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This collection of essays considers the means and extent of Haiti's
'exceptionalization' - its perception in multiple arenas as
definitively unique with respect not only to the countries of the
North Atlantic, but also to the rest of the Americas. Painted as
repulsive and attractive, abject and resilient, singular and
exemplary, Haiti has long been framed discursively by an
extraordinary epistemological ambivalence. This nation has served
at once as cautionary tale, model for humanitarian aid and
development projects and point of origin for general theorising of
the so-called Third World. What to make of this dialectic of
exemplarity and alterity? How to pull apart this multivalent
narrative in order to examine its constituent parts?
Conscientiously gesturing to James Clifford's The Predicament of
Culture (1988), the contributors to The Haiti Exception work on the
edge of multiple disciplines, notably that of anthropology, to take
up these and other such questions from a variety of methodological
and disciplinary perspectives, including Africana Studies,
Anthrohistory, Art History, Black Studies, Caribbean Studies,
education, ethnology, Jewish Studies, Literary Studies, Performance
Studies and Urban Studies. As contributors revise and interrogate
their respective praxes, they accept the challenge of thinking
about the particular stakes of and motivations for their own
commitment to Haiti.
This collection of essays considers the means and extent of Haiti's
'exceptionalization' - its perception in multiple arenas as
definitively unique with respect not only to the countries of the
North Atlantic, but also to the rest of the Americas. Painted as
repulsive and attractive, abject and resilient, singular and
exemplary, Haiti has long been framed discursively by an
extraordinary epistemological ambivalence. This nation has served
at once as cautionary tale, model for humanitarian aid and
development projects and point of origin for general theorising of
the so-called Third World. What to make of this dialectic of
exemplarity and alterity? How to pull apart this multivalent
narrative in order to examine its constituent parts?
Conscientiously gesturing to James Clifford's The Predicament of
Culture (1988), the contributors to The Haiti Exception work on the
edge of multiple disciplines, notably that of anthropology, to take
up these and other such questions from a variety of methodological
and disciplinary perspectives, including Africana Studies,
Anthrohistory, Art History, Black Studies, Caribbean Studies,
education, ethnology, Jewish Studies, Literary Studies, Performance
Studies and Urban Studies. As contributors revise and interrogate
their respective praxes, they accept the challenge of thinking
about the particular stakes of and motivations for their own
commitment to Haiti.
This comprehensive collection of essays dedicated to the work of
filmmaker Raoul Peck is the first of its kind. The essays,
interview, and keynote addresses collected in Raoul Peck: Power,
Politics, and the Cinematic Imagination focus on the ways in which
power and politics traverse the work of Peck and are central to his
cinematic vision. At the heart of this project is the wish to
gather diverse interpretations of Raoul Peck's films in a single
volume. The essays included herein are written by scholars from
different disciplines and are placed alongside Peck's own
articulations around the nature of power and politics. Raoul Peck:
Power, Politics, and the Cinematic Imagination provides an
introduction to Peck's better-known films, interpretations of his
rarely seen and recently released early films, and original
analyses of his more recent films. It endeavors to explore the ways
in which the dual themes of power and politics inform the work of
Peck by taking a multidisciplinary approach to contextualizing his
filmography. It culls contributions from scholars who write from a
wide range of disciplines including history, film studies, literary
studies, postcolonial studies, French and Francophone studies and
African studies. The result is a volume that offers divergent
perspectives and frames of expertise by which to understand Peck's
oeuvre that continues to expand and deepen.
This book recuperates the important history that Haitian thought
around Vodou possession has had in French critical theory. The
author takes the period of the 1930s and '40s, as the centerfold of
a more complex network of relations that places Haiti as one of the
pivots of a more expanded intellectual conversation around
"possession," which links anthropology, literature, psychoanalysis,
human rights, and visual arts in France, Haiti, and the United
States. Benedicty argues that Haiti as the anthropological other
serves as a kick-starter to an entire French-based theoretical
apparatus (Breton, Leiris, Bataille, de Certeau, Foucault, and
Butler), but once up and running, its role as catalyst is forgotten
and the multiple iterations of the anthropological other are cast
back into the net of Michel-Rolph Trouillot's "Savage slot." The
book offers the reader unfamiliar with Haiti a comprehensive
interdisciplinary study of twentieth and early twenty-first century
Haitian thought, including a detailed timeline of important moments
in the intellectual history that connects Haiti to France and the
United States. The first part of the book is about global
dispossessions in the first decades of the twentieth century; the
second part points to how the narratives of 'Haiti' are intimately
linked to a Franco-U.S.-American discursive space, constructed over
the course of the twentieth century, a discursive order that has
conflated the representation of 'Haiti' with an understanding of
Vodou primarily as an occult religion, and not as a philosophical
system. The third and fourth parts of the book examine how the
novels of Rene Depestre, Jean-Claude Fignole, and Kettly Mars have
revisited the notion of possession since the fall of the Duvalier
dictatorships.
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