Glocalizing Democracy through a Reception of the Classics in Equatorial Guinean Theatre: the Case of Morgades’ Antígona
Elisa G. Rizo
Born in 1931, Equatorial Guinean academic and intellectual Trinidad Morgades1 has seen the transition of her country from a Spanish colony to an independent nation. She has witnessed the emergence of postcolonial regimes and the transformation of her country's economy from one based on cacao and timber production under the Spanish colonial administration to one centered on a booming oil industry in postcolonial times.2 Her only published literary work, Antigona (1991), a drama referencing Sophocles's famous tragedy, is concerned with a crucial national process that she has observed: the failure of the democratic efforts in her nation.
Elisa G. Rizo and Madeleine M. Henry
Atlantis Otherwise expands the study of the African diaspora by focusing on postcolonial literary expressions from Latin America and Africa. The book studies the presence of classical references in texts written by writers (black and non-black) who are committed to the articulation of the fragmented history of the African experience from the Middle Passage to the present outside of Euro-centric views. Consequently, this book addresses the silencing of the African Diaspora within the official discourses of Latin America and Hispanic Africa, as well as the limitations that linguistic and geographic boundaries have imposed upon scholarship. The contributors address questions related to the categories of race and cultural identity by analyzing a diverse body of Afro-Latin American and Afro-Hispanic receptions of classical literature and its imaginaries. Literary texts in Spanish and Portuguese written in countries such as Brazil, Colombia, and Equatorial Guinea provide the opportunity for a transnational and trans-linguistic examination of the use of classical tropes and themes in twentieth-century drama, fiction, folklore studies, and narrative.
Elisa G. Rizo
Este volumen presenta una muestra de la escritura lírica y dramática de Recaredo Silebo Boturo. Generada a partir de la experiencia de vivir en Guinea Ecuatorial, la escritura de Boturu busca fomentar un sentido de comunidad mediante historias de origen local que echan luz, entre otras cosas, sobre la transformación de valores tradicionales en la era de la globalización.
A pesar de ser una escritura isleña, no es una escritura aislada pues entre los textos aquí recogidos se revela una vena cosmopolita, una voz literaria que va hacia adentro y que a la vez busca un diálogo más allá de las fronteras étnicas., lingüísticas y nacionales. Más aún, a través de estas páginas se entrevé un discurso anti-neoliberal y anti-global: por un lado, hay un rechazo a imágenes homogeneizadas que son atractivas a todos, pero que no pertenecen a nadie; y por otro, hay un compromiso en captar realista y analíticamente la vida cotidiana de su entorno.
Patricia Martinez-Alvarez, Brenda Bannan, Michael D. Bush, Lucy Campbell, Debra Hoven, Hsiu-Ting Hung, E. Marcia Johnson, Elaine Koop, Diane Larsen-Freeman, Mike Levy, Tasha N. Lewis, Susan McKenney, Agnieszka Palalas, Cristina Pardo-Ballester, Thomas C. Reeves, Julio C. Rodriguez, Meg Sorenson, Seijiro Sumi, and Osamu Takeuchi
The purpose of this volume is to expand and refine our understanding of the use of design-based research (DBR) in CALL by contributing to the growing body of literature in this area. We have tried our best to strike a balance between theoretical considerations and concrete examples of DBR. The first section of this volume focuses on theoretical perspectives and ideas that can inform the use of DBR in CALL. The second section contains studies that illustrate DBR through concrete instances of its operationalization. We hope this volume will be a useful source of information and inspiration for those considering to further explore DBR in CALL. For updates on DBR in CALL, please visit the companion site to this volume: https://sites.google.com/site/designbasedresearch/
Elisa G. Rizo
Este volumen recoge una amplia muestra de la obra de Juan Tomás Ávila Laurel, una de las figuras literarias más sobresalientes de Guinea Ecuatorial y una de las voces africanas más transgresoras e independientes.
Olga M. Mesropova and Stacey Weber-Fève
Spanning geographical, cultural, and methodological boundaries, the essays in Being and Becoming Visible examine female representation in a variety of performative and visual media. Olga M. Mesropova and Stacey Weber-Fève situate the disciplines of visual culture and performance studies within two conceptual frameworks—multicultural and feminist—through the overarching thematic trope of visibility.
The contributors offer a mix of sociohistorical, ethnographic, ideological, postcolonial, and cultural approaches to the study of female representation in performance, visual, and consumer cultures. They examine curatorship, mythological representation of women, the interrelationship of mother and child, domestic gender roles, domestic abuse, and indigenous female representation. The volume includes case studies related to such diverse genres and media as theater, cinema, painting, television, performance activism, and photography from South Africa, Australia, New Zealand, Germany, the United Kingdom, and the United States.
Instructors in feminist, cultural, and media studies who are looking for global perspectives will find that this fresh and provocative volume encourages students to see new connections among a variety of trends in contemporary scholarship.
Re-hybridizing Transnational Domesticity and Femininity: Women’s Contemporary Filmmaking and Lifewriting in France, Algeria, and Tunisia
Re-hybridizing Transnational Domesticity and Femininity examines the problems of voicing the personal when considering the role and place of women in the home. Analyzing a collection of first-person cinematic and literary narratives by Assia Djebar, Annie Ernaux, Simone de Beauvoir, Raja Amari, Coline Serreau, Leïla Sebbar, and Yamina Benguigui; Weber-Fève explores the transnational processes of identity formation, gender performance, and construction of culture and society. Through a closer look at contemporary representations of French, Algerian, and Tunisian women on the page and on the screen, this study discusses the ways in which homemaking, nation, and gender are intricately bound to one another and situated in personal history.
Working within, as well as beyond, so-called national systems of visual and written representation, these women artists challenge inherited and monolithic performances, definitions, and discourses of femininity. In doing so, they create re-hybridized subjects that begin to recognize and embrace the differences within themselves. The authors and filmmakers in this study-through their female protagonists, the protagonists' homes and homemaking acts, and the investigative lens of the interrogation of the personal-are interested in exploring how the process of uncovering or articulating new and "other" identities and subjectivities ushers in new and "re-hybridized" ways of seeing, knowing, and being female.