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The Global South Atlantic (Paperback)
Kerry Bystrom, Joseph R. Slaughter; Contributions by Luis Felipe Alencastro, Jaime Hanneken, Jason Frydman, …
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R983
Discovery Miles 9 830
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Ships in 12 - 17 working days
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Not only were more African slaves transported to South America than
to North, but overlapping imperialisms and shared resistance to
them have linked Africa, Latin America, and the Caribbean for over
five centuries. Yet despite the rise in transatlantic, oceanic,
hemispheric, and regional studies, and even the growing interest in
South-South connections, the South Atlantic has not yet emerged as
a site that captures the attention it deserves. The Global South
Atlantic traces literary exchanges and interlaced networks of
communication and investment-financial, political, socio-cultural,
libidinal-across and around the southern ocean. Bringing together
scholars working in a range of languages, from Spanish to Arabic,
the book shows the range of ways people, governments, political
movements, social imaginaries, cultural artefacts, goods, and
markets cross the South Atlantic, or sometimes fail to cross. As a
region made up of multiple intersecting regions, and as a vision
made up of complementary and competing visions, the South Atlantic
can only be understood comparatively. Exploring the Atlantic as an
effect of structures of power and knowledge that issue from the
Global South as much as from Europe and North America, The Global
South Atlantic helps to rebalance global literary studies by making
visible a multi-textured South Atlantic system that is neither
singular nor stable.
The idea of "world literature" has served as a crucial though
underappreciated interlocutor for African diasporic writers,
informing their involvement in processes of circulation,
translation, and revision that have been identified as the
hallmarks of the contemporary era of world literature. Yet in spite
of their participation in world systems before and after European
hegemony, Africa and the African diaspora have been excluded from
the networks and archives of world literature. In "Sounding the
Break, " Jason Frydman attempts to redress this exclusion by
drawing on historiography, ethnography, and archival sources to
show how writers such as W. E. B. Du Bois, Zora Neale Hurston,
Alejo Carpentier, Derek Walcott, Maryse Conde, and Toni Morrison
have complicated both Eurocentric and Afrocentric categories of
literary and cultural production. Through their engagement with and
revision of the European world literature discourse, he contends,
these writers conjure a deep history of "literary traffic" whose
expressions are always already cosmopolitan, embedded in the long
histories of cultural and economic exchange between Africa, Asia,
and Europe. It is precisely the New World American location of
these writers, Frydman concludes, that makes possible this
revisionary perspective on the idea of (Old) World literature.
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