This edited volume is the first to focus on how concepts of citizenship diversify and stimulate the long-standing field of law and literature, and vice versa. Building on existing research in law and literature as well as literature and citizenship studies, the collection approaches the triangular relationship between citizenship, law and literature from a variety of disciplinary, conceptual and political perspectives, with particular emphasis on the performative aspect inherent in any type of social expression and cultural artefact. The sixteen chapters in this volume present literature as carrying multifarious, at times opposing energies and impulses in relation to citizenship. These range from providing discursive arenas for consolidating, challenging and re-negotiating citizenship to directly interfering with or inspiring processes of law-making and governance. The volume opens up new possibilities for the scholarly understanding of citizenship along two axes: Citizenship-as-Literature: Enacting Citizenship and Citizenship-in-Literature: Conceptualising Citizenship.

Drawing from a rich corpus of British cultural production and postcolonial theory, this book positions Brexit in the historical nexus of colonialism, colonial nostalgia, and the rise of narcissistic nationalism in contemporary Europe. This collection moves away from existing literary discourses framing Brexit as a 'novel' event that ushered in a new genre of British fiction. It challenges the hackneyed public discourses that depict the results of the 2016 Referendum as the catalyst of regional instability as well as sociopolitical emergency in Europe. This book traces and critiques populist myth-making in the current United Kingdom through engagement with a wide range of literary and cultural productions, and reminds readers of the proleptic potential of postcolonial theorists and authors – Paul Gilroy, Austin Clarke, Mohsin Hamid, Ali Smith, to name a few – in identifying the residual ideologies of imperialism in the lead up to and after the Brexit campaign. The articles featured here extend Brexit’s figurative geography towards India, Britain, Pakistan, Ireland, Palestine, Barbados, and Eastern Europe, amongst others. They engage with films, media representations, and public discourses alongside more traditional genres such as the novel and stage productions. With a diversified approach to scholarly fields such as postcolonial literary and cultural studies, the book offers new insights into Brexit’s diverse histories not only in academic discourses, but also in the socio-political public sphere at large. The chapters in this book were originally published as a special issue of the Journal of Postcolonial Writing.

Drawing on a rich lineage of anti-discriminatory scholarship, art, and activism, Locating African European Studies engages with contemporary and historical African European formations, positionalities, politics, and cultural productions in Europe. Locating African European Studies reflects on the meanings, objectives, and contours of this field. Twenty-six activists, academics, and artists cover a wide range of topics, engaging with processes of affiliation, discrimination, and resistance. They negotiate the methodological foundations of the field, explore different meanings and politics of 'African' and 'European', and investigate African European representations in literature, film, photography, art, and other media. In three thematic sections, the book focusses on: African European social and historical formations African European cultural production Decolonial academic practice Locating African European Studies features innovative transdisciplinary research, and will be of interest to students and scholars of various fields, including Black Studies, Critical Whiteness Studies, African American Studies, Diaspora Studies, Postcolonial Studies, African Studies, History, and Social Sciences.

Critical Branding: Postcolonial Studies and the Market provides an original answer to what Sarah Brouillette has called postcolonial studies' 'longstanding materialist challenge', illuminating the relationship between what is often broadly called 'the market' and the practice and positionality of postcolonial critics and their field, postcolonial studies. After much attention has been paid to the status of literary writers in markets, and after a range of sweeping attacks against the field for its alleged 'complicity' with capitalism, this study takes the crucial step of systematically exploring the engagement of postcolonial critics in market practice, substituting an automatic sense of accusation (Dirlik), dread (Westall; Brouillette), rage (Young; Williams), or irony (Huggan; Ponzanesi; Mendes) with a nuanced exploration and critique. Bringing together concepts from business studies, postcolonial studies, queer studies, and literary and cultural studies in an informed way, Critical Branding sets on a thorough theoretical footing a range of categories that, while increasingly current, remain surprisingly obscure, such as the market, market forces, and branding. It also provides new concepts with which to think the market as a dimension of practice, such as brand narratives, brand acts, and brand politics. At a time when the marketisation of the university system and the resulting effects on academics are much on our minds, Critical Branding is a timely contribution that explores how diversely postcolonial studies and the market intersect, for better and for worse.

Critical Branding: Postcolonial Studies and the Market provides an original answer to what Sarah Brouillette has called postcolonial studies' 'longstanding materialist challenge', illuminating the relationship between what is often broadly called 'the market' and the practice and positionality of postcolonial critics and their field, postcolonial studies. After much attention has been paid to the status of literary writers in markets, and after a range of sweeping attacks against the field for its alleged 'complicity' with capitalism, this study takes the crucial step of systematically exploring the engagement of postcolonial critics in market practice, substituting an automatic sense of accusation (Dirlik), dread (Westall; Brouillette), rage (Young; Williams), or irony (Huggan; Ponzanesi; Mendes) with a nuanced exploration and critique. Bringing together concepts from business studies, postcolonial studies, queer studies, and literary and cultural studies in an informed way, Critical Branding sets on a thorough theoretical footing a range of categories that, while increasingly current, remain surprisingly obscure, such as the market, market forces, and branding. It also provides new concepts with which to think the market as a dimension of practice, such as brand narratives, brand acts, and brand politics. At a time when the marketisation of the university system and the resulting effects on academics are much on our minds, Critical Branding is a timely contribution that explores how diversely postcolonial studies and the market intersect, for better and for worse.

The famous 1962 precedent at the Restrictive Practices Court of the United Kingdom, 'Books are different,' is still the reasoning behind many cultural policies around the world, building on longstanding assumptions surrounding 'the book'. As this suggests, the 'difference' of the book as a unique form of cultural (rather than economic) production has acquired a powerful status. But are books still different? In (somewhat provocatively) asking this question from a network-oriented and interdisciplinary perspective (book studies/literary studies), this Element inquires into the notion of 'difference' in relation to books. Challenging common notions of 'bibliodiversity,' it reconsiders the lack of diversity in the publishing industry. It also engages with the diversifying potentials of the digital literary sphere, offering a case study of Bernardine Evaristo's industry activities and activism, the Element concludes with thoughts on bookishness, affect and networked practice. This title is also available as Open Access on Cambridge Core.