Browse

The Performance of Listening in Postcolonial Francophone Culture argues That globalized media has allowed for efficient transmission of transnational culture, and in turn, our everyday experiences are informed by sounds ranging from voices, to music, to advertising, to bombs, and beyond. In considering cultural works from French-speaking North Africa and the Middle East all published or released in France from 1962-2011, Solheim’s study of listening across cultural genres will be of interest to any scholar or lay person interested in contemporary postcolonial France. This book is also a primer to contemporary Francophone culture from North Africa and the Middle East. Some of the French-speaking world’s most renowned and adored artists are the subject of this study, including preeminent Algerian feminist novelist, filmmaker and historian Assia Djebar (1936-2015), the first writer of the Maghreb to become part of the Académie Française; celebrated Iranian graphic novelist and filmmaker Marjane Satrapi (Persepolis, Chicken with Plums); the lauded Lebanese-Québecois playwright and dramaturge Wajdi Mouawad (Littorial, Incendies), and Lebanese comic artist and avant jazz trumpeter Mazen Kerbaj, whose improvisation with Israeli fighter jets during the 2006 Israeli War, “Starry Night,” catapulted him to global recognition. An interdisciplinary study of contemporary Francophone cultures, this book will be of interest to scholars and students in literary studies, performance studies, gender studies, anthropology, history, and ethnomusicology.

Galician audio/visual culture has experienced an unprecedented period of growth following the process of political and cultural devolution in post-Franco Spain. This creative explosion has occurred in a productive dialogue with global currents and with considerable projection beyond the geopolitical boundaries of the nation and the state, but these seismic changes are only beginning to be the subject of attention of cultural and media studies. This book examines contemporary audio/visual production in Galicia as privileged channels through which modern Galician cultural identities have been imagined, constructed and consumed, both at home and abroad. The cultural redefinition of Galicia in the global age is explored through different media texts (popular music, cinema, video) which cross established boundaries and deterritorialise new border zones where tradition and modernity dissolve, generating creative tensions between the urban and the rural, the local and the global, the real and the imagined. The book aims for the deperipheralization and deterritorialization of the Galician cultural map by overcoming long-established hegemonic exclusions, whether based on language, discipline, genre, gender, origins, or territorial demarcation, while aiming to disjoint the center/periphery dichotomy that has relegated Galician culture to the margins. In essence, it is an attempt to resituate Galicia and Galician studies out of the periphery and open them to the world.

This unique edited collection of scholarly articles brings together the work of a diverse range of literary and cultural critics, creative writers, and environmental and social activists. It marks an important contribution to the fields of Caribbean Studies, postcolonial studies, and ecocriticism. Through its deployment of the concept of world-ecology, the volume intervenes in two of the most vital areas of investigation in current literary studies. On the one hand, it represents an engagement with the field of world literature, around which there has been an upsurge in debate over the past decade or so. On the other, it responds to new developments in the field of environmental humanities, which derive their urgency from concerns over the planetary ecosystem. The collection provides an original and comprehensive perspective on the imbrication of the history of environmental transformations, political struggles, and literary production in the Caribbean. The book responds to the need for an engaged, pan-Caribbean-oriented investigation into the relationship between aesthetics and ecology, one capable of situating the analysis of cultural production within the specific contexts of local environmental concerns and struggles. The essays in this collection provide an unparalleled insight into how particular ecological processes and pressure-points in the Caribbean region – from ‘natural’ disasters such as hurricanes to the impact of neoliberal structural adjustment policies – have imprinted themselves on literary form.

This book is an examination of the South Atlantic island of St Helena’s involvement in the abolition of the transatlantic slave trade. In the decades after 1807, British anti-slavery revolved around Sierra Leone, but following the establishment of a British Vice-Admiralty court at St Helena in 1840, this dynamic radically changed. The island became a new hub of naval activity in the region, acting as a base for the West Africa Squadron and a principal receiving depot for captured slave ships and their human cargo. During the middle decades of the nineteenth century over 25,000 ‘recaptive’ or liberated Africans were landed at St Helena. This book provides an account and evaluation of this episode. It begins by considering the geo-political events that brought St Helena into the fray of abolition, and the manner in which colonial policy set in London meshed with practical reality in the distant South Atlantic. The greater part of the book focuses closely on St Helena. It examines the relationship between the Royal Navy and the island during this period of slave-tradesuppression, the operation of the ‘depots’ that were set up to receive the liberated Africans, and the medical treatment that was afforded to them. The lives of the survivors, both in the immediate and longer-term, is also considered, from the limited settlement that occurred on St Helena, to their wider diaspora across the Atlantic world.

This book studies the emergence of collaborative and non-hierarchical cultures in the context of the Spanish economic crisis of 2008. It explains how peer-to-peer social networks that have arisen online and through social movements such as the Indignados have challenged a longstanding cultural tradition of intellectual elitism and capitalist technocracy in Spain. From the establishment of a technocratic and consumerist culture during the second part of the Franco dictatorship to the transition to neoliberalism that accompanied the ‘transition to democracy’, intellectuals and ‘experts’ have legitimized contemporary Spanish history as a series of unavoidable steps in a process of ‘modernization’. But when unemployment skyrocketed and a growing number of people began to feel that the consequences of this Spanish ‘modernization’ had increasingly led to precariousness, this paradigm collapsed. In the wake of Spain's financial meltdown of 2008, new ‘cultures of anyone’ have emerged around the idea that the people affected by or involved in a situation should be the ones to participate in changing it. Growing through grassroots social movements, digital networks, and spaces traditionally reserved for ‘high culture’ and institutional politics, these cultures promote processes of empowerment and collaborative learning that allow the development of the abilities and knowledge base of ‘anyone’, regardless of their economic status or institutional affiliations.

A century ago, the golden age of magazine publishing coincided with the beginning of a golden age of travel. Images of speed and flight dominated the pages of the new mass-market periodicals. This book centres on Canada, where commercial magazines began to flourish in the 1920s alongside an expanding network of luxury railway hotels and transatlantic liner routes. The leading monthlies — among them Mayfair, Chatelaine, and La Revue Moderne — presented travel as both a mode of self-improvement and a way of negotiating national identity. This book announces a new cross-cultural approach to periodical studies, reading both French-and English-language magazines in relation to an emerging transatlantic middlebrow culture. Mainstream magazines, the text argues, forged a connection between upward mobility and geographical mobility. Fantasies of travel were circulated through fiction, articles, and advertisements, and used to sell fashions, foods, and domestic products as well as holidays.

Dada formed in 1916 in a world of rational appearances that belied a raging confusion – in the middle of the First World War, in the neutral centre of a warring continent, at the core of Western art. This book sets out new coordinates in revision of a formation that art history routinely exhausts by its characterisation as a ‘revolutionary movement’ of anarchic cultural dissent, in order to contest perpetuated assumptions that underlie the popular myths of Dada. Dada is difficult, and the response to Dada is not easy. What emerge from the theoretical readings developed here are profoundly rational bases for the non-sense that was pitted against a self-proclaimed civilisation, critically and implicitly to propose that what coursed in 1916 continues as vitally today. Given as art-historically identifiable along a trajectory of sustained ruptures and seizures, this book proposes not a history of Dada in Zurich but theoretical engagements with the emergencies of 1916–19, from laughter to ‘lautgedichte’, masks to manifestos, chance to chiasmata, rounding on the permanent Dada that drives against the closure of culture.

Sacred Modernity argues how everyday non-secular experiences of the natural world in Sri Lanka perpetuate ethno-religious identitarian narratives. It demonstrates the relationships between spaces of nature and environment and an ongoing aesthetic and spatial constitution of power and the political in which Theravada Buddhism is centrally implicated. To do this, the book works consecutively through two in-depth case studies, both of which are prominent sites through which Sri Lankan nature and environment are commodified: first, the country's most famous national park, Ruhuna (Yala), and second, its post-1950s modernist environmental architecture, ‘tropical modernism’. By engaging these sites, the book reveals how commonplace historical understandings as well as commonplace material negotiations of the seductions of Sri Lankan nature are never far from the continued production of a post-independent national identity marked ethnically as Sinhalese and religiously as Buddhist. In the Sri Lankan context this minoritizes Tamil, Muslim and Christian non-Sinhala difference in the nation-state's natural, environmental and historical order of things. To make this argument, the book advances a methodologically postcolonial geography, writing against the grain of Eurocentric understandings of the concepts ‘nature’ and ‘religion'. It argues that these concepts and their implicit binary mobilizations of nature/culture and the sacred/secular respectively, struggle to make visible the pervasive ways that Buddhism – thought instead as a ‘structure of feeling’ or aesthetics – simultaneously naturalizes and ethnicizes the fabric of the national in contemporary Sri Lanka.

Fifty years after Algerian independence, the legacy of France's Algerian past, and the ongoing complexities of the Franco-Algerian relationship, remain a key preoccupation in both countries. A central role in shaping understanding of their shared past and present is played by visual culture. This study investigates how relations between France and Algeria have been represented and contested through visual means since the outbreak of the Algerian War in 1954. It probes the contours of colonial and postcolonial visual culture in both countries, highlighting the important roles played by still and moving images when Franco-Algerian relations are imagined. Analysing a wide range of images made on both sides of the Mediterranean – from colonial picture postcards of French Algeria to contemporary representations of postcolonial Algiers – this book is the first to trace the circulation of, and connections between, a diverse range of images and media within this field of visual culture. It shows how the visual representation of Franco-Algerian links informs our understanding both of the lived experience of postcoloniality within Europe and the Maghreb, and of wider contemporary geopolitics.

Engaging with the rich catalogue of cultural material relating to the London Underground, this cultural geography sets out to explore one of the strangest spaces of the modern world. The first to complete that slow process of estrangement from the natural topography initiated by the Industrial Revolution, London Underground is shown to be what French anthropologist Marc Augé has called non-lieu: non-places, like the motorway, supermarket or airport lounge, compelled to interpret their relation to the invisible landscapes they traverse through the media of signs and maps. The tube-network is revealed to be a transitional form, linking spaces of alienation in Victorian England, such as the railway, and the fully virtual spaces of our contemporary consumer-capitalism. This history of alienation, and of the bold struggle to overcome it, recounted in London Underground: a cultural geography, is nothing less than the history of how people have attempted to make a home in the psychopathological spaces of the modern world. London Underground: a cultural geography taps the current enthusiasm for cultural history, for psychogeography, for books on modern urban space, and for all things relating to London, providing an account of the system's representation and reshaping in fiction, film, art, music, graffiti, connecting the long history of the tube-network to wider theoretical concerns relating to the Victorian City, Cultural Geography, Modernism, Post-modernism and Situationist Theory.