Post-Millennial Palestine

2021 ◽  
Keyword(s):  
Peace Process ◽  
First Century ◽  
Self Determination ◽  
Literary Works ◽  
Post Colonial ◽  
Integral Component ◽  
Chronic Trauma ◽  
Ways Of Thinking ◽  
Twenty First Century

Post-Millennial Palestine: Literature, Memory, Resistance confronts how Palestinians have recently felt obliged to re-think memory and resistance in response to dynamic political and regional changes in the twenty-first century; prolonged spatial and temporal dispossession; and the continued deterioration of the peace process. Insofar as the articulation of memory in (post)colonial contexts can be viewed as an integral component of a continuing anti-colonial struggle for self-determination, in tracing the dynamics of conveying the memory of ongoing, chronic trauma, this collection negotiates the urgency for Palestinians to reclaim and retain their heritage in a continually unstable and fretful present. The collection offers a distinctive contribution to the field of existing scholarship on Palestine, charting new ways of thinking about the critical paradigms of memory and resistance as they are produced and represented in literary works published within the post-millennial period. Reflecting on the potential for the Palestinian narrative to recreate reality in ways that both document it and resist its brutality, the critical essays in this collection show how Palestinian writers in the twenty-first century critically and creatively consider the possible future(s) of their nation.

Introduction

2021 ◽  
pp. 9-31
Author(s):  
Rachel Gregory Fox ◽  
Ahmad Qabaha
Keyword(s):  
Peace Process ◽  
First Century ◽  
Self Determination ◽  
Post Colonial ◽  
Integral Component ◽  
Political Events ◽  
Chronic Trauma ◽  
Twenty First Century

The introduction to the collection begins by explaining the rationale behind the project; that the collection is a response to how Palestinians have recently felt obliged to re-think memory and narration in response to dynamic political and regional changes in the twenty-first century, ongoing national loss, prolonged spatial and temporal dispossession, and the continued deterioration of the peace process. It outlines key historical and political events and theorises the critical paradigms central to the book. It addresses how, insofar as the articulation of memory in (post)colonial contexts can be viewed as an integral component of a continuing anti-colonial struggle for self-determination, in tracing the dynamics of conveying the memory of ongoing, chronic trauma, this collection negotiates the urgency for Palestinians to reclaim and retain their heritage in a continually unstable and fretful present.

Self-determination in the Twenty-First Century

Ethnopolitics ◽  
2015 ◽  
Vol 14 (5) ◽  
pp. 540-546 ◽  
Author(s):  
Montserrat Guibernau
Keyword(s):  
First Century ◽  
Self Determination ◽  
Twenty First Century

scholarly journals Occupation of Racial Grief, Loss as a Resource: Learning From ‘The Combahee River Collective Black Feminist Statement’

2019 ◽  
Vol 64 (3) ◽  
pp. 352-364 ◽  
Author(s):  
Suryia Nayak
Keyword(s):  
Psychological Impact ◽  
First Century ◽  
Feminist Movement ◽  
Grief And Loss ◽  
Black Feminist ◽  
Combahee River Collective ◽  
Stark Contrast ◽  
Ways Of Thinking ◽  
Twenty First Century ◽  
Constituent Elements

Abstract The methodology of ‘occupation’ through re-reading The Combahee River Collective Black Feminist Statement (The Combahee River Collective, in: James, Sharpley-Whiting (eds) The Black Feminist Reader. Blackwell Publishers Ltd., Oxford, pp 261–270, 1977) demonstrates the necessity of temporal linkages to historical Black feminist texts and the wisdom of Black feminist situated knowers. This paper argues that racism produces grief and loss and as long as there is racism, we all remain in racial grief and loss. However, in stark contrast to the configuration of racial grief and loss as something to get over, perhaps grief and loss can be thought about differently, for example, in terms of racial grief and loss as a resource. This paper questions Western Eurocentric paternalistic responses to Black women’s ‘talk about their feelings of craziness… [under] patriarchal rule’ (The Combahee River Collective 1977: 262) and suggests alternative ways of thinking about the psychological impact of grief and loss in the context of racism. In this paper, a Black feminist occupation of racial grief and loss includes the act of residing within, and the act of working with the constituent elements of racial grief and loss. The proposal is that an occupation of racial grief and loss is a paradoxical catalyst for building a twenty-first century global intersectional Black feminist movement.

The Topography of Mythization and Ritual of Reading The review of Dorota Siwor, Tropy mitu i rytuału. O polskiej prozie współczesnej – nie tylko najnowszej [Traces of Myth and Ritual On Contemporary Polish Prose]

2020 ◽  
Vol 34 (1) ◽  
pp. 419-420
Author(s):  
Elżbieta Dutka
Keyword(s):  
Twentieth Century ◽  
First Century ◽  
Systematic Account ◽  
Literary Works ◽  
Czeslaw Milosz ◽  
Surrounding World ◽  
Twenty First Century ◽  
And Function

The article is a review of Dorota Siwor’s monography entitled Traces of Myth and Ritual On Contemporary Polish Prose (Tropy mitu i rytuału. O polskiej prozie współczesnej – nie tylko najnowszej). The affinities between literature and myth (and the ritual that is associated with myth) are analysed in this book from several perspectives – those of structure, theme, and function. Dorota Siwor’s interpretations generally focus on Polish prose composed in the second half of the twentieth century and the first several years of the twenty-first century (the literary works written by Andrzej Stasiuk, Olga Tokarczuk, Wilhelm Dichter, but also by Czesław Miłosz, Tadeusz Konwicki, Tadeusz Nowak and others). Essays included in this book are interpretative, but some of them also offer a systematic account. In this monograph, the main problem – the mythization strategy in prose – is explained as a type of search (search for order in the surrounding world, search for the origins and search for oneself). The analyses in mythical and ritualistic contexts highlight the interesting tendencies in prose but also show some kind of different topography (topography of mythization) and ritual of reading (not only private but also more universal).

scholarly journals Literary Primatology: Reading Primatology in Ape Fiction

2021 ◽  
Vol 43 (1) ◽  
pp. 1-19
Author(s):  
Diana Villanueva-Romero ◽  
Keyword(s):  
Cultural Background ◽  
First Century ◽  
Literary Works ◽  
The Third ◽  
Twenty First Century

This article aims at defining the field of literary primatology and illustrating the main forms it has taken in Anglophone literatures in the twenty-first century. The article is organized around five sections. The first one introduces the term literary primatology. The second portrays the cultural background against which this field emerged. The third describes its main themes and illustrates them by bringing to the fore significant literary works produced in the twenty-first century. The fourth looks at examples of ape imaginings. Finally, I enumerate some of the unifying characteristics of these narratives and explain literary primatology as one of the responses to today’s Anthropocene anxiety and the feeling of grief or solastalgia for a dying planet.

“We're Gonna Capture Johnny Depp”: Making Kin with Cinematic Comanches

2017 ◽  
Vol 41 (2) ◽  
pp. 23-42 ◽  
Author(s):  
Dustin Tahmahkera
Keyword(s):  
Cultural Capital ◽  
Cultural Politics ◽  
Cultural Knowledge ◽  
First Century ◽  
Self Determination ◽  
Social Actors ◽  
Twenty First Century

This article analyzes Comanche elder LaDonna Harris's adoption of actor Johnny Depp as a response to the cultural politics of Disney's casting him as a Comanche Tonto in The Lone Ranger 2013. In addition to onscreen performers and characters like Depp's Tonto, in my reading “cinematic Comanches” also include offscreen cultural critics and social actors who, like Harris, maneuver through thorny layers of representing the indigenous. Focusing my inquiry on how Harris and other cinematic Comanches created opportunities to make kin with Depp, engage Disney, and expand the convoluted discourse on producing Comanche representation and cultural knowledge, I discuss Lone Ranger's hype and protest, Harris's reframing of the adoption as captivity, and post-captivity collaborations between Comanches, Depp, and Disney. I suggest that by recreating a traditional Comanche mode of kinship in the twenty-first century, Harris took Depp in as a son to honor his onscreen efforts, to express Comanche self-determination in kinship, and to increase the cultural capital of the Comanche Nation.

scholarly journals Nigerian women artists’ visibility in twenty-first century contemporary art practices: A triumph against exclusions from art groups and collectives in Nigeria

2021 ◽  
Vol 20 (1) ◽  
pp. 59-67
Author(s):  
Nkiruka Jane Nwafor
Keyword(s):  
Civil War ◽  
Contemporary Art ◽  
Women Artists ◽  
Art History ◽  
First Century ◽  
Nigerian Women ◽  
Post Colonial ◽  
Art Practices ◽  
The 1950S ◽  
Twenty First Century

Nigerian artists began forming art groups and schools from the 1950s and 1960s. These art groups advanced the reclaiming of Nigeria‟s artistic cultural heritages. However, even in the post-colonial and post-Civil War 1970s and 1980s many art groups and art institutions had few or no female members that participated in their activities. This essay reviews notable art groups in Nigeria from the earliest to the more recent. It also identifies the prominent women artists that had contributed to modern Nigerian art history. The essay also looks at the changes in the 1990s‟ and identifies contemporary art and its liberal and individualistic approaches as what caused decline in art groups in the twenty-first century. It will identify the women making impact in Nigeria‟s art scenario in the twenty-first century. The essay argues therefore that the liberalizing nature of twenty-first century contemporary art practices in Nigeria may have endeared more visibility to Nigerian women artists.

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