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- Gregersdotter, Katarina, et al.
(författare)
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Introduction
- 2015
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Ingår i: Animal Horror Cinema. - London : Palgrave Macmillan. - 9781137496386 ; , s. 1-18
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- The introduction to this volume is intended as a tool for future study of Animal Horror Cinema. It first defines this type of Cinema as films that describe how a particular animal or an animal species commit a transgression against humanity and then recounts the punishment the animal must suffer as a consequence. The introductory chapter then discusses how Animal Horror Cinema both cements and complicates the basic conceptual separation of the human and non-human animal and how it raises crucial questions concerning human and animal ethics and the Anthropocene; the present era when humanity itself has become a destructive geological force. This chapter also discusses how the study of Animal Horror Cinema frequently explores matters of colonialism and postcolonialism, and how the genre interrogates gender and sexuality through the animal.
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- Gregersdotter, Katarina, 1970-, et al.
(författare)
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Introduction
- 2013
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Ingår i: Femininities and Masculinities in Action. - Oxford : Inter-Disciplinary Press. ; , s. vii-xiv
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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- Harris, Ashleigh, 1976-, et al.
(författare)
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African Street Literature : A Method for an Emergent Form Beyond World Literature
- 2020
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Ingår i: Research in African Literatures. - : Indiana University Press. - 0034-5210 .- 1527-2044. ; 51:2, s. 1-26
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Tidskriftsartikel (refereegranskat)abstract
- This paper begins with the assertion that world literature is in danger of becoming a closed system, whereby literature anticipates its critical reception in both its form and content. Emergent African literary forms are often excluded from the field of world literature precisely because they demand methods of reading that challenge this anticipatory logic. We refer to this emergent literature circulating in African urban spaces as "African street literature." This paper focuses on three such street forms: ephemeral print literature, flash fiction, and spoken word poetry. In all three cases, the literary form registers its situated-ness, and as such its location is co-constructive of the field of the literary text. The methodological intervention that the paper makes explores ways of reading context, material, form, and content as combined and codetermining without losing attention to the literariness of the text under examination.
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| 10. |
- Hållén, Nicklas, 1983-
(författare)
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A personal quest : Travel writing as self-exploration in Eddy L. Harris’s Native Stranger: A Blackamerican’s Journey into the Heart of Africa
- 2018
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Ingår i: Journal of Commonwealth Literature. - : Sage Publications. - 0021-9894 .- 1741-6442. ; 53:3, s. 363-378
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Tidskriftsartikel (refereegranskat)abstract
- In Native Stranger: A Blackamerican's Journey into the Heart of Africa (1992), Eddy L. Harris explores what it means to be the person he is. What, if anything, connects him to Africa? What is the relation between the person he knows himself to be, and the person others see? Searching for answers to his questions, he finds himself caught between his attempts to remain open to new ways of seeing and understanding the world, on the one hand, and succumbing to the pressures of monolithic narratives about African otherness, race, belonging, roots and the past, on the other hand. This tension gives rise to an ambiguity and a number of contradictions which make the text fold back on itself. His literary project therefore ultimately serves to raise questions not only about his own identity and place in the world, but also about the conditions of writing about the self. Central among the contradictions that permeate the text is a doubling of epistemological perspectives, which can be described as an effect of what W. E. B. Dubois famously termed double-consciousness. While Harris is able to use the contradictions that arise from his writing to explore and represent the complexity of the questions that are foregrounded in his text, he is unable to answer them. His project is in other words a kind of failure, but as this article argues, this failure is the price that Harris pays to access the full complexity of selfhood, beyond political and social narratives about collective identity and how the present is shaped by the past.
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