Cajetan Iheka’s African Ecomedia: Network Forms, Planetary Politics (2021) and his edited collection, Teaching Postcolonial Environmental Literature and Media (2022), importantly privilege—indeed celebrate—non-Western epistemologies at the very forefront of ecocriticism. In the former book, Africa is not “lagging” behind but is modeling sustainability for the future. This is a resourceful continent even in the face of “nonrenewable infrastructures dotting the continent’s environment” (11). Iheka offers a meticulous historical contextualization of Africa’s present economic demise while beautifully answering the question, “Why can’t we be seen?” (African Ecomedia 105). Kisilu Musya, a famer in Julia Dahr’s climate change film Thank You For the Rain (2017), makes this query, which cannot be ignored in a book rich in both its theoretical frameworks and interventions in fields such as African and media studies as well as the energy and environmental humanities. Teaching Postcolonial Environmental Literature and Media advances Iheka’s agenda to make the invisible visible. Ultimately, the various ecomedia employed in Iheka’s works suggest an Anthropocene implicated in global degradation. As users of smartphones and paper, we are the problem as well as the solution to more ethical, postcolonial ecologies.
{"title":"Review essay on African Ecomedia and Teaching Postcolonial Environmental Literature","authors":"Gugu Hlongwane","doi":"10.1017/pli.2022.21","DOIUrl":"https://doi.org/10.1017/pli.2022.21","url":null,"abstract":"Cajetan Iheka’s African Ecomedia: Network Forms, Planetary Politics (2021) and his edited collection, Teaching Postcolonial Environmental Literature and Media (2022), importantly privilege—indeed celebrate—non-Western epistemologies at the very forefront of ecocriticism. In the former book, Africa is not “lagging” behind but is modeling sustainability for the future. This is a resourceful continent even in the face of “nonrenewable infrastructures dotting the continent’s environment” (11). Iheka offers a meticulous historical contextualization of Africa’s present economic demise while beautifully answering the question, “Why can’t we be seen?” (African Ecomedia 105). Kisilu Musya, a famer in Julia Dahr’s climate change film Thank You For the Rain (2017), makes this query, which cannot be ignored in a book rich in both its theoretical frameworks and interventions in fields such as African and media studies as well as the energy and environmental humanities. Teaching Postcolonial Environmental Literature and Media advances Iheka’s agenda to make the invisible visible. Ultimately, the various ecomedia employed in Iheka’s works suggest an Anthropocene implicated in global degradation. As users of smartphones and paper, we are the problem as well as the solution to more ethical, postcolonial ecologies.","PeriodicalId":42913,"journal":{"name":"Cambridge Journal of Postcolonial Literary Inquiry","volume":"9 1","pages":"435 - 438"},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49232130","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Digital iterations of African literary texts present scholarly opportunities to interrogate how literature produced and circulated on digital media becomes entangled with the capitalist politics of datafication. In the data paradigm described in the article, literary representations are subject to the workings of neoliberal capital and the constraints of algorithmic systems. Through a postcolonial approach that puts the digital humanities in conversation with African literary studies, the article transcends how digital technologies have evidently changed African literature and tackles the costs of digital literary cultures and networks from Africa. I examine data relations through an African literary culture, which, in the current moment, indisputably exhibits the attainment of new and complex elements including the integration of digital affordances in the production and critical reception of texts. How African literary expressions in a digital age circulate in market-driven digital platforms like Facebook and YouTube makes the subjects of data capitalism or the coloniality of data as important for African literature as the expanded literary networks enabled by the digital.
{"title":"Digital African Literatures and the Coloniality of Data","authors":"James Yékú","doi":"10.1017/pli.2022.19","DOIUrl":"https://doi.org/10.1017/pli.2022.19","url":null,"abstract":"Abstract Digital iterations of African literary texts present scholarly opportunities to interrogate how literature produced and circulated on digital media becomes entangled with the capitalist politics of datafication. In the data paradigm described in the article, literary representations are subject to the workings of neoliberal capital and the constraints of algorithmic systems. Through a postcolonial approach that puts the digital humanities in conversation with African literary studies, the article transcends how digital technologies have evidently changed African literature and tackles the costs of digital literary cultures and networks from Africa. I examine data relations through an African literary culture, which, in the current moment, indisputably exhibits the attainment of new and complex elements including the integration of digital affordances in the production and critical reception of texts. How African literary expressions in a digital age circulate in market-driven digital platforms like Facebook and YouTube makes the subjects of data capitalism or the coloniality of data as important for African literature as the expanded literary networks enabled by the digital.","PeriodicalId":42913,"journal":{"name":"Cambridge Journal of Postcolonial Literary Inquiry","volume":"9 1","pages":"381 - 398"},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46563327","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The centrality of internationalism is among the most rewarding points of emphasis in Auritro Majumder’s Insurgent Imaginations. There is even a kind of intellectual daring in his proposing internationalism as a defining concept for reckoning with peripheral literature, given that categories such as cosmopolitanism or globalization are far more apt to catch the attention of contemporary readers. Nonetheless, it is to the internationalist orientation of writers and artists from outside the “West” that Majumder returns, not out of a hoary commitment to preserve the old or the outmoded but to keep faith with the actual histories of cultural and political struggle spurring the vast output of artistic creativity in the global south. Majumder focuses specifically on the literary and cultural forms that articulate this peripheral worldview, unified by a singular ambition: to “push the boundaries of humanist emancipation.”1 The first thing that strikes me as salutary in locating internationalism as a universal aspiration which finds expression in locations such as Cuba, India, Mexico, or Brazil (among other places) is the author’s decision to avoid what Theodor Adorno’s translator, the philosopher Robert Hullot-Kentor, calls the “gratuitous plural.”2 That is, Majumder is guided by the understanding that locating a desired plurality simply by designating it (e.g., “internationalisms” instead of “internationalism,” “racisms” instead of “racism,” “modernities” instead of “modernity”) cannot in fact render it real. Even though this move is evident everywhere in criticism today, it involves a category mistake—geared less toward demonstrating the equality between ideas or isms than in virtue signaling. At the end of the day, such nominalizations only succeed in shunting
{"title":"The Stakes of Internationalism","authors":"Keya Ganguly","doi":"10.1017/pli.2022.12","DOIUrl":"https://doi.org/10.1017/pli.2022.12","url":null,"abstract":"The centrality of internationalism is among the most rewarding points of emphasis in Auritro Majumder’s Insurgent Imaginations. There is even a kind of intellectual daring in his proposing internationalism as a defining concept for reckoning with peripheral literature, given that categories such as cosmopolitanism or globalization are far more apt to catch the attention of contemporary readers. Nonetheless, it is to the internationalist orientation of writers and artists from outside the “West” that Majumder returns, not out of a hoary commitment to preserve the old or the outmoded but to keep faith with the actual histories of cultural and political struggle spurring the vast output of artistic creativity in the global south. Majumder focuses specifically on the literary and cultural forms that articulate this peripheral worldview, unified by a singular ambition: to “push the boundaries of humanist emancipation.”1 The first thing that strikes me as salutary in locating internationalism as a universal aspiration which finds expression in locations such as Cuba, India, Mexico, or Brazil (among other places) is the author’s decision to avoid what Theodor Adorno’s translator, the philosopher Robert Hullot-Kentor, calls the “gratuitous plural.”2 That is, Majumder is guided by the understanding that locating a desired plurality simply by designating it (e.g., “internationalisms” instead of “internationalism,” “racisms” instead of “racism,” “modernities” instead of “modernity”) cannot in fact render it real. Even though this move is evident everywhere in criticism today, it involves a category mistake—geared less toward demonstrating the equality between ideas or isms than in virtue signaling. At the end of the day, such nominalizations only succeed in shunting","PeriodicalId":42913,"journal":{"name":"Cambridge Journal of Postcolonial Literary Inquiry","volume":"9 1","pages":"405 - 410"},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43600061","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
When I sat down to write these brief notes on Insurgent Imaginations, my first temptation was to juxtapose its project for world literature to liberal accounts. But this would only prove what readers of books like this already know, that is, the abysmal difference in relevance between Marxist and liberal discussions of the subject. The latter tend to be marked by the notion that world literature has transformed the globalized supermarket of written works of art into an Amazon, in which we can comfortably access cultural artifacts from the Aztecs to the Sumerians, and then consume them as an isolated experience. Rather than praising difference and variety, which do not relate, the effort here is to formulate the usefulness of the new discipline for a project of social transformation. Indeed, “the point is to change it.” To further this historical task, the book sets out to demonstrate the critical and political possibilities available to a reading of world literature from a peripheral point of view. This demonstration is carried out in constant dialogue with the Marxist tradition. To use a term coined by Fredric Jameson, the book presents an exercise in “cognitive mapping,” a way of doing what globalized capital denies, that is the possibility of coordinating local cultural productions with national or international ones, thus enabling perception of the totality that rules them all. This is accomplished by way of the invention of categories that guide the analysis of cultural products in such a way as to render visible structures of the specific conjunctures that frame them. As such, it is yet another example of the ways in which cultural materialism is a position that turn analysis into an instrument for discovering and interpreting social reality, to adapt Antonio Candido’s apt phrase.1 The aim is to contribute to turn world literature into a strategy of resistance. The result, once more, confirms that Marxism is the untranscendentable horizon of productive thought. There is no point, then, inwasting timewith comparisons with other approaches.
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Abstract Breastfeeding, both in its literal consequences on a woman’s body and its symbolic associations with attachment, highlights the simultaneously powerful yet servile position of the maternal figure. I trace this ambivalence in Mahasweta Devi’s story “Breast-Giver,” exploring women’s literal and metaphorical hungers, as well as the hunger their children experience, arguing that breastfeeding often serves as a means of showcasing a woman’s physical limitation based on her familial status as “feeder.” However, I also argue for a profoundly embodied version of the breastfeeding trope, one that negates prior conceptions of breastfeeding as a “taking” and establishes it as a “giving” that not only nourishes one’s family, but also one’s self, as mothers circumvent hierarchical systems of cooking and food preparation. Ultimately, I both lay bare the interconnection between a woman’s body and food-based labor systems and reveal literary methods for their extrication, through narrative instances of breastfeeding.
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16 Raza Kolb, Epidemic Empire, 168-69. 17 Raza Kolb, Epidemic Empire, 10. 18 Raza Kolb, Epidemic Empire, 11. The APA release, for instance, shifts unobtrusively from using "racism pandemic" to describe the pervasiveness of racist violence against Black bodies in the United States to enumerating the health consequences of the pandemic on Black bodies. Keywords: racism;COVID;metaphors EN racism COVID metaphors 278 283 6 04/28/22 20220401 NES 220401 In her formidable I Epidemic Empire i , Anjuli Fatima Raza Kolb examines metaphors of contagion and the contagion of metaphors. [Extracted from the article] Copyright of Cambridge Journal of Postcolonial Literary Inquiry is the property of Cambridge University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full . (Copyright applies to all s.)
{"title":"Pandemic Metaphors","authors":"Aviva Briefel","doi":"10.1017/pli.2022.3","DOIUrl":"https://doi.org/10.1017/pli.2022.3","url":null,"abstract":"16 Raza Kolb, Epidemic Empire, 168-69. 17 Raza Kolb, Epidemic Empire, 10. 18 Raza Kolb, Epidemic Empire, 11. The APA release, for instance, shifts unobtrusively from using \"racism pandemic\" to describe the pervasiveness of racist violence against Black bodies in the United States to enumerating the health consequences of the pandemic on Black bodies. Keywords: racism;COVID;metaphors EN racism COVID metaphors 278 283 6 04/28/22 20220401 NES 220401 In her formidable I Epidemic Empire i , Anjuli Fatima Raza Kolb examines metaphors of contagion and the contagion of metaphors. [Extracted from the article] Copyright of Cambridge Journal of Postcolonial Literary Inquiry is the property of Cambridge University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full . (Copyright applies to all s.)","PeriodicalId":42913,"journal":{"name":"Cambridge Journal of Postcolonial Literary Inquiry","volume":"9 1","pages":"278 - 283"},"PeriodicalIF":0.1,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41378971","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
I love the endings of books. They are often the sections that are not numbered as if they were regular chapters. I often start with them, which maybe doesn’t work that well if I’m reading a mystery but can be very useful when reading academic work. These final sections are often ostensibly distillations of what a writer feels like he or she has earned in the book. They can also, though, be provocations, parting shots, armchair reflections, caveats, remainders, loose ends, or even sometimes just some version of “further study is needed.” They can even, at times, tip their hand, giving us the Freudian slip that shows an author’s anxieties about the argument just made. Indeed, sometimes it is where the cracks show or are admitted under the author’s breath. But, as the songwriter Leonard Cohen said, “There is a crack in everything. That’s how the light gets in.” What is the crack in Jeanne-Marie Jackson’s new book, The African Novel of Ideas? Well, it is certainly not her core argument. The major thread of this book examines how contemporary African novels have drawn on and exemplified questions that African philosophy has taken up. More than that, reading the novels with an understanding of how philosophers do what they do enables us to see how the novelists manage to avoid overreaches of representation that fiction might be prone to, especially fiction that stands in the shadow of political and colonial brutalities of the colonial period in Africa. It is less a crack that the epilogue makes apparent and more a remainder, what Jackson calls a “fringe” at the edges between two forms of African literature: “outward-facing (that is, seen by the West as representative but in fact not) and
{"title":"What African Philosophy Can Learn from Jeanne-Marie Jackson’s The African Novel of Ideas","authors":"Bruce Janz","doi":"10.1017/pli.2022.8","DOIUrl":"https://doi.org/10.1017/pli.2022.8","url":null,"abstract":"I love the endings of books. They are often the sections that are not numbered as if they were regular chapters. I often start with them, which maybe doesn’t work that well if I’m reading a mystery but can be very useful when reading academic work. These final sections are often ostensibly distillations of what a writer feels like he or she has earned in the book. They can also, though, be provocations, parting shots, armchair reflections, caveats, remainders, loose ends, or even sometimes just some version of “further study is needed.” They can even, at times, tip their hand, giving us the Freudian slip that shows an author’s anxieties about the argument just made. Indeed, sometimes it is where the cracks show or are admitted under the author’s breath. But, as the songwriter Leonard Cohen said, “There is a crack in everything. That’s how the light gets in.” What is the crack in Jeanne-Marie Jackson’s new book, The African Novel of Ideas? Well, it is certainly not her core argument. The major thread of this book examines how contemporary African novels have drawn on and exemplified questions that African philosophy has taken up. More than that, reading the novels with an understanding of how philosophers do what they do enables us to see how the novelists manage to avoid overreaches of representation that fiction might be prone to, especially fiction that stands in the shadow of political and colonial brutalities of the colonial period in Africa. It is less a crack that the epilogue makes apparent and more a remainder, what Jackson calls a “fringe” at the edges between two forms of African literature: “outward-facing (that is, seen by the West as representative but in fact not) and","PeriodicalId":42913,"journal":{"name":"Cambridge Journal of Postcolonial Literary Inquiry","volume":"9 1","pages":"237 - 242"},"PeriodicalIF":0.1,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41372737","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Two of South African literature’s best-known titles from the turn of the twenty-first century are works of campus fiction that rarely get recognized as such. In this article I read J. M. Coetzee’s Disgrace (1999) and Phaswane Mpe’s Welcome to Our Hillbrow (2001) as novels whose figuration of the university is far more central to their treatment of the contradictions and ambiguities that characterize postapartheid South Africa than is generally acknowledged. In the course of narratives that seem largely focused on other things, these texts offer up a distinctly South African but also distinctly postcolonial variety of campus fiction, and a critical engagement with the neoliberal university and the conditions under which upward mobility and intellectual inquiry take shape in the twenty-first-century global south. Coetzee and Mpe suggest capacious and transformative, if also deeply ambivalent, ways of imagining an as-yet unrealized decolonial future for universities.
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