Pub Date : 2023-11-06DOI: 10.1080/17533171.2023.2272500
Priscilla Boshoff
Click to increase image sizeClick to decrease image size Notes1 Neale, Genre.2 Mabasa and Boshoff, “Liberatory violence or the gift?”Additional informationNotes on contributorsPriscilla BoshoffPriscilla Boshoff teaches Media and Cultural Studies at the School of Journalism and Media Studies at Rhodes University, in South Africa. Her research focuses on contemporary popular culture in Africa and its relationship to issues of social justice.
{"title":"New mythologies: violence and colonialism in Hollywood blockbusters","authors":"Priscilla Boshoff","doi":"10.1080/17533171.2023.2272500","DOIUrl":"https://doi.org/10.1080/17533171.2023.2272500","url":null,"abstract":"Click to increase image sizeClick to decrease image size Notes1 Neale, Genre.2 Mabasa and Boshoff, “Liberatory violence or the gift?”Additional informationNotes on contributorsPriscilla BoshoffPriscilla Boshoff teaches Media and Cultural Studies at the School of Journalism and Media Studies at Rhodes University, in South Africa. Her research focuses on contemporary popular culture in Africa and its relationship to issues of social justice.","PeriodicalId":43901,"journal":{"name":"Safundi-The Journal of South African and American Studies","volume":"2015 34","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135635492","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 : 2023-10-06DOI: 10.1080/17533171.2023.2256519
Jacqueline Tafadzwa Nyathi
Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 Wainana, “How to Write About Africa.”2 Dery, “Black to the Future.”3 Okorafor, African Futurism Defined.4 Yahmatta-Taylor, “The Combahee River Collective Statement.”5 Halberstam, “Unworldking.”6 Mudimbe, The Invention of Africa.7 Wai, “Thinking the Colonial Library.”8 Butler, “A Few Rules For Predicting The Future.”9 Wormsley, “There Are Black People In The Future.”Additional informationNotes on contributorsJacqueline Tafadzwa NyathiJacqueline T. Nyathi is a writer. She currently contributes to The Continent, a weekly pan-African newspaper, and to The Sunday Long Read. She has previously contributed to POVO magazine and other publications.
点击放大图片点击缩小图片披露声明作者未发现潜在的利益冲突。注1:《如何描写非洲》。2、《黑到未来》。3 Okorafor，《非洲未来主义的定义》。4 Yahmatta-Taylor，《Combahee River集体声明》。5哈伯斯坦，《超凡脱俗》。6穆迪比:《非洲的发明》;7维:《思考殖民图书馆》。" 8巴特勒，"预测未来的几个规则。9沃姆斯利，《未来也有黑人》附加信息撰稿人说明jacqueline Tafadzwa Nyathi jacqueline T. Nyathi是一位作家。她目前为泛非周报《The Continent》和《The Sunday Long Read》撰稿。她曾为POVO杂志和其他出版物撰稿。
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Pub Date : 2023-10-06DOI: 10.1080/17533171.2023.2259159
Darlington Chibueze Anuonye
Click to increase image sizeClick to decrease image size Notes1 Jackson, The African Novel of Ideas, 2.2 Ibid.3 Diala, Esiaba Irobi’s Drama and the Postcolony, 153.4 Ismaili, “100 Writers Celebrate Ama Ata Aidoo’s Life and Work,” 77.5 Achebe, Morning Yet on Creation Day, 45.6 Eheruo, “The Beloved Son,” 3.7 Church, “Collective Individualism,” 3.8 Jackson, The African Novel of Ideas, 4.9 Echeruo, “Shakespeare and the Boundaries of Kinship,” 2.10 Gurnah, Pilgrims Way, 23.11 Ibid., 24.12 Gurnah, “Writing and Place,” 59.13 Gurnah, Pilgrims Way, 25.14 The Nobel Committee, “Abdulrazak Gurnah Facts,” 5.15 Jackson, The African Novel of Ideas, 4.Additional informationNotes on contributorsDarlington Chibueze AnuonyeDarlington Chibueze Anuonye is a literary conversationist and nonfiction editor at Ngiga Review. His research interests cut across oral, postcolonial, and diaspora literatures. He was awarded the Amplify Fellowship of the MasterCard Foundation in 2021.
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Pub Date : 2023-10-06DOI: 10.1080/17533171.2023.2256518
Obakeng Kgongoane
Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author.Notes1 The Woman King, directed by Gina Prince-Bythewood (Sony Pictures Releasing, Citation2022).2 Rachel Ulatowski, “‘The Woman King’ Controversy, Explained,” The Mary Sue, February 13, Citation2023. https://www.themarysue.com/the-woman-king-controversy-explained/#:∼:text=Why%20is%20The%20Woman%20King%20controversial%3F&text=The%20major%20reason%20for%20the,film%20about%20Black%20women's%20empowerment. 1. Viola Davis, who plays General Nanisca in the film as well as being one of the film’s producers, has openly admitted that many parts of the film were deliberately fictionalised for the “sake of entertainment and art”.3 Tafi Mhaka, “The Woman King: The truth about slavery matters,” Aljazeera, October 7, Citation2022. https://www.aljazeera.com/opinions/2022/10/7/the-woman-king-the-truth-about-slavery-matters.4 Ibid.5 Ibid.6 Ibid.7 Nyong’o, Afro-fabulations.8 Ibid., 166.9 Saidiya Hartman, “Venus in Two Acts,” 11.10 Ibid., 8.11 Ibid., 11.12 Ibid., 1–14; Rosner, Critical fabulations; Nyong’o, Afro-fabulations.13 Rosner, Critical fabulations.14 Ibid.15 The Woman King, directed by Gina Prince-Bythewood (Sony Pictures Releasing, 2022).16 Campt, Listening to Images, 17.17 Keeling, The Witch’s Flight, 2.18 The Woman King, directed by Gina Prince-Bythewood (Sony Pictures Releasing, 2022).19 Ibid.20 Ibid.21 Keeling, The Witch’s Flight, 15.22 The Woman King, directed by Gina Prince-Bythewood (Sony Pictures Releasing, 2022).23 Ibid.24 Ibid.25 Hartman, “Venus in Two Acts,” 14.Additional informationNotes on contributorsObakeng KgongoaneObakeng Kgongoane is a lecturer in Visual Studies at the University of Pretoria.
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Pub Date : 2023-10-05DOI: 10.1080/17533171.2023.2254204
Wamuwi Mbao
Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author.Notes1 For a brief summary of the Reitz Four incident, see Sisonke Msimang’s discussion in her review of Fairbanks’s book: https://foreignpolicy.com/2022/11/27/south-africa-trc-reitz-ufs-jansen-race-justice-reconciliation/. For a trenchant discussion of Rhodes Must Fall, see Achille Mbembe’s “Decolonizing Knowledge and the Question of the Archive” and Francis B Nyamnjoh’s #RhodesMustFall: Nibbling at Resilient Colonialism in South Africa (2016).2 See Ntongela Masilela’s “The ‘Black Atlantic’ and African Modernity in South Africa”, 92.3 The Inheritors, xi.4 Ibid., xiii.5 Ibid., xiii.6 Ibid., 35.7 Ibid., 104–5.8 See David Reiersgord’s criticism in his review of The Inheritors.Additional informationNotes on contributorsWamuwi MbaoWamuwi Mbao is a literary critic and essayist. His reviews, essays and fiction appear in the Johannesburg Review of Books, Africa Is A Country, and other venues. He received a South African Literary Award in 2019 for his critical oeuvre. He teaches in the Department of English at Stellenbosch University. He is the editor of Years of Fire and Ash: Poetry of Decolonization, an anthology of South African struggle poetry published in 2021.
点击放大图片点击缩小图片披露声明作者未报告潜在的利益冲突。注1关于赖茨四人事件的简要总结，请参阅Sisonke Msimang对费尔班克斯的书的评论中的讨论:https://foreignpolicy.com/2022/11/27/south-africa-trc-reitz-ufs-jansen-race-justice-reconciliation/。关于罗德岛必须垮台的尖锐讨论，请参阅Achille Mbembe的“非殖民化知识和档案问题”和Francis B Nyamnjoh的#罗德岛必须垮台:在南非的恢复殖民主义(2016)见Ntongela Masilela的《南非的“黑色大西洋”与非洲现代性》，92.3《继承者》，xi4如上,xiii.5如上,xiii.6同上，35.7同上，104-5.8参见David Reiersgord对《继承者》的评论中的批评。作者简介:Mbao是一位文学评论家和散文家。他的评论、散文和小说发表在《约翰内斯堡书评》、《非洲是一个国家》等刊物上。2019年，他因其批评作品获得南非文学奖。他在斯泰伦博斯大学英语系任教。他是《火与灰的岁月:非殖民化诗歌》的编辑，这是一本于2021年出版的南非斗争诗歌选集。
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Pub Date : 2023-10-02DOI: 10.1080/17533171.2023.2256530
Diana Adesola Mafe
Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 See Safundi volume 20 issue 1 (2019) for a roundtable discussion of the first Black Panther film and its global impact.2 The phrase “With great power comes great responsibility,” a familiar adage in the twenty-first-century zeitgeist, first appeared in Marvel Comics’ Amazing Fantasy #15 (1962) and is generally associated with the character Spider-Man.Additional informationNotes on contributorsDiana Adesola MafeDiana Adesola Mafe is professor of English at Denison University, where she teaches courses in postcolonial, gender, and Black studies. Her work tracks the literary and cinematic roles of and for women of color in African and diasporic discourses. Her current research focuses on representations of race and gender in speculative fiction with a special emphasis on the gothic. She has published two books, Where No Black Woman Has Gone Before: Subversive Portrayals in Speculative Film and TV (University of Texas Press, 2018) and Mixed Race Stereotypes in South African and American Literature: Coloring Outside the (Black and White) Lines (Palgrave Macmillan, 2013). She has also published articles in MELUS, African American Review, Camera Obscura, The Journal of Popular Culture, Research in African Literatures, American Drama, English Academy Review, Frontiers, Safundi, and African Women Writing Resistance.
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Pub Date : 2023-10-02DOI: 10.1080/17533171.2023.2246266
Zeyad El Nabolsy
Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author.AcknowledgmentI wish to thank Migdalia Arcila Valenzuela and Christopher J. Lee for their helpful comments on an earlier draft of this article.Notes1 Jackson uses the term “philosophical thinking” explicitly in her book, see Jackson, The African Novel of Ideas, 185. She also uses the term “philosophical practice”, see Jackson, The African Novel of Ideas, 20. Jackson appears to be using these two terms as synonyms, and I will be following her in this practice.2 Jackson, The African Novel of Ideas, 22.3 Ibid., 116.4 Ibid, 125.5 Ibid, 134.6 Ibid, 121.7 Polycarp Ikuenobe, “Tradition and the Foundation for African Renaissance.”8 In the sense that these debates are centered around how we ought to live, they thus invoke a standard of goodness or rightness.9 Thaddeus Metz, “Toward an African Moral Theory.”10 Táíwò, “Against African Communalism.”11 Jackson, The African Novel of Ideas, 50.12 Cassirer, Rousseau, Kant and Goethe, 9.13 Jackson, The African Novel of Ideas, 71–3.14 Ibid, 156.15 Polycarp Ikuenobe, “The Idea of Personhood in Chinua Achebe’s Things Fall Apart.”16 Horton, Letters on the Political Condition of the Gold Coast, 167.17 Mazrui, “Africa, My Conscience, and I.” Also Táíwò, “Obafemi Awolowo: Knowledge, Leadership, Governance,” 64.18 See, for example, Ndlovu-Gatsheni, Coloniality of Power in Postcolonial Africa, 46; Imafidon, “Alterity, African Modernity, and the Critique of Change,” 14.19 Jackson, The African Novel of Ideas, 80.20 Táíwò, Against Decolonisation, 164–5.21 A similar point was also made by Wiredu, “Toward Decolonizing African Philosophy and Religion,” 295–6.22 See, for example, the misplaced critique of Samir Amin in Ndlovu-Gatsheni, Coloniality of Power in Postcolonial Africa, 11. This critique ultimately stems from an overly broad conception of decolonization. Ndlovu-Gatsheni’s conception of decolonization draws upon the notion of decoloniality as articulated by Walter Mignolo.23 Kant, “An Answer to the Question: What is Enlightenment?,” 17.Additional informationFundingThis work was supported by a doctoral fellowship provided by the Social Sciences and Humanities Research Council of Canada.Notes on contributorsZeyad El NabolsyZeyad El Nabolsy is an assistant professor of philosophy at York University. His work focuses on the history of African philosophy broadly conceived. His work has previously appeared in The Journal of African Cultural Studies, Kant Studies Online, Journal of Historical Sociology, and Science & Society.
点击放大图片点击缩小图片披露声明作者未报告潜在的利益冲突。我要感谢Migdalia Arcila Valenzuela和Christopher J. Lee对本文早期草稿的有益评论。注1杰克逊在她的书中明确地使用了“哲学思考”一词，见杰克逊，《非洲思想小说》，185页。她还使用了“哲学实践”一词，见杰克逊，《非洲思想小说》，20年。杰克逊似乎把这两个术语当作同义词来使用，我将按照她的做法来做杰克逊，《非洲思想小说》，22.3同上，116.4同上，125.5同上，134.6同上，121.7波利卡普·伊库诺布，《非洲文艺复兴的传统与基础》。从某种意义上说，这些争论的中心是我们应该如何生活，因此它们援引了一种善或对的标准塞迪斯·梅斯，《走向非洲道德理论》10 Táíwò，反对非洲社群主义。11杰克逊，《非洲思想小说》，50.12卡西尔，卢梭，康德和歌德，9.13杰克逊，《非洲思想小说》，71-3.14同上，156.15波利卡普·伊库诺布，《奇努阿·阿契贝的《分崩离析》中的人格观念》。16 Horton，黄金海岸政治状况的书信，167.17 Mazrui，“非洲，我的良心，和我”也Táíwò，“Obafemi Awolowo:知识，领导，治理，”64.18参见，例如，Ndlovu-Gatsheni，后殖民非洲的殖民权力，46;Imafidon，《另类、非洲现代性和变革批判》，14.19 Jackson，《非洲思想小说》，80.20 Táíwò，《反对非殖民化》，164-5.21 Wiredu也提出了类似的观点，《走向非殖民化的非洲哲学和宗教》，299 - 6.22，例如，参见Ndlovu-Gatsheni，《后殖民非洲的殖民权力》，11中对萨米尔·阿明的错位批判。这种批评最终源于过于宽泛的非殖民化概念。Ndlovu-Gatsheni的非殖民化概念借鉴了Walter mignolo所阐述的非殖民化概念。23康德，“对问题的回答:什么是启蒙?”,“17所示。本研究得到了加拿大社会科学与人文研究理事会提供的博士奖学金的支持。作者简介zeyad El Nabolsy是约克大学哲学助理教授。他的工作主要集中在广义的非洲哲学史上。他的作品曾发表在《非洲文化研究杂志》、《康德研究在线》、《历史社会学杂志》和《科学与社会》上。
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Pub Date : 2023-10-02DOI: 10.1080/17533171.2023.2256514
Jeanne-Marie Viljoen
AbstractWith the box office success of the recent Black Panther films it may seem that Hollywood’s approach to such films is slowly accommodating a domestic audience’s demand for diversity. Yet, there is a danger in assuming that these films are still largely made for white audiences, since these audiences and their representatives in Hollywood boardrooms may become convinced that films like this are proof of Hollywood having engaged with Africa and done enough about diversity. This paper argues that to ensure the continued success of diverse artists in Hollywood and elsewhere the focus should extend beyond a study of the domestic market and look toward the formal ‘alien esthetic’ engagements and structure of the colonial gazing at spectacle that Hollywood demands all its audiences invest in. This paper presents Africa’s established experience of super diversity and its recognized authority in the arts – particularly the way its formal esthetics of spectacle and fantasy exceed the visual and are entwined with the lived-conditions of its audiences – as central to approaching a deeper understanding of diversity in cinema. Drawing upon this “progressive African aesthetic” to expand Hollywood’s formal engagement with fantasy and visual spectacle, opens an opportunity to decolonize Hollywood’s gaze and understand diversity in cinema more deeply.Keywords: Affective spectacleNollywoodHollywood gazeBlack PantherWakanda Foreverplanetary entanglementgeo-estheticepic fantasy filmsdigital colonialism Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 Coogler, Black Panther Film Citation2018.2 Coogler, Black Panther Citation2022.3 Anderson, ComicBook Citation2022.4 Ramón et al., Hollywood Diversity Report Citation2023.5 Coetzee, Safundi Citation2019.6 Hunt et al., Hollywood Diversity Report Citation2019, 63.7 Reed, Souls Citation2014, 364.8 Vazquez, The Washington Post Citation2022, n.p.9 Arthur, The Journal of Pan African Studies Citation2014.10 Mbembe, The Massachusetts Review Citation2016, 95.11 Mbembe (Citation2021) keeps this term deliberately ambiguous so that it may operate on several levels of logic simultaneously. It refers to a powerful practice that flows from abstraction to action – beyond the mere instrumentalism and social empiricism of the West – where, specifically by keeping the paradoxical nature of Africa as sign in play, of being both crisis-prone and a leader in addressing concerns that affect all of creation, Africa is re-imagined as a global laboratory for “gauging the limits of our epistemological imagination to pose new questions about how we know what we know and what that knowledge is grounded in” (Mbembe, Out of the Dark Night, 12). He claims that this way of thinking provides an alternative to the melancholic and colonial theorising of the humanities and social sciences in the United States according to which Africa has often been erroneously characterised as ahistorical, blank and a univers
随着最近《黑豹》系列电影的票房成功，好莱坞对这类电影的处理方式似乎正在慢慢适应国内观众对多样性的需求。然而，假设这些电影仍然主要是为白人观众制作的，是有危险的，因为这些观众和他们在好莱坞董事会中的代表可能会相信，这样的电影证明了好莱坞与非洲的接触，并在多样性方面做了足够的努力。本文认为，为了确保好莱坞和其他地方的不同艺术家的持续成功，重点应该扩展到对国内市场的研究之外，并将目光投向正式的“外来美学”参与和好莱坞要求所有观众投资的殖民地凝视奇观的结构。本文介绍了非洲在超级多样性方面的既定经验及其在艺术方面公认的权威——特别是其奇观和幻想的形式美学超越视觉的方式，并与观众的生活条件交织在一起——作为深入理解电影多样性的核心。利用这种“进步的非洲美学”来扩大好莱坞对幻想和视觉奇观的正式参与，为好莱坞的目光去殖民化和更深入地理解电影的多样性提供了机会。关键词:情感景观好莱坞好莱坞凝视黑豹瓦坎达永远行星纠缠地球美学史诗奇幻电影数字殖民披露声明作者未报告潜在的利益冲突。注1库格勒，黑豹电影Citation2018.2库格勒，黑豹Citation2022.3安德森，漫画书Citation2022.4 Ramón等人，好莱坞多样性报告Citation2023.5库泽，萨福迪Citation2019.6亨特等人，好莱坞多样性报告Citation2019, 63.7里德，灵魂Citation2014, 364.8巴斯克斯，华盛顿邮报Citation2022, n.p.9Arthur, The Journal of Pan African Studies, Citation2014.10 Mbembe, The Massachusetts Review, Citation2016, 95.11 Mbembe (Citation2021)故意让这个术语含糊不清，以便它可以同时在多个逻辑层面上运作。它指的是一种从抽象到行动的强有力的实践- -超越了西方的纯粹工具主义和社会经验主义- -特别是通过保持非洲的矛盾性质作为一种发挥作用的标志，即既容易发生危机，又在解决影响所有创造物的关切方面处于领先地位，非洲被重新想象成一个全球实验室，用来“衡量我们认识论想象力的极限，提出关于我们如何知道我们所知道的以及这些知识是基于什么的新问题”(Mbembe, Out of the Dark Night, 12)。他声称，这种思维方式为美国人文和社会科学的忧郁和殖民理论提供了另一种选择，根据这种理论，非洲经常被错误地描述为无历史的、空白的、绝望和失败的普遍标志。重新想象一个新的行星纠缠的世界将使我们能够“找出与地球生活的新方式”，以及目前所需要的“人类和居住在世界上的新模式”(Mbembe, out of the Dark Night, 21)Mbembe，《Chimurenga Chronic citation》，2018.13 Kassanda, Netflix Citation2023, n.p.14Strong等人，《黑豹中的非洲未来主义:性别、身份和黑人的再制造》引文2021.15卡桑达，Netflix引文2023,n.p.，我的重点16马歇尔在《The Conversation》中断言，瓦坎达永远使用的语言之一(包括尤卡坦玛雅语在内的六种语言，这是塔洛坎传奇人物的语言)是南非的科萨语。一些服装是用加纳肯特布料和图案制成的，瓦坎达的葬礼借鉴了尼日利亚西南部奥里沙的约鲁巴人的仪式，哀悼者穿着白色衣服，为祖先倒酒。影片中的一些建筑和街道是以大津巴布韦古城为原型的，这是对女演员达纳伊·古里拉(奥科耶饰)的家乡和她的角色居住的瓦坎达地区的致敬。马歇尔认为，这种借用似乎表明，这种“非洲性”的文化标志在整个非洲大陆是共享的，或者是可以互换的D 'Alessandro, Deadline Citation2023.21 Coetzee, Safundi Citation2019.22 Ibid.， 22.23 Arthur, The Journal of Pan African Studies Citation2014.24 Ibid.25 Ibid.， 105.26 I103。作者简介jean - marie Viljoen是南澳大学当代文学和视觉文化学者、讲师和创意产业学士学位项目主任。 她的作品是关于艺术和美学在帮助我们思考当代棘手问题方面所起的独特作用，因为不同的艺术形式帮助我们捕捉超越语言的东西，并帮助我们想象经验可能无法立即可见的情况。她的跨学科国际培训，以及在有暴力历史的有争议的国家(如种族隔离的南非、塞浦路斯和澳大利亚)生活和工作，促使她参与边缘化和去殖民化。她目前的项目包括:写一本关于漫画如何帮助我们想象女性心理健康的图画医学书;在一个支持神经多样性漫画创作者的资助项目中担任首席研究员，并为一本关于全球电影中南方视角的手册做出贡献。
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Pub Date : 2023-10-02DOI: 10.1080/17533171.2023.2256529
Diana Adesola Mafe
Click to increase image sizeClick to decrease image size Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 Prince-Bythewood, “With ‘The Woman King,’” A.frame, September 14, 2022.2 Coleman, “There’s a True Story Behind Black Panther’s Strong Women,” Time, February 22, 2018.3 Hall, “Cultural Identity and Cinematic Representation,” 68–82; Diawara, “Black Spectatorship,” 66–79; hooks, Black Looks.4 hooks, Black Looks, 116.5 Prince-Bythewood, “Gina Prince-Bythewood on the Oscars Shutout of ‘The Woman King,’” Hollywood Reporter, February 7, 2023.Additional informationNotes on contributorsDiana Adesola MafeDiana Adesola Mafe is professor of English at Denison University, where she teaches courses in postcolonial, gender, and Black studies. Her work tracks the literary and cinematic roles of and for women of color in African and diasporic discourses. Her current research focuses on representations of race and gender in speculative fiction with a special emphasis on the gothic. She has published two books, Where No Black Woman Has Gone Before: Subversive Portrayals in Speculative Film and TV (University of Texas Press, 2018) and Mixed Race Stereotypes in South African and American Literature: Coloring Outside the (Black and White) Lines (Palgrave Macmillan, 2013). She has also published articles in MELUS, African American Review, Camera Obscura, The Journal of Popular Culture, Research in African Literatures, American Drama, English Academy Review, Frontiers, Safundi, and African Women Writing Resistance.
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Pub Date : 2023-09-12DOI: 10.1080/17533171.2023.2243088
Peter Cole, Christopher J. Lee
{"title":"Remembering the Durban Moment after fifty years: a conversation with Peter Cole","authors":"Peter Cole, Christopher J. Lee","doi":"10.1080/17533171.2023.2243088","DOIUrl":"https://doi.org/10.1080/17533171.2023.2243088","url":null,"abstract":"","PeriodicalId":43901,"journal":{"name":"Safundi-The Journal of South African and American Studies","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135878773","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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