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This volume investigates the cultural sites where the global Cold
War played out. It brings to view unpredictable encounters that
arose as writers, artists, filmmakers, and intellectuals from or
aligned with the Third World navigated the ideological and material
constraints set by superpowers and emerging regional powers. Often
these encounters generated communitas and solidarity, while at
times they fed old and new conflicts. Pushing forward recent
scholarship that tracks the Cold War in the Global South and draws
on postcolonial approaches, our contributors use archival,
secondary, and ethnographic sources to trace the afterlives and
memories of key figures and to explore meetings that performed
cultural diplomacy. Our focus on sites of encounter or exchange
underscores the situated, interpersonal, and embodied dimensions
through which much of the cultural Cold War was experienced. While
the global conflict divided citizens along ideological fault lines,
it also linked people through circulating media-novels, film,
posters, journals, and theatre-and multinational conferences that
brought artists, intellectuals, and political activists together.
Such contacts introduced new axes of solidarity and hierarchies of
exclusion. Examining these connections and disjunctures, this new
and necessary mapping of the cultural Cold War highlights
under-addressed locations in Asia, Africa, and Latin America.
This volume investigates the cultural sites where the global Cold
War played out. It brings to view unpredictable encounters that
arose as writers, artists, filmmakers, and intellectuals from or
aligned with the Third World navigated the ideological and material
constraints set by superpowers and emerging regional powers. Often
these encounters generated communitas and solidarity, while at
times they fed old and new conflicts. Pushing forward recent
scholarship that tracks the Cold War in the Global South and draws
on postcolonial approaches, our contributors use archival,
secondary, and ethnographic sources to trace the afterlives and
memories of key figures and to explore meetings that performed
cultural diplomacy. Our focus on sites of encounter or exchange
underscores the situated, interpersonal, and embodied dimensions
through which much of the cultural Cold War was experienced. While
the global conflict divided citizens along ideological fault lines,
it also linked people through circulating media-novels, film,
posters, journals, and theatre-and multinational conferences that
brought artists, intellectuals, and political activists together.
Such contacts introduced new axes of solidarity and hierarchies of
exclusion. Examining these connections and disjunctures, this new
and necessary mapping of the cultural Cold War highlights
under-addressed locations in Asia, Africa, and Latin America.
In At Penpoint Monica Popescu traces the development of African
literature during the second half of the twentieth century to
address the intertwined effects of the Cold War and decolonization
on literary history. Popescu draws on archival materials from the
Soviet-sponsored Afro-Asian Writers Association and the CIA-funded
Congress for Cultural Freedom alongside considerations of canonical
literary works by Ayi Kwei Armah, Ngugi wa Thiong'o, Ousmane
Sembene, Pepetela, Nadine Gordimer, and others. She outlines how
the tensions between the United States and the Soviet Union played
out in the aesthetic and political debates among African writers
and intellectuals. These writers decolonized aesthetic canons even
as superpowers attempted to shape African cultural production in
ways that would advance their ideological and geopolitical goals.
Placing African literature at the crossroads of postcolonial theory
and studies of the Cold War, Popescu provides a new reassessment of
African literature, aesthetics, and knowledge production.
In At Penpoint Monica Popescu traces the development of African
literature during the second half of the twentieth century to
address the intertwined effects of the Cold War and decolonization
on literary history. Popescu draws on archival materials from the
Soviet-sponsored Afro-Asian Writers Association and the CIA-funded
Congress for Cultural Freedom alongside considerations of canonical
literary works by Ayi Kwei Armah, Ngugi wa Thiong'o, Ousmane
Sembene, Pepetela, Nadine Gordimer, and others. She outlines how
the tensions between the United States and the Soviet Union played
out in the aesthetic and political debates among African writers
and intellectuals. These writers decolonized aesthetic canons even
as superpowers attempted to shape African cultural production in
ways that would advance their ideological and geopolitical goals.
Placing African literature at the crossroads of postcolonial theory
and studies of the Cold War, Popescu provides a new reassessment of
African literature, aesthetics, and knowledge production.
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