Pub Date : 2022-01-10DOI: 10.1080/21674736.2021.2014727
W. Griswold
in South Africa. Katrak pertinently aligns the interventions and cross incubatory impulse of Pather’s curatorial projects (such as “Infecting the City” in Cape Town) with the performance research fostered by, for instance, the GIPCA (Gordon Institute for performance and Creative Art) “Great Texts/Big Questions” events which bring together scholars and artists from various fields. In Chapter 5, “A New Kind of Performance—Curation of Live Artists,” Katrak shares the abundance generated in the conception and creativity that Pather mentors on these performance platforms. Key to Pather’s vision for Live Art and Public Art is the questioning of the reception of performance events. For him, these performance insertions are about “unlocking communal spaces and giving ordinary citizens access to extraordinary art” (Pather qtd on 302). This chapter begins to pose urgent questions around what Pather identifies as the “limit of forms” in his essay entitled “The Impossibility of Curating Live Art” (2019)—the “death of the curator” (329). Pather seems poised to re-animate “new directions” for Live Art or to keep instilling a turbulence for change, captured in his words, “the curation of anarchy or crisis is a contradiction in terms” (Pather qtd on 325). This text invites the reader to absorb both the mysterious and magical aspects of Pather’s vision; to conjure up stirring practices of freedom both in the name of and in resistance to somatic thresholds that continue to retain an ambiguous presence which becomes visible, not only in performance art, but also in the lived power struggles that are enacted daily on bodies in a still revolting South Africa.
在南非。Katrak有针对性地将Pather策展项目(如开普敦的“感染城市”)的干预和交叉孵化冲动与GIPCA(戈登表演和创意艺术研究所)的“伟大文本/大问题”活动所促进的行为研究结合起来，这些活动汇集了来自不同领域的学者和艺术家。在第五章“现场艺术家的一种新的表演策展”中，Katrak分享了在这些表演平台上，父亲指导的概念和创造力所产生的丰富。帕瑟对现场艺术和公共艺术的看法的关键是对表演事件的接受的质疑。对他来说，这些表演插入是关于“打开公共空间，让普通公民获得非凡的艺术”(Pather qtd on 302)。这一章开始围绕着帕瑟在他题为“策展现场艺术的不可能性”(2019)的文章中所认定的“形式的极限”——“策展人的死亡”(329)——提出紧迫的问题。帕瑟似乎准备重新激活现场艺术的“新方向”，或者继续灌输变革的动荡，用他的话来说，“无政府状态或危机的策展是一种矛盾”(帕瑟qtd on 325)。这篇文章邀请读者吸收父亲的愿景的神秘和神奇的方面;以身体门槛的名义和抵抗的名义，召唤出激动人心的自由实践，这些门槛继续保留着一种模糊的存在，这种存在不仅在行为艺术中可见，而且在仍然令人反感的南非，每天在身体上进行的生活权力斗争中也可见。
{"title":"Imagined states: law and literature in Nigeria, 1900 – 1966","authors":"W. Griswold","doi":"10.1080/21674736.2021.2014727","DOIUrl":"https://doi.org/10.1080/21674736.2021.2014727","url":null,"abstract":"in South Africa. Katrak pertinently aligns the interventions and cross incubatory impulse of Pather’s curatorial projects (such as “Infecting the City” in Cape Town) with the performance research fostered by, for instance, the GIPCA (Gordon Institute for performance and Creative Art) “Great Texts/Big Questions” events which bring together scholars and artists from various fields. In Chapter 5, “A New Kind of Performance—Curation of Live Artists,” Katrak shares the abundance generated in the conception and creativity that Pather mentors on these performance platforms. Key to Pather’s vision for Live Art and Public Art is the questioning of the reception of performance events. For him, these performance insertions are about “unlocking communal spaces and giving ordinary citizens access to extraordinary art” (Pather qtd on 302). This chapter begins to pose urgent questions around what Pather identifies as the “limit of forms” in his essay entitled “The Impossibility of Curating Live Art” (2019)—the “death of the curator” (329). Pather seems poised to re-animate “new directions” for Live Art or to keep instilling a turbulence for change, captured in his words, “the curation of anarchy or crisis is a contradiction in terms” (Pather qtd on 325). This text invites the reader to absorb both the mysterious and magical aspects of Pather’s vision; to conjure up stirring practices of freedom both in the name of and in resistance to somatic thresholds that continue to retain an ambiguous presence which becomes visible, not only in performance art, but also in the lived power struggles that are enacted daily on bodies in a still revolting South Africa.","PeriodicalId":116895,"journal":{"name":"Journal of the African Literature Association","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123567037","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-10DOI: 10.1080/21674736.2021.2016251
Catherine Gilbert
{"title":"Not My Time to Die: A Testimony, by Yolande Mukagasana with Patrick May. Translated by Zoe Norridge.","authors":"Catherine Gilbert","doi":"10.1080/21674736.2021.2016251","DOIUrl":"https://doi.org/10.1080/21674736.2021.2016251","url":null,"abstract":"","PeriodicalId":116895,"journal":{"name":"Journal of the African Literature Association","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126818012","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-04DOI: 10.1080/21674736.2021.2016247
Anna Katila
{"title":"From Surviving to Living: Voice, Trauma and Witness in Rwandan Women’s Writing","authors":"Anna Katila","doi":"10.1080/21674736.2021.2016247","DOIUrl":"https://doi.org/10.1080/21674736.2021.2016247","url":null,"abstract":"","PeriodicalId":116895,"journal":{"name":"Journal of the African Literature Association","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131217047","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-04DOI: 10.1080/21674736.2021.2014728
Kelsey Flint-Martin
{"title":"African women writing diaspora: transnational perspectives in the twenty-first century","authors":"Kelsey Flint-Martin","doi":"10.1080/21674736.2021.2014728","DOIUrl":"https://doi.org/10.1080/21674736.2021.2014728","url":null,"abstract":"","PeriodicalId":116895,"journal":{"name":"Journal of the African Literature Association","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133744566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/21674736.2022.2037284
Moradewun Adejunmobi
1. But, despite its potentially disorderly features, Dawa understands pleasure as a principal contributing element to the individual’s plenitude. Consequently, he gives Sarraounia the latitude to experience it through men because “A nankhi hi bolo gnan nangbè, fara folo fin néyé” ([They will be your tools for pastime, for unwinding your body] my translation). This conceptualization resonates with the platonic thought in Philebus according to which pleasure—the good one—works to restore a state of balance. 2. The notion of comparison in Comparative Literature is a fraught one. For more on this, see Melas (2006). 3. Karim Sagna, Siba Nzatioula Grovogui, Chérif Keïta, Agnieszka Kedzierska-Manzon, Jean Dérive, and Lucy Durán. My gratitude goes to all these scholars for their intellectual generosity. 4. Chérif Keïta also acknowledges that some Mande dialects, including mine, call honey “li.” But he does not believe that the term ever served as the stem for “díya.”
1. 但是，尽管它具有潜在的无序特征，达瓦认为快乐是个人充实的主要贡献因素。因此，他给了萨拉乌尼亚通过男人来体验它的自由，因为“A nankhi hi bolo gnan nangbè， fara folo fin n”(他们将是你消遣的工具，放松你身体的工具)。这一概念与菲利伯斯的柏拉图思想产生了共鸣，根据柏拉图思想，快乐——好的快乐——可以恢复平衡状态。2. 比较文学中的比较概念是一个令人担忧的概念。有关这方面的更多信息，请参阅Melas(2006)。3.Karim Sagna, Siba Nzatioula Grovogui, chsamrif Keïta, Agnieszka Kedzierska-Manzon, Jean dsamrive和Lucy Durán。我要感谢所有这些学者在知识上的慷慨。4. chsamrif Keïta也承认一些曼德方言，包括我的方言，称蜂蜜为“li”。但他不认为这个词曾经是“díya”的词干。
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Pub Date : 2022-01-02DOI: 10.1080/21674736.2022.2034099
Devin Bryson
Abstract Senegalese writer, scholar, and public intellectual Felwine Sarr has risen in international prominence over the last decade due to his contributions to a wide range of interdisciplinary, public projects of social engagement towards African global equity. This article considers these projects in light of Sarr’s disciplinary origins as an economist and his early transdisciplinary forays into literature. I argue that Sarr’s first three literary works – Dahij (2009), 105 rue Carnot (2011), and Méditations africaines (2012) – subtly interweave economic analysis with representations of African subjectivity and relationality. I show that Sarr’s early literary work critiques the existing global systems of values, symbols, and narratives that have always constructed Africa as a site of crisis, impoverishment, and exploitation. They then center intimate humanistic concerns as dissenting acts against global capitalist ideologies. This analysis shows Sarr’s literature to be emblematic of contemporary reconfigurations of African literary engagement.
塞内加尔作家、学者和公共知识分子费尔温·萨尔(Felwine Sarr)在过去十年中因其对非洲全球公平社会参与的广泛跨学科公共项目的贡献而在国际上崭露头角。本文根据萨尔作为经济学家的学科起源和他早期对文学的跨学科尝试来考虑这些项目。我认为萨尔的前三部文学作品——《Dahij》(2009年)、《105 rue Carnot》(2011年)和《msamdatitations africaines》(2012年)——巧妙地将经济分析与非洲主体性和关系的表现交织在一起。我指出，萨尔的早期文学作品批判了现有的全球价值观、符号和叙事体系，这些体系总是把非洲构建成一个充满危机、贫困和剥削的地方。然后，他们将亲密的人文关怀作为反对全球资本主义意识形态的不同行为。这一分析表明，萨尔的文学是当代非洲文学参与重组的象征。
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Pub Date : 2022-01-02DOI: 10.1080/21674736.2022.2037845
Moradewun Adejunmobi
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Pub Date : 2022-01-02DOI: 10.1080/21674736.2022.2037285
Naminata Diabate
In this issue of the Journal of the African Literature Association, we inaugurate a new series titled “Notes from the Field.” This series will provide a space and a forum for engaging with matters that affect how we practice our profession as scholars and teachers. Typically, interventions in the “Notes from the Field” section of the journal will comprise submissions from between two and six scholars on debates and questions worth considering in our line of work. Submissions for this series are expected to be between 3000 and 4000 words maximum. Although these are not typical peer reviewed articles, they must conform to the style and conventions of this journal. The Editor in Chief will from time to time invite colleagues and scholars in African literary and cultural studies to contribute to the series. The inaugural section published in this edition of the journal was based on presentations at a roundtable held at the 2021 ALA annual conference titled “African Literature as African Studies.”
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Pub Date : 2022-01-02DOI: 10.1080/21674736.2022.2026149
S. Lewis
Abstract Over the last fifty or sixty years, Nelson Mandela has almost certainly been the most frequently mentioned public figure in South African poetry. As with the “shape-shifting quality” (Barnard 5) of his political iconicity, so his representation in poetry has varied over time. More often than not, the meaning of “Mandela” in any given poem tells us as much about the poet’s attitudes as about Mandela the (once-)living man, but the sheer frequency of the references attests to his unique stature. This essay illustrates the range of meanings ascribed to Mandela by poets from the 1960s to the present day: the stoic embodiment of resistance during his imprisonment, the messianic figure leading his people to freedom in 1990, the potentially compromised/compromising politician following his release, and finally the revered elder trapped by his own iconicity and weighed down by the burden of public (over-)expectation. The essay concludes by suggesting that Mandela’s name will continue to be invoked in the future as a kind of touchstone of personal character, political probity, and national promise.
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Pub Date : 2021-12-09DOI: 10.1080/21674736.2021.2004489
H. Yosimbom
Abstract This paper explores the tyranny of normative hedonism in postcolonial Cameroon literature and argues that pleasure-seeking is tyrannical when the master’s pleasure translates into the marginalization of the subaltern population. It borrows critical perspectives from Achille Mbembe’s notion of the chaotic plurality of the postcolony. It contends that normative hedonism is a pervasive feature of Cameroonian anti-dictatorial literature. It focuses on Francis Nyamnjoh’s The Travail of Dieudonné, A Nose for Money, and Married but Available. The story in all the novels is set in the fictional land of Mimbo, ruled by a power-drunk elite, characterized by political corruption, kleptomania, and sexual excess, discussed here as examples of tyrannical normative hedonism. In Mimboland, the pleasures of power and the pain of domination are multidirectional and status-less. Reading these texts from this perspective allows the reader to explore the links between power and tyrannical pleasure-seeking as well as powerlessness.
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