The Two-Fold Global Turn

ARTMargins ◽  
2018 ◽  
Vol 7 (1) ◽  
pp. 83-99
Author(s):  
Anneka Lenssen
Keyword(s):  
Twentieth Century ◽  
Cold War ◽  
National Culture ◽  
Third World ◽  
Frantz Fanon ◽  
Art World ◽  
Cultural Paradigms ◽  
Duke University ◽  
Liberation Movements ◽  
Studio Practices

This essay is a review of art historian Chika Okeke-Agulu's Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria (Duke University Press, 2015). The book offers a chronicle of artistic theories, practices, and institutions during Nigeria's independence years (1957–67) amid the historical frames of Third World liberation, African decolonization, and Cold War realpolitik. The essay explores in particular how Postcolonial Modernism revisits and explores the thematic of “national culture”—the concept presented by Frantz Fanon in 1959, with long-lasting impact on theories of postcolonial arts—in the (decentralized) Nigerian art world, with a focus on the synthetic studio practices of members of the Zaria Art Society. Fanon's “two-fold becoming” model of national culture, which implies catalyzing links to international liberation movements, impacts not only Okeke-Agulu's narrative of a generational opposition to the preceding cultural paradigms of Negritude, but also—the essay argues—the writing of global modernist history at-large.

African Files in Portuguese Archives

2004 ◽  
Vol 31 ◽  
pp. 463-468 ◽  
Author(s):  
Paul Bjerk
Keyword(s):  
Twentieth Century ◽  
Cold War ◽  
Sixteenth Century ◽  
African History ◽  
Specific Interest ◽  
Archival Research ◽  
Archival Material ◽  
Liberation Movements ◽  
The Cold War

When I first mentioned to David Henige my plan to go to Portugal to do some archival research, he expressed the hope that it would be a somewhat more welcoming atmosphere than he had encountered in 1971, with armed soldiers patrolling the grounds. Indeed it was. I spent three weeks in Lisbon doing archival research in modern African history, with a specific interest in Tanzania. The Arquivo Histórico Diplomàtico (AHD) and the Arquivo Histórico Ultramarino (AHU) both proved to be rich archival sources kept by accessible and friendly staff.This paper is a brief and informal review of my research in the archives. Unfortunately, I did not survey the holdings of either of the archives I used, so I cannot speak to their scope, but the files on Africa are vast. The AHU, for example, claims over 6000 meters of documents, and not just for Portuguese colonies. They include materials dating to the sixteenth century and extensive intelligence and diplomatic materials for the twentieth century. I hope that this paper will give interested researchers a sense of the type of material available.In going to Portugal, I had the goal of finding out what archival material existed in Lisbon concerning relations between Portugal and Tanzania. Portuguese-Tanzanian relations were largely formed through the encounter over Mozambique. When Tanzania gained independence, it began to support the Mozambican liberation movements, which was very upsetting to Portugal, especially in the context of the Cold War. The Portuguese archives proved very fruitful. I found hundreds of documents that were of great interest, including documents relating directly to my dissertation topic dealing with a diplomatic incident concerning some forged letters that implicated Portugal in a plot to overthrow the Tanzanian government.

scholarly journals The Afterlives of Frantz Fanon and the Reconstruction of Postcolonial Studies

2015 ◽  
Vol 23 (1) ◽  
pp. 113-128
Author(s):  
Bhakti Shringarpure
Keyword(s):  
Cold War ◽  
Third World ◽  
Postcolonial Theory ◽  
American Culture ◽  
Postcolonial Studies ◽  
Frantz Fanon ◽  
Post Cold War ◽  
Point Of Entry ◽  
Current Trends ◽  
Current State

This essay mobilizes Fanon as a point of entry into mapping the current state of postcolonial studies, and within that, reflects on what constitutes the postcolonial canon. Over a gradual course of the eighties and nineties, there has come about a transition from the field’s founding moments in which anti-imperialism, tricontinentalism, Third World nationalism and aesthetics of realism and resistance thrived, to the current trends that show a slant toward postmodernist fragmentation, multiculturalism, issues of diaspora, metropolitan narratives as well as a proclivity toward theorizing the field itself. There are many reasons for this: the specific dynamics of the post-Cold War American culture within which these works were received; the compromised relationship between academic and commercial publishing culture, which made a jump from narratives of decolonization and neocolonialism to metropolitan multiculturalism; and the sway of postmodernism over academia as a whole, which led to a disregard for Marxist theories and, more importantly, to a neglect of realism as a mode and aesthetic in postcolonial theory. These factors have worked together to shape how the genealogy of postcolonial studies and its theory have come to be accepted as “obvious.” This has, in turn, had strong repercussions for the kind of literature and theory that have come to be celebrated and canonized within the field. The essay draws on Anthony Alessandrini's Frantz Fanon and the Future of Cultural Politics: Finding Something Different (2014) and Neil Lazarus' The Postcolonial Unconscious (2011) to offer a reconstructed genealogy of the field of postcolonial studies. 

Introduction

2016 ◽  
Author(s):  
Lisa Jakelski
Keyword(s):  
Twentieth Century ◽  
Cold War ◽  
New Music ◽  
Background Information ◽  
State Socialism ◽  
Art World ◽  
Musical Practices ◽  
History Of ◽  
The Cold War ◽  
Cultural Mobility

The introduction presents the book’s primary themes and concepts: music and the Cold War, the roles institutions and networks have played in shaping musical practices, Stephen Greenblatt’s model of cultural mobility, and Howard Becker’s model of the art world. It gives relevant background information on the history of new music institutions in the twentieth century, as well as a concise account of the development of state socialism in postwar Poland. It also provides an overview of the book’s structure as well as brief summaries of the chapters. The introduction explains that book’s first half examines the festival’s organization and reception in Poland, whereas the latter half explores the Warsaw Autumn’s worldwide ramifications.

Espionage and Exile

2016 ◽  
Author(s):  
Phyllis Lassner
Keyword(s):  
Twentieth Century ◽  
Popular Culture ◽  
Cold War ◽  
Literary History ◽  
Political Engagement ◽  
The Political ◽  
International Crises ◽  
Popular Entertainment ◽  
John Le Carre ◽  
The Cold War

Espionage and Exile demonstrates that from the 1930s through the Cold War, British Writers Eric Ambler, Helen MacInnes, Ann Bridge, Pamela Frankau, John le Carré and filmmaker Leslie Howard combined propaganda and popular entertainment to call for resistance to political oppression. Instead of constituting context, the political engagement of these spy fictions bring the historical crises of Fascist and Communist domination to the forefront of twentieth century literary history. They deploy themes of deception and betrayal to warn audiences of the consequences of Nazi Germany's conquests and later, the fusion of Fascist and Communist oppression. Featuring protagonists who are stateless and threatened refugees, abandoned and betrayed secret agents, and politically engaged or entrapped amateurs, all in states of precarious exile, these fictions engage their historical subjects to complicate extant literary meanings of transnational, diaspora and performativity. Unsettling distinctions between villain and victim as well as exile and belonging dramatizes relationships between the ethics of espionage and responses to international crises. With politically charged suspense and narrative experiments, these writers also challenge distinctions between literary, middlebrow, and popular culture.

Making Ballet 3

2017 ◽  
Author(s):  
Andrea Harris
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York City ◽  
Cold War ◽  
Movement Analysis ◽  
Story Line ◽  
George Balanchine ◽  
And Performance ◽  
Ballet History ◽  
Choreographic Analysis

Making Ballet 3 provides a choreographic analysis of the ballet Western Symphony, produced by the New York City Ballet in 1954 with choreography by George Balanchine, music by Hershy Kay, scenery by John Boyt, and costumes by Karinska. It brings to light the multitude of intertextual allusions that occur throughout the ballet, playfully intermingling references of “America” with an entire lineage of nineteenth-century European classicism. Although Western Symphony has no story line, it crafts a deliberate message: a long, transatlantic genealogy of Western classicism that, in the twentieth century, has come to rest in America. Drawing on archival sources and movement analysis, this interchapter argues that Western Symphony incorporates parody to present a revisionist ballet history in which the high cultural lineages of Europe and America are intimately entwined. Ultimately, this message reinforced the Atlanticist politics of private and state anticommunist groups in the cultural Cold War, the historical setting for its production and performance.

A Tower of Tangled Histories: The Upper Silesia Tower in Poznań and the Making of an Unromantic Poland, 1911–1955

Slavic Review ◽  
2020 ◽  
Vol 79 (3) ◽  
pp. 566-590
Author(s):  
Patryk Babiracki
Keyword(s):  
Twentieth Century ◽  
National Identity ◽  
Cold War ◽  
World War I ◽  
Material Structure ◽  
World War ◽  
Upper Silesia ◽  
The Cold War ◽  
The City ◽  
Over Time

Engaging with regional, international, and spatial histories, this article proposes a new reading of the twentieth-century Polish past by exploring the vicissitudes of a building known as the Upper Silesia Tower. Renowned German architect Hans Poelzig designed the Tower for the 1911 Ostdeutsche Ausstellung in Posen, an ethnically Polish city under Prussian rule. After Poland regained its independence following World War I, the pavilion, standing centrally on the grounds of Poznań’s International Trade Fair, became the fair's symbol, and over time, also evolved into visual shorthand for the city itself. I argue that the Tower's significance extends beyond Posen/Poznań, however. As an embodiment of the conflicts and contradictions of Polish-German historical entanglements, the building, in its changing forms, also concretized various efforts to redefine the dominant Polish national identity away from Romantic ideals toward values such as order, industriousness, and hard work. I also suggest that eventually, as a material structure harnessed into the service of socialism, the Tower, with its complicated past, also brings into relief questions about the regional dimensions of the clashes over the meaning of modernity during the Cold War.

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