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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.
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.
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).
The Interface between Poetry and Schizophrenia
Author:
Wopko Jensma's poetry constitutes an interesting and idiosyncratic response to the strife and turmoil in South Africa in the seventies. Jensma's experimental poetry harnesses the signatures of jazz lyrics, concrete poetry, the avant-garde as well as African dance forms in bizarre cameos of underclass misery and racial oppression. In lieu of metrical regularity and rhyme, the aesthetic experience is simulated by asemantic qualities of speech, sound, and rhythmic undulations in what is best described as a "withdrawal of semantic crutches". Jensma's private idiomatic language, mixing of dialects, the use of syncopation, ellipsis, and experimental topography have no doubt contributed to the cryptic and arcane aberrations associated with schizophrenia. This is the first study that explores the link between Jenma's poetry and schizophrenia and in which image, diction, and story coalesce to voice the anguish and alienation of underclass suffering.
The Interface between Poetry and Schizophrenia
Author:
Wopko Jensma's poetry constitutes an interesting and idiosyncratic response to the strife and turmoil in South Africa in the seventies. Jensma's experimental poetry harnesses the signatures of jazz lyrics, concrete poetry, the avant-garde as well as African dance forms in bizarre cameos of underclass misery and racial oppression. In lieu of metrical regularity and rhyme, the aesthetic experience is simulated by asemantic qualities of speech, sound, and rhythmic undulations in what is best described as a "withdrawal of semantic crutches". Jensma's private idiomatic language, mixing of dialects, the use of syncopation, ellipsis, and experimental topography have no doubt contributed to the cryptic and arcane aberrations associated with schizophrenia. This is the first study that explores the link between Jenma's poetry and schizophrenia and in which image, diction, and story coalesce to voice the anguish and alienation of underclass suffering.
Cultivation of Culture and the Global Circulation of Ideas
Author:
Through the concept of ‘Romantic nationalism’, this interdisciplinary global historical study investigates cultural initiatives in (British) India that aimed at establishing the nation as a moral community and which preceded or accompanied state-oriented political nationalism. Drawing on a vast array of sources, it discusses important Romantic nationalist traits, such as the relationship between language and identity, historicism, artistic revivalism and hero worship. Ultimately, this innovative book argues that because of the confrontation with European civilization and processes of modernization at large, cultivation of culture in British India was morally and spiritually more important to the making of the nation than in Europe.