Written by one of the foremost scholars of African art and featuring 129 color images, Postcolonial Modernism chronicles the emergence of artistic modernism in Nigeria in the heady years surrounding political independence in 1960, before the outbreak of civil war in 1967. Chika Okeke-Agulu traces the artistic, intellectual, and critical networks in several Nigerian cities. Zaria is particularly important, because it was there, at the Nigerian College of Arts, Science and Technology, that a group of students formed the Art Society and inaugurated postcolonial modernism in Nigeria. As Okeke-Agulu explains, their works show both a deep connection with local artistic traditions and the stylistic sophistication that we have come to associate with twentieth-century modernist practices. He explores how these young Nigerian artists were inspired by the rhetoric and ideologies of decolonization and nationalism in the early- and mid-twentieth century and, later, by advocates of negritude and pan-Africanism. They translated the experiences of decolonization into a distinctive "postcolonial modernism" that has continued to inform the work of major Nigerian artists.

Written by one of the foremost scholars of African art and featuring 129 color images, Postcolonial Modernism chronicles the emergence of artistic modernism in Nigeria in the heady years surrounding political independence in 1960, before the outbreak of civil war in 1967. Chika Okeke-Agulu traces the artistic, intellectual, and critical networks in several Nigerian cities. Zaria is particularly important, because it was there, at the Nigerian College of Arts, Science and Technology, that a group of students formed the Art Society and inaugurated postcolonial modernism in Nigeria. As Okeke-Agulu explains, their works show both a deep connection with local artistic traditions and the stylistic sophistication that we have come to associate with twentieth-century modernist practices. He explores how these young Nigerian artists were inspired by the rhetoric and ideologies of decolonization and nationalism in the early- and mid-twentieth century and, later, by advocates of negritude and pan-Africanism. They translated the experiences of decolonization into a distinctive "postcolonial modernism" that has continued to inform the work of major Nigerian artists.

This book is about the contemporary picaresque novel. Despite its popularity, the picaresque, unlike the bildungsroman, is still an undertheorized genre, especially for the context of postcolonial literatures. This study considers the picaresque novel’s traditional focus on poverty and deprivation, and argues that its postcolonial versions urge us to conceive of as a more wide-ranging sense of precarity and precariousness. Non-linear biography, episodic style, protean identities, unreliable narratives, and abject landscapes are the social and formal aspects through which this precarity is thematized and performed. A concise analysis of these concepts and phenomena in the picaresque provides the structure for this book. What is especially significant in comparison to other forms of postcolonial (post)modernism is that the picaresque does not offer a general critique of a project of modernity, but through its persistent precarity points to the paradoxical logics of capitalism, which are especially nuanced under the conditions of neo-imperialism and neoliberalism. The book features texts by established postcolonial authors such as Salman Rushdie and V.S. Naipaul, but especially focuses on the more recent proliferation of the genre in works by Aravind Adiga, Mohsin Hamid and Indra Sinha.

Africa -- Asia -- The Caribbean -- Ireland -- Australia/New Zealand -- Canada

Drawing on interdisciplinary postcolonial efforts, especially in the social sciences, to deterritorialize categories of identity, culture, and community, Modernism after Postcolonialism dispenses with outdated modernist and postcolonial paradigms to reveal how the anxious, inconclusive comparisons of transnational modernist poetics can call us to imagine new solidarities across bounded territories.

In less than half a century, the Socialist Federal Republic of Yugoslavia successfully defeated Fascist occupation, fended off dominating pressures from the Eastern and Western blocs, built a modern society on the ashes of war, created its own form of socialism, and led the formation of the Nonaligned Movement. This country's principles and its continued battles, fought against all odds, provided the basis for dynamic and exceptional forms of art. Drawing on archival materials, postcolonial theory, and Eastern European socialist studies, Nonaligned Modernism chronicles the emergence of late modernist artistic practices in Yugoslavia from the end of the Second World War to the mid-1980s. Situating Yugoslav modernism within postcolonial artistic movements of the twentieth century, Bojana Videkanic explores how cultural workers collaborated with others from the Global South to create alternative artistic and cultural networks that countered Western hegemony. Videkanic focuses primarily on art exhibitions along with examples of international cultural exchange to demonstrate that nonaligned art wove together politics and aesthetics, and indigenous, Western, and global influences. An interdisciplinary book, Nonaligned Modernism highlights Yugoslavia's key role in the creation of a global modernist ethos and international postcolonial culture.

This anthology collects developing scholarship that outlines a new decentred history of global modernism in architecture using postcolonial and other related theoretical frameworks. By both revisiting the canons of modernism and seeking to decolonize and globalize those canons, the volume explores what a genuinely "global" history of architectural modernism might begin to look like. Its chapters explore the historiography and weaknesses of modernism's normative interpretations and propose alternatives to them. The collection offers essays that interrogate transnationalism in new ways, reconsiders the agency of the subaltern and the roles played by infrastructures, materials, and global institutions in propagating a diversity of modernisms internationally. Issues such as colonial modernism, architectural pedagogy, cultural imperialism, and spirituality are engaged. With essays from both established scholars and up-and-coming researchers, this is an important reference for a new understanding of this crucial and developing topic.

Provides a fresh account of modernist writing in a perspective based on the reading strategies developed by postcolonial studiesNeither modernity nor colonalism (and likewise, neither postmodernity nor postcoloniality) can be properly understood without recognition of their intertwined development. This book interprets modernity as an asymmetrically global phenomenon complexly connected to the course of Western imperialism, and demonstrates how the impact of Western modernism produced new developments in writing from all the former colonies of Europe and the US. These developments constitute the afterlife of Western modernism.The various ways in which the aesthetic ideologies and writing strategies of Western modernism have been adapted, transposed and modified by some of the most innovative writers of the twentieth century is demonstrated in the book through a set of case studies, each of which juxtaposes a canonical modernist text with a postcolonial text that shows how modernist modes metamorphosed in interaction with the turbulent and volatile realities of colonies and new nations struggling to arrive at a modernity of their own in contexts marked by colonial histories. Thus Kafka's allegories are juxtaposed with the use of allegory in writers like Salman Rushdie and J.M.Coetzee; the gendered modernity of Virginia Woolf is juxtaposed with the disturbing and powerful fictions of writers such as Jean Rhys and Katherine Mansfield; the intellectualized and urbanized spirituality of T.S. Eliot's The Waste Land is re-read in the revisionist contexts created by the brilliant and troubled urban spirituality of writers such as Arun Kolatkar from India and a text such as The Woman Who Had Two Navels, from the Philippines.

Public Works looks at a new dimension of a specifically Irish modernism, arguing for the vital importance of infrastructure, specifically electricity, water, and gas.

This book offers a fresh look into the “languages of postcolonial modernity” in Africa and, to a lesser degree, its diaspora. It foregrounds the notion of postcolonial modernity in reference to modernization as experienced in the postcolony and its contemporary legacies, and investigates how African languages and literatures, both as means of communication and as instruments of cultural agency, have embodied and mediated modernity. Each chapter grapples with the literary or linguistic dimensions of postcolonial modernity as portrayed in African novels, film, poetry or popular music or as embodied in African and Afro-diasporic languages and dialects. The chapters also reveal how literature and language, respectively, document and embody discourses, phenomena, histories, ideologies, and beliefs that resulted from the legacies of colonialism.