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This book analyses the dual alienations of a coastal group rural men, the Murik of Papua New Guinea. David Lipset argues that Murik men engage in a Bakhtinian dialogue: voicing their alienation from both their own, indigenous masculinity, as well as from the postcolonial modernity in which they find themselves adrift. Lipset analyses young men’s elusive expressions of desire in courtship narratives, marijuana discourse, and mobile phone use—in which generational tensions play out together with their disaffection from the state. He also borrows from Lacanian psychoanalysis in discussing how men’s dialogue of dual alienation appears in folk theater, in material substitutions—most notably, in the replacement of outrigger canoes by fiberglass boats—as well as in rising sea-levels, and the looming possibility of resettlement.
Through an intensive examination of photographs and engravings from European, Peruvian, and U.S. archives, Deborah Poole explores the role visual images and technologies have played in shaping modern understandings of race. Vision, Race, and Modernity traces the subtle shifts that occurred in European and South American depictions of Andean Indians from the late eighteenth to the early twentieth centuries, and explains how these shifts led to the modern concept of "racial difference." While Andean peoples were always thought of as different by their European describers, it was not until the early nineteenth century that European artists and scientists became interested in developing a unique visual and typological language for describing their physical features. Poole suggests that this "scientific" or "biological" discourse of race cannot be understood outside a modern visual economy. Although the book specifically documents the depictions of Andean peoples, Poole's findings apply to the entire colonized world of the nineteenth century. Poole presents a wide range of images from operas, scientific expeditions, nationalist projects, and picturesque artists that both effectively elucidate her argument and contribute to an impressive history of photography. Vision, Race, and Modernity is a fascinating attempt to study the changing terrain of racial theory as part of a broader reorganization of vision in European society and culture.
In the Sepik Basin of Papua New Guinea, ritual culture was dominated by the Tambaran --a male tutelary spirit that acted as a social and intellectual guardian or patron to those under its aegis as they made their way through life. To Melanesian scholarship, the cultural and psychological anthropologist, Donald F. Tuzin, was something of a Tambaran, a figure whose brilliant and fine-grained ethnographic project in the Arapesh village of Ilahita was immensely influential within and beyond New Guinea anthropology. Tuzin died in 2007, at the age of 61. In his memory, the editors of this collection commissioned a set of original and thought provoking essays from eminent and accomplished anthropologists who knew and were influenced by his work. They are echoes of the Tambaran. The anthology begins with a biographical sketch of Tuzin's life and scholarship. It is divided into four sections, each of which focuses loosely around one of his preoccupations. The first concerns warfare history, the male cult and changing masculinity, all in Melanesia. The second addresses the relationship between actor and structure. Here, the ethnographic focus momentarily shifts to the Caribbean before turning back to Papua new Guinea in essays that examine uncanny phenomena, narratives about childhood and messianic promises. The third part goes on to offer comparative and psychoanalytic perspectives on the subject in Fiji, Bali, the Amazon as well as Melanesia. Appropriately, the last section concludes with essays on Tuzin's fieldwork style and his distinctive authorial voice.
This book argues for the importance of adopting a postcolonial perspective in analysing contemporary Italian culture and literature. Originally published in Italian in 2018 as Riscrivere la nazione: La letteratura italiana postcoloniale, this new English translation brings to light the connections between the present, the colonial past and the great historical waves of international and intranational migration. By doing so, the book shows how a sense of Italian national identity emerged, at least in part, as the result of different migrations and why there is such a strong resistance in Italy to extending the privilege of italianità, or Italianness, to those who have arrived on Italian soil in recent years. Exploring over 100 texts written by migrant and second-generation writers, the book takes an intersectional approach to understanding gender and race in Italian identity. It connects these literary and cultural contexts to the Italian colonial past, while also looking outwards to a more diffuse postcolonial condition in Europe.
This book is the first to address the curatorial career of Diego Velázquez, painter to King Philip IV of Spain and chamberlain of his royal palace. It investigates the role that Velázquez played in overseeing the display of the Habsburg art collection, then the richest in the western world, and the role, in turn, that this practice played in his creative trajectory between his arrival at the Spanish court in 1623 and his death in 1660. This book thus recasts Velázquez’s career as an episode in the history of the curator.
DIVAnalyzes the key role that the production of "folkloric" music, dance, and drama has had in the formation of ethnic/racial identities, regionalism, and nationalism in Cuzco, Peru during the twentieth century./div
The first study of Anglophone and Italian novels by Somali diasporic authors, offering a new critical framework for multilingual and transnational analysis of Somali literature. Building on the latest scholarship about multilingual contexts, diaspora studies and the rapidly expanding field of Italian postcolonial studies, Marco Medugno examines Somali diasporic literature with a comparative perspective. Considering works written in English and Italian, he argues that Somali diasporic authors share similar themes and aesthetics, thus creating an interliterary community within the diaspora space. By using multilingualism as a starting point, Medugno provides significant insights into how Somali national and individual identities are constructed in diasporic, global contexts through geography, style, form, language and the re-writing of national histories emerging out of colonization and independence. Analysing acclaimed Somali novels such as Nuruddin Farah's Links and Crossbones, Igiaba Scego's Adua and Cristina Ali Farah's Little Mother, he questions any definition of 'local' as 'provincial', instead considering it a site for interrogating global concerns. Literature of the Somali Diaspora is organized around three themes: spatiality, language and resistance help to contextualize authors, forced by the decades-long Somali Civil War, to write outside Somalia and in different languages – including Somali, Italian, English, German, Dutch and Arabic – within global literary circuits. Their work thus creates a literature not confined within national borders but an interliterary global community, a transnational and multilingual space in which they share world aesthetic ideologies, challenge and engage with literary traditions in different languages and show an interplay between diverse cultures.
From an early age, Yabar listened to Aunt Rosa's story of the commander of the river. Somali legend tells of how two wise men were entrusted with creating a river, because their country had none and had no drinking water. But when crocodiles found their way into the water, the people elected a commander of the river to control the beasts and allow access to the water. To know Good, you must live with necessary Evil. After his father abandoned him, Yabar sets out on a journey to discover what became of him. Sent from his home in Rome to his aunt's house in London, Yabar will discover a terrible family secret, which he may want to forget. The Commander of the River is a timeless and compelling coming-of-age story set in contemporary Italy. The second novel by acclaimed Somali Italian writer Ubah Cristina Ali Farah, it explores themes of racism, trauma, adolescent angst, and the rebellious torments of the young.
An Open Access edition of this book will be available on the Liverpool University Press website and the OAPEN library. In a world increasingly defined by the transnational and translingual, and by the pressures of globalization, it has become difficult to study culture as primarily a national phenomenon. A Handbook offers students across Modern Languages an introduction to the kind of methodological questions they need to look at culture transnationally. Each of the short essays takes a key concept in cultural study and suggests how it might be used to explore and illuminate some aspect of identity, mobility, translation, and cultural exchange across borders. The authors range over different language areas and their wide chronological reach provides broad coverage, as well as a flexible and practical methodology for studying cultures in a transnational framework. The essays show that an inclusive, transnational vision and practice of Modern Languages is central to understanding human interaction in an inclusive, globalized society. A Handbook stands as an effective and necessary theoretical and thematically diverse glossary and companion to the ‘national’ volumes in the series.