Globality: the Double Bind of African Migrant Writing
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Authors on Twitter Greg Myers
1 Celebrity Studies. 7, 4, pp. 476-492: http://www.tandfonline.com/doi/full/10.1080/19392397.2016.1233708 Everyday oracles: authors on Twitter Greg Myers Lancaster University Most authors participate, reluctantly or enthusiastically, in a cycle of promotion, including book tours, literary festivals, interviews, and now social media. Some authors make regular use of Twitter to post updates about professional activities, comments on events in their everyday lives, news of readings, statements of opinions, photos, links, or retweets. This study examines tweets by ten authors, using corpus linguistic tools to find stylistic patterns characteristic of the corpus as a whole or of individual authors. It then looks at tweets by others that mention the authors or use quotations from the authors in new contexts, creating an on-line presence for authors whether they tweet themselves or not. Authors are subject to the same tension between ordinariness and specialness that others have noted with stars in music, television, or fashion. Literature, because of its assumed cultural position, and its production in private, is sometimes seen as being apart from and opposed to the cultural system of celebrity and promotion. But this cultural position also means the ordinariness of authors is treated as surprising and interesting, while the specialness makes them available to all as oracles. Keywords: celebrity; authorship; everyday life; singularity; quotation, Twitter Novelists and celebrity In ‘The Writer on Holiday’, Roland Barthes explores the ideological contradictions between the everyday lives of writers, as represented in mass media, and their special status in high culture. A writer on holiday is doing just what salaried employees do, 2 taking some time off from work, and yet he or she is still a writer, not a salaried employee. -
Guilt, Shame, and the Generative Queer in Taiye Selasi's Ghana Must Go
COPAS—Current Objectives of Postgraduate American Studies 19.1 (2018) Guilt, Shame, and the Generative Queer in Taiye Selasi’s Ghana Must Go Anna-Lena Oldehus, M.A. ABSTRACT: This paper focuses on Taiye Selasi’s Ghana Must Go (2013) and shows how Selasi, by challenging conventional modes of storytelling, creates narrative spaces for characters that queer traditional formations of subJectivity, most prominently by emancipating them from the repressive forms of affect of guilt and shame. KEYWORDS: Taiye Selasi; Queer; Affect; Gender; Transnational Literature Introduction In her TED talk “Don’t Ask Me Where I’m From, Ask Me Where I’m Local” (2014), Taiye Selasi complicates normative and traditional understandings of belonging, origin, and home: “Nike is multinational. I’m a human being. … I’m not multinational, I’m not a national at all. … How can a human being come from a concept?” (Selasi 2014, 00:01:15–00:01:51). In addition to sketching out exclusionary forces that come with the ideas of nations and nation state, she speaks about the concept of Afropolitanism1, which, in her understanding, resists the logic of the nation state (00:03:26) and “privileges culture over country” (00:03:31). In her talk Selasi proposes to organize questions of belonging and origin around the “three ‘R’s’: rituals, relationships, restrictions” (00:06:44). These three steps are designed to locate notions of origin according to experience. Selasi’s proposal clearly works against normative “logics of location, movement, and identification” (Halberstam 1) since they neglect more traditional questions and answers regarding places of origin such as nationality or home country. -
Dinaw Mengestu and John Yau
The Wolfe Institute The Ethyle R.Wolfe Institute for the Humanities, in cooperation with the Department of English and the MFA Program in Creative Writing, presents Dinaw Mengestu and John Yau Dinaw Mengestu, a recipient of the 2012 MacArthur Foundation Genius Award, was born in Ethiopia and raised in Illinois. He graduated from Georgetown University and received his MFA degree from Columbia University. His fiction and journalism have been published inThe New Yorker, Granta, Harper’s, Rolling Stone, and The Wall Street Journal. Mengestu was chosen for the 5 Under 35 Award by the National Book Foundation in 2007 and was named on The New Yorker’s “20 Under 40” list in 2010. He is also the recipient of a Lannan Fiction Fellowship, The Guardian First Book Award, The Los Angeles Times Book Prize, and the Prix du Premier Meilleur Roman Etranger, among other awards. He is the author of three novels: All Our Names (2014), The Beautiful Things That Heaven Bears (2008), and How to Read the Air (2010). His work has been translated into more than fifteen languages. John Yau is professor of critical studies at the Mason Gross School of the Arts (Rutgers University), the publisher of Black Square Editions, and a regular contributor to the online magazine Hyperallergic Weekend, which he helped start. He recently published Further Adventures in Monochrome (Copper Canyon Press, 2012). He has received the Distinguished Alumnus Award from Brooklyn College (Class of 1978), as well as grants and awards from the Warhol Foundation, the John Simon Guggenheim Memorial Foundation, the New York Foundation for the Arts, and the Foundation for Contemporary Art. -
Board Committee Documents Faculty, Staff and Administration Agendas
DINAW MENGESTU _____________________________________________________________________________ EDUCATION Georgetown University, Washington, DC Bachelor of Arts, May 2000 Major: English; Minor: Philosophy Honors: First Honors; Community Scholars Fellow; Lannan Poetry Fellow Columbia University, New York, NY Master of Fine Arts, Concentration: Fiction, May 2005 TEACHING EXPERIENCE Lannan Chair in Poetics, Georgetown University. August 2012-Present. “Hybrid Forms” “The Writer’s Perspective” Adjunct Professor, New York University Paris Program June 2012-July 2012: “Fiction Workshop” Distinguished Writer in Residence, Tulane University August 2008-December 2008: “Advanced Fiction Workshop,” “Literary Nonfiction: Writer in the City” Lannan Visiting Professor, Georgetown University January 2007-May 2007: “Introduction to Fiction Workshop” Adjunct Professor, New York City College of Technology 2005, Summer: “Introduction to Composition,” USIP Summer Course AWARDS, HONORS MacArthur Fellowship, September 2012 Judge for the 2012 National Book Awards Ernest J Gaines Award for Literary Excellence, January 2012 Dayton Literary Peace Prize, Finalist, 2011 Independent Book Seller Award, Finalist 2011 Hurston Wright Legacy Award, Finalist 2011 Vilceck Prize for Creative Promise, 2011 Premio Internationale Amalfi Coast, 2011 New York Times Notable Book, Chicago Tribune, Cleveland Plain Dealer, Barnes and Noble, Washington Post, Publisher Weekly, Library Journal, Miami Herald, San Francisco Chronicle, Boston Globe, Best Book of the Year, 2010 New Yorker “20 -
Negotiating Cultural Identity in Exile: a Study of Dinaw
NEGOTIATING CULTURAL IDENTITY IN EXILE: A STUDY OF DINAW MENGESTU’S CHILDREN OF THE REVOLUTION AND ALL OUR NAMES OPENDA RUTH KWAMBOKA C50/76331/2014 A Research Report submitted in Partial Fulfilment of the Requirements for the Award of the Degree of Master of Arts in Literature, University of Nairobi. 2017 DECLARATION This research report is my original work and has not been presented for examination or the award of a degree at any University. Signature: ____________________ Date: ___________________ Openda, Ruth Kwamboka This research report has been submitted for examination with our approval as University supervisors: Signature: _____________________ Date: ______________________ Dr. Tom Odhiambo Signature: _______________________ Date: ________________________ Dr. Alex Wanjala ii DEDICATION TO MY FAMILY iii ACKNOWLEDGEMENTS I first want to thank my supervisors, Dr. Alex Wanjala and Dr. Tom Odhiambo for their guidance, commitment and support throughout the course of this project. I’m grateful for your invaluable scholarly advice. I would also like to extend my gratitude to Prof. Dr. Susanne Gehrmann (Chair of The Institute for Asian and African Studies), and Dr. Pepetual Mforbe Chiangong (Lecturer African Literature and Culture) at Humboldt-Universität zu Berlin for your scholarly insights and guidance during my stay at the institution. I also thank Prof. Peter Wasamba (Dean, Faculty of Arts) for the Humboldt Student Exchange Programme scholarship award that enabled me to travel and study at Humboldt- Universität zu Berlin, Germany. My sincere gratitude goes to my family for encouraging me throughout my studies; especially to my mother, Grace Openda for your unwavering love, support and prayers, and my brother Davis Openda for believing in me and supporting me financially, without you this degree will not have been a reality. -
Celebrating Afropolitan Identities? Contemporary African World Literatures in English
Anglia 2017; 135(1): 159–185 Birgit Neumann* and Gabriele Rippl Celebrating Afropolitan Identities? Contemporary African World Literatures in English DOI 10.1515/anglia-2017-0010 Abstract: Against the background of today’s debate on Afropolitanism, this article discusses three contemporary African novels as instances of world literatures, focusing on their creative modelling of open, non-Eurocentric worlds in motion. Taking existing research in the field of world literature into account, we argue that the affective and effective uniqueness of world literatures only comes to the fore when considering their distinct power to creatively make worlds. We suggest understanding world literatures in terms of their capacity to create open, poly- centric worlds, which enmesh diverse places, multiple temporalities, situated practices and locally grounded experiences into open networks of reciprocal change. In theorizing world literatures as pluralized and multiple, we also try to overcome the privileging of western literature. The final section negotiates how these imaginative worlds interact, intersect and possibly collide with that world which is configured by labelling, marketing and canonizing a specific text as ‘world literature’. 1 “Being African in the World” In the last fifteen years or so a considerable number of diasporic African litera- tures have made their entry into the world literary space, reminding us once again of the complex and volatile dynamics underlying the making of world literatures. Comprising authors as diverse as Teju Cole, Taiye Selasi (born Taiye Tuakli- Wosornu), Chimamanda Ngozi Adichie, NoViolet Bulawayo and Dinaw Mengestu, these “young and creative cosmopolitan African immigrants” (Hassan 2012: 3) have readily been subsumed by critics under the label ‘Afropolitan’. -
Expressions of African Identity on Twitter Journal of African Media Studies, 11(2): 257-274
http://www.diva-portal.org This is the published version of a paper published in Journal of African Media Studies. Citation for the original published paper (version of record): Cheruiyot, D., Uppal, C. (2019) Pan-Africanism as a laughing matter: (Funny) expressions of African identity on Twitter Journal of African Media Studies, 11(2): 257-274 https://doi.org/10.1386/jams.11.2.257_1 Access to the published version may require subscription. N.B. When citing this work, cite the original published paper. This article is Open Access under the terms of the Creative Commons CC BY-NC-ND licence. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-74492 JAMS 11 (2) pp. 257–274 Intellect Limited 2019 Journal of African Media Studies Volume 11 Number 2 © 2019 Intellect Ltd Article. English language. doi: 10.1386/jams.11.2.257_1 DaviD Cheruiyot anD Charu uppal Karlstad University pan-africanism as a laughing matter: (Funny) expressions of african identity on twitter abstraCt KeyworDs Pan-Africanism, a concept that attempts to capture the essence of being an African, #IfAfricaWasABar needs to be reconsidered in the age of social media. In this article, we examine how globalization Twitter users negotiate the question of African identity through humorous hashtag- humour driven conversations. We specifically question whether a new kind of Pan-Africanism identity is emerging on Africa’s Twitterverse through the use of a popular hashtag in 2015, Pan-Africanism #IfAfricaWasABar. In our analysis of tweets linked to #IfAfricaWasABar, we Twitter conclude that Twitter provides temporary solidarity by engaging users in humorous exchanges regarding the sociocultural, political and economic issues that define the African continental condition today. -
Beyond Afropolitanism: Representations of African Identities in Select 21St Century African Novels
Beyond Afropolitanism: Representations of African Identities in Select 21st Century African Novels by Hicham Gourgem A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations-Literary Studies Carleton University Ottawa, Ontario © 2020 Hicham Gourgem Abstract This dissertation explores the theoretical and ideological stakes in contemporary representations of African cultural identities through ―Afropolitanism‖ and ―Afropeanism.‖ The two concepts informed by anglophone and francophone African experience respectively—―Afropolitan‖ and ―Afropean‖—construct cultural dialogue through an over-reliance on a dualized Western-African relation. The study presents a comparative analysis of novels in French and English published at the turn of the twenty- first century by Calixthe Beyala, Sami Tchak, Chris Abani, Teju Cole, NoViolet Bulawayo, and Taiye Selasi. I examine these literary works as instantiations of a paradigm of cultural dialogue that privileges Western culture in contemporary redefinitions of African identities. The study also underlines the efforts by ―Afropolitan‖ and ―Afropean‖ writers to depart from atavistic African self-representation of the 1950s and 1960s generation of African writers to challenge myths of national identity, universality of Western culture, and stereotyping and marginalizing Africans in Western societies. Put differently, this work aims to show how a select group of African writers deploy ―Afropolitan‖ and ―Afropean‖ literary texts to reimagining alternative African identities and ways of belonging that challenge monolithic Western discourse on national identity. Yet, it interrogates the writers‘ model of decolonizing African representations as one that perpetuates the notion of the West as the center. -
National Allegory and the United States of Adichie's Americanah
“To Be from the Country of People Who Gave”: National Allegory and the United States of Adichie’s Americanah Katherine Hallemeier Studies in the Novel, Volume 47, Number 2, Summer 2015, pp. 231-245 (Article) Published by Johns Hopkins University Press For additional information about this article http://muse.jhu.edu/journals/sdn/summary/v047/47.2.hallemeier.html Access provided by Oklahoma State University (27 Jul 2015 17:04 GMT) Studies in the Novel ISSN 0039-3827 231 Vol. 47 No. 2 (Summer), 2015 Pages 231–245 “TO BE FROM THE COUNTRY OF PEOPLE WHO GAVE”: NATIONAL ALLEGORY AND THE UNITED STATES OF ADICHIE’S AMERICANAH KATHERINE HALLEMEIER Early reviews of Chimamanda Ngozi Adichie’s Americanah (2013) have alternately lauded and criticized the novel for its representation of Nigerians. Writing in Book Forum, Ruth Franklin praises Adichie for writing “a novel that genuinely alters one’s view of the world” (42). Franklin claims that the novel foregrounds her own potential to be “a privileged white woman who does not notice another’s agony,” while also subverting white privilege through its sympathetic portrayal of its Nigerian protagonists (42). Yemisi Ogbe, in contrast, writing in the Chronic Review, contends that, in Adichie’s book, “Nigeria is really ‘just’ the preamble to a place where real self-awareness detonates, to America where life breaks up into many vibrant colours and to Obama” (11). The representation of Nigerians, Ogbe argues, is in turn reductive and cliché; the novel includes “references to the usual suspects of 419 pastors, university lecturers’ strikes and corruption” (11). -
The Nigerian Diaspora in the United States and Afropolitanism in Sarah Ladipo Manyika’S Like a Mule Bringing Ice Cream to the Sun
African Studies Quarterly | Volume 18, Issue 2| February 2019 The Nigerian Diaspora in the United States and Afropolitanism in Sarah Ladipo Manyika’s Like a Mule Bringing Ice Cream to the Sun SANDRA SOUSA Abstract: This essay explores Sarah Ladipo Manyika’s Like a Mule Bringing Ice Cream to the Sun (2016), one of the most innovative novels of the Nigerian U.S. diaspora, from the perspective of “Afropolitanism.” Occupying a unique place within African writing and African diasporic writing, the novel does not conform to the traditional understanding of Afropolitanism as the celebration of cultural hybridity and transnationalism. Insofar as its portrayals focus on the individual identities and lives of its African and other non-Western characters and their families, the novel further departs from the conventions of earlier Afropolitan narratives, which tendentially center the whole national or racial community. Because Like a Mule Bringing Ice Cream to the Sun rejects the kind of caricature that passes for life in many works of African diasporic literature, it avoids the Afro-pessimism of previous Afropolitan novels, in which the transnational movement of characters occurs as a result of precarious conditions in the home countries, and which forms part of the search for a dream that could be fulfilled by the modernity and the advancements of technology to be found in the host western country. Instead, Manyika’s novel asks readers to dissect meanings between the lines and peel off dense layers of signification. The narrative achieves this nuanced communication of Afropolitanism through its main character, Morayo Da Silva, whose representation extends the cultural politics of Afropolitanism to include subjective politics in the analysis of how we exist in the world. -
MIT X TAU Series: Africa's Cultural Industries
MIT Center for Intnl Studies | MIT X TAU Series: Africa’s Cultural Industries [NON-ENGLISH SINGING] CLAUDE Hello, everyone. It is my pleasure to host this second webinar that is part of the GRUNITZKY: launch series that we have been crafting, weaving, TRUE Africa University and MIT, MIT represented by the MIT Center for International Studies and MIT Africa. And last week, which was our grand opening, our launch event, we had a panel discussion around the film The Great Green Wall, which we'd shown. And we had six people actually starting off TRUE Africa University slash MIT webinar series. Today is a little bit different, because we have a very, very special guest. And you all know who she is, but I want to introduce her properly in a minute or so. But before we get there, I want to maybe start by telling you who I am. My name is Claude Grunitzky. I am from Togo. I define myself now as a serial immigrant, and I'll explain why that is relevant to this specific topic today. I am a graduate of MIT, and I'm launching TRUE Africa University because I want to help find actionable ways to nurture Africa's talent. As many of you know, 60% of the African population is under the age of 25. Africa is 1.4 billion people. And I keep saying this at every talk-- I keep repeating this as often as I can-- there are more children born in Nigeria every year than in the entire European Union. -
Teju Cole’S Transcendent Navigation of the Diasporic Experience If You Were to Ask Teju Cole Where He Is From, He Would Certainly Tell You
B20694191 Ethel L. Hersey Prize in American Studies [email protected] Submission - Spring 2017 Amelia Alvarez May 16, 2016 ENG/AMST364 Research Project Assembling a Cosmopolitan Self through Words and Images: Teju Cole’s Transcendent Navigation of the Diasporic Experience If you were to ask Teju Cole where he is from, he would certainly tell you. But he might also add, in response, that your question was uninteresting. More interesting, he might say, is the catalog of places he has been to, the places that now hover in his mind, a cluster of memories trailing behind him into each new place that he goes. A novelist, essayist, photographer, and immigrant, Cole uses words and images to give artful expression to ideas that often surround the immigrant experience, those of displacement and emplacement, the fragmented self, places as palimpsests, and multiple concurrent realities, among many others. Evident in Cole’s work is an attempt to approximate cosmopolitanism, that is, to create the sense that both he and his audience are citizens of the world, not simply beings tethered to single places, times, or stories. Yet beneath this conception of a community of perpetual wanderers is an important recognition of the impossibility of escaping one’s obligation to the past. Cole’s photographs and written commentaries astutely engage with this dynamic, offering up a realm that both transcends the boundaries of reality as well as reminds the viewer of his unique place in the continuous chain of history. Teju Cole was born in Kalamazoo, Michigan, raised in Lagos, Nigeria, schooled in Michigan, London, and New York, and now resides in Brooklyn, though frequent travels have rendered hotel rooms informal second residences.