“Let Black Girls Be”: The (Insta)poetry of Upile Chisala and its resistance to coloniality of being

IF 0.7 4区 文学 Q3 CULTURAL STUDIES European Journal of English Studies Pub Date : 2023-01-02 DOI:10.1080/13825577.2023.2200431
Bella Boqo
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Abstract

ABSTRACT The production and circulation of poetry on social media has gained critical attention over the past decade. Known popularly as Instapoetry, this digital literary phenomenon has been celebrated in the Global North for increased printed poetry sales and changing readership patterns. Little has been written about Instapoetry from the Global South despite its popularity amongst black women readers and sharers, especially in South Africa. By offering a Southern analysis of the poetry and Instagram profile of Malawian storyteller and instapoet Upile Chisala, grounded in decolonial theory, this paper suggests that the oft-cited criticism against Instapoetry as “not poetry” fails to acknowledge its location on “the other side of the line.” Chisala’s poetry is an example of post-abyssality: it draws attention to the abyssal line and seeks to overcome it. The paper argues that Chisala’s call to voice and self-love is a “re-humaning” ethic that is useful for challenging coloniality of being. Her poetry therefore contributes to reimagining the being of black women and girls.
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“让黑人女孩成为”:Upile Chisala的(Insta)诗歌及其对存在殖民主义的抵抗
摘要在过去的十年里,诗歌在社交媒体上的制作和传播受到了评论界的关注。这种数字文学现象被普遍称为Instapo诗,因印刷诗歌销量的增加和读者模式的改变而在全球北方受到赞誉。尽管Instapoetics在黑人女性读者和分享者中很受欢迎,尤其是在南非,但关于它的报道却很少。本文以非殖民化理论为基础,对马拉维说书人和即时通讯诗人Upile Chisala的诗歌和Instagram个人资料进行了南方分析,表明经常被引用的对Instapo诗“不是诗歌”的批评并没有承认其在“另一边”的位置。奇萨拉的诗歌是后深渊的一个例子:它引起了人们对深渊线的关注,并试图克服它。论文认为,奇萨拉对声音和自爱的呼吁是一种“重新人性化”的伦理,有助于挑战存在的殖民性。因此,她的诗歌有助于重新想象黑人妇女和女孩的存在。
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CiteScore
1.00
自引率
20.00%
发文量
17
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