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Africa in Narratives illuminates or proves, against the backdrop of attitudes toward nations deemed ëethnicí or ëminoritiesí, that literature in Africa can live up to the challenge of aesthetic imagination to form an active, refreshing part of world cultural discourse. African countries have evolved imaginatively beyond their present ephemeral stages of social and political turmoil not to talk of intellectual imitations of western thought, nation literatures should be subject to the imperative of a continental cooperation.
How do we resolve the insider/outsider interpreting conundrum? Why do readers from different parts of the world read, interpret, or understand foreign literatures the way they do? What drives peculiar critical reactions, canon formations and such issues which determine the survival of cultural productions or their continued adoption as useful bolsters for a people's self-definition or indeed self-preservation and self-determination? African Literature: Gender Discourse, Religious Values, and the African Worldview offers a series of fresh insights into most of the old "problematics" which used to sustain the interpretations of African literature, especially by women. Students, scholars, and general readers wishing to consider issues of gender in relation to African cultural and socioeconomic systems and what Salami-Boukari interrogates and names as an "African worldview," will find the interdisciplinary discussion of historical analyses, literary criticism and gender discourses a useful method for engaging contemporary African perspectives.
Albert Memmi and the Production of Theory
The work of Tunisian Jewish intellectual Albert Memmi, like that of many francophone Maghrebian writers, is often read as thinly veiled autobiography. Questioning the prevailing body of criticism, which continues this interpretation of most fiction produced by francophone North African writers, Lia Nicole Brozgal shows how such interpretations of Memmi’s texts obscure their not inconsiderable theoretical possibilities.
Calling attention to the ambiguous status of autobiographical discursive and textual elements in Memmi’s work, Brozgal shifts the focus from the author to theoretical questions. Against Autobiography places Memmi’s writing and thought in dialogue with several major critical shifts in the late twentieth-century literary and cultural landscape. These shifts include the crisis of the authorial subject; the interrogation of the form of the novel; the resistance to the hegemony of vision; and the critique of colonialism. Showing how Memmi’s novels and essays produce theories that resonate both within and beyond their original contexts, Brozgal argues for allowing works of francophone Maghrebi literature to be read as complex literary objects, that is, not simply as ethnographic curios but as generating elements of literary theory on their own terms.
L’écrivain franco-libanais Amin Maalouf est paré d’une image de passeur de cultures, de chantre des exilés et d’ambassadeur des immigrants. Chrétien au Liban, Arabe en France, il semble irrémédiablement minoritaire, irrémédiablement étranger. Il revendique d’ailleurs lui-même ce rôle de médiateur entre l’Orient et l’Occident, prêchant pour un monde du multiculturalisme et de l’identité multiple. Commentateurs et critiques accolent ainsi à son œuvre l’étiquette de la poursuite d’une communion universelle des peuples, l’abordant principalement au regard des questions d’identité, d’exil, de quête des origines et d’appartenances multiples. Le présent ouvrage revisite l’œuvre de ce grand auteur qu’est Amin Maalouf – lauréat du prix Goncourt en 1993 et membre de l’Académie française depuis 2011 – afin de mettre en évidence la complexité de celle-ci et de montrer les diverses voies empruntées pour revenir sans cesse à des images et à des leitmotivs obsessifs. De la cartographie de l’œuvre de Maalouf aux questions de sa réception et de sa lecture, en passant par des perspectives culturelles, idéologiques et politiques, il balise de nouvelles pistes d’interprétation. Premier ouvrage collectif à porter exclusivement sur Amin Maalouf, il réunit des contributions du Canada, de la France, du Maroc, du Cameroun et de l’Afrique du Sud. Se concluant sur une entrevue exclusive avec Amin Maalouf, il saura éveiller la curiosité pour cette œuvre qui, de lecture en relecture, fait surgir ce sens profond de l’humanité et conduit à parcourir autrement la terre et ses frontières, la mer et ses rivages.
Science and Slavery in an Age of Enlightenment
This volume examines the Enlightenment-era textualization of the Black African in European thought. Andrew Curran rewrites the history of blackness by replicating the practices of eighteenth-century readers. Surveying French and European travelogues, natural histories, works of anatomy, pro- and anti-slavery tracts, philosophical treatises, and literary texts, Curran shows how naturalists and philosophes drew from travel literature to discuss the perceived problem of human blackness within the nascent human sciences, describes how a number of now-forgotten anatomists revolutionized the era’s understanding of black Africans, and charts the shift of the slavery debate from the moral, mercantile, and theological realms toward that of the “black body” itself. In tracing this evolution, he shows how blackness changed from a mere descriptor in earlier periods into a thing to be measured, dissected, handled, and, often, brutalized. Penetrating and comprehensive, The Anatomy of Blackness shows that, far from being a monolithic idea, eighteenth-century Africanist discourse emerged out of a vigorous, varied dialogue that involved missionaries, slavers, colonists, naturalists, anatomists, philosophers, and Africans themselves.
A History of African Literature
The Black Mind was first published in 1974. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
The comprehensive account of the development of African literature from its beginnings in oral tradition to its contemporary expression in the writings of Africans in various African and European languages provides insight, both broad and deep, into the Black intellect. Professor Dathorne examines the literature of Africans as spoken or written in their local languages and in Latin, French, Portuguese, and English. This extensive survey and interpretation gives the reader a remarkable pathway to an understanding of the Black imagination and its relevance to thought and creativity throughout the world.
The author himself lived in Africa for ten years, and his view in not that of an outsider, since it is as a Black man that he speaks about Black people. Throughout the book, a major theme is the demonstration that, despite slavery and colonialism, Africans remained very close to their own cultures. Professor Dathorne shows that African writers may be, like some Afro-American writers, "marginal men," but that they are Black men and it is as Black men that they feel the nostalgia of their past and the corrosive influences of their present.
The chapters are divided into sections: Tradition; Heritage; The Presence of Europe; and Crosscurrents. In the final chapters the author extends the thread of continuity to the New World—Africa as present in the work of Black writers in the United States and in the Caribbean.
African identities have been written and rewritten in both British and African literature for decades. These revisions have opened up new formulations of what it really means to be British or African.
By comparing texts by authors from African and British backgrounds across a wide variety of political orientations, Simon Lewis analyzes the deeper relationships between colonizer and colonized. He brings issues of race, gender, class, and sexuality into the analysis, providing new ways for cultural scholars to think about how empire and colony have impacted one another from the late eighteenth century through the decades following World War II.
In his comparisons, Lewis focuses on commonalities rather than differences. By examining the work of writers including Chinua Achebe, Wole Soyinka, T. S. Eliot, Abdulrazak Gurnah, Zoe Wicomb, Yvette Christianse, and Chris van Wyk, he demonstrates how Britain’s former African colonies influence British culture just as much as African culture was influenced by British colonization.
Lewis brings a uniquely informed perspective to the topic, having lived in South Africa, Tanzania, and Great Britain, and having taught African literature for over a decade. The book demonstrates his expert knowledge of local cultural history from 1945 to the present, in both Africa and Britain.
Initially considered something of a black sheep within the Anglophone Cameroon literary genres, the Anglophone novel has gradually grown to carve out a respectable niche for itself in the Anglophone Cameroon sub-system, imposing itself in a way that makes it impossible for critics to ignore it. Now a vibrant genre, it even threatens to overtake drama and poetry, both of which have enjoyed more critical attention. This book is a study of how Anglophone Cameroon has contributed in extending the possibilities of the novel as a literary form, and of some of the established conventions necessary for a fruitful evaluation of the growing body of the Cameroonian novel in English. In this eclectic and compelling book, Ambanasom sets out to achieve three primary objectives: to introduce the reader to the extensive body of Cameroonian novels in English, to re-examine the distorting and limiting criteria upon which the critical assessment of the Cameroonian novel in English has so far been based, and to bridge the widening chasm between literary theory and actual critical practice. To achieve these objectives, Ambanasom begins by elaborating an alternative and flexible theoretical framework which he christens the 'Socio-Artistic Approach' and which, according to him, is 'concerned with both a text's thematic, moral, cultural or ideological issues, on the one hand, and its central literary analysis, on the other.' He then proceeds to use this new critical framework to examine twenty-seven major Cameroonian novels in English. There are critical voices, already emerging within the Anglophone Cameroonian literary circles, calling for rigorous teaching and practice of theory in the interpretation of literary works, setting in motion a critical discourse. Such a call is salutary, and welcome. Those university lecturers whose responsibility it is to teach theoretical courses should take this call very seriously, moving from theory to hands-on practice. This book is Ambanasom's contribution to that critical debate.
North Africa, Victimization, and Colonial History
Cinema in an Age of Terror looks at how cinematic representations of colonial-era victimization inform our understanding of the contemporary age of terror. By examining works representing colonial history and the dynamics of spectatorship emerging from them, Michael F. O’Riley reveals how the centrality of victimization in certain cinematic representations of colonial history can help us understand how the desire to occupy the victim’s position is a dangerous and blinding drive that frequently plays into the vision of terrorism. Films such as The Battle of Algiers, Days of Glory, Caché, and recent works by Maghrebien filmmakers all exemplify, in different ways, how this focus on victimization can become a problematic perspective—one in fact seeking to occupy ideological territory. Their return of colonial history to our contemporary context, although frequently problematic, enables us to see how victimization is very much about territory—cultural, spatial, and ideological—and how resistance to new forms of imperialist warfare and terror today must be located outside these haunting images from colonial history. Although such images of victimization ultimately only return as spectacular acts that draw our attention away from the cyclical contest over territory that they embody, those images nonetheless have the last word. Michael F. O’Riley is an associate professor of French and Italian at Colorado College. He is the author of Francophone Culture and the Postcolonial Fascination with Ethnic Crimes and Colonial Aura and Postcolonial Haunting and Victimization: Assia Djebar’s New Novels.
Rewriting Mexico in the Thirties and Forties
In the years following the Mexican Revolution, a nationalist and masculinist image of Mexico emerged through the novels of the Revolution, the murals of Diego Rivera, and the movies of Golden Age cinema. Challenging this image were the Contemporáneos, a group of writers whose status as outsiders (sophisticated urbanites, gay men, women) gave them not just a different perspective, but a different gaze, a new way of viewing the diverse Mexicos that exist within Mexican society. In this book, Salvador Oropesa offers original readings of the works of five Contemporáneos—Salvador Novo, Xavier Villaurrutia, Agustín Lazo, Guadalupe Marín, and Jorge Cuesta—and their efforts to create a Mexican literature that was international, attuned to the realities of modern Mexico, and flexible enough to speak to the masses as well as the elites. Oropesa discusses Novo and Villaurrutia in relation to neo-baroque literature and satiric poetry, showing how these inherently subversive genres provided the means of expressing difference and otherness that they needed as gay men. He explores the theatrical works of Lazo, Villaurrutia’s partner, who offered new representations of the closet and of Mexican history from an emerging middle-class viewpoint. Oropesa also looks at women’s participation in the Contemporáneos through Guadalupe Marín, the sometime wife of Diego Rivera and Jorge Cuesta, whose novels present women’s struggles to have a view and a voice of their own. He concludes the book with Novo’s self-transformation from intellectual into celebrity, which fulfilled the Contemporáneos’ desire to merge high and popular culture and create a space where those on the margins could move to the center.