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Looking beyond Euro-Anglo-US centric zombie narratives, Decolonizing the Undead reconsiders representations and allegories constructed around this figure of the undead, probing its cultural and historical weight across different nations and its significance to postcolonial, decolonial, and neoliberal discourses. Taking stock of zombies as they appear in literature, film, and television from the Caribbean, Latin America, sub-Saharan Africa, India, Japan, and Iraq, this book explores how the undead reflect a plethora of experiences previously obscured by western preoccupations and anxieties. These include embodiment and dismemberment in Haitian revolutionary contexts; resistance and subversion to social realities in the Caribbean and Latin America; symbiosis of cultural, historical traditions with Western popular culture; the undead as feminist figures; as an allegory for migrant workers; as a critique to reconfigure socio-ecological relations between humans and nature; and as a means of voicing the plurality of stories from destroyed cities and war-zones. Interspersed with contextual explorations of the zombie narrative in American culture (such as zombie walks and the television series The Santa Clarita Diet) contributors examine such writers as Lowell R. Torres, Diego Velázquez Betancourt, Hemendra Kumar Roy, and Manabendra Pal; works like China Mieville's Covehithe, Reza Negarestani's Cycolonopedia, Julio Ortega's novel Adiós, Ayacucho, Ahmed Saadawi's Frankenstein in Baghdad; and films by Alejandro Brugués, Michael James Rowland, Steve McQueen, and many others. Far from just another zombie project, this is a vital study that teases out the important conversations among numerous cultures and nations embodied in this universally recognized figure of the undead.
"Looking beyond Euro-Anglo-US centric zombie narratives, Decolonizing the Undead reconsiders representations and allegories constructed around this figure of the undead, probing it's cultural and historical weight across different nations and its significance to postcolonial, decolonial and Neoliberal discourses. Taking stock of zombies as they appear in literature, film and television from the Caribbean, Latin America, sub-Saharan Africa, India, Japan, Iraq and Ireland, this book explores how the undead reflect a plethora of experiences previously obscured by western preoccupations and anxieties. These include embodiment and dismemberment in Haitian revolutionary contexts; resistance and subversion to social realities in the Caribbean and Latin America; symbiosis of cultural historical traditions with Western popular culture; the undead as feminist figures; as an allegory for migrant workers; as a critique to reconfigure socio-ecological relations between humans and nature; and as a means of voicing the plurality of stories from destroyed cities and war-zones. Interspersed with contextual explorations of the zombie narrative in American culture such as zombie walks and the television series The Santa Clarita Diet, contributors examine such writers as Lowell R. Torres, Diego Velz̀quez Betancourt, Hemendra Kumar Roy and Manabendra Pal; works like China Mieville's Covehithe , Reza Negarestani's Cycolonopedia, Julio Ortega's novel Adiós, Ayacucho , Ahmad Sadaawi's Frankenstein in Baghdad; and films by Alejandro Brugués, Michaell James Rowland, Steve McQueen and many others. Far from just another zombie project, this is a vital study that teases out the important conversations among numerous cultures and nations embodied in the this universally recognized figure of the dead."--
The Gothic and Twenty-First-Century American Popular Culture examines the gothic mode deployed in a variety of texts that touch upon inherently US American themes, demonstrating its versatility and ubiquity across genres and popular media. The volume is divided into four main thematic sections, spanning representations related to ethnic minorities, bodily monstrosity, environmental anxieties, and haunted technology. The chapters explore both overtly gothic texts and pop culture artifacts that, despite not being widely considered strictly so, rely on gothic strategies and narrative devices.
Given the current moment—polarized populations, increasing climate fears, and decline of supranational institutions in favor of a rising tide of nationalisms—it is easy to understand the proliferation of apocalyptic and dystopian elements in popular culture. Infected Empires examines one of the most popular figures in contemporary apocalyptic film: the zombie. This harbinger of apocalypse reveals bloody truths about the human condition, the wounds of history, and methods of contending with them. Infected Empires considers parallels in the zombie genre to historical and current events on different political, theological and philosophical levels, and proposes that the zombie can be read as a figure of decolonization and an allegory of resistance to oppressive structures that racialize, marginalize, disable, and dispose of bodies. Studying films from around the world, including Latin America, Asia, Africa, the US, and Europe, Infected Empires presents a vision of a global zombie that points toward a posthuman and feminist future.
Undead Ends is about how we imagine humanness and survival in the aftermath of disaster. This book frames modern British and American apocalypse films as sites of interpretive struggle. It asks what, exactly, is ending? Whose dreams of starting over take center stage, and why? And how do these films, sometimes in spite of themselves, make room to dream of new beginnings that don’t just reboot the world we know? Trimble argues that contemporary apocalypse films aren’t so much envisioning The End of the world as the end of a particular world; not The End of humanness but, rather, the end of Man. Through readings of The Road, I Am Legend, 28 Days Later, 28 Weeks Later, Children of Men, and Beasts of the Southern Wild, this book demonstrates that popular stories of apocalypse can trouble, rather than reproduce, Man’s story of humanness. With some creative re-reading, they can even unfold towards unexpected futures. Mainstream apocalypse films are, in short, an occasion to imagine a world After Man.
This is an open access title available under the terms of a CC BY-NC-ND 4.0 International license. It is free to read at Oxford Academic and offered as a free PDF download from OUP and selected open access locations. Decolonizing Linguistics, the companion volume to Inclusion in Linguistics, is designed to uncover and intervene in the history and ongoing legacy of colonization and colonial thinking in linguistics and related fields. Taken together, the two volumes are the first comprehensive, action-oriented, book-length discussions of how to advance social justice in all aspects of the discipline. The introduction to Decolonizing Linguistics theorizes decolonization as the process of centering Black, Native, and Indigenous perspectives, describes the extensive dialogic and collaborative process through which the volume was developed, and lays out key principles for decolonizing linguistic research and teaching. The twenty chapters cover a wide range of languages and linguistic contexts (e.g., Bantu languages, Creoles, Dominican Spanish, Francophone Africa, Zapotec) as well as various disciplines and subfields (applied linguistics, communication, historical linguistics, language documentation and revitalization/reclamation, psycholinguistics, sociolinguistics, syntax). Contributors address such topics as refusing settler-colonial practices and centering community goals in research on Indigenous languages; decolonizing research partnerships between the Global South and the Global North; and prioritizing Black Diasporic perspectives in linguistics. The volume's conclusion lays out specific actions that linguists can take through research, teaching, and institutional structures to refuse coloniality in linguistics and to move the field toward a decolonized future.
An innovative investigation into how zombie narratives over the past ten years have been specifically leading up to a unique intersection with the world as it exists in the 2020s, this book posits the undead as a vehicle to communicate humanity's pathway into, and out of, the ideological, health and environmental pandemics of our time. Exploring depictions of zombies across literature, poetry, comics, television, film and video games, Simon Bacon brings together this timely intervention into how zombies enable speculation about future modes of being in a changing world and represent the fluid notion of 'old' and 'new' normals. With each chapter moving beyond traditional readings of the undead, Zombie Futures situates the zombie as an evolving cultural imaginary at the centre of discourses around how human cognition and embodiment are effected by global realities such as consumerism, new technologies, climate change and planetary degeneration. Structured around contagious partisan ideologies, ecological sickness, mental health crisis and the very literal COVID-19 virus, this book establishes how the zombie figure might manifest post-human and post-normative futures. Works featured include graphic novels and comics like The West + Zombies, Crossed and Endzeit, the South Korean series and films Kingdom, Train to Busan and Peninsula, The Last of Us and the Resident Evil game franchises, Bollywood horror anthology Ghost Stories, Joss Whedon's Serenity, Cargo and literature such as The Girl with All the Gifts, the fiction of Stephen Graham Jones and Ryan Mecum's Zombie Haiku. In a time when popular culture and scholarship has been overrun with the undead, this original study offers a refreshing look at the zombie and what it can tell us about about our world going into and emerging from global catastrophe.
This book, which combines scholarly articles with interviews, seeks to imagine a decolonized sociolinguistics. All the chapters are firmly grounded in southern approaches to knowledge production, focusing not only on epistemology but also on the complex relationship between epistemology and ontology. The chapters address issues ranging from author positionality to the central theorists of a southern sociolinguistics, and roam from the language classroom to the church, in ways which invite us to begin to decolonize ourselves and rethink normative assumptions about everything from academic writing to research methods and language teaching. The book provides scholars and teachers with inspiration for how to teach linguistics in ways that challenge colonial hegemonies and that allow one to ‘do’ sociolinguistics otherwise. It also makes a powerful argument that debates about decolonization, southern theory and social justice are not just academic pursuits: what is at stake is our future and how we imagine it.
Native American literature has always been uniquely embattled. It is marked by divergent opinions about what constitutes authenticity, sovereignty, and even literature. It announces a culture beset by paradox: simultaneously primordial and postmodern; oral and inscribed; outmoded and novel. Its texts are a site of political struggle, shifting to meet external and internal expectations. This Cambridge History endeavors to capture and question the contested character of Indigenous texts and the way they are evaluated. It delineates significant periods of literary and cultural development in four sections: “Traces & Removals” (pre-1870s); “Assimilation and Modernity” (1879-1967); “Native American Renaissance” (post-1960s); and “Visions & Revisions” (21st century). These rubrics highlight how Native literatures have evolved alongside major transitions in federal policy toward the Indian, and via contact with broader cultural phenomena such, as the American Civil Rights movement. There is a balance between a history of canonical authors and traditions, introducing less-studied works and themes, and foregrounding critical discussions, approaches, and controversies.
As the walking dead rise up throughout the world, a few brave doctors attempt to find a cure by applying forensic techniques to captured zombies. On a remote island a crack medical team has been sent to explore a radical theory that could uncover a cure for the epidemic. Based on the team's research and the observations of renowned zombie expert Dr. Stanley Blum, The Zombie Autopsies documents for the first time the unique biology of zombie organisms. Detailed drawings of the internal organs of actual zombies provide an accurate anatomy of these horrifying creatures. Zombie brains, hearts, lungs, skin, and digestive system are shown, while Dr. Blum's notes reveal shocking insights into how they function--even as Blum and his colleagues themselves begin to succumb to the plague. No one knows the ultimate fate of Dr. Blum or his researchers. But now that his notebook, The Zombie Autopsies, has been made available to the UN, the World Health Organization, and the general public, his scientific discoveries may be the last hope for humans on earth. "Humanity has a new weapon against the living dead and that weapon is Steven Schlozman!" -- New York Times bestselling author Max Brooks "I've written and made films about zombies for over forty years. In all that time, I've never been able to convince my audience that zombies actually exist. On page one of The Zombie Autopsies, Steven Schlozman takes away any doubt. This fast-moving, entertaining work will have you chuckling...and worrying." -- George A. Romero, director of Night of the Living Dead "Gruesome and gripping! Steven Schlozman reveals the science behind zombies from the inside out." -- Seth Grahame-Smith, New York Times bestselling author of Abraham Lincoln: Vampire Hunter "With The Zombie Autopsies, Steven Schlozman redefines 'weird science' for the 21st Century. Brilliant, bizarre and wonderfully disturbing." -- Jonathan Maberry, New York Times bestselling author of Rot & Ruin and Patient Zero "Dr. Steve's Zombie Autopsy will charm and excite a new generation into loving science." --Chuck Palahniuk, New York Times bestselling author of Fight Club