Download Free La Maitre Zombi Book in PDF and EPUB Free Download. You can read online La Maitre Zombi and write the review.

When a witch hunt in late 18 century New Orleans goes wrong, the daughter of an accused witch swears revenge on New Orleans and the Catholic church.
“A compelling account of the zombi as an anthropological reality and evocative symbol of a state of dispossession, desperation, and death.”—Roger Luckhurst, author of Zombies: A Cultural History “An adventurer’s anthropological quest offering a novel description of the contemporary zombie.”—Sarah J. Lauro, author of The Transatlantic Zombie: Slavery, Rebellion, and Living Death “Displays an empathy for the cultural reality of the zombie in Haiti that delivers important insight on the island nation’s people and their lived realities.”—Christopher M. Moreman, coeditor of Race, Oppression and the Zombie: Essays on Cross-Cultural Appropriations of the Caribbean Tradition Forensic pathologist Philippe Charlier—dubbed the “Indiana Jones of the graveyards”—travels to Haiti where rumors claim that some who die may return to life as zombies. Charlier investigates these far-fetched stories and finds that, in Haiti, the dead are a part of daily life. Families, fearing that loved ones may return from the grave, urge pallbearers to take rambling routes to prevent the recently departed from finding their way home from cemeteries. Corpses are sometimes killed a second time...just to be safe. And a person might spend their life preparing their funeral and grave to ensure they will not become a wandering soul after death. But are the stories true? Charlier’s investigations lead him to Vodou leader Max Beauvoir and other priests, who reveal how bodies can be reanimated. In some cases, sorcerers lure the dead from their graves and give them a potion concocted from Devil’s Snare, a plant more commonly known as Jimsonweed. Sometimes secret societies use poudre zombi—“zombie powder”—spiked with the tetrodotoxin found in blowfish. Charlier eagerly collects evidence, examining Vodou dolls by X-ray, making sacrifices at rituals, and visiting cemeteries under the cloak of night. Zombies follows Charlier’s journey to understand the fascinating and frightening world of Haiti’s living dead, inviting readers to believe the unbelievable.
'Rewriting' in the context of critical work on Caribbean literature has tended to be used to discuss revisionism from a variety of postcolonial perspectives, such as 'rewriting history' or 'rewriting canonical texts.' By shifting the focus to how Caribbean writers return to their own works in order to rework them, this book offers theoretical considerations to postcolonial studies on 'literariness' in relation to the near-obsessive degree of rewriting to which Caribbean writers have subjected their own literary texts. Focusing specifically on FrankZtienne, this book offers an overview of how the defining aesthetic and thematic components of FrankZtienne's major works have emerged over the course of his forty-year writing career. It reveals the marked development of key notions guiding his literary creation since the 1960s, and demonstrates that rewriting illustrates the central aesthetic of the Spiral which has always shaped his Iuvre. It is, the book argues, the constantly moving form of the Spiral which FrankZtienne explores through his constant reworking of his previously written texts. FrankZtienne and Rewriting negotiates between the literary and material ends of the burgeoning field of postcolonial studies, arguing that literary characteristics in FrankZtienne connect with changing political, social, economic, and cultural circumstances in the Haiti he rewrites.
All over Africa, an explosion in cultural productions of various genres is in evidence. Whether in relation to music, song and dance, drama, poetry, film, documentaries, photography, cartoons, fine arts, novels and short stories, essays, and (auto)biography; the continent is experiencing a robust outpouring of creative power that is as remarkable for its originality as its all-round diversity. Beginning from the late 1970s and early 1980s, the African continent has experienced the longest and deepest economic crises than at any other time since the period after the Second World War. Interestingly however, while practically every indicator of economic development was declining in nominal and/ or real terms for most aspects of the continent, cultural productions were on the increase. Out of adversity, the creative genius of the African produced cultural forms that at once spoke to crises and sought to transcend them. The current climate of cultural pluralism that has been produced in no small part by globalization has not been accompanied by an adequate pluralism of ideas on what culture is, and/or should be; nor informed by an equal claim to the production of the cultural packaged or not. Globalization has seen to movement and mixture, contact and linkage, interaction and exchange where cultural flows of capital, people, commodities, images and ideologies have meant that the globe has become a space, with new asymmetries, for an increasing intertwinement of the lives of people and, consequently, of a greater blurring of normative definitions as well as a place for re-definition, imagined and real. As this book Contemporary African Cultural Productions has done, researching into African culture and cultural productions that derive from it allows us, among other things, to enquire into definitions, explore historical dimensions, and interrogate the political dimensions to presentation and representation. The book therefore offers us an intervention that goes beyond the normative literary and cultural studies main foci of race, difference and identity; notions which, while important in themselves might, without the necessary historicizing and interrogating, result in a discourse that rather re-inscribes the very patterns that necessitate writing against. This book is an invaluable compendium to scholars, researchers, teachers, students and others who specialize on different aspects of African culture and cultural productions, as well as cultural centers and general readers.
"Very refreshing in the understanding of Caribbean literature . . . Succeeds in blending close readings of specific texts with a constant awareness of the larger picture. . . . From a theoretical complexity that calls on Glissant, Fanon, Ngugi, Benito-Rojo among others, this profoundly human exploration of autofiction and advocacy in Francophone Caribbean literature study does not succumb to the temptation of theory; that is, she does not demand texts illustrate a rigid theoretical frame; the reverse is true throughout the study."—Cilas Kemedjio, University of Rochester Larrier breaks new ground in analyzing first-person narratives by five Francophone Caribbean writers—Joseph Zobel, Patrick Chamoiseau, Gisele Pineau, Edwidge Danticat, and Maryse Conde—that manifest distinctive interaction among narrators, protagonists, characters, and readers through a layering of voices, languages, time, sources, and identities. Employing the Martinican combat dance—danmye—as a trope, the author argues that these narratives can be read as testimony to the legacy of slavery, colonialism, and patriarchy that denied Caribbean people their subjectivity. In chapters devoted to Zobel, Chamoiseau, Pineau, Danticat, and Conde—who come from Martinique, Guadeloupe, and Haiti—Larrier probes the presence, construction, and strategy of the first-person narrator, which sometimes shifts within the text itself. Providing a perspective different from European travel literature, these texts deliberately position the "I" as a witness and/or performer who articulates experiences ignored or misinterpreted by sojourners' more widely circulated chronicles. While not purporting to speak for others, the "I" is concerned with transmitting what he or she saw, heard, experienced, or endured, therefore disrupting conventional representations of the Francophone Caribbean. Moreover, in modeling authenticity and agency, autofiction is also a form of advocacy.
For a long time, comparisons of cinema and photography have been predominantly a question of contrast, both of their forms and their ways of seeing. This special issue of Cinéma & Cie reverses the perspective, by addressing some of the fundamental spaces of convergence and coexistence between the two languages. While they have alwaysbeen somewhat present in the history of the two arts (not only in chronophotography, but also astronomic photography, photographic series, and still photography), the photocinematic forms have become particularlyrelevant in the archaeology of post-media culture that has characterised much scholarship lately. What tools should we employ to study these confluences today?Is it possible to perceive overlapping images also in strictly cinematic or photographic works? From this perspective, the special issue deals with borderline authors, such as Jeff Wall; post-filmic aesthetics, such as the cinematic tableau vivant and innovative examples of contemporary, experimental audiovisual production.
A striking number of hysterical or insane female characters populate Francophone women's writing. To discover why, Orlando reads novels from a variety of cultures, teasing out key elements of Francophone identity struggles.
Despite the loss of the French Empire, France and its former colonies are still bound by a common historical past. With the new global promotion of la Francophonie, the relation between the various constituencies of the French-speaking regions of the world is reexamined and debated in this book, through the conversation between scholars dealing with diverse texts and contexts that present the colonial contact and its imprint. The book illustrates how, in France and in its other worlds, that contact, its repercussions, and its memory are lived and expressed today in a variety of textual representations. The historical contact between France and its other worlds has given birth to new kinds of cross-cultural expressions in the arts, in literature, and in aesthetics, establishing interrelations and generating appropriations from both sides of the Hexagon frontier, highlighting the fluidity and the permeability of its cultural borders. The book subtext tells that the frontier between France and its other worlds is no more an unshakable geographical, political, and cultural limit, but rather a line that has become mobile, fluctuating, and permeable, and across which currents, ideas, sensitivities, and creativity are expressed, bearing testimony to vitality and diversity but also to a cross-fertilization of cultures and societies (re) crossing or meeting at that line. Seen from this latter perspective, the book comes also as an interrogation of the inclusiveness or exclusiveness of the words francophone and Francophonie, and, at an academic level, a mutual exclusion of French and Francophone Studies.