Postcolonial Theory

La collecte d’objets fut une pratique fréquente dans les territoires occupés par les États européens colonisateurs. À partir de la seconde moitié du XIXe siècle, les pouvoirs coloniaux encourageaient leurs citoyens implantés dans les colonies à rassembler des objets pour enrichir les collections ethnographiques de la métropole et pour documenter la culture matérielle des sociétés qui – sous l’emprise de la colonisation – se transformaient rapidement. Les objets rassemblés lors de ces collectes se trouvent désormais dans de nombreux musées européens ou entre les mains de collectionneurs privés. Leur présence dans ces collections pose des questions épistémologiques, muséographiques et éthiques qu’il est urgent de soulever.

Ce livre, qui trouve son origine dans une série de tables rondes qui se déroulèrent dans le cadre de la 8e Biennale de Berlin pour l’art contemporain en 2014, engage donc ces problématiques grâce à des contributions de chercheuses et chercheurs, d’artistes ainsi que de commissaires d’expositions internationaux.

Collecting objects was a frequent practice among European colonial states in their occupied territories. From the second half of the nineteenth century, colonial powers encouraged their citizens in the colonies to collect objects that would enrich the ethnographical collections of the mother country and document the material culture of societies that – under the influence of colonialization – were undergoing rapid change. The objects collected ended up in countless European museums or in the hands of private collectors. Their presence in these collections raises epistemological, museographical and ethical questions in urgent need of consideration.

This publication, the fruit of a series of round tables held in 2014 during the 8th Berlin Biennale for Contemporary Art, raises these problematic issues with contributions from scholars, artists and international exhibition curators.

Avec les contributions de/ with contributions by :

Mathieu K. Abonnenc Lotte Arndt Julien Bondaz Candice Lin Françoise Vergès Sammy Baloji Phillip Van den Bossche Patricia Van Schuylenbergh Abraham Cruzvillegas Eduardo Abaroa Spyros Papapetros Catalina Lozano Hanne Loreck Pauline M’barek Ricardo Roque Pratchaya Phinthong Britta Lange

ISBN 9782917855683, 328 p. engl/français, carton, € 24 (2016).

http://editions-b42.com/books/ramper-dedoubler/

Feministische Interventionen gegen geschlechtsspezifische Gewalt führten in den letzten Jahrzehnten zu politisch-institutionellen Maßnahmen. Dieser Entwicklung steht eine wissenschaftliche Auseinandersetzung gegenüber, die ihren Blick zunehmend auf Handlungsmacht von *Frauen richtet und die Debatte um queere sowie postkoloniale Sichtweisen erweitert. Die Autor_innen stellen sich der Frage, wie feministische Ansätze die vielgestaltigen Gewaltformen adäquat erfassen können.

In contemporary classrooms, it is crucial for teachers to have a thorough understanding of sociological issues in education. Understanding Sociological Theory for Pedagogical Practices addresses sociological theory, highlighting its relevance to policy, curriculum and practice for the pre-service teacher education student.

The book explores a range of sociological issues related to diversity, disadvantage, discrimination and marginalisation, contributing to the preparation of future teachers for work in a range of educational contexts. It seeks to dispel the traditional ‘one-size-fits-all’ notion of education, encouraging future teachers to think critically and reflexively in terms of creating a welcoming and equitable student environment through knowledge, inclusion and understanding.

Understanding Sociological Theory for Pedagogical Practices is an invaluable resource for primary, secondary and early childhood pre-service teacher education students as they prepare to navigate the diversity of the modern classroom. It is also an excellent resource for practitioners and researchers interested in issues of diversity and difference in education.

International relations theory has broadened out considerably since the end of the Cold War. Topics and issues once deemed irrelevant to the discipline have been systematically drawn into the debate and great strides have been made in the areas of culture/identity, race, and gender in the discipline. However, despite these major developments over the last two decades, currently there are no comprehensive textbooks that deal with race, gender, and culture in IR from a postcolonial perspective. This textbook fills this important gap. Persaud and Sajed have drawn together an outstanding lineup of scholars, with each chapter illustrating the ways these specific lenses (race, gender, culture) condition or alter our assumptions about world politics. Drawing together prominent scholars in critical International Relations, this work shows why and how race, gender and culture matter and will be essential reading for all students of global politics and International Relations theory.

As a subject, post-colonial studies stands at the intersection of debates about race, colonialism, gender, politics and language. In the language of post-colonial studies, some words are new, others are familiar but charged with new significance. This volume provides an essential key to understanding the issues that characterize post-colonialism, explaining what it is, where it is encountered and why it is crucial in forging new cultural identities. This comprehensive glossary has extensive cross-referencing, suggestions for further reading at the end of each entry, a bibliography of essential writings in post-colonial studies and is presented in an easy-to-use A-Z format.

O tema geral do Congresso centrou-se nas artes e na criatividade, questionando os processos através dos quais, num mundo cada vez mais global, aberto, diferente e multicultural a criatividade artística é (re)definida, promovida, avaliada e afirmada. Concentrando o debate na relação entre as artes e as sociedades plurais, por um lado, e sobre o lugar e o estatuto atribuído à arte pela nova retórica da agenda criativa e da economia criativa, por outro lado, o Congresso almejou debater criticamente o papel das artes como um pilar do desenvolvimento cultural, sócio-ecológico e socioeconómico, da coesão social e da cidadania ativa, bem como sobre os processos de construção de identidades. Assim, a abordagem incidirá sobre as diversas maneiras através das quais as artes são entrelaçadas com os processos de construção de identidade, a nível individual e coletivo, e sobre o reenquadramento material e simbólico das diferenças sociais, económicas e culturais nas sociedades contemporâneas. Um dos principais objetivos deste Congresso Internacional foi o de promover a colaboração e intercâmbio académico entre os estudiosos das artes, para apoiar a apresentação de novos projetos de pesquisa e oferecer inspiração para o desenvolvimento da sociologia, das ciências sociais e dos estudos culturais de matriz lusófona sobre as artes – e a este nível não poderia ter sido mais positivo, pois representou uma odisseia de oportunidades neste âmbito.
A sociologia das artes e da cultura tem conhecido grandes avanços em três domínios. O primeiro é a análise da estruturação dos campos culturais-artísticos; a identificação dos princípios do seu funcionamento autónomo e das relações que mantêm com os restantes campos sociais; e a explicação das formas assumidas pelas diferentes disciplinas, práticas e obras artísticas à luz da estrutura dos campos culturais respetivos (Dabul, 2014, 2016a, 2016b). O segundo domínio é a análise da relação social face à cultura, mostrando como ela varia de acordo, por um lado, com a legitimidade dos bens culturais e, por outro lado, com a condição dos atores sociais (Villas-Bôas, 2011, 2016a, 2016b). O terceiro domínio é a análise das políticas culturais. Mas o progresso nestes domínios contrasta com uma dificuldade recorrente em tratar sociologicamente os conteúdos culturais, artísticos e criativos. E essa dificuldade resulta de uma menor disponibilidade para encará-los plenamente como obras: textos, composições musicais, representações, graffitis, pichações, canções, filmes, esculturas, edifícios, performances, instalações, etc., que têm expressão e reconhecimento artístico nos contextos sociais e institucionais onde adquirem relevância, seja do ponto de vista da criação, seja do ponto de vista da consagração crítica ou patrimonial, seja do ponto de vista da receção. É como se a relação entre a prática e a obra artística, de um lado, e o conjunto das práticas e estruturas sociais, do outro, só pudesse investigar-se sociologicamente pela caraterização dos respetivos públicos, ou dos respetivos autores, instituições e mercados; e, fora disso, ficassem as práticas e obras artísticas reduzidas à condição de efeito (direto ou indireto e, neste caso, através de mediações mais ou menos complexas) das práticas e estruturas sociais (Bueno, 2010 e 2015). Ora, a capacidade de análise sociológica e o seu diálogo com outras abordagens interessadas em tornar inteligível a criação artística ficam muito penalizados com esta redução da obra de cultura à condição de efeito (Rodrigues, 2011; Rodrigues & Oliveira, 2016).

The critical turn has brought a healthy, if unresolved, concern to doing ethnographic research in (forever in lieu of a better term) the “Global South”, where the South is understood as a “post-colonial context”. Broadly this comes out of both an acute awareness of geography’s ‘past littered with the skeletons of murderous neglects and encounter’ (Robinson 2003, 277) and postcolonial/feminist perspectives on the situatedness of knowledge and the concomitant relational nature of researcher positionality (England 1994; Rose 1997). At the intersection of these literatures, in the post-colonial context, the “skeletons” of the past bear on considerations of positionality where our contemporary privilege derives from and replicates – or may replicate - colonial-era power relations between researchers and Southern Others (Valentine 2005; Sidaway 2000; Skelton 2001). This work has done much for the ambitious and ongoing project towards a de- or postcolonial praxis for geography and no geographer should travel South without careful deliberation of what it means to be a “privileged western researcher” in a post-colonial field.

Still, with our privilege, “we” go. In this session we seek papers that present radical challenges to privilege and presence in the North-South encounter. We envisage contributions that fall into one of two broad themes: first, challenges to the “we” and the presumed privilege held by geographers; second, serious consideration of whether we should continue be (t)here at all, and how a radically different presence or absence might appear in practice. Within these broad themes we encourage contributions from a variety of perspectives and disciplines, from theory, methodology and/or empirical research. We invite authors to propose presentations on the following topics (this is not an exhaustive list):

“Western privilege” in the context of ethnicity, class, gender;
Embodied inter-subjectivity in research encounters;
Class and colonial histories;
Institutional prestige, mobilities, constraints;
Institutions and ethics (RECs IRBs);
Speaking to “Others”, writing about “Others” and designating “Otherness”;
Northern post-coloniality, Northern Otherness, being inbetween;
Discomfort/failure in the field;
Northern post-coloniality;
Challenges to binary presentations of Other/Self; mobility and diaspora identities.