DOCSLIB.ORG

A Companion to Modern African Art WILEY BLACKWELL COMPANIONS to ART HISTORY

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Companion to Modern African Art WILEY BLACKWELL COMPANIONS to ART HISTORY ISBN 978-1-4443-3837-9 A Companion to Modern African Art WILEY BLACKWELL COMPANIONS TO ART HISTORY These invigorating reference volumes chart the influence of key ideas, discourses, and theories on art, and the way that it is taught, thought of, and talked about throughout the English-speaking world. Each volume brings together a team of respected international scholars to debate the state of research within traditional subfields of art history as well as in more innovative, thematic configurations. Representing the best of the scholarship governing the field and pointing toward future trends and across disciplines, the Blackwell Companions to Art History series provides a magisterial, state-of-the-art synthesis of art history. 1 A Companion to Contemporary Art since 1945 edited by Amelia Jones 2 A Companion to Medieval Art edited by Conrad Rudolph 3 A Companion to Asian Art and Architecture edited by Rebecca M. Brown and Deborah S. Hutton 4 A Companion to Renaissance and Baroque Art edited by Babette Bohn and James M. Saslow 5 A Companion to British Art: 1600 to the Present edited by Dana Arnold and David Peters Corbett 6 A Companion to Modern African Art edited by Gitti Salami and Monica Blackmun Visonà A Companion to Modern African Art Edited by Gitti Salami and Monica Blackmun Visonà This edition first published 2013 © 2013 John Wiley & Sons, Inc Registered Office John Wiley & Sons, Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK Editorial Offices 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford, OX4 2DQ, UK The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK For details of our global editorial offices, for customer services, and for information about how to apply for permission to reuse the copyright material in this book please see our website at www.wiley.com/wiley-blackwell. The right of Gitti Salami and Monica Blackmun Visonà to be identified as the authors of the editorial material in this work has been asserted in accordance with the UK Copyright, Designs and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs and Patents Act 1988, without the prior permission of the publisher. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. Designations used by companies to distinguish their products are often claimed as trademarks. All brand names and product names used in this book are trade names, service marks, trademarks or registered trademarks of their respective owners. The publisher is not associated with any product or vendor mentioned in this book. Limit of Liability/Disclaimer of Warranty: While the publisher and authors have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. It is sold on the understanding that the publisher is not engaged in rendering professional services and neither the publisher nor the author shall be liable for damages arising herefrom. If professional advice or other expert assistance is required, the services of a competent professional should be sought. Library of Congress Cataloging-in-Publication Data is available on request Hardback ISBN: 9781444338379 A catalogue record for this book is available from the British Library. Cover image: Obiora Udechukwu, To Keep Nigeria One, 1997, watercolor and pencil. Reproduced by kind permission of the artist. Cover design by Richard Boxall Design Associates Set in 10/12pt Galliard by SPi Publisher Services, Pondicherry, India 1 2013 To Sylvester Okwunodu Ogbechie Contents List of Figures xi Notes on Contributors xv Acknowledgments xx Part I Introduction 1 1 Writing African Modernism into Art History 3 Gitti Salami and Monica Blackmun Visonà Part II “Africa Has Always Been Modern” 21 2 Local Transformations, Global Inspirations: The Visual Histories and Cultures of Mami Wata Arts in Africa 23 Henry John Drewal Part III Art in Cosmopolitan Africa: The Nineteenth Century 51 3 Loango Coast Ivories and the Legacies of Afro-Portuguese Arts 53 Nichole N. Bridges 4 Roots and Routes of African Photographic Practices: From Modern to Vernacular Photography in West and Central Africa (1850–1980) 74 Christraud M. Geary 5 At Home in the World: Portrait Photography and Swahili Mercantile Aesthetics 96 Prita Meier viii CONTENTS 6 African Reimaginations: Presence, Absence, and New Way Architecture 113 Ikem Stanley Okoye Part IV Modernities and Cross-Cultural Encounters in Arts of the Early Twentieth Century 135 7 “One of the Best Tools for Learning”: Rethinking the Role of ‘Abduh’s Fatwa in Egyptian Art History 137 Dina A. Ramadan 8 Congolese and Belgian Appropriations of the Colonial Era: The Commissioned Work of Tshelantende (Djilatendo) and Its Reception 154 Kathrin Langenohl 9 Warriors in Top Hats: Images of Modernity and Military Power on West African Coasts 174 Monica Blackmun Visonà Part V Colonialism, Modernism, and Art in Independent Nations 195 10 Algerian Painters as Pioneers of Modernism 197 Mary Vogl 11 Kofi Antubam, 1922–1964: A Modern Ghanaian Artist, Educator, and Writer 218 Atta Kwami 12 Patron and Artist in the Shaping of Zimbabwean Art 237 Elizabeth Morton 13 “Being Modern”: Identity Debates and Makerere’s Art School in the 1960s 255 Sunanda K. Sanyal 14 The École des Arts and Exhibitionary Platforms in Postindependence Senegal 276 Joanna Grabski 15 From Iconoclasm to Heritage: The Osogbo Art Movement and the Dynamics of Modernism in Nigeria 294 Peter Probst 16 Modernism and Modernity in African Art 311 John Picton CONTENTS ix 17 A Century of Painting in the Congo: Image, Memory, Experience, and Knowledge 330 Bogumil Jewsiewicki Part VI Perspectives on Arts of the African Diaspora 347 18 Visual Expressivity in the Art of the Black Diaspora: Conjunctures and Disjunctures 349 dele jegede Part VII Syntheses in Art of the Late Twentieth Century 369 19 Art and Social Dynamics in Côte d’Ivoire: The Position of Vohou-Vohou 371 Yacouba Konaté 20 Contemporary Contradictions: Bronzecasting in the Edo Kingdom of Benin 389 Barbara Winston Blackmun 21 Puppets as Witnesses and Perpetrators in Ubu and the Truth Commission 408 Peter Ukpokodu 22 Moroccan Art Museums and Memories of Modernity 426 Katarzyna Pieprzak Part VIII Primitivism as Erasure 445 23 The Enduring Power of Primitivism: Showcasing “the Other” in Twenty-First-Century France 447 Sally Price Part IX Local Expression and Global Modernity: African Art of the Twenty-First Century 467 24 Zwelethu Mthethwa’s “Postdocumentary” Portraiture: Views from South Africa and Abroad 469 Pamela Allara 25 Creative Diffusion: African Intersections in the Biennale Network 489 Kinsey Katchka 26 Lacuna: Uganda in a Globalizing Cultural Field 507 Sidney Littlefield Kasfir 27 Painted Visions under Rebel Domination: A Cultural Center and Political Imagination in Northern Côte d’Ivoire 528 Till Förster x CONTENTS 28 Postindependence Architecture through North Korean Modes: Namibian Commissions of the Mansudae Overseas Project 548 Meghan L. E. Kirkwood 29 Concrete Aspirations: Modern Art at the Roundabout in Ugep 572 Gitti Salami Index 593 List of Figures 1.1 Map of the African continent. 5 1.2 West Africa, detail from the map of the African continent. 6 2.1 Attributed to Annang Ibibio artist. Mami Wata shrine figure, 1950s–1960s. Wood, pigment, metal, sacrificial materials, 87.6 cm. 25 2.2 Attributed to Sapi artist. Saltcellar, Sierra Leone, late fifteenth century. Ivory, 16 cm. 28 2.3 Joseph Kossivi Ahiator (b. 1956, Aflao, Ghana). Indian King of Mami Wata, 2005. Pigment on cloth, 225 × 267 cm. 36 3.1 Attributed to Sapi artist. Lidded saltcellar, fifteenth–sixteenth century. 54 3.2 Attributed to Loango (Vili) artist. Detail from a carved elephant’s tusk, nineteenth century. 57 4.1 Jonathan Adagogo Green. Chief of Benin (a king from the Warri area in the Niger Delta, Nigeria), circa 1895. Postcard, printed circa 1907. 78 4.2 Lutterodt Bros. & Cousin. Untitled [portrait of two young men], circa 1900. Carte de visite. 81 4.3 El Hadj Ousmanou. Portrait of two young men, circa 1968. Gelatin silver print. 88 5.1 Unknown photographer. Interior view of a stone mansion in Zanzibar, circa 1880s. 107 6.1 Jinadu Elegbede. Interior “courtyard” at the Ijora Palace, Lagos, Nigeria, 1922. Undated photograph. 117 6.2 Joas Baptista da Costa. Shitta Bey Mosque, front façade, Lagos, Nigeria, 1892. Undated photograph. 117 8.1 Tshela tendu of Ibashe (signature). Untitled, 1931. Watercolor on off-white paper, 32 × 50.3 cm. 157 8.2 Tshelantende (signature). Untitled (Docteur, le rat d’ . , Infermi ). Watercolor on paper, mended with needle and thread, 72.5 × 102 cm. 158 9.1 Unknown photographer. Un grand féticheur (war captain of an Akye age-set), 1910–1940. Postcard published by Lescuyer for [La Société des] Missions Africaines, Lyon. 177 xii LIST OF FIGURES 9.2 Attributed to a Bidjogo artist. Orebok (iran), object from a shrine. Bissagos Islands, late nineteenth to mid-twentieth century. 180 9.3 War captain (chef guerrier or sabohin) of an Akye age-set during an initiation ceremony, 1981. Memni, Côte d’Ivoire. 185 10.1 Houria Niati. Painting from the installation No to Torture, After Delacroix’ Women of Algiers, 1834, 1982. Mixed media on canvas, 188 × 270 cm. 198 10.2 Baya. Untitled, 1947–1950. Paint on paper, 74 × 99 cm. 205 10.3 Mohammed Khadda. Calm Noon, 1983. Oil on canvas, 66 × 53 cm. 210 11.1 Alex Amofa.
Load more

Recommended publications
  • The Mellon Mays Undergraduate Fellowship Journal 2018
    The Mellon Mays Undergraduate Fellowship Journal 2018 Through subtle shades of color, the cover design represents the layers of richness and diversity that flourish within minority communities. The Mellon Mays Undergraduate Fellowship Journal 2018 A collection of scholarly research by fellows of the Mellon Mays Undergraduate Fellowship Program Preface We are proud to present to you the 2018 edition of the Mellon Mays Undergraduate Fellowship Journal. For more than 30 years, the Mellon Mays Undergraduate Fellowship (MMUF) program has endeavored to promote diversity in the faculty of higher education, specifically by supporting thousands of students from underrepresented minority groups in their goal of obtaining PhDs. With the MMUF Journal, we provide an additional opportunity for students to experience academia through exposure to the publishing process. In addition to providing an audience for student work, the journal offers an introduction to the publishing process, including peer review and editor-guided revision of scholarly work. For the majority of students, the MMUF Journal is their first experience in publishing a scholarly article. The 2018 Journal features writing by 27 authors from 22 colleges and universities that are part of the program’s member institutions. The scholarship represented in the journal ranges from research conducted under the MMUF program, introductions to senior theses, and papers written for university courses. The work presented here includes scholarship from a wide range of disciples, from history to linguistics to political science. The papers presented here will take the reader on a journey. Readers will travel across the U.S., from Texas to South Carolina to California, and to countries ranging from Brazil and Nicaragua to Germany and South Korea, as they learn about theater, race relations, and the refugee experience.
    [Show full text]
  • Contemporary Art Biennials in Dakar and Taipei
    Geogr. Helv., 76, 103–113, 2021 https://doi.org/10.5194/gh-76-103-2021 © Author(s) 2021. This work is distributed under the Creative Commons Attribution 4.0 License. supported by Obscuring representation: contemporary art biennials in Dakar and Taipei Julie Ren Department of Geography, University of Zurich, Zurich, Switzerland Correspondence: Julie Ren ([email protected]) Received: 20 December 2019 – Revised: 19 February 2021 – Accepted: 22 February 2021 – Published: 7 April 2021 Abstract. There has been a proliferation of contemporary art biennials in the past 20 years, especially in cities outside of North America and Europe. What biennials represent to their host cities and what is represented at these events reveal a great deal about the significance of this proliferation. The biennial platform entails formalistic notions of representation with regards to place branding or the selection of artists as emissaries of countries where they were been born, reside, or to which they have some kind of affinity. This notion of representation is obscured considering the instability of center and periphery, artists’ biographies, practices, and references. In contradistinction to the colonial world fair, the biennial thwarts the notion or possibility of “authentic” representation. The analysis incorporates works shown at the 2018 biennials in Dakar and Taipei, interviews with artists, curators, and stakeholders, and materials collected during fieldwork in both cities. 1 Introduction Dak’Art is the largest international art festival on the conti- nent and is intended as a showcase for contemporary African In Christian Nyampeta’s video artwork “Life After Life,” he art, meaning that only artists of the continent and the African conveys a story “about a man who dies and is accidentally diaspora exhibit (Nwezi, 2013; Filitz, 2017).
    [Show full text]
  • Download (4MB)
    Evelyn Waugh in his library at Piers Court In 1950. This photograph by Douglas Glass appeared in "Portrait Gallery" ln the Sunday T;m~s, January 7, 1951. Waugh had recently published Hel~nQ (1950), and he was about to start writing M~n at Arms (1952), the first volume of the trilogy that became Sword o/Honour (1965). C J. C. C. Glass "A Handful of Mischief" New Essays on Evelyn Waugh Edited by Donat Gallagher, Ann Pasternak Slater, and John Howard Wilson Madison· Teaneck Fairleigh Dickinson University Press Published by Fairleigh Dickinson University Press Co-publisbed with The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rlpgbooks.com Estover Road, Plymouth PL6 7PY, United Kingdom Copyright C 2011 by The Rowman & Littlefield Publishing Group, Inc. All rights reserved. No part of this book may be reproduced in any form or by any electronic or me<:hanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Library of Congress Cataloguing-in-Publication Data on file under LC#2010016424 ISBN: 978-1-61147-048-2 (d. : alk. paper) eISBN: 978-1-61147-049-9 e"" The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences- Permanence of Paper for Printed Library Materials, ANSIINISO Z39.48-1992. Printed in the United States of America To Alexander Waugh, who keeps the show on the road Contents Acknowledgments 9 Abbreviations 11 Introduction ROBERT MURRAY DAVIS 13 Evelyn Waugh, Bookman RICHARD W.
    [Show full text]
  • Annuaire Artistique De L'algérie (Arts Visuels)
    Annuaire artistique de l’Algérie (Arts visuels) 2012 L’Annuaire artistique de l’Algérie 2012 - Un an ; 1 numéro Directeur de la rédaction : Mansour Abrous Tél. : 06.85.18.77.47 E-mail : mansour. [email protected] Objectifs : Fondé en 1998. L’Annuaire des arts en Algérie se veut fidèle à sa mission d’outil d’information et de source de références pour toute la communauté artistique, les étudiants, les chercheurs et les praticiens. A Nacer Fatiha et Boukacem Zerrouk « Les martyrs ne sont pas seulement ceux qui sont morts pendant la Guerre, sous les coups des ennemis. Il y a aussi les martyrs de l’art, les artistes créateurs, toujours martyrisés d’un pays qui se cherche depuis des millénaires » (Kateb Yacine) Introduction En cette année du cinquantième anniversaire de l’indépendance, la communauté artistique, en attente, aurait été séduite par l’idée d’un bilan de l’activité « arts visuels en Algérie ». Un temps de bilan qui puisse donner des éléments de projection pour l’avenir. Ce travail aurait eu de sens, s’il était étayé par des assises ou rencontre des principaux acteurs de la scène culturelle pour, collectivement, déposer un sentiment, une analyse, un bilan contradictoire, une transparence d’informations sur cette période d’activités. En Algérie, nous sommes, aujourd’hui, en présence de deux visions du développement de la culture. La première, vise la modernisation de la société, intègre la culture dans ce projet généreux, ouvert sur des logiques de co-production entre la société civile, le monde associatif et l’état. Cette démarche implique des mécanismes de contrôle démocratique de l’utilisation de l’argent public.
    [Show full text]
  • Chapungu Sculpture Park
    CHAPUNGU SCULPTURE PARK Do you Chapungu (CHA-poon-goo)? The real showcase within the Centerra community is the one-of-a-kind Chapungu Sculpture Park. Nestled in the foothills of the Rocky Mountains, this 26-acre outdoor cultural experience features more than 80 authentic stone sculptures carved by artisans from Zimbabwe displayed amongst beautiful natural and landscaped gardens. The entire walking park which is handicap accessible, orients visitors to eight universal themes, which include: Nature & Environment • Village Life • The Role of Women • The Elders • The Spirit World • The Family The Children • Custom & Legend. Whether you are an art enthusiast or just enjoy the outdoors, this serenity spot is worth checking out. Concrete and crushed rock used from the makings of the sculptures refine trails and lead you along the Greeley and Loveland Irrigation Canal and over bridges. Soak in the sounds of the birds perched high above in the cottonwood trees while resting on a park bench with a novel or newspaper in hand. Participate in Centerra’s annual summer concert series, enjoy a self guided tour, picnic in the park, or attend Visit Loveland’s Winter Wonderlights hosted F R E E A D M I S S I O N at the park and you are bound to have a great experience each time you visit. Tap Into Chapungu Park Hours: Daily from 6 A.M. to 10:30 P.M. Easily navigate all the different Chapungu Sculpture Park is conveniently located just east of the Promenade Shops at Centerra off Hwy. 34 and regions within Chapungu Located east of the Promenade Shops Centerra Parkway in Loveland, Colorado.
    [Show full text]
  • Science Chunks: Plants Sample Packet Teach Your Students the Basics About Plants in Bite-Sized Chunks
    Science Chunks: Plants Sample Packet Teach your students the basics about plants in bite-sized chunks. The following sample packet includes most of the first lesson of the Science Chunks: Plants digital unit study. You will see: 9 The Introduction (beginning on p. 4) 9 The Lesson (beginning on p. 8) 9 The Lapbooking Templates (beginning on p. 11) 9 The Notebooking Templates (beginning on p. 14) If you have questions about what you see, please let us know by emailing support@ elementalscience.com. To get started, head to: https://elementalscience.com/products/science-chunks-plants-unit A Peek Inside a Science Chunks Unit 5 1. Lesson Topic 1 Focus on one main idea throughout the week. You will learn about these ideas by reading from visually appealing encyclopedias, recording what 2 the students learned, and doing coordinating hands-on science activities. 2. Information Assignments Find two reading options—one for younger 3 students, one for older students, plus optional library books. 3. Notebooking Assignments Record what your students have learned with either a lapbook or a notebook. The directions for these options are included for 4 your convenience in this section along with the vocabulary the lesson will cover. 4. Hands-on Science Assignments Get the directions for coordinating hands-on science activities that relate to the week’s topic. 5 5. Lesson To-Do Lists See what is essential for you to do each week and what is optional. You can check these off as you work through the lesson so that you will know when you are ready to move on to the next 6 one.
    [Show full text]
  • Culture and Customs of Zimbabwe 6596D FM UG 9/20/02 5:33 PM Page Ii
    6596D FM UG 9/20/02 5:33 PM Page i Culture and Customs of Zimbabwe 6596D FM UG 9/20/02 5:33 PM Page ii Recent Titles in Culture and Customs of Africa Culture and Customs of Nigeria Toyin Falola Culture and Customs of Somalia Mohamed Diriye Abdullahi Culture and Customs of the Congo Tshilemalema Mukenge Culture and Customs of Ghana Steven J. Salm and Toyin Falola Culture and Customs of Egypt Molefi Kete Asante 6596D FM UG 9/20/02 5:33 PM Page iii Culture and Customs of Zimbabwe Oyekan Owomoyela Culture and Customs of Africa Toyin Falola, Series Editor GREENWOOD PRESS Westport, Connecticut • London 6596D FM UG 9/20/02 5:33 PM Page iv Library of Congress Cataloging-in-Publication Data Owomoyela, Oyekan. Culture and customs of Zimbabwe / Oyekan Owomoyela. p. cm.—(Culture and customs of Africa, ISSN 1530–8367) Includes bibliographical references and index. ISBN 0–313–31583–3 (alk. paper) 1. Zimbabwe—Social life and customs. 2. Zimbabwe—Civilization. I. Title. II. Series. DT2908.O86 2002 968.91—dc21 2001055647 British Library Cataloguing in Publication Data is available. Copyright © 2002 by Oyekan Owomoyela All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2001055647 ISBN: 0–313–31583–3 ISSN: 1530–8367 First published in 2002 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984).
    [Show full text]
  • Textile Society of America Newsletter 27:2 — Fall 2015 Textile Society of America
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Fall 2015 Textile Society of America Newsletter 27:2 — Fall 2015 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Design Commons Textile Society of America, "Textile Society of America Newsletter 27:2 — Fall 2015" (2015). Textile Society of America Newsletters. 71. https://digitalcommons.unl.edu/tsanews/71 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 27. NUMBER 2. FALL, 2015 Cover Image: Collaborative work by Pat Hickman and David Bacharach, Luminaria, 2015, steel, animal membrane, 17” x 23” x 21”, photo by George Potanovic, Jr. page 27 Fall 2015 1 Newsletter Team BOARD OF DIRECTORS Roxane Shaughnessy Editor-in-Chief: Wendy Weiss (TSA Board Member/Director of External Relations) President Designer and Editor: Tali Weinberg (Executive Director) [email protected] Member News Editor: Ellyane Hutchinson (Website Coordinator) International Report: Dominique Cardon (International Advisor to the Board) Vita Plume Vice President/President Elect Editorial Assistance: Roxane Shaughnessy (TSA President) and Vita Plume (Vice President) [email protected] Elena Phipps Our Mission Past President [email protected] The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, Maleyne Syracuse political, social, and technical perspectives.
    [Show full text]
  • Souleymane Bachir Diagne on Translation & Restitution
    IN THE FOREGROUND: CONVERSATIONS ON ART & WRITING A Podcast from the Research and Academic Program (RAP) at the Clark Art Institute “A Gesture of Reciprocity”: Souleymane Bachir Diagne on Translation & Restitution Season 2, Episode 3 Recording date: OctoBer 14, 2020 Release date: FeBruary 23, 2021 Transcript Caro Fowler Welcome to In the Foreground: Conversations on Art & Writing. I am Caro Fowler, your host and director of the Research and Academic Program at the Clark Art Institute in Williamstown, Massachusetts. In this series of conversations, I talk with art historians and artists about what it means to write history and make art, and the ways in which making informs how we create not only our world, But also ourselves. In this episode, I speak with Lorraine O’Grady, an artist and critic whose installations, performances, and writings address issues of hyBridity and Black female suBjectivity, particularly the role these have played in the history of modernism. Lorraine discusses her long standing research into the relation of Charles Baudelaire and Jeanne Duval, the omissions of art historical scholarship and intersectional feminism, and the entanglement of personal and social histories in her work. Souleymane Bachir Diagne The translator, when she's dealing with two languages, and trying to give clarity to a meaning from a language to another language, that is this way of putting them in touch, to create an encounter between these two languages is an ethical gesture, it is a gesture of reciprocity. Caro Fowler Thank you for joining me today, Bachir. It's really nice to talk to you.
    [Show full text]
  • Elin Diamond. 'Mimesis. Mimicry and the 'Truc-Rd."*In Acting Out: Ferninist Pe~Omnces,368 33 Jacques Demda
    UNIVERSITY OF ALBERTA PRODUCING AND PERFORMING IDENTITIES: THEORETICAL, CULTURAL, AND PRACTICAL ARTICULATIONS OF JEAN GENET'S CONCEPT OF SELF OANA G. TOMA O A THESIS SUBMIlTED TO THE FACULTY OF GRADUATE STUDIES AND RESEARCH IN PARTIAL FULFILLMENT OF THE REQUREMENTS FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF DUMA EDMONTON, ALBERTA FALL 1997 National Library Bibliothèque nationale 1+1 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Wellington OtiawaON K1AON4 Ottawa ON K1A ON4 Canada canada Y~ur& vmRifcMmw Our Me Noire refd- The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microfom, vendre des copies de cette thèse sous paper or electronic formats. la fome de microfiche/m de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT To articulate Jean Genet's concept of self is to inevitably address the ontology of representation. Genet's manipulation of the ontology of representation simultaneously employs and subverts the traditional mimetic system of reference and challenges the notions of written and performance text.
    [Show full text]
  • Catalogue 97
    Eastern Africa A catalogue of books concerning the countries of Kenya, Uganda, Tanzania, Rwanda, Burundi, and Malawi. Catalogue 97 London: Michael Graves-Johnston, 2007 Michael Graves-Johnston 54, Stockwell Park Road, LONDON SW9 0DA Tel: 020 - 7274 – 2069 Fax: 020 - 7738 – 3747 Website: www.Graves-Johnston.com Email: [email protected] Eastern Africa: Catalogue 97. Published by Michael Graves-Johnston, London: 2007. VAT Reg.No. GB 238 2333 72 ISBN 978-0-9554227-1-3 Price: £ 5.00 All goods remain the property of the seller until paid for in full. All prices are net and forwarding is extra. All books are in very good condition, in the publishers’ original cloth binding, and are First Editions, unless specifically stated otherwise. Any book may be returned if unsatisfactory, provided we are advised in advance. Your attention is drawn to your rights as a consumer under the Consumer Protection (Distance Selling) Regulations 2000. The illustrations in the text are taken from item 49: Cott: Uganda in Black and White. The cover photograph is taken from item 299: Photographs. East Africa. Eastern Africa 1. A Guide to Zanzibar: A detailed account of Zanzibar Town and Island, including general information about the Protectorate, and a description of Itineraries for the use of visitors. Zanzibar: Printed by the Government Printer, 1952 Wrpps, Cr.8vo. xiv,146pp. + 18pp. advertisements, 4 maps, biblio., appendices, index. Slight wear to spine, a very nice copy in the publisher’s pink wrappers. £ 15.00 2. A Plan for the Mechanized Production of Groundnuts in East and Central Africa. Presented by the Minister of Food to Parliament by Command of His Majesty February, 1947.
    [Show full text]
  • "A Study of Three Plays by Jean Genet: the Maids, the Balcony, the Blacks"
    Shifting Paradigms in Culture: "A Study of Three Plays by Jean Genet: The Maids, The Balcony, The Blacks" Department of English and Modern European Languages Jamia Millia Islamia New Delhi 2005 Payal Khanna The purpose of this dissertation is two fold. Firstly, it looks at the ways in which Genet's plays question the accepted social positions and point towards the need for a radical social change. Secondly, this dissertation also looks at Genet's understanding of theatre to underline the social contradictions through this medium. The thesis studies through a carefully worked out methodology the dynamic relationship between theatre and its viewers. This dissertation analyses the works of Genet to locate what have been identified in the argument as points of subversion. In this world of growing multiculturalism where terms like globalization have become a part of our daily life Genet's works are a case in point. Genet's plays are placed in a matrix that is positioned outside the margins of society from where they question the normative standards that govern social function. They create an alternative construct to interpret critically the normalizing tendency of society that actually glosses over the social contradictions. The thesis studies the features of both the constructs-that of society and the space outside it, and the relation that Genet's plays evolves between them. The propensity of a society that is divided both on the basis of class and gender is towards privileging groups that are powerful. Therefore the entire social rubric is structured in a way that takes into consideration the needs of such groups only.
    [Show full text]