scholarly journals A Voice Sweeter than Salt: Toyin Falola and the Construction of Subaltern Narrative Space

2021 ◽  
Vol 1 (1) ◽  
Author(s):  
Ben Weiss
Keyword(s):  
Oral History ◽  
Knowledge Production ◽  
The Other ◽  
The West ◽  
Subaltern Studies ◽  
Discursive Space ◽  
Narrative Space ◽  
Close Analysis ◽  
Indigenous Voice

Gayatrl Spivak is arguably most recognized for her 1988 intervention in the dialogue of Subaltern Studies. It is within the intellectual rift of Spiva k's "Can the Subaltern Speak?" that I explore the narrative of Toyin Falola's memoir, A Mouth Sweeter than Salt. While Spivak concludes that the subaltern cannot speak be­cause of the subaltern's placement within existing knowledge production, Fa­lola's "Mouth" articulates a formation that says otherwise. Indeed, in A Mouth Sweeter than Salt, Falola's status In the subalternlty of a decolonlzlng Nigeria depicts a powerful subaltern voice with deep implications for knowledge, rep­resentation, authorial location, multifaceted identity paradox, and most of all, the tendrils of modernity. Fundamentally, this piece argues against Spivak by constructing a case for the relative authenticity of Falola's voice, despite its incorporation into Western intellectualism. Spivak claims that the subaltern cannot speak so long as the Western academy can only relate to the other within its own investigative par­adigm of the non-Western object. Here, I frame A Mouth Sweeter than Salt, not as a Western co-opting of an indigenous voice, but rather, as an invitation to explore Falola's memoir from the position of the non-Western subject. The work also allows us to move beyond the categories of the Western and non-Western subject to seriously engage the paradox of postcolonial existence. In granting credence to the idea of identity paradox, a close analysis of A Mouth Sweeter than Salt reveals the complexities of African subaltern voice and its dialectic with the forces of modernity. While Spivak might argue that this formulation is tainted by the motives of the West, such an interpretation of Fa­lola's memoir also builds ground to discuss alternatives to the Western archive in the development of African intellectualism. Falola's memoir stands as a tes­tament to the legitimization of oral history, micro-historical storytelling, and the disintegration of Western disciplinary divisions between history, literature, sociology, philosophy, and a host of other imported intellectual categories. By outlining the critical duality of Falola's act of subaltern speech, I hope to build a realm in which the African intellectual voice is not artificially segmented from the historical influence of modernity, but can also open discursive space to stand on its own ground. 

When Janitors Dare to Become Scholars

2010 ◽  
Vol 2 (4) ◽  
pp. 457-474 ◽  
Author(s):  
Claudio Moreira ◽  
Marcelo Diversi
Keyword(s):  
Social Justice ◽  
Lived Experience ◽  
Knowledge Production ◽  
Knowledge Construction ◽  
The Other ◽  
Research Subject ◽  
Narrative Space ◽  
American Academia ◽  
Systemic Oppression

In this performance autoethnography we re-present our experiences of disembodied knowledge construction in mainstream American academia. We claim that knowledge production about the Other still tends to reify the very oppression it intends to challenge. Can a janitor become a scholar without having to bury experiences under layers of theory and other technologies of justification? Or are marginalized humans relegated to a subordinate position of research subject in the process of knowledge production? Neither? Both? Troubling the recurring experience of “my bad English,” we try to show that folks lacking an educated upbringing can contribute to the decolonizing dialogue through something no technology of methods can provide: visceral lived experience of systemic oppression. We are insisting on narrative space for visceral knowledge to advance decolonizing discourses that may lead to more inclusive notions of social justice.

A Historiography of German Togoland, or The Rise and Fall of a “Model Colony”

2003 ◽  
Vol 30 ◽  
pp. 195-211 ◽  
Author(s):  
Dennis Laumann
Keyword(s):  
Oral History ◽  
The Other ◽  
Economic Policies ◽  
African History ◽  
African Continent ◽  
The West ◽  
Academic Field ◽  
Historical Episode ◽  
History Of ◽  
The Town

The literature on German Togoland, as compared with that of most of the other former European colonies on the African continent, is far from extensive. While the colony was relatively small and short-lived, the dearth of academic work is notable, since Togoland not only was prized by the Germans as their most successful colonial venture but was also viewed as a “model colony” by contemporary observers in other European imperial nations.Only a handful of books devoted exclusively to the colony have been published since the emergence of African history in the late 1950s as an academic field in the West. The authors of these books, as well as a number of articles and dissertations, thoroughly consulted the relevant archival materials housed in Europe and North America and, to a lesser extent, in West Africa, but failed to collect the oral history of the period. Thus these studies tend to be based almost solely on the observations of Europeans and focus on the activities of the German imperialists, in particular on their administrative and economic policies. A few scholars have attempted to emphasize African experiences during this historical episode, despite a reliance on those same archival materials.The Togoland colony dates to February 1884, when a group of German soldiers kidnapped chiefs in Anécho, a town located in present-day southeastern Togo, and forced them into negotiations aboard the German warship Sophie. Further west, a protectorate was proclaimed over the Lomé area in a treaty signed in July by Gustav Nachtigal, a German Imperial Commissioner, and one Plakkoo, an official of the town of Togo, after which the new colony was named by the Germans.

Combating Euro-Centrism in Diplomatic Studies

2019 ◽  
Vol 14 (3) ◽  
pp. 209-215
Author(s):  
Iver B. Neumann
Keyword(s):  
Knowledge Production ◽  
World History ◽  
Division Of Labour ◽  
The State ◽  
The Other ◽  
Special Issue ◽  
The West ◽  
Epistemological Problem ◽  
Present World ◽  
Globalising World

Summary In a rapidly globalising world, Euro-centrism — namely, the notion that the West deserves to occupy the centre stage of past and present world history — is unwarranted. It is both politically unjust and scientifically unsatisfactory, since it means that knowledge production proceeds according to habit rather than to need. The problem is not first and foremost an individual predicament. Most scholars of diplomacy study the state of which they are a national. This may be an inevitable division of labour. While individual scholars have an obligation to think about how different languages, different categorisation systems and different problems mean that a Euro-centric approach will only take us so far in understanding diplomacy as a global social form, this epistemological problem is located primarily on the level of diplomatic studies as such. The other contributors to this special issue propel our sub-field to a more multi-centric and scientifically higher level.

Comparative Analysis of Ahmet Hamdi Tanpinar’s Travels to European Countries

2017 ◽  
Vol 5 (1) ◽  
pp. 78
Author(s):  
Aysel KAMAL ◽  
Sinem ATIS
Keyword(s):  
Social History ◽  
Young Lady ◽  
The Other ◽  
European Countries ◽  
Cultural Relations ◽  
The West ◽  
Literary Works ◽  
European Culture ◽  
Turkish Literature ◽  
Art And Architecture

Ahmet Hamdi Tanpinar (1901-1962) is one of the most controversial authors in the 20th century Turkish literature. Literature critics find it difficult to place him in a school of literature and thought. There are many reasons that they have caused Tanpinar to give the impression of ambiguity in his thoughts through his literary works. One of them is that he is always open to (even admires) the "other" thought to a certain age, and he considers synthesis thinking at later ages. Tanpinar states in the letter that he wrote to a young lady from Antalya that he composed the foundations of his first period aesthetics due to the contributions from western (French) writers. The influence of the western writers on him has also inspired his interest in the materialist culture of the West. In 1953 and 1959 he organized two tours to Europe in order to see places where Western thought and culture were produced. He shared his impressions that he gained in European countries in his literary works. In the literary works of Tanpinar, Europe comes out as an aesthetic object. The most dominant facts of this aesthetic are music, painting, etc. In this work, in the writings of Tanpinar about the countries that he travelled in Europe, some factors were detected like European culture, lifestyle, socio-cultural relations, art and architecture, political and social history and so on. And the effects of European countries were compared with Tanpinar’s thought and aesthetics. Keywords: Ahmet Hamdi Tanpinar, Europe, poetry, music, painting, culture, life

The Proximity of Other Skins

2019 ◽  
Author(s):  
Celine Parreñas Shimizu
Keyword(s):  
United States ◽  
South Korea ◽  
The United States ◽  
The Philippines ◽  
The Other ◽  
The West ◽  
Pain And Suffering ◽  
The Spectator ◽  
Existing Frames ◽  
The Voice

Transnational films representing intimacy and inequality disrupt and disgust Western spectators. When wounded bodies within poverty entangle with healthy wealthy bodies in sex, romance and care, fear and hatred combine with desire and fetishism. Works from the Philippines, South Korea, and independents from the United States and France may not be made for the West and may not make use of Hollywood traditions. Rather, they demand recognition for the knowledge they produce beyond our existing frames. They challenge us to go beyond passive consumption, or introspection of ourselves as spectators, for they represent new ways of world-making we cannot unsee, unhear, or unfeel. The spectator is redirected to go beyond the rapture of consuming the other to the rupture that arises from witnessing pain and suffering. Self-displacement is what proximity to intimate inequality in cinema ultimately compels and demands so as to establish an ethical way of relating to others. In undoing the spectator, the voice of the transnational filmmaker emerges. Not only do we need to listen to filmmakers from outside Hollywood who unflinchingly engage the inexpressibility of difference, we need to make room for critics and theorists who prioritize the subjectivities of others. When the demographics of filmmakers and film scholars are not as diverse as its spectators, films narrow our worldviews. To recognize our culpability in the denigration of others unleashes the power of cinema. The unbearability of stories we don’t want to watch and don’t want to feel must be borne.

Beneath Improvisation

2019 ◽  
pp. 759-780
Author(s):  
Vijay Iyer
Keyword(s):  
Social Relations ◽  
Black Studies ◽  
Queer Studies ◽  
Traditional Music ◽  
Institutional Racism ◽  
Political Movements ◽  
The West ◽  
Subaltern Studies ◽  
Western Art ◽  
Critical Model

Improvisation has been construed as Western art music’s Other. This chapter urges music theorists to take the consequences of this configuration seriously. The decision to exclude improvisation as inherently unstable is not neutral, but is bound up with the endemic racism that has characterized social relations in the West and that is being brought to the fore in Black Lives Matter and other recent social and political movements. Traditional music theory is not immune from such institutional racism—its insistence on normative musical behaviors is founded on the (white) phallogocentrism of Western thought. Does the resurgent academic interest in improvisation offer a way out? No, at least not as it is currently studied. Even an apparently impartial approach such as cognitive science is not neutral; perception is colored by race. To get anywhere, this chapter argues, improvisation studies must take difference seriously. Important impetus for a more inclusive critical model comes from such fields as Black studies, Women’s studies, subaltern studies, queer studies, and disability studies.

scholarly journals When ‘You’ Means ‘I’: The German 2Nd Ps.Sg. Pronoun Du between Genericity and Subjectivity

2018 ◽  
Vol 4 (1) ◽  
pp. 280-309
Author(s):  
Peter Auer ◽  
Anja Stukenbrock
Keyword(s):  
18Th Century ◽  
The Other ◽  
Subjective Interpretation ◽  
Close Analysis ◽  
Data Capturing ◽  
The One

Abstract In this paper, we first present a close analysis of conversational data, capturing the variety of non-addressee deictic usages of du in contemporary German. From its beginnings, it has been possible to use non-addressee deictic du not only for generic statements, but also for subjective utterances by a speaker who mainly refers to his or her own experiences. We will present some thoughts on the specific inferences leading to this interpretation, making reference to Buhler’s deixis at the phantasm. In the second part of the paper, we show that non-addressee deictic du (‘thou’) as found in present-day German is not an innovation but goes back at least to the 18th century. However, there is some evidence that this usage has been spreading over the last 50 years or so. We will link non-addressee deictic du back historically to the two types of “person-shift” for du discussed by Jakob Grimm in his 1856 article “Uber den Personenwechsel in der Rede” [On person shift in discourse]. Grimm distinguishes between person shift in formulations of “rules and law” on the one hand, and person shift in what he calls “thou-monologue” on the other. The subjective interpretation of non-addressee-deictic du in present-day German may have originated from these “thou-monologues”

‘There shall be no musical servitude’: Towards a Multitudinous Shostakovich in the West

2020 ◽  
Vol 145 (2) ◽  
pp. 495-505
Author(s):  
EIRINI DIAMANTOULI
Keyword(s):  
Cold War ◽  
Communist Party ◽  
The Other ◽  
The Political ◽  
Musical Style ◽  
The West ◽  
Political Views ◽  
Political Interests ◽  
The One ◽  
The Cold War

Ideologically motivated attempts to elucidate Shostakovich’s political views and to determine whether and how they may be coded into his compositions have come to characterize the Western reception of the composer’s works since his death in 1975. Fuelled by the political oppositions of the cold war, Shostakovich’s posthumous reputation in the West has been largely shaped by two conflicting perspectives. These have positioned him on the one hand as a secret dissident, bent and broken under the unbearable strain of totalitarianism, made heroic through his veiled musical resistance to Communism; and on the other hand as a composer compromised by his capitulation to the regime – represented in an anachronistic musical style. Both perspectives surrender Shostakovich and his music to a crude oversimplification driven by vested political interests. Western listeners thus conditioned are primed to hear either the coded dissidence of a tragic victim of Communist brutality or the sinister submission of a ‘loyal son of the Communist Party’.1 For those prepared to accept Shostakovich as a ‘tragic victim’, the publication of his purported memoirs in 1979, ‘as related to and edited by’ the author Solomon Volkov, presents a tantalizing conclusion: bitterly yet discreetly scornful of the Stalinist regime, Shostakovich was indeed a secret dissident and this dissidence was made tangible in his music.

Informed Consent: Ezenwa–Ohaeto between Past and Future Uses of Pidgin

Matatu ◽  
2006 ◽  
Vol 33 (1) ◽  
pp. 115-134 ◽  
Author(s):  
Chantal Zabus
Keyword(s):  
Informed Consent ◽  
First Language ◽  
West African ◽  
The Other ◽  
Wole Soyinka ◽  
The West ◽  
West African Coast ◽  
African Coast ◽  
The 1950S ◽  
The One

The essay shows how Ezenwa–Ohaeto's poetry in pidgin, particularly in his collection (1988), emblematizes a linguistic interface between, on the one hand, the pseudo-pidgin of Onitsha Market pamphleteers of the 1950s and 1960s (including in its gendered guise as in Cyprian Ekwensi) and, on the other, its quasicreolized form in contemporary news and television and radio dramas as well as a potential first language. While locating Nigerian Pidgin or EnPi in the wider context of the emergence of pidgins on the West African Coast, the essay also draws on examples from Joyce Cary, Frank Aig–Imoukhuede, Ogali A. Ogali, Ola Rotimi, Wole Soyinka, and Tunde Fatunde among others. It is not by default but out of choice and with their 'informed consent' that EnPi writers such as Ezenwa–Ohaeto contributed to the unfinished plot of the pidgin–creole continuum.

The Secularity of Empire, the Violence of Critique: Muslims, Race, and Sexuality in the Politics of Knowledge‐Production

Hypatia ◽  
2017 ◽  
Vol 32 (3) ◽  
pp. 715-730 ◽  
Author(s):  
Sunera Thobani
Keyword(s):  
Knowledge Production ◽  
First Century ◽  
The West ◽  
Epistemological Tradition ◽  
Nation States ◽  
Race And Sexuality ◽  
Queer Politics ◽  
Philosophical Project ◽  
Forms Of Violence ◽  
Rare Opportunity

In the volatile conflicts that inaugurated the twenty‐first century, secularism, democracy, and freedom were identified by Western nation‐states as symbolizing their civilizational values, in contrast to the fanaticism, misogyny, and homophobia they attributed to “Islam.” The figure of the Muslim was thus transformed into an existential threat. This paper analyzes an exchange among scholars—Is Critique Secular? Blasphemy, Injury, and Free Speech—that engages these highly contested issues. As such, the text provides a rare opportunity to study how particular significations of the West, its epistemological tradition, and its relation with Islam are contested and negotiated in a critically engaged site during a moment of global crisis. My reading of the text leads me to argue that the stabilization of the epistemic power of the West is presently reliant on a new iteration of its foundational philosophical concepts to suppress counter‐hegemonic narratives that foreground its forms of violence. Further, the terrain for this reshaping of the dominance of this tradition is gender/sexuality, such that queer politics are located at the forefront of the Western politico‐philosophical project. As such, the advancement of this tradition is co‐constitutive with that of the gendered‐sexual subject as emblematic of its highest civilizational values.

Sign in / Sign up

Export Citation Format

Share Document