Suchergebnisse

Cover -- Contents -- Acknowledgments -- Introduction -- 1 From France Antartique to Shamanic Critique: The Tupinization of Social Thought -- 2 The Indigenous Cunhã: The Metamorphosis of a Gendered Trope -- 3 The Transnational "Indian" -- 4 Cross-national Comparabilities: The Indigenization of Brazilian Media -- 5 Triumphs and the Travails of the Yanomami -- Conclusion: The Theoretical Indigene: Becoming Indian and the Elsewhere of Capitalism -- Bibliography -- Index.

"With extraordinary transnational and transdisciplinary range, World Literature, Transnational Cinema, and Global Media comprehensively explores the genealogies, vocabularies, and concepts orienting the fields within literature, cinema and media studies. Orchestrating a layered conversation between arts, disciplines, and media, Stam argues for their "mutual embeddedness" and their shared "in-between" territories. Rather than merely add to the existing scholarship, the book builds a relational framework through the connectivities within literature, cinema and media that opens up analysis to new categories and concepts, whilst crossing spatial, temporal, theoretical, disciplinary, and mediatic borders. The book also questions an array of hierarchies: literature over cinema; source novel over adaptation; feature film over documentary; erudite over vernacular culture; western modernisms over "peripheral" modernisms; classical over popular music; written poetry over sung poetry, and so forth. The book is structured around the concept of the "Commons," forming a strong thread which links various struggles against "enclosures" of all kinds, with emphasis on natural, indigenous, cultural, creative, digital, and the transdisciplinary commons. World Literature, Transnational Cinema, and Global Media is ideal to further the theoretical discussion for those undergraduate and graduate departments in cinema studies, media studies, arts and art history, communications, journalism, and new digital media programs at all levels"--

Cultural discourse in Latin America and the Caribbean has been fecund in neologistic aesthetics, both literary and cinematic: "lo real maravilloso americano" (Carpentier), the "aesthetics of hunger" (Glauber Rocha), "Cine imperfecto" (Julio García Espinosa), "the creative incapacity for copying" (Paulo Emilio Salles Gomes), the "aesthetics of garbage", (Rogerio Sganzerla), the "salamander" (as opposed to the Hollywood dinosaur) aesthetic (Paul Leduc), "termite terrorism" (Gilhermo del Toro), "anthropophagy" (the Brazilian Modernists), "Tropicalia" (Gilberto Gil and Caetano Veloso), "rasquachismo" (Tomás-Ibarra Frausto), and santería aesthetics (Arturo Lindsay). Most of these alternative aesthetics revalorize, by inversion, what had formerly been seen as negative, especially within colonialist discourse. Thus ritual cannibalism, for centuries the very name of the savage, abject other, becomes with the Brazilian modernistas an anti-colonialist trope and a term of value. (Even "magic realism" inverts the colonial view of magic as irrational superstition.) At the same time, these aesthetics share the jujitsu trait of turning strategic weakness into tactical strength. By appropriating an existing discourse for their own ends, they deploy the force of the dominant against domination.

"Unthinking Eurocentrism, a seminal and award-winning work in postcolonial studies first published in 1994, explored Eurocentrism as an interlocking network of buried premises, embedded narratives, and submerged tropes that constituted a broadly shared epistemology. Within a transdisciplinary study, the authors argued that the debates about Eurocentrism and post/coloniality must be considered within a broad historical sweep that goes at least as far back as the various 1492s: the Inquisition, the Expulsion of Jews and Muslims, the Conquest of the Americas, and the Transatlantic slave trade; a process which culminates in the post War attempts to radically decolonize global culture. Ranging over multiple geographies, the book deprovincialized media/cultural studies through a polycentric approach, while analysing in depth such issues as postcolonial hybridity, antinomies of Enlightenment, the tropes of empire, gender and rescue fantasies, the racial politics of casting, and the limitations of positive image analysis. The substantial new afterword in this 20th anniversary new edition brings these issues into the present by charting recent transformations of the intellectual debates, as terms such as the transnational, the commons, indigeneity, and the Red Atlantic have come to the fore. The afterword also explores some cinematic trends such as indigenous media and postcolonial adaptations that have gained strength over the past two decades, along with others, such as Nollywood, that have emerged with startling force. Winner of the Katherine Kovacs Singer Best Film Book Award, the book has been translated in full or in its entirety into diverse languages from Spanish to Farsi. This expanded edition of a ground-breaking text proposes analytical grids relevant to a wide variety of fields including postcolonial studies, literary studies, anthropology, media studies, cultural studies, and critical race studies. "--

While the term "culture wars" often designates the heated arguments in the English-speaking world spiraling around race, the canon, and affirmative action, in fact these discussions have raged in diverse sites and languages. Race in Translation charts the transatlantic traffic of the debates within and between three zones—the U.S., France, and Brazil. Stam and Shohat trace the literal and figurative translation of these multidirectional intellectual debates, seen most recently in the emergence of postcolonial studies in France, and whiteness studies in Brazil. The authors also interrogate an ironic convergence whereby rightist politicians like Sarkozy and Cameron join hands with some leftist intellectuals like Benn Michaels, Žižek, and Bourdieu in condemning "multiculturalism" and "identity politics." At once a report from various "fronts" in the culture wars, a mapping of the germane literatures, and an argument about methods of reading the cross-border movement of ideas, the book constitutes a major contribution to our understanding of the Diasporic and the Transnational.

While many books focus on anti-Americanism, and many on patriotism, Flagging Patriotism audaciously links the two issues. Within a multiper-spectival approach, the authors reframe the usual "Why do they hate us?" question, asking how do other nations love themselves, and how is that self-love linked to their views of the United States? Is love of country "monogamous," or can one love many countries? In the age of imperial democracy, how can Americans learn from international critics, but also point out that anti-Americans "get it wrong"? Rather than simply endorse or reject the criticisms, the book scores both the anti-French hysteria of the right and the submerged narcissism of some French anti-Americanism. The boisterous superpatriots, meanwhile, are exposed as not being patriots at all. Drawing upon the authors' experience and knowledge of Latin America, Europe, and the Middle East, Flagging Patriotism expands American studies by deploying a fresh, interconnective, and transnational grid. Dedicated to cable clowns like Jon Stewart and Stephen Colbert, the book combines transdisciplinary expertise with a colloquial and often humorous style. While touching on many hot-button issues, it also clarifies present-day tensions by seeing them against the longer historical backdrop of various national mythologies and exceptionalisms