa, Rapa Nui/Easter Island, Australia and the Torres Strait Islands. Each chapter uses vivid case histories to explore a myriad of innovative strategies responding to the interplay between the local and the global in contemporary Indigenous performance. As it places different Indigenous cultures from Oceania in conversation, this critical anthology gestures towards an “imparative” model of comparative poetics, favouring negotiation of cultural difference and urging scholars to engage dialogically with non-European artistic forms of expression.
Taking its cue from the theories of Deleuze and Guattari, the volume offers a rhizomatic, non-hierarchical approach to the study of the various shapes of Indigeneity in Oceania. It covers Indigenous performance from Aotearoa/New Zealand, Hawai’i, Samoa, Rapa Nui/Easter Island, Australia and the Torres Strait Islands. Each chapter uses vivid case histories to explore a myriad of innovative strategies responding to the interplay between the local and the global in contemporary Indigenous performance. As it places different Indigenous cultures from Oceania in conversation, this critical anthology gestures towards an “imparative” model of comparative poetics, favouring negotiation of cultural difference and urging scholars to engage dialogically with non-European artistic forms of expression.
Intimations of the Local in a Globalised World
Series:
Cross/Cultures, Volume: 223
This volume examines how Indigenous theatre and performance from Oceania has responded to the intensification of globalisation from the turn of the 20th to the 21st centuries. It foregrounds a relational approach to the study of Indigenous texts, thus echoing what scholars such as Tui Nicola Clery have described as the stance of a “Multi-Perspective Culturally Sensitive Researcher.” To this end, it proposes a fluid vision of Oceania characterized by heterogeneity and cultural diversity calling to mind Epeli Hau‘ofa’s notion of “a sea of islands.”
Taking its cue from the theories of Deleuze and Guattari, the volume offers a rhizomatic, non-hierarchical approach to the study of the various shapes of Indigeneity in Oceania. It covers Indigenous performance from Aotearoa/New Zealand, Hawai’i, Samoa, Rapa Nui/Easter Island, Australia and the Torres Strait Islands. Each chapter uses vivid case histories to explore a myriad of innovative strategies responding to the interplay between the local and the global in contemporary Indigenous performance. As it places different Indigenous cultures from Oceania in conversation, this critical anthology gestures towards an “imparative” model of comparative poetics, favouring negotiation of cultural difference and urging scholars to engage dialogically with non-European artistic forms of expression.
Taking its cue from the theories of Deleuze and Guattari, the volume offers a rhizomatic, non-hierarchical approach to the study of the various shapes of Indigeneity in Oceania. It covers Indigenous performance from Aotearoa/New Zealand, Hawai’i, Samoa, Rapa Nui/Easter Island, Australia and the Torres Strait Islands. Each chapter uses vivid case histories to explore a myriad of innovative strategies responding to the interplay between the local and the global in contemporary Indigenous performance. As it places different Indigenous cultures from Oceania in conversation, this critical anthology gestures towards an “imparative” model of comparative poetics, favouring negotiation of cultural difference and urging scholars to engage dialogically with non-European artistic forms of expression.
Urban Ecotones in the Global South
Series:
Francopolyphonies, Volume: 37
Global South cities are magnets of immigration flows. They are vivid crucibles of human diversity, cultural interactions, but also of political tensions and social violence. From Kolkata to Bogota, from Harare to Fort-de-France, from Bamako to Cape Town, this book offers a unique set of studies on cities where multifarious diaspora flows converge. Building on the concept of the ecotone, i.e. a contact zone between populations of different backgrounds, it elicits a multidisciplinary dialogue between social science and humanities scholars, exploring the articulation between the postcolonial and the neoliberal city. Following Ananya Roy’s proposition of a worlding the South (Roy 2014), this book contributes to forging a situated world view rooted in the experience and the imaginary of Southern cities.
Urban Ecotones in the Global South
Series:
Francopolyphonies, Volume: 37
Global South cities are magnets of immigration flows. They are vivid crucibles of human diversity, cultural interactions, but also of political tensions and social violence. From Kolkata to Bogota, from Harare to Fort-de-France, from Bamako to Cape Town, this book offers a unique set of studies on cities where multifarious diaspora flows converge. Building on the concept of the ecotone, i.e. a contact zone between populations of different backgrounds, it elicits a multidisciplinary dialogue between social science and humanities scholars, exploring the articulation between the postcolonial and the neoliberal city. Following Ananya Roy’s proposition of a worlding the South (Roy 2014), this book contributes to forging a situated world view rooted in the experience and the imaginary of Southern cities.
Critical Studies of Scotland and the Pacific
This volume, edited by Richard J. Hill and Allison E. Francis, explores literary connections between Scotland and the Pacific. The contributors, including some of the world’s foremost scholars in Scottish and Pacific studies, examine how Scottish writing about the Pacific, and Pacific engagement with Scottish culture, generates a cultural examination of Scotland’s place in the British colonizing hierarchy.
While Robert Louis Stevenson was the principal Scottish author who shaped these early discussions, other prominent Scottish authors are also analyzed. Several chapters examine Scottish engagement with the South Seas, before and after Stevenson’s involvement with Pacific cultural and political affairs. The book lends weight and understanding as to why Pacific Islanders—both immigrant and indigenous—often claim affiliations with Scotland, and in the case of Hawaii and Samoa, to Stevenson in particular.
While Robert Louis Stevenson was the principal Scottish author who shaped these early discussions, other prominent Scottish authors are also analyzed. Several chapters examine Scottish engagement with the South Seas, before and after Stevenson’s involvement with Pacific cultural and political affairs. The book lends weight and understanding as to why Pacific Islanders—both immigrant and indigenous—often claim affiliations with Scotland, and in the case of Hawaii and Samoa, to Stevenson in particular.
Critical Studies of Scotland and the Pacific
This volume, edited by Richard J. Hill and Allison E. Francis, explores literary connections between Scotland and the Pacific. The contributors, including some of the world’s foremost scholars in Scottish and Pacific studies, examine how Scottish writing about the Pacific, and Pacific engagement with Scottish culture, generates a cultural examination of Scotland’s place in the British colonizing hierarchy.
While Robert Louis Stevenson was the principal Scottish author who shaped these early discussions, other prominent Scottish authors are also analyzed. Several chapters examine Scottish engagement with the South Seas, before and after Stevenson’s involvement with Pacific cultural and political affairs. The book lends weight and understanding as to why Pacific Islanders—both immigrant and indigenous—often claim affiliations with Scotland, and in the case of Hawaii and Samoa, to Stevenson in particular.
While Robert Louis Stevenson was the principal Scottish author who shaped these early discussions, other prominent Scottish authors are also analyzed. Several chapters examine Scottish engagement with the South Seas, before and after Stevenson’s involvement with Pacific cultural and political affairs. The book lends weight and understanding as to why Pacific Islanders—both immigrant and indigenous—often claim affiliations with Scotland, and in the case of Hawaii and Samoa, to Stevenson in particular.
Abstract
Against the background of the 19th century British domination of Ghana, Ayi Kwei Armah’s The Healers (1978) depicts the restorative activities of a group of traditional health practitioners. The paper seeks to place African Indigenous Knowledge Systems at the heart of the resistance to colonialism and imperialism. The paper resorts to a close reading of the narrative guided by perspectives on recuperation provided by Armah, Amilcar Cabral, and Christel N. Temple. Traditional medicinal expertise, ecological awareness, cultural memory, and anthroponymy, as bearers of African Indigenous Knowledge Systems, coalesce to discredit the metropolitan miscomception of Africa as a tabula rasa, thereby infusing confidence into subalternized Blacks towards the dream of a reunified continent. The paper concludes that resistance to the empire entails politics and ethics of healing, empowerment, continuous mental decolonization, and commitment to African reunification.
In:
Matatu
This series looks at the different literary traditions of the United States, including African American literature, Native American literature, Chicano and US latino literature, Asian American literature, as well as emergent literatures such as Indian or Arab American.
Although the series' focus is mostly comparative, multiethnic, and intercultural, it also welcomes feature analyses of single literary traditions.
Issues of race, ethnicity, class gender, and the interspace between the political and the aesthetic, among other possible topics, figure prominently in the series.
Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Masja Horn.
Although the series' focus is mostly comparative, multiethnic, and intercultural, it also welcomes feature analyses of single literary traditions.
Issues of race, ethnicity, class gender, and the interspace between the political and the aesthetic, among other possible topics, figure prominently in the series.
Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Masja Horn.
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).
Abstract
Marechera and his literary texts do not fit easily into Africanist categories of reading, principally due to his vitriolic invocation of the ‘f-word’ when asked if he was an African writer. Despite this iconoclasm, Afro-cosmic creeds undeniably inform aspects of his novella. An Afro-cosmological approach acknowledges non-empirical influences for certain behavioural traits portrayed by various characters in the novella which Marechera utilises and assails to address a ‘diseased’ colonial life. Using Falola’s Ritual Archives (2017), we approach this novella as a repository of Shona social ideation and cultural mythologies of haunting, and the Isisism trope of putting material remains back together. Numerous invocations of Shona cosmologies demonstrate Marechera’s socialisation into an African cosmology which manifests itself in his writing and life in unlimited ways. In sum, we interrogate the author’s use of culture codes to relocate him within an African rationale, thus, unmooring him from the Western-centric frameworks emphasised by Veit-Wild’s memoir (2020). We offer insights into the spirituality surrounding Marechera, his vagabondage and his seemingly self-sabotaging behaviour succinctly summarised by Veit-Wild as ‘biting every hand that fed you.’ Flora Veit-Wild, using the logic of a European, fails to appreciate this aspect of his life. In this article we recentre an African cosmology through the topos of being haunted to conceptualise Marechera’s writing and life to account for non-Western occurrences and modes of psychic distress which find no diagnosis in Western psychiatry.
In:
Matatu
Author:
Abstract
Dambudzo Marechera who died in 1987 remains a fascinating phenomenon in African literary culture. He is very much alive in the visual culture in which he circulates digitally. He is at once posthumous, multiple, and contemporary. Even though Marechera did not live to see the 21st century, he left versions of himself that remain both relevant and resonant. This paper considers the various ways Marechera’s digital afterlives manifest and force us to interrogate the intersections of life, death, personal data and human autonomy and presents a critique of unethical digital resurrection. Who does digital Marechera belong to?