{"title":"Immigrant Narratives: Orientalism and Cultural Translation in Arab American and Arab British Literature by Waïl S. Hassan","authors":"Atef Laouyene","doi":"10.5860/choice.49-4314","DOIUrl":"https://doi.org/10.5860/choice.49-4314","url":null,"abstract":"","PeriodicalId":415369,"journal":{"name":"Postcolonial Text","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123837767","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}
{"title":"”The Original Explosion that Created Worlds”: Essays on Werewere Liking's Art and Writings","authors":"A. Toivanen","doi":"10.5860/choice.48-4317","DOIUrl":"https://doi.org/10.5860/choice.48-4317","url":null,"abstract":"","PeriodicalId":415369,"journal":{"name":"Postcolonial Text","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130890676","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}
{"title":"Detective Fiction in a Postcolonial and Transnational World","authors":"C. Dony","doi":"10.4324/9781315576794","DOIUrl":"https://doi.org/10.4324/9781315576794","url":null,"abstract":"","PeriodicalId":415369,"journal":{"name":"Postcolonial Text","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126669724","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 : 2007-08-09DOI: 10.5040/9781501311680.ch-036
Onookome Okome
Nollywood on the Rise Nollywood, the cinematic phenomenon that was inaugurated in Lagos, has known an unprecedented measure of success in its homeland, Nigeria. It is beginning to make its mark outside this home turf. Since the year 2000, it has gone from one international Film Festival to the other, and the gain it has made in these years has been consistent. In 2002, this author was invited to the second edition of the Festival of African and Caribbean Film, which was held in Barbados. Tunde Kelani, the veteran camera man and producer, who is also one of the icons of Nollywood, was also invited to present one of his video films, Thunderbolt. Jane Bryce, one of the organizers of this Festival, was clearly excited to formally introduce Nollywood to the audience of the island nation of Barbados for the first time. Bryce’s introduction of Nollywood to this audience rephrased what is now “common talk” in the scholarship of the video film to date. It did so from a critical and serious manner, pointing not only to the uniqueness of this medium in the visual culture of Africa but also in the world cinematic expression as a whole. Bryce’s take on Nollywood as an art and industry shows how and why Nollywood compels attention from those outside its field of operation and cultural vision, not that the industry cares for any attention from the outside. In fact, one of the characteristics that marks Nollywood as an autonomous local cinematic expression is that it looks inward and not outward, and one can accurately argue that it does so in all aspects of the production and organization of its operation. Bryce also made the point about the difference between Nollywood and the Francophone cinema of French West Africa that was the touch-bearer of what was known as the African cinema before the emergence of Nollywood. Indeed, as Bryce notes, Nollywood does not “have the opportunities for training and production financing” of Francophone cinema and does not “go to the biennial Pan-African Film Festival (FESPACO) in Burkina Faso.” Yet, it is remarkable in very radical ways. As a result of this success, Nollywood has been able to circumvent the problems that African Francophone filmmakers whine about and has done so successfully in the last twenty years or so. It has moved the discourse of cinematic representation away from the blame game that is obvious and somewhat compellingly
{"title":"Nollywood: Spectatorship, Audience and the Sites of Consumption","authors":"Onookome Okome","doi":"10.5040/9781501311680.ch-036","DOIUrl":"https://doi.org/10.5040/9781501311680.ch-036","url":null,"abstract":"Nollywood on the Rise Nollywood, the cinematic phenomenon that was inaugurated in Lagos, has known an unprecedented measure of success in its homeland, Nigeria. It is beginning to make its mark outside this home turf. Since the year 2000, it has gone from one international Film Festival to the other, and the gain it has made in these years has been consistent. In 2002, this author was invited to the second edition of the Festival of African and Caribbean Film, which was held in Barbados. Tunde Kelani, the veteran camera man and producer, who is also one of the icons of Nollywood, was also invited to present one of his video films, Thunderbolt. Jane Bryce, one of the organizers of this Festival, was clearly excited to formally introduce Nollywood to the audience of the island nation of Barbados for the first time. Bryce’s introduction of Nollywood to this audience rephrased what is now “common talk” in the scholarship of the video film to date. It did so from a critical and serious manner, pointing not only to the uniqueness of this medium in the visual culture of Africa but also in the world cinematic expression as a whole. Bryce’s take on Nollywood as an art and industry shows how and why Nollywood compels attention from those outside its field of operation and cultural vision, not that the industry cares for any attention from the outside. In fact, one of the characteristics that marks Nollywood as an autonomous local cinematic expression is that it looks inward and not outward, and one can accurately argue that it does so in all aspects of the production and organization of its operation. Bryce also made the point about the difference between Nollywood and the Francophone cinema of French West Africa that was the touch-bearer of what was known as the African cinema before the emergence of Nollywood. Indeed, as Bryce notes, Nollywood does not “have the opportunities for training and production financing” of Francophone cinema and does not “go to the biennial Pan-African Film Festival (FESPACO) in Burkina Faso.” Yet, it is remarkable in very radical ways. As a result of this success, Nollywood has been able to circumvent the problems that African Francophone filmmakers whine about and has done so successfully in the last twenty years or so. It has moved the discourse of cinematic representation away from the blame game that is obvious and somewhat compellingly","PeriodicalId":415369,"journal":{"name":"Postcolonial Text","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2007-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129934373","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 : 2006-04-25DOI: 10.5040/9781501353482.ch-015
K. Campbell
This paper examnies the transformative nature of sexuality in Faizal Deen's poetry collection, LAND WITHOUT CHOCOLATE. The paper argues that sexuality is an integral part of the creative, stable, postcolonial identity the narrator is attempting to articulate. That sexuality, and the narrator's identity, are examined and transformed within the map topos, as they move from representations of static boundaries into more fluid spaces, represented by poetry and jazz.
{"title":"Maps of desire","authors":"K. Campbell","doi":"10.5040/9781501353482.ch-015","DOIUrl":"https://doi.org/10.5040/9781501353482.ch-015","url":null,"abstract":"This paper examnies the transformative nature of sexuality in Faizal Deen's poetry collection, LAND WITHOUT CHOCOLATE. The paper argues that sexuality is an integral part of the creative, stable, postcolonial identity the narrator is attempting to articulate. That sexuality, and the narrator's identity, are examined and transformed within the map topos, as they move from representations of static boundaries into more fluid spaces, represented by poetry and jazz.","PeriodicalId":415369,"journal":{"name":"Postcolonial Text","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2006-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114528919","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}
{"title":"The Postcolonial Condition: A Few Notes on the Quality of Historical Time in the Global Present","authors":"Sandro Mezzadra, F. Rahola","doi":"10.1057/9781137435934_3","DOIUrl":"https://doi.org/10.1057/9781137435934_3","url":null,"abstract":"","PeriodicalId":415369,"journal":{"name":"Postcolonial Text","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2005-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133852634","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}
In the context of British Asian theatre and the search for a diasporic theatre aesthetics the practice of adaptation has emerged as a recurring feature. Over the last decades, British Asian theatre has sought to create a language of the theatre that can reflect the cultural heritage of Asians in Britain; this search has taken different directions testified also by the plurality of voices that today make up British Asian theatre and has responded to the need to challenge the conceptual binary of British and Asian, aiming to affirm South Asian culture on the stage as an integral part of British culture. Adaptation also plays a role in highlighting the dialectic between local and the global particularly in those cases where regions of Britain such as the Northwest of England can be recreated on stage as South Asian British cultural spaces. After tracing Tara Arts’s pioneering journey from adaptation to tradaptation, we will examine two British Asian plays that are adaptations of English plays which belong to a tradition of playwriting located in the social and cultural life of the Northwest of England and which are given a new life or an afterlife in translations.
{"title":"Glocal Routes in British Asian Drama: Between Adaptation and Tradaptation","authors":"G. Buonanno, Victoria Sams, C. Schlote","doi":"10.5167/UZH-59486","DOIUrl":"https://doi.org/10.5167/UZH-59486","url":null,"abstract":"In the context of British Asian theatre and the search for a diasporic theatre aesthetics the practice of adaptation has emerged as a recurring feature. Over the last decades, British Asian theatre has sought to create a language of the theatre that can reflect the cultural heritage of Asians in Britain; this search has taken different directions testified also by the plurality of voices that today make up British Asian theatre and has responded to the need to challenge the conceptual binary of British and Asian, aiming to affirm South Asian culture on the stage as an integral part of British culture. Adaptation also plays a role in highlighting the dialectic between local and the global particularly in those cases where regions of Britain such as the Northwest of England can be recreated on stage as South Asian British cultural spaces. After tracing Tara Arts’s pioneering journey from adaptation to tradaptation, we will examine two British Asian plays that are adaptations of English plays which belong to a tradition of playwriting located in the social and cultural life of the Northwest of England and which are given a new life or an afterlife in translations.","PeriodicalId":415369,"journal":{"name":"Postcolonial Text","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121332815","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}
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