and entitlement that existed at the local, national and international level.
Glissant’s multilingual counterpoetic
Edouard Glissant’s notion of Relation (Glissant 1981 , 1997 ) has helped me to think more carefully about how everyday multilingual and transcultural encounters at my street market sites were wrought through by historic connections between language and power. Glissant talked about there being two forms of historically inflected identity: ‘root identity’ and ‘Relation identity’. He explained that a pulsation towards monolingualism had been
Transcultural projectivism in Charles
Olson’s ‘The Kingfishers’ and Clifford
Possum Tjapaltjarri’s Warlugulong
Whenever I think about Charles Olson’s projectivism I start out with
a visual apparition. Instead of reckoning first with words or language
or a language-based grammar of some kind, I see a material apparatus
hanging in an imagined space. This apparatus has a plastic, tangible
shape, and buoyancy, somewhat like a mobile or constellation hanging
in the air as if formed by the condensation of kinetic energy within a
Literary Visions of Multicultural Ireland is the first full-length monograph in the market to address the impact that Celtic-Tiger immigration has exerted on the poetry, drama and fiction of contemporary Irish writers. The book opens with a lively, challenging preface by Prof. Declan Kiberd and is followed by 18 essays by leading and prestigious scholars in the field of Irish studies from both sides of the Atlantic who address, in pioneering, differing and thus enriching ways, the emerging multiethnic character of Irish literature. Key areas of discussion are: What does it mean to be ‘multicultural,’ and what are the implications of this condition for contemporary Irish writers? How has literature in Ireland responded to inward migration? Have Irish writers reflected in their work (either explicitly or implicitly) the existence of migrant communities in Ireland? If so, are elements of Irish traditional culture and community maintained or transformed? What is the social and political efficacy of these intercultural artistic visions? While these issues have received sustained academic attention in literary contexts with longer traditions of migration, they have yet to be extensively addressed in Ireland today. The collection will thus be of interest to students and academics of contemporary literature as well as the general reader willing to learn more about Ireland and Irish culture. Overall, this book will become most useful to scholars working in Irish studies, contemporary Irish literature, multiculturalism, migration, globalisation and transculturality. Writers discussed include Hugo Hamilton, Roddy Doyle, Colum McCann, Éilís Ní Dhuibhne, Dermot Bolger, Chris Binchy, Michael O'Loughlin, Emer Martin, and Kate O'Riordan, amongst others.
When James Baldwin in No Name in the Street discusses the case of Tony Maynard, who had
been imprisoned in Hamburg in 1967, he emphasizes that his efforts to aid his unjustly
imprisoned friend were greatly supported by his German publishing house Rowohlt and, in
particular, by his then-editor Fritz Raddatz (1931–2015). While the passages on Maynard
remain the only instance in Baldwin’s published writings in which Raddatz—praised as a
courageous “anti-Nazi German” and a kindred ally who “knows what it means to be beaten in
prison”—is mentioned directly, the relation between Baldwin and Raddatz has left traces
that cover over fifty years. The African-American writer and Rowohlt’s chief editor got to
know each other around 1963, when Baldwin was first published in Germany. They exchanged
letters between 1965 and 1984, and many of Raddatz’s critical writings from different
periods—the first piece from 1965, the last from 2014—focus of Baldwin’s books. They also
collaborated on various projects—among them a long interview and Baldwin’s review of
Roots—which were all published in the German weekly newspaper Die Zeit, where Raddatz
served as head of the literary and arts sections from 1977 to 1985. Drawing on published
and unpublished writings of both men, this article provides a discussion of the most
significant facets of this under-explored relationship and its literary achievements.
Thereby, it sheds new light on two central questions of recent Baldwin scholarship: first,
the circumstances of production and formation crucial to Baldwin’s writings of the 1970s
and 1980s, and secondly, Baldwin’s international activities, his transcultural
reception and influence.
Migration, understood as the movement of people and cultures, gives impetus to globalisation and the transculturation processes that the interaction between people and cultures entails. This book addresses migration as a profoundly transforming force that has remodelled artistic and art institutional practices across the world. It explores contemporary art's critical engagement with migration and globalisation as a key source for improving our understanding of how these processes transform identities, cultures, institutions and geopolitics. The book also explores three interwoven issues of enduring interest: identity and belonging, institutional visibility and recognition of migrant artists, and the interrelations between aesthetics and politics, and its representations of forced migration. Transculturality indicates a certain quality (of an idea, an object, a self-perception or way of living) which joins a variety of elements indistinguishable as separate sources. The topic of migration is permeated not only with political but also with ethical urgencies. The most telling sign of how profoundly the mobility turn has affected the visual arts is perhaps the spread of the term global art in the discourses on art, where it is often used as a synonym for internationally circulating contemporary art. The book examines interventions by three artists who take a critical de- and postcolonial approach to the institutional structures and spaces of Western museums. The book also looks at the politics of representation, and particularly the question of how aesthetics, politics and ethics can be triangulated and balanced when artists seek to make visible the conditions of irregular migration.
Race Talk is about racism and multilingual communication. The book draws on original, ethnographic research conducted on heterogeneous and multiethnic street markets in Napoli, southern Italy, in 2012. Here, Neapolitan street vendors worked alongside migrants from Senegal, Nigeria, Bangladesh and China as part of an ambivalent, cooperative and unequal quest to survive and prosper. A heteroglossia of different kinds of talk revealed the relations of domination and subordination between people. It showed how racialised hierarchies were enforced, as well as how ambivalent and novel transcultural solidarities emerged in everyday interaction. Street markets in Napoli provided important economic possibilities for both those born in the city, and those who had arrived more recently. However, anti-immigration politics, austerity and urban regeneration projects increasingly limited people’s ability to make a living in this way. In response, the street vendors organised politically. Their collective action was underpinned by an antihegemonic, multilingual talk through which they spoke back to power. Since that time, racism has surged in Napoli, and across the world, whilst human movement has continued unabated, because of worsening political, economic and environmental conditions. The book suggests that the edginess of multilingual talk – amongst people diversified in terms of race, legal status, religion and language, but united by an understanding of their potential disposability – offers useful insights into the kinds of imaginaries that will be needed to overcome the politics of borders and nationalism.
Transculturality and Otherness in twenty-first-century Irish poetry
‘Like a foreigner / in my native land’:
transculturality and Otherness in
twenty-first-century Irish poetry
Ireland in the Celtic Tiger years saw an unprecedented influx of ethnically diverse migrants to a nation formerly perceived as comparatively monocultural.
Sketching the two dominant representations of post-Celtic Tiger multiculturalism, Amanda Tucker notes that the first of these ‘emphasizes that fear and
hostility continue to characterize Irish responses to inward migration since the
Gaelic Catholic monolith remains’ at the heart
expressions of transcultural fraternity and solidarity – which often took the form of gossip, jokes and coded warnings – formed what James Scott has called an ‘infrapolitics’ that created a disguise of ‘ ideological insubordination’ from which people could construct an antihegemonic ‘imaginative capacity’ (Scott 1990 : 19, 90–92). People in Napoli often reproduced the hegemonic public transcript about street vending through performances of dominance, on the part of both the powerful and the marginalised. However, at the same time, infrapolitical verbal styles allowed in
The New Zealand television series Mataku as Indigenous gothic
example of Maori culture that adopts foreign approaches and acts as a
transcultural form. The series reveals much about the global nature of
the gothic, where contemporary culture and modern media practices
present commercial arenas for Indigenous perspectives and superstitions
to merge with more advanced horror traditions. Within the context of a
developing television industry and an increasingly multicultural nation
timely investigation of adaptation in horror film as an increasingly
We conclude our introduction with a perhaps surprising
reference. Frank Zappa’s song ‘The Torture Never
Stops’ ( Zoot Allures , 1976) is not only an example of
trans-generic adaptation – it was apparently inspired by Roger