Pub Date : 2023-01-01DOI: 10.1525/rep.2023.162.7.93
Shakirah E Hudani
Grounded in the material conditions of the African metropolis, this essay decenters the imaginary of the postcolonial state and investigates the affective tenor of the city. What does it mean to navigate anticolonial promise through the prism of postcolonial disappointment in Kenya’s capital? An everyday politics of hustling and nonalignment questions the project of transformation in Nairobi, drawing attention to situated engagements with skepticism and belief, and theorizing from marginal territories.
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Pub Date : 2023-01-01DOI: 10.1525/rep.2023.164.2.23
Dustin D. Stewart
The boundaries of an Anglican parish were ritualistically set by the bodies of people who belonged to it, and by the eighteenth century its edges could be imagined as looping outward to encompass indispensable parishioners wherever they moved in the world. Gilbert White’s Natural History of Selborne (1789) brings nonhuman life into this relational model. In extending belonging to his favorite birds, which from his perspective may or may not be migratory, White uses religious concepts to perform a creative remapping of local space.
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Pub Date : 2023-01-01DOI: 10.1525/rep.2023.161.4.70
Lauren Nelson
This essay reads Guadeloupean novelist Simone Schwartz-Bart’s Pluie et vent sur Télumée miracle (The Bridge of Beyond), positioning the novel as a vital archive for decolonizing the so-called ontological turn. In addition to narrativizing the stakes of disavowing the human, the novel situates gendered embodiment at the heart of these concerns, asking whether a movement toward the nonanthropocentric subject is always a movement away from how gender matters, and, significantly, how gender matters alongside race.
本文阅读了瓜德罗普小说家西蒙娜·施瓦茨-巴特的《超越之桥》(The Bridge of Beyond)，将这部小说定位为非殖民化所谓本体论转向的重要档案。除了叙述否认人类的利害关系之外，小说还将性别化的体现置于这些问题的核心，提出了一个问题:一场走向非人类中心主体的运动是否总是一场远离性别重要性的运动，更重要的是，性别如何与种族一起重要。
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Pub Date : 2023-01-01DOI: 10.1525/rep.2023.161.5.94
Travis Wilds
In recent years, literary critics grappling with the misfit writer Louis-Sébastien Mercier’s sprawling oeuvre have recovered a “modernist” who deploys formal tropes like the fragment or sketch to capture the city’s fugitive qualities. In this essay, I show that Louis-Sébastien Mercier’s little-read Mon bonnet de nuit (My night bonnet) transposes formal indeterminacy to the writing of the everyday, the thinking of thought, and the representation of cosmic space. Mercier’s growing commitment to geocentrism counterbalances Friedrich Schlegel’s call for a “Copernican” poetics, while his writerly hyperproductivity gives rise to a style of indifference and zaniness that offers insight into the creation of “literary value” at the critical juncture when patrons gave way to publishers as mediators of production in European literary history.
近年来，文学评论家们一直在与不合群的作家路易斯-萨姆巴斯蒂安·梅西埃(louis - ssamutien Mercier)的庞大作品作斗争，他们发现了一个“现代主义者”，他用片段或素描等正式的比喻来捕捉这座城市的逃亡特质。在这篇文章中，我将展示路易斯-萨姆巴斯蒂安·梅西埃(louis - s bastien Mercier)那本很少有人读的《我的夜帽》(Mon bonnet de nuit)，它将形式的不确定性转移到了日常生活的写作、思想的思考和宇宙空间的表现上。默西埃对地缘中心主义的日益信奉，抵消了弗里德里希·施莱格尔(Friedrich Schlegel)对“哥白尼式”诗学的呼吁，而他的作家高产出了一种冷漠和疯狂的风格，在欧洲文学史上赞助人让位给出版商作为生产调解人的关键时刻，这种风格为“文学价值”的创造提供了洞见。
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Pub Date : 2023-01-01DOI: 10.1525/rep.2023.162.9.125
Jill Jarvis
This paper considers the possibilities and limits of anticolonial resistance alongside the transmedial artworks of Tuareg poet and artist Mahmoudan Hawad, setting what he calls his “furigraphies” in a radioactive historical and geographical context that presently extends from Taourirt Tan Afela (Algeria) to Arlit (Niger) because of indelible—and currently unfolding—French nuclear imperialism that includes both nuclear bomb and uranium extraction infrastructures.
本文通过图阿雷格诗人和艺术家马哈茂丹·哈瓦德(Mahmoudan Hawad)的跨媒体艺术作品，考虑了反殖民抵抗的可能性和局限性，将他所谓的“furigraphies”置于一个放射性的历史和地理背景中，这个背景目前从taourrirt Tan Afela(阿尔及利亚)延伸到Arlit(尼日尔)，因为法国的核帝国主义包括核弹和铀提取基础设施，这是不可磨灭的，目前正在展开。
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Pub Date : 2023-01-01DOI: 10.1525/rep.2023.163.5.79
Paul Nadal
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