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The first English translations of the surreal and violent work of one of Francophone Africa's most accomplished living playwrights
The Routledge Handbook of the New African Diasporic Literature introduces world literature readers to the transnational, multivocal writings of immigrant African authors. Covering works produced in Europe, North America, and elsewhere in the world, this book investigates three major aesthetic paradigms in African diasporic literature: the Sankofan wave (late 1960s–early 1990s); the Janusian wave (1990s–2020s); and the Offshoots of the New Arrivants (those born and growing up outside Africa). Written by well-established and emerging scholars of African and diasporic literatures from across the world, the chapters in the book cover the works of well-known and not-so-well-known Anglophone, ...
Provides the most complete listing available of books, articles, and book reviews concerned with French literature since 1885. The bibliography is divided into three major divisions: general studies, author subjects (arranged alphabetically), and cinema. This book is for the study of French literature and culture.
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Le texte de "Misterioso 119" s'appuie sur la partition musicale de jazz du même nom pour raconter en rythme, les mots remplaçant les notes, l'histoire d'une travailleuse sociale sui pénètre dans une prison de femmes pour découvrir ce qui est arrivé à ses deux prédécesseurs. "Blue-s-cat" est une comédie qui se déroule dans un ascenseur en panne aux rythmes du scat de L. Amstrong.
Frieda Ekotto, Kenneth W. Harrow, and an international group of scholars set forth new understandings of the conditions of contemporary African cultural production in this forward-looking volume. Arguing that it is impossible to understand African cultural productions without knowledge of the structures of production, distribution, and reception that surround them, the essays grapple with the shifting notion of what "African" means when many African authors and filmmakers no longer live or work in Africa. While the arts continue to flourish in Africa, addressing questions about marginalization, what is center and what periphery, what traditional or conservative, and what progressive or modern requires an expansive view of creative production.
Staging a new politics of performance in the African diaspora.
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