Affect, Performativity, and Chinese Diasporas in the Caribbean: Hopeful Futures analyzes the emergence of Chinese diasporic literature and art in the Caribbean and its diasporas in the twenty-first century. This book considers the historical and critical discourse about the Chinese diasporas in the Caribbean and proposes a textual and visual archive selecting contemporary texts that signal a changing paradigm in postcolonial literature at the turn of the twenty-first century. Whereas, historically, Chinese minorities had been erased or presented as ultimate Others, contemporary texts mobilize Chinese characters and their stories strategically to propose alternative configurations of community and belonging grounded in affective structures and contest the coloniality of national imaginaries.

Christianity and the African Counter-Discourse in Achebe and Beti: Cultures in Dialogue, Contest and Conflict intervenes, in light of African literary products, the history of Christianity in Africa in late 19th and early 20th centuries, goes beyond the existing clichés about the operations of the European Christian missionaries whether Protestant or Catholic in Africa, and opens alternative ways to read the chain of missionary-native African, and missionary-European colonists relationships. Christian missionaries did not come to Africa for: their own interests, the Christianization of Africa, European colonial projects, the interests of Africans, the establishment of European civilization in Africa, but came for all. Once, there was a dialogue between the Christian missionaries and pagan Africans which was in time replaced by contest for superiority, and finally by conflict. Accordingly, the countenance of the continent has changed forever.

As a part of Routledge Research in Postcolonial Literature, the book explores the complex of ways in which Ngugi wa Thiong’o wrestles with issues of nationalism and ethnicity through his politically subversive and creatively intense literary texts. His novels and plays are fraught with his anxiety, resistance, and defiance concerning Gikuyu ethnicity, Kenyan nationalism, and a curious, globalectic imaginary. In this way, the book re- appreciates Ngugi offering scholarly insights into the present debates over identity politics as well as aesthetics that animate contemporary research in postcolonial studies, world literature, and African studies across the globe.

This volume explores the possibilities and potentialities of “negative” affect in postcolonial literature and literary theory, featuring work on postcolonial studies, First Nations studies, cognitive cultural studies, cognitive historicism, reader response theory, postcolonial feminist studies, and trauma studies. The chapters of this work investigate negative affect in all its types and dimensions: analyses of the structures of feeling created by socio-political forces; assemblages and alliances produced by negative emotion; enactive interrelationships of emotion and environment; and the ethical implications of emotional response, to name a few. It seeks to rebrand “negative” emotions as productive forces which can paradoxically confer pleasure, agential power, and social progress through literary representation.

"Affect, Performativity, and Chinese Diasporas in the Caribbean: Hopeful Futures analyzes the emergence of Chinese diasporic literature and art in the Caribbean and its diasporas in the twenty-first century. This book considers the historical and critical discourse about the Chinese diasporas in the Caribbean and proposes a textual and visual archive selecting contemporary texts that signal a changing paradigm in postcolonial literature at the turn of the twenty-first century. Whereas, historically, Chinese minorities had been erased or presented as ultimate Others, contemporary texts mobilize Chinese characters and their stories strategically to propose alternative configurations of community and belonging grounded in affective structures and contest the coloniality of national imaginaries"--

This edited volume looks at the ways in which films, literature, photography and social media construct images of homelands and diasporas as well as the ways in which they facilitate exchanges between them. The volume presents with a dialogue between these representations and analyses how they are constructed, disseminated, appropriated and/or challenged in relation to recent political developments in South Asia and in the diaspora. Focusing on images and narratives about South Asia and its diaspora, the book aims to re-centre the political nature of representations, as it addresses the interplay between representation, imagination and identity, with a specific focus on the South Asian diasporic experience. This book will interest students and scholars of media, communication, popular culture, cultural studies, Asian studies, politics and sociology. The chapters in this book were originally published as a special issue of South Asian Diaspora.

In The Globalization of Irish Traditional Song Performance Susan Motherway examines the ways in which performers mediate the divide between local and global markets by negotiating this dichotomy in performance practice. In so doing, she discusses the globalizing processes that exert transformative influences upon traditional musics and examines the response to these influences by Irish traditional song performers. In developing this thesis the book provides an overview of the genre and its subgenres, illustrates patterns of musical change extant within the tradition as a result of globalization, and acknowledges music as a medium for re-negotiating an Irish cultural identity within the global. Given Ireland’s long history of emigration and colonisation, globalization is recognised as both a synchronic and a diachronic phenomenon. Motherway thus examines Anglo-Irish song and songs of the Irish Diaspora. Her analysis reaches beyond essentialist definitions of the tradition to examine evolving sub-genres such as Country & Irish, Celtic and World Music. She also recognizes the singing traditions of other ethnic groups on the island of Ireland including Orange-Order, Ulster-Scots and Traveller song. In so doing, she shows the disparity between native conceptions and native realities in respect to Irish cultural Identity.