At its inception, the idea of civilization was imbued with a sense of progress, peace, and optimism. The historical record, however, belies much of this sense of optimism. Somewhat paradoxically, civilization has come to be closely associated with conflict and conquest. In the two-hundred-and-sixty years since the term was coined, many things have been done in the name of civilization; sadly, among them are such grave matters as war, conquest, and colonialism.
As accelerated climate change can offer easier access to the Arctic resource riches, many countries, including the non-Arctic states, are now considering the Arctic as a viable future source of enormous energy supplies and valuable minerals. This chapter explores the current conversations on Arctic energy futures through the lens of resource colonialism. Focusing on the intertwined politics and economics of Arctic energy, it shows how ongoing Arctic developments have been shaped by expectations, decisions and events taking place outside the Arctic region. It is argued that a contradictory relationship between energy and environment accompanying the persistent interest in Arctic resource wealth marks a shift in the international political economy of energy from 'old' to 'new' carbon governance. ; Peer reviewed
Colonialism has influenced the development of states on the African continent. This study examines the extent to which colonialism affects the economic growth and the political democratic development of two former British colonies: Kenya and Nigeria. Two theories, Dependency Theory and Neopatrimonialism Theory, argue that institutions, whether economic or political, established during the colonial period impact modern African states' economic and governmental development. Using pattern matching, I operationalized several variables of study such as economic underdevelopment, functioning democracy, power dynamics, and Settler and Non-settler colonial institutions. The results suggest that government corruption, lack of transparency in elections, poor security forces, and overall economic dependency on the international system impedes Kenya and Nigeria's economic and political development, indicating that underdevelopment relates to policies implemented during their respective colonial periods.
The Deatnu River, located in Northern Scandinavia in the heart of Sápmi, is often regarded as one of the finest salmon rivers in Europe. In the 1751 Strömstad Peace Accord, the Deatnu river was made into an international boundary, becoming one of the oldest political borders in Europe. Since 1873, salmon fishing in the Deatnu River has been regulated by bilateral agreements negotiated between Norway and Finland. The most recent agreement was reached in 2017, in spite of a very strong, uniform opposition of the local population, Sámi and non–Sámi alike. This article considers the nature, effects and objectives of the 2017 Deatnu Agreement in the context of an international boundary. I suggest that the 2017 Deatnu Agreement is a figurative wall erected by the states of Norway and Finland in the context of the post–Westphalian order. The 'post–Westphalian order' is characterized by the erection of walls to define nation–state boundaries. Drawing on Elizabeth Strakosch' analysis of policy as a key strategy of settle colonialism and Lorenzo Veracini's concept of transfer, the article considers how this figurative wall is intended to target the Sámi people and how it is an emblem of Nordic settler colonialism.
The compositions of Ngugi wa Thiong'o, especially his later anecdotal works, are set apart by his portrayal and analysis of the neo-frontier and neo-liberal circumstance with respect to recently free Kenya. As a vocal pundit of frontier and neo-pilgrim apparatus, Ngugi has raised his anxiety over the ascent of global free enterprise and the neo-progressivism as masked types of colonialism. In his view, the ascent of neo-radicalism is a sign of the disappointment of the destinations of opportunity battle and a risk to the individual's goals from a free country. As an author, his dominance lies in rising above the geological constraints of Kenya to the degree that social, monetary and political issues that neo-radicalism may mix and along these lines his anecdotal portrayals achieve many more extensive allure regarding their materialness. Indeed, there is likewise the chance of deciphering a chunk of his later fills in as oppressed worlds regarding their portrayal. The current paper plans an examination of the books of the writer to throw the light on different financial, socio-political issues and the force structures introduced by the neo-provincial and neo-liberal powers with the utilization of a few mechanical assemblies. The paper will likewise talk about what response the creator offers as the conceivable arrangement or the route forward to such a quandary.
Broadly taking up themes of violence and colonialism, this paper was first presented as a roundtable at the Decolonizing Cascadias?: 2013 Critical Geographies Mini Conference at the University of British Columbia. Framed as a roundtable conversation among the three authors, the paper critically examines the material and ideological relations through which certain types of violence are made invisible in the context of ongoing colonialism in white settler society. In dialogue across their various academic, activist and personal experiences, the authors argue for a critical decolonizing geography of violence that examines how spaces and subjects are constructed relationally through social, material and legal processes of racial violence and its gendered and sexualized politics. How do certain forms of violence come to be naturalized within civilizing and modernizing discourse, such that the violence of development or colonialism come to be erased? How do some lives become constructed as inherently violent in order to deny the violence against them? Disrupting and examining the settler colonial thinking and practices that persist within diverse social movements and academic disciplines, including geography, the dialogue explores who has the authority to name what forms of violence are seen as legitimate. As activist-scholars engaged in knowledge production and legitimization, the authors are interested in envisioning new possibilities for how they understand violence and resistance, particularly by centering Indigenous ontologies and by naming lived realities which are not accounted for in dominant discourses of violence and colonialism. ; Arts, Faculty of ; Non UBC ; Geography, Department of ; Reviewed ; Faculty ; Postdoctoral
International audience ; Exil et colonialisme transaméricains chez Jamaica Kincaid « To be a colonial is to be an exile » George Lamming La romancière caribéenne Jamaica Kincaïd est aujourd'hui réputée pour ses nombreuses critiques de l'impérialisme britannique, et sa détermination à combattre les multiples formes d'hégémonie culturelle qui peuvent en découler. Si ses oeuvres ont rencontré le succès qu'elles méritent, c'est sans doute parce que l'auteur a su faire preuve de militantisme culturel et politique, mais aussi parce qu'elle réinvente sans cesse son identité de femme antillaise exilée, à travers une écriture où se tissent des liens complexes entre l'histoire, l'autobiographie et la ction. Cette ré exion sur le sens de sa propre identité trouve sans doute sa source dans la relation antagoniste entre l'histoire de sa famille et l'histoire coloniale des Antilles. Ce con it débute d'ailleurs dès sa naissance, le 25 mai 1949, à Antigua, où elle a été baptisée du nom d'Elaine Potter Richardson. Consciente de son héritage pluriethnique (sa grand-mère maternelle était d'origine amérindienne, et son grand-père d'origine africaine), la jeune femme ne gardera pas bien longtemps ce nom aux consonances un peu trop européennes à son goût, et choisira de s'appeler Jamaica Kincaid , un nom d'auteur la rapprochant davantage de ses origines caraïbes, et lui permettant d'a rmer sa vocation d'écrivain, malgré l'opposition de ses parents. En quittant son île natale à l'âge dix-sept ans, la future romancière pensait pouvoir laisser derrière elle sa famille et ses amis
International audience ; Exil et colonialisme transaméricains chez Jamaica Kincaid « To be a colonial is to be an exile » George Lamming La romancière caribéenne Jamaica Kincaïd est aujourd'hui réputée pour ses nombreuses critiques de l'impérialisme britannique, et sa détermination à combattre les multiples formes d'hégémonie culturelle qui peuvent en découler. Si ses oeuvres ont rencontré le succès qu'elles méritent, c'est sans doute parce que l'auteur a su faire preuve de militantisme culturel et politique, mais aussi parce qu'elle réinvente sans cesse son identité de femme antillaise exilée, à travers une écriture où se tissent des liens complexes entre l'histoire, l'autobiographie et la ction. Cette ré exion sur le sens de sa propre identité trouve sans doute sa source dans la relation antagoniste entre l'histoire de sa famille et l'histoire coloniale des Antilles. Ce con it débute d'ailleurs dès sa naissance, le 25 mai 1949, à Antigua, où elle a été baptisée du nom d'Elaine Potter Richardson. Consciente de son héritage pluriethnique (sa grand-mère maternelle était d'origine amérindienne, et son grand-père d'origine africaine), la jeune femme ne gardera pas bien longtemps ce nom aux consonances un peu trop européennes à son goût, et choisira de s'appeler Jamaica Kincaid , un nom d'auteur la rapprochant davantage de ses origines caraïbes, et lui permettant d'a rmer sa vocation d'écrivain, malgré l'opposition de ses parents. En quittant son île natale à l'âge dix-sept ans, la future romancière pensait pouvoir laisser derrière elle sa famille et ses amis
International audience ; Exil et colonialisme transaméricains chez Jamaica Kincaid « To be a colonial is to be an exile » George Lamming La romancière caribéenne Jamaica Kincaïd est aujourd'hui réputée pour ses nombreuses critiques de l'impérialisme britannique, et sa détermination à combattre les multiples formes d'hégémonie culturelle qui peuvent en découler. Si ses oeuvres ont rencontré le succès qu'elles méritent, c'est sans doute parce que l'auteur a su faire preuve de militantisme culturel et politique, mais aussi parce qu'elle réinvente sans cesse son identité de femme antillaise exilée, à travers une écriture où se tissent des liens complexes entre l'histoire, l'autobiographie et la ction. Cette ré exion sur le sens de sa propre identité trouve sans doute sa source dans la relation antagoniste entre l'histoire de sa famille et l'histoire coloniale des Antilles. Ce con it débute d'ailleurs dès sa naissance, le 25 mai 1949, à Antigua, où elle a été baptisée du nom d'Elaine Potter Richardson. Consciente de son héritage pluriethnique (sa grand-mère maternelle était d'origine amérindienne, et son grand-père d'origine africaine), la jeune femme ne gardera pas bien longtemps ce nom aux consonances un peu trop européennes à son goût, et choisira de s'appeler Jamaica Kincaid , un nom d'auteur la rapprochant davantage de ses origines caraïbes, et lui permettant d'a rmer sa vocation d'écrivain, malgré l'opposition de ses parents. En quittant son île natale à l'âge dix-sept ans, la future romancière pensait pouvoir laisser derrière elle sa famille et ses amis
Three hundred and twenty years of European colonialism in Suriname have resulted in the presence of large African and South Asian communities in this Caribbean country. Having gained formal independence relatively recently (in 1975), British and Dutch colonial politics have shaped many aspects of its socio-political and cultural life. This paper investigates the extent of and the ways in which processes of racialization of African and South Asian communities have been forged by a racial schema imposed by a system of white supremacy under colonialism. The paper analyses two statues in the capital city of Paramaribo: Kwakoe, which represents the abolition of slavery, which de facto occurred in 1873, and a statue named Baba and Mai, which represents the arrival of South Asian contracted labourers after 1873. Both statues, importantly, omit white Dutch colonial responsibility for the enslavement of African people, and the ongoing oppressive conditions that were operative on the plantations. The argument is made that a wilful obfuscation of Dutch wrongdoing stems from a sustained dynamic of elevating an innocent white Dutch subjectivity which is intricately linked to the subordination of both African and South Asian peoples. These groups, then, are left with both an embodied sense of inferiority, as well as with an inculcated perception of the other group as inferior, which stems from a racializing Dutch politics of divide and conquer. As the category of race and, subsequently, racialization, are largely denounced both in the Netherlands and in Suriname, the paper aims to re-centre race as a fundamental social marker.
This volume is a manifestation of the continuing interest of scholars at the University of Michigan in Philippine studies. Written by a generation of post-colonial scholars, it attempts to unravel some of the historical problems of the colonial era. Again and again the authors focus on the relationship of the ilustrados and the Americans, on the problems of continuity and discontinuity, and on the meaning of "modernization" in the Philippine context. As part of the Vietnam generation, these authors have looked at American imperialism with a new perspective, and yet their analysis is tempered, not strident, and reflective, not dogmatic. Perhaps the most central theme to emerge is the depth of the contradiction inherent in the American colonial experiment.
Indian Diaspora has never been acknowledged and been neglected in India's cultural diplomacy for long period of time but their contribution and immense leverage in local communities and government has been recognised in recent years and the Indian Government has taken some measures to link with the diaspora and make them partners in India's growth and part of International relation. Diaspora Diplomacy plays a crucial role in the foreign policy and in increase economic, political and defense cooperation between different countries. Indian communities are spread across the global in 6 continents and 125 countries, Indian Diaspora is categorized into old, new and gulf Diaspora according to their labour characteristics. The success of Indian entrepreneurs, scientist, academics, media personalities, filmmakers, IT professionals, CEOs in the US has created trust in India's intellectual abilities abroad. It has been a major source in branding India as a source of well-educated and hard working professionals. Ethnic Indians particularly in New Diaspora countries have become known for their economic, professional academic, scientific and artistic successes and general peaceful integration. The government of India has taken many initiatives for their betterment and organize various programmes for being the India Diaspora close to their host country and also to resolve the issues and challenges faced by the government from the Indian Diaspora.
Viewing capitalism as emerging primarily from within the framework of empire rather than the nation state, this essay considers the relationship between capital, conversion, and settler colonialism in Samuel Butler's Erewhon, or Over the Range (1872). It looks, first, at the novel's critique of Wakefieldian organized settlement schemes as systems sustained by various forms of capital accumulation and free/unfree labour; and second, at its over-arching evangelical conversion narrative, which both frames and structures the main body of the text. The essay argues that, far from directing its satire wholly or even primarily towards metropolitan Britain, the novel enacts two circulating mid-nineteenth-century settler colonial anxieties: concerns about a perceived crisis of diminishing industriousness and economic exhaustion in colonial Australia and New Zealand, and concerns about the efficacy of British humanitarianism and missionary conversion. It considers the former in the context of the disruptions to settlement caused by the gold rushes in Australia and New Zealand in the 1850s and 1860s, and the latter in the context of missionary and humanitarian efforts to ameliorate conditions for Indigenous peoples from the 1830s onwards. The essay's larger claim is that Erewhon presents capital and conversion as structurally interconnected mechanisms of an evolving Anglo-settler state in New Zealand. Radicalizing a tradition of economic critique of empire beginning with Adam Smith, Butler satirizes the idea of colonialism as an essentially liberal system by showing how much it is intertwined with exploitative practices of territorial expansion, dispossession, capital accumulation, unfree labour, missionary conversion, and racial assimilation. ; European Commission Horizon 2020
This paper addresses ideas about documentary which have emerged in response to the recent documentary turn in contemporary art. In particular I address claims made in in the writings of Okwui Enwezor (2008) and T.J Demos (2013) regarding the use of holes and absences, or blindspots, as a way of articulating a distance from documentary's false social consciousness or as a means to articulate absence or invisibility, states of dislocation, insecurity and exclusion. I bring these readings into dialogue with older ideas regarding absence and blindspots: namely, Malek Alloula's 1981 critique of colonial photographers who were working in Algeria in the early decades of the twentieth century, and ideas regarding negative space that circulated in modernist art education. Alloula wrote that, for the photographer excluded from the world of Algerian women, "The whiteness of the veil becomes the symbolic equivalent of blindness: a leukoma, a white speck on the eye of the photographer and on his viewfinder." (Alloula 1981, 7) In other words, the veiled woman was, for the colonial gaze, a hole in vision, intolerable because she forced an acknowledgement of the limits of colonial knowledge and of the photographic gaze. However, this association of seeing and knowing was characteristic of a positivist understanding of photography that was being challenged by modern physics and by modernism in art. A conception of space as concrete, active and subjectively experienced was rooted in the late nineteenth-century and early twentieth century in physics. Physicists such as Poincaré, Mach and Einstein understood space as dependent on the observer (Kern 1983). Such ideas challenged ideas of an objective reality, "out there" and able to be captured: the version of positivism which has tended to be associated with the photograph as document and with early documentary. At the same time, modernist art education taught students to pay attention not to the subject but to the spaces in-between, to look through the holes and gaps made by buildings, a crooked elbow, or objects on a table, and to represent, not objects but this negative space. A concern with the voids between volumes came to the fore in the work of Cézanne, in Cubism, in Futurist sculpture, and in constructivist design and typography during the early 1920s. In modernism, there was no such thing as an empty void, or volume. Once the handheld camera was available, the photographer too was able to express this new sense of subjective, heterogenous and concrete space. By the 1940s, "negative space" was a staple of the formalist vocabulary. High-modernist formalism is usually understood as a depoliticising tendency in art and art criticism, and as particularly problematic in documentary photography. Nevertheless, I want to argue that this modernist conception of negative space facilitated a new kind of attention: not to that which overtly foregrounded itself as subject, but to background, environment, to edges. Today in contemporary art, "holes" are understood as a means to negotiate the false objectivity of documentary and for registering "bare life" as part of a Left politics of this image. I trace this representational strategy to its unlikely origins in formalism. Negative space offered new means to represent invisibility, to show absence without forcing it into presence, to figure the withdrawal from representation.
I spent three weeks in July and August conducting research for my dissertation at Burke Library at Union Theological Seminary. My dissertation explores German conceptions of space and race in today's mainland Tanzania at the outset of German colonization there. For many people living in German East Africa, missionaries were there primary contact with the European presence. Missionaries, both Protestant and Catholic, became imbricated in local social and political networks. Missionary publications and reports are therefore the best source for learning about local societies, at least for the first decade of German colonization
