Suchergebnisse

Abstract
Between 1931 and 1936 the democratic Spanish government overthrew the monarchy and established the Second Spanish Republic. It was a volatile period for Spanish-Moroccan relations. Fascists were in favor of the Spanish Protectorate of Morocco, whereas Republicans were typically against it. Aurora Bertrana (1892–1974) was a Republican Catalan writer who moved to Morocco in 1935 to write about Muslim women living under the Spanish Protectorate. A close examination of her novel El Marroc sensual i fanàtic (1935) reveals an anticolonialism based on her preoccupation with Spanish nationalist dignity rather than with Moroccan independence. Instead of concluding that Spain's colonization of Morocco is not good, Bertrana concludes that it is not good enough. Her writing perpetuates centuries-old Spanish Orientalist stereotypes, thus complicating the glorified history of Spanish Republican anticolonialism and feminism in the 1930s.

Abstract
History has been difficult to dislodge from its colonial trajectory in spite of at least a half-century of post-Orientalist critique. Accordingly, a critical theory that is genuinely global in its lineaments is difficult to establish as practice without more decolonial histories of the modern world. This article thus moves on two fronts in order to meet the stated objectives of expanding the field of critical theory while tracking "untimely traditions" and the horizons they've drawn. It will offer a history of anticolonial practice that was simultaneously theorized within a distinct Islamic mystical tradition and against a globally emerging conception of state sovereignty (on which much of history writing wittingly or unwittingly concentrates). These political and intellectual histories converge around the biography of a nineteenth-century itinerant Sufi, Sayyid Fadl Ibn Alawi. The critical potentiality of this life will be extrapolated into the present by considering the death-defying horizons opened by the newly expanded repertoire available to a mystical tradition, which allows reflection on the anticolonial as an ontology refused and yet a promise. Finally, the article seeks to answer a question that was only treated partially in the author's recent book For God or Empire. Does the mysticism of this tradition devolve into apolitical practices, or does its survival and even proliferation compel a revisioning of emancipation in history and in theory?

Analyzing the confluence between coloniality and activist art, Art Activism for an Anticolonial Future argues that there is much to gain from approaching contemporary politically committed art practices from the angle of anticolonial, postcolonial, and decolonial struggles. These struggles inspired a vast yet underexplored set of ideas about art and cultural practices and did so decades before the acceptance of radical artistic practices by mainstream art institutions. Carlos Garrido Castellano argues that art activism has been confined to a limited spatial and temporal framework—that of Western culture and the modernist avant-garde. Assumptions about the individual creator and the belated arrival of derivative avant-garde aesthetics to the periphery have generated a narrow view of "political art" at the expense of our capacity to perceive a truly global alternative praxis. Garrido Castellano then illuminates such a praxis, focusing attention on socially engaged art from the Global South, challenging the supposed universality of Western artistic norms, and demonstrating the role of art in promoting and configuring a collective critical consciousness in postcolonial public spheres. ; OA version supported by Knowledge Unlatched ; VoR ; SUNY Press ; N/A

This essay presents a strategy for putting anticolonial thought in praxis through the critical application of historical thought. It suggests a method of inquiry that is problem oriented and geared toward countering hegemonic discourses. The methodological approach proposed argues for an analytical framework that is transnational in its framing, lines of inquiry that are grounded in historically informed interdisciplinarity, and analyses of the ways power interacts with memory and historicity in hegemonic discourses.

Analyzing the confluence between coloniality and activist art, Art Activism for an Anticolonial Future argues that there is much to gain from approaching contemporary politically committed art practices from the angle of anticolonial, postcolonial, and decolonial struggles. These struggles inspired a vast yet underexplored set of ideas about art and cultural practices and did so decades before the acceptance of radical artistic practices by mainstream art institutions. Carlos Garrido Castellano argues that art activism has been confined to a limited spatial and temporal framework—that of Western culture and the modernist avant-garde. Assumptions about the individual creator and the belated arrival of derivative avant-garde aesthetics to the periphery have generated a narrow view of "political art" at the expense of our capacity to perceive a truly global alternative praxis. Garrido Castellano then illuminates such a praxis, focusing attention on socially engaged art from the Global South, challenging the supposed universality of Western artistic norms, and demonstrating the role of art in promoting and configuring a collective critical consciousness in postcolonial public spheres. This book is freely available in an open access edition thanks to Knowledge Unlatched—an initiative that provides libraries and institutions with a centralized platform to support OA collections and from leading publishing houses and OA initiatives.

Resumo Este artigo analisa o constitucionalismo latino-americano e seu caráter anticolonial no nascedouro dos Estados Nacionais do continente. Para tanto, busca descrever as contradições sociais existentes no momento das independências, no começo do século XIX. Estuda o caráter do constitucionalismo latino-americano, utilizando exemplos das repúblicas do Haiti e do Paraguai e conclui com as dificuldades de sua implantação, que se mantém até hoje.