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Peter Minter

19 Transcultural projectivism in Charles Olson’s ‘The Kingfishers’ and Clifford Possum Tjapaltjarri’s Warlugulong Peter Minter Literal depth 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 field of

in Contemporary Olson
James Baldwin and Fritz Raddatz
Gianna Zocco

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 Drawing on published and unpublished writings of both men, this article provides a discussion of the most significant facets of this under-explored relationship and its literary achievements.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.

James Baldwin Review
The immigrant in contemporary Irish literature

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.

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Transcultural identities and art-making in a globalised world

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.

Transculturality and Otherness in twenty-first-century Irish poetry
Michaela Schrage-Früh

11 ‘Like a foreigner / in my native land’: transculturality and Otherness in twenty-first-century Irish poetry Michaela Schrage-Früh 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

in Literary visions of multicultural Ireland
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Nordic Gothic traces Gothic fiction in the Nordic region from its beginnings in the nineteenth century with a main focus on the development of Gothic from the 1990s onwards in literature, film, TV series and new media. The volume gives an overview of Nordic Gothic fiction in relation to transnational developments and provides a number of case studies and in-depth analyses of individual narratives. The book creates an understanding of a ubiquitous but hitherto under-researched cultural phenomenon by showing how the Gothic narratives make visible cultural anxieties haunting the Nordic countries and their welfare systems, and how central these anxieties are for the understanding of identities and ideologies in the Nordic region. It examines how figures from Nordic folklore and mythology function as metaphorical expressions of Gothic themes, and also how universal Gothic figures such as vampires and witches are used in the Nordic context. The Nordic settings, and especially the Nordic wilderness, are explored from perspectives such as ecocriticism and postcolonialism and subcategories such as Gothic crime, Gothic humour, troll Gothic and geriatric Gothic are defined and discussed. Furthermore, the phenomenon of transcultural adaptation is investigated, using the cases of Lars von Trier’s Riget and John Ajvide Lindqvist’s Låt den rätte komma in, two seminal works of contemporary Nordic Gothic.

The New Zealand television series Mataku as Indigenous gothic
Ian Conrich

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

in Globalgothic
An introduction
Richard J. Hand and Jay McRoy

insightful and timely investigation of adaptation in horror film as an increasingly trans-cultural activity. We conclude our introduction with a perhaps surprising point of 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 Corman’s Edgar

in Monstrous adaptations
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Theory of the novel and the eccentric novel’s early play with theory
Sharon Lubkemann Allen

, humanizing what seems inhuman and dehumanizing the inhumane, but reducing neither to a vegetative state, even at death’s threshold. In self-conscious fictions as early as Dostoevsky’s and Machado de Assis’s, eccentric literature anticipates these contemporary theories and elucidates the ‘transcultural’ dynamics of an increasingly decentred, multicentred and cosmopolitan literature – with its ‘transmutations’ of form occasioned by acculturation, deculturation and reculturation,4 or what Deleuze and Guattari term ‘deterritorialization’ and ‘reterritorialization’.5 If we

in EccentriCities
Sol Plaatje and W.E.B.Du Bois
Laura Chrisman

-nationalist. The cultural values and critical perspectives of black nationalism were, Gilroy argued, ‘antithetical to the rhizomorphic, fractal structure of the transcultural, international formation of the black Atlantic’ (p. 3). He argued nation-centred conceptions of culture to be incompatible with the values of cultural hybridity that had been generated through the black Atlantic, and also viewed the political concerns of nationalism as fundamentally opposed by the transnationalist disposition of black Atlantic politics. Caricaturing nationalism as Afrocentrism, as

in Postcolonial contraventions