Interventions-International Journal of Postcolonial Studies最新文献

{"title":"The Pen is Mightier than the H-Bomb","authors":"Izadora Xavier do Monte","doi":"10.1080/1369801X.2015.1131180","DOIUrl":"https://doi.org/10.1080/1369801X.2015.1131180","url":null,"abstract":"Through discourse analysis of interviews with United Nations Security Council diplomats, this essay attempts to deconstruct the binary that opposes power politics and international law and morality. It intends to show that the context (or ‘conditions’) of production of UNSC documents – international law – does not counterbalance the hierarchies that define international power politics, but depends on and reinforces such hierarchies. International law makes the privileged position of some members more acceptable even in a context where the ideal of nations’ self-determination and democracy would seem to demand otherwise. It also allows the most powerful to determine what is to be considered fundamental for the international community, and who is to be constrained by force in these contexts, with important material effects.","PeriodicalId":46172,"journal":{"name":"Interventions-International Journal of Postcolonial Studies","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2016-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/1369801X.2015.1131180","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59769751","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Post-imperial Nostalgia and Miguel Gomes’ Tabu","authors":"Paulo de Medeiros","doi":"10.1080/1369801X.2015.1106963","DOIUrl":"https://doi.org/10.1080/1369801X.2015.1106963","url":null,"abstract":"With Europe in a prolonged and threatening political crisis, post-imperial nostalgia, the dreaming of a glorious past that never was, is a current threat. Fuelled by instability, a loss of hope for a better future, and the collapse of emancipatory ideologies in the face of a seemingly unstoppable global capitalism that has entered a savage phase, imperial nostalgia is more than a simple palliative for the present malaise. In the case of Portugal, with a still-fragile democratic society after many decades of numbing totalitarian rule, imperial nostalgia is all the more ominous given the fact that the loss of empire has not yet been properly assimilated by the society at large. Miguel Gomes’ recent and internationally acclaimed film Tabu (2012) plays along this fraught ideological terrain by imagining a ‘lost Africa’ that plays in aesthetically seductive imagery, shot in black and white, the dream of a more innocent and hopeful era in the current imagination of a Portugal wrecked by debilitating and systemic sovereign debt. The film, also effusively received by the general public, appeals to the past and ironizes it, both in historical terms as well as in relation to other cinema and especially its cited predecessor, Friedrich W. Murnau's eponymous 1931 film. A more detailed analysis of the film's imbrication in cinematic and imperial histories can help sketch out an analysis of the complexity of post-imperial nostalgia.","PeriodicalId":46172,"journal":{"name":"Interventions-International Journal of Postcolonial Studies","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2016-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/1369801X.2015.1106963","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59769709","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Stranger Flâneuse and the Aesthetics of Pedestrianism","authors":"Isabel Carrera Suárez","doi":"10.1080/1369801X.2014.998259","DOIUrl":"https://doi.org/10.1080/1369801X.2014.998259","url":null,"abstract":"While the realities of the global city would seem to render the century-old, modernist figure of the flâneur (and the disputed flâneuse) obsolete, embodied citizens and narrators have stubbornly survived the change in urban environments and their imaginaries, continuing to populate novels and mediate creation and writing. These postcolonial, post-diasporic pedestrians, however, necessarily occupy a different place in the real and fictive worlds, and must be conceptualized and named differently, in keeping with modified urban discourses and genres. Looking at a selection of novels written by women in the early years of the twenty-first century (set in Toronto, Sydney, Singapore and London), this essay contends that contemporary urban, post-diasporic texts create embodied, located pedestrians, rather than detached flâneurs; such figures, exceeding the resistant walkers imagined by Michel de Certeau, are closer to what the visual critic Marsha Meskimmon proposed as ‘an aesthetics of pedestrianism’, a poetics involving the body as a site of learning and border negotiation, through which the stranger fetishism described by Sara Ahmed may be destabilized and contested.","PeriodicalId":46172,"journal":{"name":"Interventions-International Journal of Postcolonial Studies","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2015-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/1369801X.2014.998259","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59769641","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Developmentalism","authors":"A. Dirlik","doi":"10.1080/1369801X.2012.735807","DOIUrl":"https://doi.org/10.1080/1369801X.2012.735807","url":null,"abstract":"Marxist or Marxism-inspired criticism focuses on global capitalism for having exacerbated problems of social injustice and conflict in contemporary societies globally. The discussion here suggests the necessity of closer attention to an ideological and cultural predisposition that has facilitated the globalization of capitalism: developmentalism, or the fetishization of development, that has rendered development into a horse race between nations and corporations regardless of its consequences for human welfare. The discussion takes up ten problems that are revealing of the sharpening contradictions of global capitalism, followed by a critique of developmentalism informed by seminal works of Indian scholars who played a leading part in raising the issue beginning in the 1960s. It suggests by way of conclusion that given the looming ecological crisis sharpened by global capitalism, closer attention is called for to philosophical systems that stress harmony between humans and nature, prominent among them those associated with indigenous belief systems.","PeriodicalId":46172,"journal":{"name":"Interventions-International Journal of Postcolonial Studies","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2014-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/1369801X.2012.735807","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59768643","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Laundebaazi","authors":"A. Katyal","doi":"10.1080/1369801X.2013.849417","DOIUrl":"https://doi.org/10.1080/1369801X.2013.849417","url":null,"abstract":"If there is a growing consensus on seeing the colony as a ‘laboratory of modernity’, not simply a site of exploitation, then we need to know what went into that lab experiment. In this essay I focus on the experiment around same-sex desire and on one of its major constituents – laundebaazi (habit for boys, inclination to play with them). Laundebaazi is a social register that sets same-sex desire within the idea of habit, within a language of excess, not different in kind from opposite-sex desire but in degree, and in a continuum with other kinds of excesses like music, prostitutes, cards or alcohol. The on-ground experiment between ‘homosexuality’ and laundebaazi has been a long-drawn one and has involved a measure of solubility. After establishing the general north-Indian idiom of baazi as a social frame for habit and excess, I elaborate on laundebaazi as being possible within its pool. I also work out laundebaazi as a reigning political metaphor in crisis between the ‘feudal’ and the ‘democratic’ moments in south Asia. I finish off with gaybaazi – one of the odd precipitates that result from this experiment of modernity.","PeriodicalId":46172,"journal":{"name":"Interventions-International Journal of Postcolonial Studies","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2013-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/1369801X.2013.849417","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59769185","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Translation and Postcolonial Encounters","authors":"M. T. Caneda Cabrera","doi":"10.1080/1369801X.2013.824755","DOIUrl":"https://doi.org/10.1080/1369801X.2013.824755","url":null,"abstract":"The challenges presented to literary scholarship in postcolonial contexts partly arise from the fact that this criticism consists of an act of translation in its own right, in the sense that it is transcultural. Because this scholarship aligns itself with cultural and political enterprises, it demands a comprehensive rethinking of translation. For postcolonial critics translation needs to be understood in relation to processes of, on the one hand, transculturation (as emphasis is placed on borders, migration, hybridization, plurilanguaging and multiculturing) and, on the other hand, resignification (as in these ‘sensitive’ contexts translators act as agents whose function is culturally, politically and historically determined). And if translated texts are always versions of an original which is ‘rewritten’ under new circumstances, then translation practices that are inscribed within nation-building processes (in which originals must undergo significant transformations in order to facilitate their acceptance within the national repertoire) prove to be essential mechanisms in the conformation and legitimization of literary canons and cultural discourses. Through a case study of the 1964 translation of James Joyce's A Portrait of the Artist as a Young Man in post-revolutionary Cuba, this essay reflects on the strategies of symmetry and naturalization deployed by the politically motivated revolutionary translator as he foregrounds the Irish themes of struggle for freedom from colonial oppression and the fight for independence, which, not surprisingly, also formed the basis of Cuban national identity for the ideologues of the revolution.","PeriodicalId":46172,"journal":{"name":"Interventions-International Journal of Postcolonial Studies","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2013-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/1369801X.2013.824755","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59768614","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"SKIN, INTIMACY AND AUTHENTICITY","authors":"Michelle Diane Aung Thin","doi":"10.1080/1369801X.2013.771004","DOIUrl":"https://doi.org/10.1080/1369801X.2013.771004","url":null,"abstract":"In literary representations of ‘the other’ the borders that define how difference itself is constructed are often hidden or unacknowledged. One senses these limits in the absence of certain kinds of difference in literary texts. For example, British colonialism is frequently portrayed in the English-language literary tradition, yet few novels have at their centre colonial Burma and even fewer an Anglo-Burmese subject. Equally striking is the dearth of postcolonial scholarship in the area. These literary and scholarly omissions seem to replicate colonial practices of inclusion and exclusion based upon judgements about the author's cultural authenticity and choice of subject matter as well as adherence to European social and moral codes. The Lacquer Lady, by F. Tennyson Jesse, is a rare example of a novel set in colonial Burma with a mixed-race, Anglo-Burmese protagonist, yet is overlooked by postcolonial literary critics. In this essay I will offer a reading of The Lacquer Lady drawing on Didier Anzieu's The Skin Ego (1989) and Imogen Tyler's essay Skin Tight (2001). In my reading, I will focus on the representation of Fanny Moroni, the Anglo-Burmese figure, and consider the ways in which intimacy and skin interact with the limit (a literal or metaphoric border that informs subjectivity).","PeriodicalId":46172,"journal":{"name":"Interventions-International Journal of Postcolonial Studies","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2013-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/1369801X.2013.771004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59768703","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Tensions in Rural Bengal: Landlords, Planters and Colonial Rule","authors":"Mallarika Sinha Roy","doi":"10.1080/1369801X.2012.730866","DOIUrl":"https://doi.org/10.1080/1369801X.2012.730866","url":null,"abstract":"From the weave of Ray’s variegated body of work, Ganguly isolates persistent threads of critique, noting that they coalesce around his treatment of those subjective and perceptual modes that were the most vulnerable and sensitive witnesses of Indian modernity’s productive violence: femininity and aurality. Ganguly’s discussion of the allegorical content of the female protagonists of Ray’s films (from Bimala in Ghare Bhaire to Charulata’s namesake, Devi’s Doya, and Mahanagar’s Arati) steers clear of the enervated trajectory routinely traced by critics of Indian cinema, who instrumentalize Indian women and film music as tropes for staging the antinomies of tradition and modernity. Instead, she shows how the materiality of Ray’s audiovisual choices manifests film’s own structuring role in the predicament of feminine desire on the cusp of modernity, suspended between the embodied temporalities of patriarchy and capitalism, the stultification of aristocratic leisure and the alienation of modern labour. Some of the most beautiful points in the book are those that explore Ray’s quotidian and yet dialectically charged confrontations between the forms (classical music), subjects (middleclass women, the theatrical elite) and technologies (the lorgnette, the gramophone) that have been reified by and subsumed within a visual regime of which mainstream cinema is both a protagonist and a product. It is by illuminating the unexpected, counterintuitive and ultimately open-ended alliances forged by modernity’s uneven supersessions, Ganguly argues, that Ray’s practice functions as an Adornian immanent critique of social conditions, as well as a vehicle for redeeming physical reality, in Kracauer’s sense. By recuperating overlooked aspects of Ray’s cinematic practice as sites of dialectical inquiry rather than traces of authorial intention or signature style, Ganguly invests the exhausted form of the single-author study with a new political significance. In both form and execution, her book demonstrates a rare commitment to precisely the kinds of utopian thinking that avant-gardism has sought to recuperate. Ganguly’s readings are in fact rich in potential in ways that she does not adequately exploit: although she shies away from engaging with contemporary trends in film theory, her commitment to thinking dialectically about film’s indexicality has much to contribute to the current surge of interest in documentary and reality based genres. This resurgence of realism at the moment of film’s own displacement by technologies of digital manipulation bears all the hallmarks of the moment of cinematic emergence to which Ganguly’s retrospective study is devoted, and begs the very critique she brings to bear on realism, one that is urgently relevant for combating the ongoing resurrection of referentiality as an epistemology of the Third World. Ganguly’s is a book for our times, for she illustrates how postcoloniality can name a location through which to rejuvenate reflexive","PeriodicalId":46172,"journal":{"name":"Interventions-International Journal of Postcolonial Studies","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2012-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/1369801X.2012.730866","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59768592","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"BOOKS: Review Forum on postwar British literature and postcolonial studies","authors":"Sarah Brouillette, B. Jallow, Farhana Ibrahim, J. Raymundo, Paul Bjerk, D. Konaté, Kevin Hickey, Paolo Campolonghi, S. Sen, N. Matlin, Sofia Samatar, Ilya Vinkovetsky, John Nimis","doi":"10.1080/1369801X.2012.704502","DOIUrl":"https://doi.org/10.1080/1369801X.2012.704502","url":null,"abstract":"","PeriodicalId":46172,"journal":{"name":"Interventions-International Journal of Postcolonial Studies","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2012-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/1369801X.2012.704502","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59768805","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"INTIMACIES","authors":"Anna Bernard, Z. Elmarsafy","doi":"10.1080/1369801X.2012.656924","DOIUrl":"https://doi.org/10.1080/1369801X.2012.656924","url":null,"abstract":"The death of Mahmoud Darwish on 9 August 2008 left a tremendous void in the global literary and cultural landscape. In a career spanning nearly five decades, the Palestinian national poet published more than thirty volumes of poetry and prose, and his work was translated into more than twenty languages. His poems speak eloquently of the Palestinian catastrophe, but also of unrequited love, of the natural world, of the writing of poetry itself. When Darwish died like Edward Said, much too young at 67 a period of official mourning was declared in the West Bank and Gaza. Friends and readers across the world lamented his passing in exalted terms, describing him as ‘perhaps the single most important figure during the seminal period of the restoration of the Palestinian national imagination’ (Khalidi 2008: 75) and as ‘one of the last great world poets’ (‘Mahmoud Darwish’ 2008) whose ‘whole being, his whole life, drew its meaning only in and through the poem’ (al-Azzawi 2008: 41). The South African poet Breyten Breytenbach wrote movingly:","PeriodicalId":46172,"journal":{"name":"Interventions-International Journal of Postcolonial Studies","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2012-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/1369801X.2012.656924","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59766464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}