Suchergebnisse

Intro -- Contents -- List of Illustrations -- Timeline of Events -- Preface: Native Categories and Native Arguments -- Introduction -- Part I: Historical Legacies -- One: The Wake of Disenchantment -- Two: Strategic Entanglement -- Part II: Emerging Transcripts -- Three: Life on the Piquet -- Four: Public Hunger -- Five: The Route of History -- Six: Hope and Disappointment -- Coda: Transcripts of the Future? -- Acknowledgments -- Notes -- Index.

"Queer Postcolonial Narratives and the Ethics of Witnessing is a critically engaged exploration of power and its relation to ethics and bodies. By revisiting and revising Judith Butler's and Homi Bhabha's queer and postcolonial theories of literary performance, McCormack expands current understandings of the performative workings of power through an embodied, multisensory ethics. That remembering is an embodied act which necessitates an undoing of one's sense of self captures how colonial and familial histories silenced by hegemonic structures may only emerge through opaque bodily sensations. These non-institutionalised forms of witnessing serve both to reconfigure theories of performativity, by re-situating the act of witnessing as integral to the workings of power, and to interrogate the current emphasis on speech in trauma studies, by analysing the multifarious, communal and public ways in which memories emerge. In Queer Postcolonial Narratives and the Ethics of Witnessing the body is reinstated as central to both the workings of and the challenges to colonial discourses."--

Figurative images have long played a critical, if largely unexamined, role in Africa--mediating relationships between the colonizer and the colonized, the state and the individual, and the global and the local. This pivotal volume considers the meaning and power of images in African history and culture

The range of perspectives and original materials dealt with by each author highlights the renewed urgency of the struggle for cultural autonomy and voice within the context of globalization. In other words, each paper explores how the various processes at both the local and global level intersect to create new discourses and debates round the »indigenization of knowledge.« If a new wind of cultural decolonization is blowing through the Arab Middle East, which is having profound impact on the lives of men and women, then we should expect a new scholarship to emerge in order to grasp and understand it. This book is a contribution in that direction.

Die Hoch-Zeit des studentischen Korporationswesens und das Bestehen des deutschen Kolonialreichs von 1884 bis 1919 fielen zeitlich zusammen. Trotzdem hat sich bis heute weder die Kolonialgeschichtsschreibung noch die Studentenforschung eingehender mit dem Verhältnis von Burschenschaften als bekanntester Korporationsform und Kolonialismus beschäftigt. Andreas Bohne ändert das und definiert burschenschaftliche Verbände als imperiale pressure groups ohne expliziten kolonialen Auftrag. Er stellt fest: Burschenschafter agierten aktiv in kolonialen Arenen - gleichzeitig stehen sie exemplarisch für die bürgerlichen Rezipienten der kolonialen Agitation und Popularisierung, die bis heute nachwirkt

Cámara de Combate is an artwork composed of series of banners inspired by revolutionary cultural movements originated in Latin America, namely, Third Cinema and Latin American conceptualism. I graphically rendered citations onto the robust material of banners, all taken from Third Cinema filmmakers, who first emerged in 1960s in an era of political upheaval in Latin America. They used the camera as a political weapon to engage revolutionary social, cultural, and political ideas in the region and to incite political consciousness and action. I made a direct correlation with Latin America's contemporary political context as it relates to American, Canadian, and European interventionism and oppressive regimes, with Latin American Film Festivals situated outside of Latin America. Cámara de Combate, was exhibited in the patio of Vancouver's Cinematheque as part of the seventeenth edition of the Vancouver Latin American Film Festival in 2019. Some of the questions explored within this artistic inquiry are, what is the role of artists living in the diaspora vis-à-vis Latin American political consciousness? What is the role of Latin American film festivals outside of Latin America in relation to audience and community participants? This text offers a reflection on my artwork and its line of investigation within a diaspora film festival space. I explore some of the philosophical and theoretical currents and political contexts that influenced this work and how it was received within the festival space. ; peer-reviewed

International audience ; Le Minpaku, premier Musée national d'ethnologie au Japon fondé en 1974, a été pensé et présenté comme un musée avant-gardiste rompant avec les musées occidentaux considérés comme encore emprunts d'une vision coloniale. La présente contribution interroge la manière dont le passé est contourné, voire absous, pour correspondre à l'idéal d'un musée a-colonial et novateur. Les limites de cette mise en scène seront abordées à travers l'exemple de l'exposition de la culture aïnou – minorité autochtone du Japon soumise à une politique d'assimilation.