Download Free The Visceral Logics Of Decolonization Book in PDF and EPUB Free Download. You can read online The Visceral Logics Of Decolonization and write the review.

In The Visceral Logics of Decolonization Neetu Khanna rethinks the project of decolonization by exploring a knotted set of relations between embodied experience and political feeling that she conceptualizes as the visceral. Khanna focuses on the work of the Progressive Writers' Association (PWA)—a Marxist anticolonial literary group active in India between the 1930s and 1950s—to show how anticolonial literature is a staging ground for exploring racialized emotion and revolutionary feeling. Among others, Khanna examines novels by Mulk Raj Anand, Ahmed Ali, and Khwaja Ahmad Abbas, as well as the feminist writing of Rashid Jahan and Ismat Chughtai, who each center the somatic life of the body as a fundamental site of colonial subjugation. In this way, decolonial action comes not solely from mental transformation, but from a reconstitution of the sensorial nodes of the body. The visceral, Khanna contends, therefore becomes a critical dimension of Marxist theories of revolutionary consciousness. In tracing the contours of the visceral's role in decolonial literature and politics, Khanna bridges affect and postcolonial theory in new and provocative ways.
This companion is the first global, comprehensive text to explicate, theorize, and propose decolonial methodologies for art historians, museum professionals, artists, and other visual culture scholars, teachers, and practitioners. Art history as a discipline and its corollary institutions - the museum, the art market - are not only products of colonial legacies but active agents in the consolidation of empire and the construction of the West. The Routledge Companion to Decolonizing Art History joins the growing critical discourse around the decolonial through an assessment of how art history may be rethought and mobilized in the service of justice - racial, gender, social, environmental, restorative, and more. This book draws attention to the work of artists, art historians, and scholars in related fields who have been engaging with disrupting master narratives and forging new directions, often within a hostile academy or an indifferent art world. The volume unpacks the assumptions projected onto objects of art and visual culture and the discourse that contains them. It equally addresses the manifold complexities around representation as visual and discursive praxis through a range of epistemologies and metaphors originated outside or against the logic of modernity. This companion is organized into four thematic sections: Being and Doing, Learning and Listening, Sensing and Seeing, and Living and Loving. The book will be of interest to scholars working in art history, visual culture, museum studies, race and ethnic studies, cultural studies, disability studies, and women’s, gender, and sexuality studies.
Alongside the diplomatic struggles of the early Cold War, European politicians worked to shape emotions about the postwar order-advocating fear of communism and hope for postwar recovery. In this context, the French Empire in North Africa emerged as one important emotional battleground, where Algerian nationalists and anti-colonial campaigners challenged French narratives about imperial pride and native hysteria. During the Algerian War (1954–1962), emotions thus became a pivotal part of the independence struggle. Accordingly, Decolonizing Emotions tracks affective politics during the revolution, focusing on members of the Front de libération nationale (FLN), Combattants de la libération (CDL), and Jeune Résistance. Delving into the manifestos, poetry, and personal diaries of anti-colonial activists, the book reveals a rich world of transgressive sentiments, emotional exile, and affective border-crossings. The stories that surface show how Algerians used biopower to combat an affective regime that refused native populations the right to be angry. The book further chronicles how Europeans complicated ideas of humanitarian pity and confronted the French production of political apathy. It is a history that holds modern relevance, speaking to contemporary debates over race relations and national pride, the pathologizing of Muslim emotions, and the contested process of how myths die (demythologization).
Decolonizing Colonial Heritage explores how different agents practice the decolonization of European colonial heritage at European and extra-European locations. Assessing the impact of these practices, the book also explores what a new vision of Europe in the postcolonial present could look like. Including contributions from academics, artists and heritage practitioners, the volume explores decolonial heritage practices in politics, contemporary history, diplomacy, museum practice, the visual arts and self-generated memorial expressions in public spaces. The comparative focus of the chapters includes examples of internal colonization in Europe and extends to former European colonies, among them Shanghai, Cape Town and Rio de Janeiro. Examining practices in a range of different contexts, the book pays particular attention to sub-national actors whose work is opening up new futures through their engagement with decolonial heritage practices in the present. The volume also considers the challenges posed by applying decolonial thinking to existing understandings of colonial heritage. Decolonizing Colonial Heritage examines the role of colonial heritage in European memory politics and heritage diplomacy. It will be of interest to academics and students working in the fields of heritage and memory studies, colonial and imperial history, European studies, sociology, cultural studies, development studies, museum studies, and contemporary art. The Open Access version of this book, available at www.taylor francis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.
This volume offers a new account of the relationship between literary and secularist scenes of writing in interwar Britain. Organized secularism has sometimes been seen as a phenomenon that lived and died with the nineteenth century. But associations such as the National Secular Society and the Rationalist Press Association survived into the twentieth and found new purpose in the promotion and publishing of serious literature. This book assembles a group of literary figures whose work was recommended as being of particular interest to the unbelieving readership targeted by these organisations. Some, including Vernon Lee, H.G. Wells, Naomi Mitchison, and K.S. Bhat, were members or friends of the R.P.A.; others, such as Mary Butts, were sceptical but nonetheless registered its importance in their work; a third group, including D.H. Lawrence and George Moore, wrote in ways seen as sympathetic to the Rationalist cause. All of these writers produced fiction that was experimental in form and, though few of them could be described as modernist, they shared with modernist writers a will to innovate. This book explores how Rationalist ideas were adapted and transformed by these experiments, focusing in particular on the modifications required to accommodate the strong mode of unbelief associated with British secularism to the notional mode of belief usually solicited by fiction. Whereas modernism is often understood as the literature for a secular age, Unbelief in Interwar Literary Culture looks elsewhere to find a literature that draws more directly on secularism for its aesthetics and its ethics.
Decolonial Arts Praxis: Transnational Pedagogies and Activism illustrates the productive potential of critical arts pedagogies in the ongoing work of decolonization by engaging art, activism, and transnational feminisms. Offering contributions from scholars, educators, artists, and activists from varied disciplines, the volume highlights how arts can reveal intersectional forms of oppression, inform critical understandings, and rebuild transnational solidarities across geopolitical borders. The contributors present forms of enquiry, creative writing, art, and reflection which grapple with issues of colonialism, racism, and epistemological violence to illustrate the power of decolonial arts pedagogies in formal and informal education. Using a range of multiple and intersectional critical lenses, through which readers can examine ways in which transnational feminist theorizing and art pedagogy inform, shape, and help strategize activism in various spaces, it will appeal to scholars, postgraduate students, and practitioners with interests in arts education, the sociology of education, postcolonialism, and multicultural education.
This book uses the overlapping approaches of political care ethics and feminist posthumanism as a lens to focus on the notions of privileged irresponsibility, responsibility and response-ability within the context of higher education and as it pertains to the issues of colonialism/decolonisation, pandemics and the climate crisis. The book will appeal to scholars in the field of higher education as well as to those in several other fields, such as ecology, gender studies, sociology, philosophy, and political science.
In Magical Habits Monica Huerta draws on her experiences growing up in her family's Mexican restaurants and her life as a scholar of literature and culture to meditate on how relationships among self, place, race, and storytelling contend with both the afterlives of history and racial capitalism. Whether dwelling on mundane aspects of everyday life, such as the smell of old kitchen grease, or grappling with the thorny, unsatisfying question of authenticity, Huerta stages a dynamic conversation among genres, voices, and archives: personal and critical essays exist alongside a fairy tale; photographs and restaurant menus complement fictional monologues based on her family's history. Developing a new mode of criticism through storytelling, Huerta takes readers through Cook County courtrooms, the Cristero Rebellion (in which her great-grandfather was martyred by the Mexican government), Japanese baths in San Francisco—and a little bit about Chaucer too. Ultimately, Huerta sketches out habits of living while thinking that allow us to consider what it means to live with and try to peer beyond history even as we are caught up in the middle of it. Duke University Press Scholars of Color First Book Award recipient
In autumn 1951, a diverse array of Muslim, Christian, and Jewish students from clubs like the Muslim Brotherhood and the Worker's Vanguard launched a guerrilla struggle against British occupation of the Suez Canal Zone. Revolutionary Emotions in Cold War Egypt recovers this overshadowed revolution of 1951, and the part played by the “Canal struggle” in the overthrow of the Egyptian monarchy. In a study spanning a half-dozen international archives, the book delves into the divisive court cases and rousing club newspapers, intimate memoirs and personal poetry of Egyptian activists. These documents reveal that in the early years of the Cold War, morality tales and moral emotions were at the heart of the methods and the successes of Egyptian activists. What stories did activists tell, and how did the emotional appeals and “moral talk” of Islamist and communist clubs compare? How did Arabic-speaking populations negotiate moral norms, and what role did emotions like love, anger, and disgust play in political campaigns? Taking a journey through Islamic parables about perilous beaches, communist adaptations of Greek myths, and popular stories about Juha's Nail and Paul Revere's Ride through the Suez Canal, this book uncovers a rich history of activist storytelling. These practices uncover the mechanics of morality tales, and reveal how activists used narratives to convert emotion to motion and drive social change. Still vitally important for readers today, such findings shed light on how paramilitary groups and protest movements use moral appeals to attract support-and why activist campaigns become the controversial epicentre of polarizing emotional battles.
This edited volume, written by historians of art and visual culture who are working in the field of animal studies, seeks to understand how our ways of positioning (and ex-positioning) animals have separated us from the other-than-human animals that are an integral part of our interconnected world. Bringing together the visual and material culture of display with recent theoretical study on human–animal relations, the book draws attention to ways in which we might rethink this history and map pathways for the future. Defining the idea of exhibition and display broadly, chapters consider a diverse range of media, including paintings, anatomical sculpture, books, prints, and clothing; exhibition venues that take place in both the public and private realms; and key ideas such as looking at/looking back, seeing/being seen, and interspecies recognition. The authors cover topics that span the sixteenth through the early twentieth centuries and focus geographically on Europe and America, with significant content related to Canada, Indigenous America, and Latin America. The book will be of interest to scholars working in art history, visual studies, museum studies, animal studies, and environmental humanities.