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Cold War Negritude is the first book-length study of francophone Caribbean literature to foreground the political context of the global Cold War. It focuses on three canonical francophone Caribbean writers--René Depestre, Aimé Césaire, and Jacques-Stephen Alexis--whose literary careers and political alignments spanned all three "worlds" of the 1950s Cold War order. As black Caribbean authors who wrote in French, who participated directly in the global communist movement, and whose engagements with Marxist thought and practice were mediated by their colonial relationship to France, these writers expressed unique insight into this bipolar system as it was taking shape. The book shows how, over the course of the 1950s, French Caribbean Marxist authors re-evaluated the literary aesthetics of Negritude and sought to develop alternatives that would be adequate to the radically changed world system of the Cold War. Through close readings of literary, theoretical, and political texts by Depestre, Césaire, and Alexis, I show that this formal shift reflected a strikingly changed understanding of what it meant to write engaged literature in the new, bipolar world order. Debates about literary aesthetics became the proxy battlefield on which Antillean writers promoted and fought for their different visions of an emancipated Caribbean modernity. Consequent to their complicated Cold War alignments, these Antillean authors developed original and unorthodox Marxist literary aesthetics that syncretized an array of socialist literary tendencies from around the globe.
Cold War Negritude is the first book-length study of francophone Caribbean literature to foreground the political context of the global Cold War. It focuses on three canonical francophone Caribbean writers—René Depestre, Aimé Césaire, and Jacques-Stephen Alexis—whose literary careers and political alignments spanned all three “worlds” of the 1950s Cold War order. As black Caribbean authors who wrote in French, who participated directly in the global communist movement, and whose engagements with Marxist thought and practice were mediated by their colonial relationship to France, these writers expressed unique insight into this bipolar system as it was taking shape. The book shows how, over the course of the 1950s, French Caribbean Marxist authors re-evaluated the literary aesthetics of Negritude and sought to develop alternatives that would be adequate to the radically changed world system of the Cold War. Through close readings of literary, theoretical, and political texts by Depestre, Césaire, and Alexis, I show that this formal shift reflected a strikingly changed understanding of what it meant to write engaged literature in the new, bipolar world order. Debates about literary aesthetics became the proxy battlefield on which Antillean writers promoted and fought for their different visions of an emancipated Caribbean modernity. Consequent to their complicated Cold War alignments, these Antillean authors developed original and unorthodox Marxist literary aesthetics that syncretized an array of socialist literary tendencies from around the globe.
The Cultural Cold War and the Global South by Kerry Bystrom,Monica Popescu,Katherine Zien Pdf
This volume investigates the cultural sites where the global Cold War played out. It brings to view unpredictable encounters that arose as writers, artists, filmmakers, and intellectuals from or aligned with the Third World navigated the ideological and material constraints set by superpowers and emerging regional powers. Often these encounters generated communitas and solidarity, while at times they fed old and new conflicts. Pushing forward recent scholarship that tracks the Cold War in the Global South and draws on postcolonial approaches, our contributors use archival, secondary, and ethnographic sources to trace the afterlives and memories of key figures and to explore meetings that performed cultural diplomacy. Our focus on sites of encounter or exchange underscores the situated, interpersonal, and embodied dimensions through which much of the cultural Cold War was experienced. While the global conflict divided citizens along ideological fault lines, it also linked people through circulating media—novels, film, posters, journals, and theatre—and multinational conferences that brought artists, intellectuals, and political activists together. Such contacts introduced new axes of solidarity and hierarchies of exclusion. Examining these connections and disjunctures, this new and necessary mapping of the cultural Cold War highlights under-addressed locations in Asia, Africa, and Latin America.
NEGRITUDE AND ITS REVOLUTION by CHRISTIAN FILOSTRAT Pdf
How/why négritude came to be defined by Aimé Césaire the way it did, including the author’s personal notes from interactions with Léon G. Damas, Aimé Césaire and Leopold S Senghor. (Author’s note: I was carrying Léon G. Damas’s ashes to (French Guyana) Guyane (Damas had been one of the my advisors re Négritude doctoral dissertation.) and was making a stop in Fort de France for Cesaire’s eulogy. Césaire was at the airport to meet me and while waiting for my bags, we exchanged our experiences with the cremation procedures of dear friends. In my case it was that Marietta Damas had had it with people moving her husband and had given me specific directions. One of them was that Damas should not be moved anymore and should be cremated in the massive oak casket (that Houphouet Boigny had bought for her.) In Southeast Washington, DC, the cremation technician, to show me he was following instructions to the letter, opened the door of the oven; then lifted the lid of the casket for me to see that he had moved nothing; even the roses that Marietta had placed on the body were still there. The procedure of cremation had started already and I could see blue flames as though from welding torches shooting everywhere, attacking the body. After a moment of reflection, Césaire, in turn, told me of his exper- ience with Richard Wright and hearing his friend’s bones explode during the procedure. To a reflection regarding what négritude had become at the time of Damas’s death, Césaire gave me a long soliloquy, starting with Paris’s effervescence around the Paris Colonial Exposition back in the 30s and concluding with Sartre’s Black Orpheus. Black Orpheus broke the mold, turning négritude into an aesthetic of literature stripped of socio-political value. The crux of which was that négritude had become another academic subject of post- colonial studies. That was not what Senghor intended. After Black Orpheus, no one could write about négritude without mentioning ontology, epistemology, esthetics, Hegel, integrism and so on. “You heard what I said in Dakar in 66, I don’t like the word négritude. It’s disruptive.” Then too, it bothered him that négritude had gotten disconnected from people’s reality. He then compared that disconnect with what he had witness in Haiti in 1944. The disconnect between the people and the intelligentsia. (Césaire’s interest in Haiti was immense. It was like a duty to visit him whenever I had been to Haiti.) (Author’s note: In 1980 I was the Cultural Attaché at the US Embassy in Dakar. Randall Robinson of Trans-Africa was visiting, and I arranged an interview with him for the Dakar daily, Le Soleil. Among subjects discussed was the Western Sahara issue. Robinson explained his support for the Saharawis and the Polisario Front. The interview never ran. Instead, then President Senghor asked me to his office. When he said, “I have a great weakness for France,” he meant it. It made no difference if I saw him everyday. I could never meet him without being taken aback by how much Francité he exuded. But not this time. This time it was a furious Senghor I was meeting. He could not let views inimical to Morocco’s interests in the Senegalese media. He then gave me a long lecture about Arab racism, Morocco excepted. It didn’t help that the slave state of Mauritania right across the Senegal River insisted on an Arab designation. He grew bitter. I was astounded, for no one was more guarded than Senghor. But here he let it rip, perhaps because he was a few months from announcing his retirement. )
The Bloomsbury Handbook to Cold War Literary Cultures by Greg Barnhisel Pdf
Adopting a unique historical approach to its subject and with a particular focus on the institutions involved in the creation, dissemination, and reception of literature, this handbook surveys the way in which the Cold War shaped literature and literary production, and how literature affected the course of the Cold War. To do so, in addition to more 'traditional' sources it uses institutions like MFA programs, university literature departments, book-review sections of newspapers, publishing houses, non-governmental cultural agencies, libraries, and literary magazines as a way to understand works of the period differently. Broad in both their geographical range and the range of writers they cover, the book's essays examine works of mainstream American literary fiction from writers such as Roth, Updike and Faulkner, as well as moving beyond the U.S. and the U.K. to detail how writers and readers from countries including, but not limited to, Taiwan, Japan, Uganda, South Africa, India, Cuba, the USSR, and the Czech Republic engaged with and contributed to Anglo-American literary texts and institutions.
Africa finds itself at the centre stage of world politics in the twenty-first century. To truly determine its rising influence and role in world affairs would mean unravelling the politics of imperialism, the Cold War and globalisation. Going beyond Euro-American perspectives, this book presents a comprehensive study of Africa and its role in world politics. Africa in World Affairs: • Closely examines the transition of Africa in its colonial and post-colonial phases; • Explores the intellectual history of modern Africa through liberation struggles, social movements, leaders and thinkers; • Investigates the continent’s relationships with former colonial powers such as Britain, France and Portugal; untangles complexities of French neo-colonialism and sheds light on the role of the superpower, such as the USA and major and rising powers like China and India; • Highlights complex and wide-ranging diversities of the region, and the ways in which it continues to negotiate with issues of modernity, racism and globalisation. A core text on Africa and the world, this book will be indispensable for students of African studies, politics and international relations, and history. It will also be a must-read for policymakers, diplomats and government think tanks.
Satchmo Blows Up the World by Penny VON ESCHEN Pdf
At the height of the ideological antagonism of the Cold War, the U.S. State Department unleashed an unexpected tool in its battle against Communism: jazz. From 1956 through the late 1970s, America dispatched its finest jazz musicians to the far corners of the earth, from Iraq to India, from the Congo to the Soviet Union, in order to win the hearts and minds of the Third World and to counter perceptions of American racism. Penny Von Eschen escorts us across the globe, backstage and onstage, as Dizzy Gillespie, Louis Armstrong, Duke Ellington, and other jazz luminaries spread their music and their ideas further than the State Department anticipated. Both in concert and after hours, through political statements and romantic liaisons, these musicians broke through the government's official narrative and gave their audiences an unprecedented vision of the black American experience. In the process, new collaborations developed between Americans and the formerly colonized peoples of Africa, Asia, and the Middle East--collaborations that fostered greater racial pride and solidarity. Though intended as a color-blind promotion of democracy, this unique Cold War strategy unintentionally demonstrated the essential role of African Americans in U.S. national culture. Through the tales of these tours, Von Eschen captures the fascinating interplay between the efforts of the State Department and the progressive agendas of the artists themselves, as all struggled to redefine a more inclusive and integrated American nation on the world stage.
Human Rights in Europe during the Cold War by Rasmus Mariager,Karl Molin,Kjersti Brathagen Pdf
This book provides an overview of the establishment, dispersion and effects of human rights in Europe during the Cold War. The struggle for human rights did not begin at the end of the Second World War. For centuries, political associations, religious societies and individuals had been fighting for political freedom, religious tolerance, freedom of expression, freedom of thought and the right to participate in politics. However, the world was awakened by the atrocities of the Second World War and the idea that every person should have certain perpetual and inalienable rights was set out in The Universal Declaration of Human Rights (UDHR) from 1948, which contained an enumeration of international human rights standards. Adopting an interpretative framework which pulls together universal ideas, values and principles of human rights, Human Rights in Europe during the Cold War demonstrates how conflicting interests collided when the exact meaning of human rights was established. It also discusses various approaches to the idea of imposing respect for human rights in countries where they were systematically violated and assesses the outcome of international accords on human rights, in particular the 1975 Helsinki Final Act. In conclusion, this volume proposes that human rights functioned as moral support to the opposition in repressive regimes and that this was subsequently used as a tool to further system changes. Based on new archival research, this book will be of much interest to students of Cold War studies, human rights, European history, international law and IR in general.
Discusses the principal causes and events of the Cold War, the period between 1945 to 1991 when the United States and the Soviet Union kept each other in check through mutual fear and distrust, and considers what the outcome might have been had differentd
No other word in the English language is more endemic to contemporary Black American culture and identity than "Soul". Since the 1960s Soul has been frequently used to market and sell music, food, and fashion. However, Soul also refers to a pervasive belief in the capacity of the Black body/spirit to endure the most trying of times in an ongoing struggle for freedom and equality. While some attention has been given to various genre manifestations of Soul-as in Soul music and food-no book has yet fully explored the discursive terrain signified by the term. In this broad-ranging, free-spirited book, a diverse group of writers, artists, and scholars reflect on the ubiquitous but elusive concept of Soul. Topics include: politics and fashion, Blaxploitation films, language, literature, dance, James Brown, and Schoolhouse Rock. Among the contributors are Angela Davis, Manning Marable, Paul Gilroy, Lyle Ashton Harris, Michelle Wallace, Ishmael Reed, Greg Tate, Manthia Diawara, and dream hampton.
"There I was, standing alone, unable to cry as I said goodbye to Sidimé Laye, my best friend, and to the revolution that had opened the door of modernity for me--the revolution that had invented me." This book gives us the story of a quest for a childhood friend, for the past and present, and above all for an Africa that is struggling to find its future. In 1996 Manthia Diawara, a distinguished professor of film and literature in New York City, returns to Guinea, thirty-two years after he and his family were expelled from the newly liberated country. He is beginning work on a documentary about Sékou Touré, the dictator who was Guinea's first post-independence leader. Despite the years that have gone by, Diawara expects to be welcomed as an insider, and is shocked to discover that he is not. The Africa that Diawara finds is not the one on the verge of barbarism, as described in the Western press. Yet neither is it the Africa of his childhood, when the excitement of independence made everything seem possible for young Africans. His search for Sidimé Laye leads Diawara to profound meditations on Africa's culture. He suggests solutions that might overcome the stultifying legacy of colonialism and age-old social practices, yet that will mobilize indigenous strengths and energies. In the face of Africa's dilemmas, Diawara accords an important role to the culture of the diaspora as well as to traditional music and literature--to James Brown, Miles Davis, and Salif Kéita, to Richard Wright, Spike Lee, and the ancient epics of the griots. And Diawara's journey enlightens us in the most disarming way with humor, conversations, and well-told tales.
