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Available to readers for the first time, Aimé Césaire’s three-act drama . . . . . . And the Dogs Were Silent—written during the Vichy regime in Martinique in 1943 and lost until 2008—dramatizes the Haitian Revolution and the rise and fall of Toussaint Louverture as its heroic leader. This bilingual English and French edition stands apart from Césaire’s more widely known 1946 closet drama. Following the slave revolts that sparked the revolution, Louverture arrives as both prophet and poet, general and visionary. With striking dramatic technique, Césaire retells the revolution in poignant encounters between rebels and colonial forces, guided by a prophetic chorus and Louverture’s steady ethical and political vision. In the last act, we reach the hero’s betrayal, his imprisonment, and his last stand against the lures of compromise. Césaire’s masterwork is a strikingly beautiful and brutal indictment of colonial cruelty and an unabashed celebration of Black rebellion and victory.
over emergent literature and will show him to be a major figure in the conflict between tradition and contemporary cultural identity.
Modernist Literature and European Identity examines how European and non-European authors debated the idea of Europe in the first half of the twentieth century. It shifts the focus from European modernism to modernist Europe, and shows how the notion of Europe was constructed in a variety of modernist texts. Authors such as Ford Madox Ford, T. S. Eliot, Gertrude Stein, Aimé Césaire, and Nancy Cunard each developed their own notion of Europe. They engaged in transnational networks and experimented with new forms of writing, supporting or challenging a European ideal. Building on insights gained from global modernism and network theory, this book suggests that rather than defining Europe through a set of core principles, we may also regard it as an open or weak construct, a crossroads where different authors and views converged and collided.
This book provides an innovative look at the reception of Frantz Fanon’s texts, investigating how, when, where and why these—especially his seminal Les Damnés de la Terre (1961) —were first translated and read. Building on renewed interest in the author’s works in both postcolonial studies and revolutionary movements in recent years, as well as travelling theory, micro-history and histoire croisée interests in Translation Studies, the volume tells the stories of translations of Fanon’s texts into twelve different languages – Arabic, Danish, English, German, Italian, Norwegian, Persian, Polish, Russian, Serbo-Croatian, Swahili and Swedish – bringing both a historical and multilingual perspective to the ways in which Fanon is cited today. With contributions from an international, interdisciplinary group of scholars, the stories told combine themes of movement and place, personal networks and agency, politics and activism, archival research and textual analysis, creating a book that is a fresh and comprehensive volume on the translated works of Frantz Fanon and essential reading for scholars in translation studies, postcolonial studies, cultural studies, critical race studies, and African and African diaspora literature.
This history for the first time charts the literature of the entire Caribbean, the islands as well as continental littoral, as one cultural region. It breaks new ground in establishing a common grid for reading literatures that have been kept separate by their linguistic frontiers. Readers will have access to the best current scholarship on the evolution of popular and literate cultures in the various regions since their earliest emergence."The History of Literature in the Caribbean" brings together the most distinguished team of literary Caribbeanists ever assembled, cutting across ideological commitments and critical methods. Differences in point of view between individual contributors are left intact here as the sign of the colonial inheritance of the region. Introductions and conclusions to the various sections of the History written by the respective subeditors, set them in proper perspective. The unique synoptic aspect of the History lies in its comprehensiveness and its range, which are unequaled."Contributors" A. James Arnold, Julio Rodriguez-Luis, H. Lopez Morales, Maria Elena Rodriguez Castro, Silvio Torres Saillant, Seymour Menton, Ian I. Smart, Efrain Barradas, Raquel Chang-Rodriguez, Carlos Alonso, Ivan A. Schulman, W.L. Siemens, William Luis, Gustavo Pellon, Emilio Bejel, Sandra M. Cypess, Peter Earle, Adriana Mndez Rodenas, J. Michael Dash, Ulrich Fleischmann, Maximilien Laroche, Rgis Antoine, Lon-Franois Hoffmann, Randolph Hezekiah, Bridget Jones, F.I. Case, Marie-Denise Shelton, Beverly Ormerod, J. Michael Dash, Jack Corzani, Anthea Morrison, Juris Silenieks, Frantz Fanon, Vere Knight.
Cross-Cultural Studies is the culminating effort of a distinguished team of international scholars who have worked since the mid-1980s to create the most complete analysis of Caribbean literature ever undertaken. Conceived as a major contribution to postcolonial studies, cultural studies, cultural anthropology, and regional studies of the Caribbean and the Americas, Cross-Cultural Studies illuminates the interrelations between and among Europe, the Caribbean islands, Africa, and the American continents from the late fifteenth century to the present. Scholars from five continents bring to bear on the most salient issues of Caribbean literature theoretical and critical positions that are currently in the forefront of discussion in literature, the arts, and public policy. Among the major issues treated at length in Cross-Cultural Studies are: The history and construction of racial inequality in Caribbean colonization; The origins and formation of literatures in various Creoles; The gendered literary representation of the Caribbean region; The political and ideological appropriation of Caribbean history in creating the idea of national culture in North and South America, Europe, and Africa; The role of the Caribbean in contemporary theories of Modernism and the Postmodern; The decentering of such canonical authors as Shakespeare; The vexed but inevitable connectedness of Caribbean literature with both its former colonial metropoles and its geographical neighbors. Contributions to Cross-Cultural Studies give a concrete cultural and historical analysis of such contemporary critical terms as hybridity, transculturation, and the carnivalesque, which have so often been taken out of context and employed in narrowly ideological contexts. Two important theories of the simultaneous unity and diversity of Caribbean literature and culture, propounded by Antonio Benítez-Rojo and +douard Glissant, receive extended treatment that places them strategically in the debate over multiculturalism in postcolonial societies and in the context of chaos theory. A contribution by Benítez-Rojo permits the reader to test the theory through his critical practice. Divided into nine thematic and methodological sections followed by a complete index to the names and dates of authors and significant historical figures discussed, Cross-Cultural Studies will be an indispensable resource for every library and a necessary handbook for scholars, teachers, and advanced students of the Caribbean region.
Terrorism is a cancer, an infection, an epidemic, a plague. For more than a century, this metaphor has figured insurgent violence as contagion in order to contain its political energies. In Epidemic Empire, Anjuli Fatima Raza Kolb shows that this trope began in responses to the Indian Mutiny of 1857 and tracks its tenacious hold through 9/11 and beyond. The result is the first book-length study to approach the global War on Terror from a postcolonial literary perspective. Raza Kolb assembles a diverse archive from colonial India, imperial Britain, French and independent Algeria, the postcolonial Islamic diaspora, and the neoimperial United States. Anchoring her book are studies of four major writers in the colonial-postcolonial canon: Rudyard Kipling, Bram Stoker, Albert Camus, and Salman Rushdie. Across these sources, she reveals the tendency to imagine anticolonial rebellion, and Muslim insurgency specifically, as a virulent form of social contagion. Exposing the long history of this broken but persistent narrative, Epidemic Empire is a major contribution to the rhetorical history of our present moment.
Translated texts are often either uncritically consumed by readers, teacher, and scholars or seen to represent an ineluctable loss, a diminishing of original texts. Translation, however, is a cultural practice, influenced also by social and political imperatives, which can open more doors than it closes. The essays in this book show how the act of translation, when vigilantly and critically attended to, becomes a means for active interrogation.
Prior to becoming a psychiatrist, Frantz Fanon wanted to be a playwright and his interest in dialogue, dramatisation and metaphor continued throughout his writing and career. His passion for theatre developed during the years that he was studying medicine, and in 1949 he wrote the plays The Drowning Eye (L'Œil se noie), and Parallel Hands (Les Mains parallèles). This first English translation of the works gives us a Fanon at his most lyrical, experimental and provocative.
Anticolonial struggles of the interwar epoch were haunted by the question of how to construct an educational practice for all future citizens of postcolonial states. In what ways, vanguard intellectuals asked, would citizens from diverse subaltern situations be equally enabled to participate in a nonimperial society and world? In circumstances of cultural and social crisis imposed by colonialism, these vanguards sought to refashion modern structures and technologies of public education by actively relating them to residual indigenous collective forms. In Indigenous Vanguards, Ben Conisbee Baer provides a theoretical and historical account of literary engagements with structures and representations of public teaching and learning by cultural vanguards in the colonial world from the 1920s to the 1940s. He shows how modernizing educative projects existed in complex tension with impulses to indigenize national liberation movements, and how this tension manifests as a central aspect of modernist literary practice. Offering new readings of figures such as Alain Locke, Léopold Senghor, Aimé Césaire, D. H. Lawrence, Rabindranath Tagore, Mahatma Gandhi, and Tarashankar Bandyopadhyay, Baer discloses the limits and openings of modernist representations as they attempt to reach below the fissures of class that produce them. Establishing unexpected connections between languages and regions, Indigenous Vanguards is the first study of modernism and colonialism that encompasses the decisive way public education transformed modernist aesthetics and vanguard politics.