Pub Date : 2022-04-05DOI: 10.1080/1369801X.2022.2054004
D. Bouchard
Recently, many authors have dismissed critical frameworks such as the postcolonial as inadequate for confronting the humanity-imperiling problems of the Anthropocene. But this dismissal is itself a reiteration of the racist and indeed genocidal logics so thoroughly critiqued within postcolonial and allied anticolonial frameworks. This essay thus revisits two films made before the rise of Anthropocene discourse, which exemplify the kind of work that has long understood the perils to humanity of a colonial world order: Kidlat Tahimik’s Mababangong Bangungot (Philippines 1977) and Souleymane Cissé’s Yeelen (Mali 1987). I break with the tendency to understand these films’ aesthetic features largely in relation to the local cultural forms and practices they portray. Rather, I consider how they engage the aesthetic toward an anticolonial critique of contemporary geopolitics, namely, by offering analyses of development and nuclear colonialism, both central to post-World War II modes of imperial governance. These films offer the kind of critical engagement with colonialist, genocidal, and racist conceptions of humanity which the framework of the Anthropocene has largely been unable to provide.
{"title":"The Limits of the Anthropocene: Anticolonial Humanity in Kidlat Tahimik’s Mababangong Bangungot and Souleymane Cissé’s Yeelen","authors":"D. Bouchard","doi":"10.1080/1369801X.2022.2054004","DOIUrl":"https://doi.org/10.1080/1369801X.2022.2054004","url":null,"abstract":"Recently, many authors have dismissed critical frameworks such as the postcolonial as inadequate for confronting the humanity-imperiling problems of the Anthropocene. But this dismissal is itself a reiteration of the racist and indeed genocidal logics so thoroughly critiqued within postcolonial and allied anticolonial frameworks. This essay thus revisits two films made before the rise of Anthropocene discourse, which exemplify the kind of work that has long understood the perils to humanity of a colonial world order: Kidlat Tahimik’s Mababangong Bangungot (Philippines 1977) and Souleymane Cissé’s Yeelen (Mali 1987). I break with the tendency to understand these films’ aesthetic features largely in relation to the local cultural forms and practices they portray. Rather, I consider how they engage the aesthetic toward an anticolonial critique of contemporary geopolitics, namely, by offering analyses of development and nuclear colonialism, both central to post-World War II modes of imperial governance. These films offer the kind of critical engagement with colonialist, genocidal, and racist conceptions of humanity which the framework of the Anthropocene has largely been unable to provide.","PeriodicalId":19001,"journal":{"name":"Molecular interventions","volume":"26 1","pages":"1161 - 1176"},"PeriodicalIF":0.0,"publicationDate":"2022-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83090953","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 : 2022-04-05DOI: 10.1080/1369801X.2022.2054014
M. Kennedy
Refugees and wealth refuges are two sides of the same coin by which global human and financial inequality, illegality and injustice find their most extreme expressions. At opposite ends of the spectrum, both embodied humans and disembodied wealth are stateless, untouchable, out of sight, and exist outside of the experience and understanding of most people. Journalism is an important mechanism to expose and criticise the social, legal and political frameworks that allow and encourage these discourses of silence. This essay analyses the impulse to reveal, divulge and shock, and its potential to change public perception, laws and policies through aesthetic representation as resistance in Behrouz Boochani’s journalistic refugee memoir, No Friend but the Mountains (2018), and in investigative financial journalism that exposes offshore wealth havens by Oliver Bullough, Moneyland (2018) and Nicholas Shaxson, Treasure Islands (2011).
{"title":"Exposing Islands of Refuge","authors":"M. Kennedy","doi":"10.1080/1369801X.2022.2054014","DOIUrl":"https://doi.org/10.1080/1369801X.2022.2054014","url":null,"abstract":"Refugees and wealth refuges are two sides of the same coin by which global human and financial inequality, illegality and injustice find their most extreme expressions. At opposite ends of the spectrum, both embodied humans and disembodied wealth are stateless, untouchable, out of sight, and exist outside of the experience and understanding of most people. Journalism is an important mechanism to expose and criticise the social, legal and political frameworks that allow and encourage these discourses of silence. This essay analyses the impulse to reveal, divulge and shock, and its potential to change public perception, laws and policies through aesthetic representation as resistance in Behrouz Boochani’s journalistic refugee memoir, No Friend but the Mountains (2018), and in investigative financial journalism that exposes offshore wealth havens by Oliver Bullough, Moneyland (2018) and Nicholas Shaxson, Treasure Islands (2011).","PeriodicalId":19001,"journal":{"name":"Molecular interventions","volume":"208 1","pages":"64 - 80"},"PeriodicalIF":0.0,"publicationDate":"2022-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76099433","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 : 2022-04-03DOI: 10.1080/1369801X.2021.2015711
Isabel Hofmeyr, Charne Lavery, S. Nuttall
This introduction provides a wide-ranging framing for a set of essays that explores the topic “Reading for Water” in southern African literature. The introduction begins by demonstrating this method through snapshots of three seminal South African novels: Marlene van Niekerk’s Agaat (2006), A. C. Jordan’s The Wrath of the Ancestors (1980) and J. M. Coetzee’s Life & Times of Michael K (1983). This is followed by a discussion of Sarah Nuttall’s essay on Namwali Serpell’s The Old Drift, which establishes the framework for the essays that follow. These are discussed under four sections: Hydro-infrastructures, Multi-spirited Water, Bodies of Water and Wet Ontologies, and New Genealogies, New Chronotopes.
本引言为一系列探讨南部非洲文学中“为水而读”主题的文章提供了一个广泛的框架。本文首先通过对三部影响重大的南非小说——玛琳·范·尼克尔克的《阿加特》(2006)、a·c·乔丹的《祖先的愤怒》(1980)和j·m·库切的《迈克尔·K的生活与时代》(1983)——的简要介绍来展示这种方法。接下来是对Sarah Nuttall关于Namwali Serpell的《The Old Drift》的文章的讨论，这篇文章为接下来的文章建立了框架。这些内容分为四个部分进行讨论:水利基础设施、多精神水、水体和湿本体论、新谱系、新时空。
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Pub Date : 2022-04-03DOI: 10.1080/1369801X.2022.2054006
L. McGinnis
The Black Lives Matter movement has delivered a timely reminder of the colonial narratives underpinning commemorative statuary in the public sphere. Crucial to this renewed scrutiny of public memorialization is a consideration of the intersection of political and historical narratives with systems of oppression such as gender and race. This essay explores the gendering of colonial and anticolonial commemorative statuary on display in the French Caribbean islands of Martinique and Guadeloupe. As overseas departments of France, these islands remain politically, administratively and economically tied to their former colonizer. The essay traces the evolution in Antillean memorialization from the glorification of the white male colonizer or abolitionist to the celebration of slave resistance through the figure of the maroon. It examines a range of public artworks dating from 1904 to 2002, questioning the extent to which these memorials, whether commemorating colonial history, abolitionist rhetoric or anticolonial resistance, uphold “great men of history” narratives. The essay explores the subversion of classical representations of colonial and abolitionist figures through the vandalism and destruction of a number of statues of abolitionist Victor Schoelcher. It examines the masculine iconography of resistance, often premised on the radical appropriation of classicist forms to celebrate male resistors, while women and their roles in anticolonial struggle are commonly obscured or depicted in ways which uphold dominant racial narratives and gender stereotypes. Finally, the essay explores the subversive anticolonial forms employed in several recent installations, which move beyond mimetic depictions of the male body to showcase elements usually excluded from representation, including the grotesque, disfigured or wounded body, or to eschew portrayals of the (gendered and racialized) body altogether. These works point to more inclusive ways of portraying not only resistance to colonialism, but also the suffering and the collective humanity of enslaved peoples.
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Pub Date : 2022-04-03DOI: 10.1080/1369801X.2022.2054011
Paloma Fresno-Calleja
This essay focuses on the YA paranormal romance series Telesā by Samoan writer Lani Wendt Young to discuss how the author repurposes generic conventions to portray island identities and material realities as nuanced and complex. This is accomplished by revising three key island tropes prevalent in western popular narratives about the Pacific: the island as a lush and exotic paradise, the island as a place of sexual freedom, and the island as a site of danger and adventure. The novels create a culturally specific fantasy world which amplifies the scope of popular fiction and is also capable of implementing a postcolonial, feminist and ecocritical agenda, offering discussions of gender violence, neocolonialism and the impact of climate change in the region.
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Pub Date : 2022-04-03DOI: 10.1080/1369801X.2021.2015702
Nafisa Essop Sheik
This essay challenges the historiography of indenture in South Africa for its focus on land and schemas of belonging, which do not attend sufficiently to the opacity and fluidity that crossing the Kala Pani entailed. Crossing of the “opaque” ocean invited the re-invention for lower and middle-class indentees, literally inserting them into different life-worlds. The Kala Pani had the effect of a magician’s black box, a space for transfiguration, of aspiration and mobility outside of the terrestrial strictures of castes ordained by birth and maintained by village communities. If one were to centre analyses that focus on this oceanic crossing and its transformations of self and other, rather than its elision, this would necessitate a literary focus on individual stories of indenture, where the idiosyncratic transformations exist alongside the more familiar narratives of community. In this vein, the last part of the essay suggests a reading of Aziz Hassim’s book Revenge of Kali (2009) as a potentially revelatory form, to which pluviality and its cultural histories are central.
这篇文章对南非契约史学提出了挑战，因为它关注的是土地和归属模式，而没有充分关注跨越卡拉帕尼河所带来的不透明性和流动性。穿越“不透明”的海洋，为中低阶层的受难者带来了重新创造，将他们真正地插入了不同的生活世界。卡拉帕尼有魔术师的黑盒子的效果，一个变形的空间，一个渴望和流动的空间，超出了由出生决定并由村庄社区维持的世俗种姓的限制。如果一个人把分析的焦点集中在这次跨越大洋以及它对自我和他人的转变上，而不是它的省略上，这就需要把文学的重点放在契约的个人故事上，在那里，特殊的转变与更熟悉的社区叙事一起存在。本着这种思路，文章的最后一部分建议阅读阿齐兹·哈西姆(Aziz Hassim)的《卡莉的复仇》(Revenge of Kali, 2009)，这是一种潜在的启示性形式，其中雨淋及其文化历史是核心。
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Pub Date : 2022-03-28DOI: 10.1080/1369801X.2022.2054010
M. Kennedy, Paloma Fresno Calleja
This introduction to our special issue “Island Narratives of Persistence and Resistance” focuses on the ongoing proliferation of neocolonial, neoimperial and neoliberal constructions of the island in western and continental texts and discourses. It discusses the double and paradoxical logic of the island trope – which simultaneously suggests confinement and freedom, isolation and connection, over- and underdevelopment, inclusion and exclusion – and the evident material effects that these persistent figurations continue to have on the lives of islanders. It then places the focus on the mechanisms of resistance to these island narratives as exemplified in a range of fiction and non-fiction works from or about various island locations: Singapore, Vanuatu, Samoa, Nauru, Manus Island, the Bahamas, St Lucia, New Zealand, Staten Island, and the island continent of Australia. The essays engage with recognizable tropes and uses of the island: islands of exception and offshores, treasure and trash islands, island fortresses and militarized zones, fantasy and tourist islands.
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Pub Date : 2022-03-28DOI: 10.1080/1369801X.2022.2054012
Helga Ramsey–Kurz
Neoliberal practices of speculation and fabulation are increasingly compromising established notions of truth on the one hand and fiction on the other. As presaged by Fredric Jameson at the end of last century when he defined globalization as the demoralizing and depressing “‘moment of truth’ of postmodernism,” contemporary writers are currently facing a foreclosure upon “imaginable alternatives” to neoliberal capitalism. Fiction, one might argue, is being superseded by the dazzling reality of the phantasmagorical journeys on which today’s financiers send their fictitious capital, by the positively surreal profits made on these journeys, and by the fantastically intricate schemes ensuring that these profits end up as safely hidden treasures in highly exclusive offshore locations. At the same time as writers and critics are grappling with this entrapment, a different notion of beyondness is regaining currency outside the literary field – a notion, once central to those iconic western fantasies of island wealth, which for centuries helped promote European expansionism and popularize an ideology that favoured the competitive acquisition and exclusive ownership of wealth over the collective creation and possession of what would have been seen as “common” wealth. To convey just how varied contemporary reactivations of the colonialist island discourse can be, this essay juxtaposes two radically dissimilar novels: Satin Island by the British writer Tom McCarthy and Crazy Rich Asians by the American writer of Singaporean descent, Kevin Kwan.
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Pub Date : 2022-03-28DOI: 10.1080/1369801X.2022.2054009
Carlos Garrido Castellano, P. Crowley
This essay aims at developing a critical intervention in the politics of time of anticolonial aesthetics. Engaging with recent debates on cultural activism and postcolonial and decolonial studies, our main objective is to examine the ways in which anticolonial cultural analysis and production keeps nurturing contemporary processes of progressive social transformation. We argue that anticolonialism should not be bounded to a specific historical moment (that of postcolonial nation-building); rather, it should be seen as a fertile, radical tradition going beyond the specific event of decolonization and informing utopian and radical futures. The thirteen essays included in this special issue engage with this argument from a wide variety of disciplines, including film studies, art history, literary criticism, and cultural and visual studies.
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Pub Date : 2022-03-28DOI: 10.1080/1369801X.2022.2054005
N. Mirzoeff
This essay explores the formation of the concept “way of seeing” as a configuration of anticolonial thought and practice in the transnational context of Notting Hill in 1950s London, following the racialized violence in 1958 and 1959. In this moment of decolonial transition Barbadian poet and writer George Lamming coined the phrase “way of seeing” in his Pleasures of Exile (1960), a study of the affects and effects of migration in London. The way of seeing was the structure of immigrant feeling in the newly hostile environment. Lamming was reflecting back on his 1951 encounter with Jewish East End poet Emanuel Litvinoff and T.S. Eliot in the new Institute for Contemporary Arts by way of Notting Hill. In seeing the ICA as a neighbor to Notting Hill, Lamming compressed time and space to provide a way for migrants to see how they were seen by looking at the way others like themselves were being seen. Notting Hill was photographed by Roger Mayne (1929-2014), fictionalized by Colin MacInnes and analyzed by Stuart Hall, all within the pages of the founding New Left journal Universities and Left Review. Mayne's photographs depicy Lamming's way of seeing in a series of encounters between Caribbean migrants and British people. It was in such encounters of declining empire, decolonization, the violences of racialization, and diaspora that the anticolonial practice of the “way of seeing” emerged in a set of reflections on seeing, time and space.
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