Relevant bibliographies by topics / Postcolonial art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Postcolonial art'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 January 2023

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Journal articles on the topic "Postcolonial art"

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Scott, David. "Preface: Is Postcolonial Art Contemporary?" Small Axe: A Caribbean Journal of Criticism 24, no. 1 (March 1, 2020): vii—x. http://dx.doi.org/10.1215/07990537-8190490.

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Joyeux-Prunel, Béatrice. "Art history and the global: deconstructing the latest canonical narrative." Journal of Global History 14, no. 3 (October 21, 2019): 413–35. http://dx.doi.org/10.1017/s1740022819000196.

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AbstractThis article reconsiders the breakthrough of global approaches to art history within a broader historical, sociological, and institutional context. It also puts into perspective the interdisciplinary openness of global-oriented approaches, and their impact in the discipline. Aiming at historicizing them up to the present, it questions the notion that the origins of global thinking in art history are to be found in the 1980s with the so-called postcolonial turn among art historians, which has become the canonical narrative. Postcolonial awareness emerged very late among art historians, only in the early 2000s. This contrasted, however, with a long-standing interest in non-Western artefacts and visual cultures among certain art historians, who were also interested in global comparisons and transdisciplinary approaches. These scholars borrowed from other fields such as history, anthropology, philosophy, and psychology, but their work was gradually put aside in the process of building art history as a discipline. This article will try to explain why this happened, and will also argue that the globalization of the art market played a greater role than postcolonial theory in encouraging art historians to adopt a globalized approach.
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Lenssen, Anneka. "The Two-Fold Global Turn." ARTMargins 7, no. 1 (February 2018): 83–99. http://dx.doi.org/10.1162/artm_r_00201.

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This essay is a review of art historian Chika Okeke-Agulu's Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria (Duke University Press, 2015). The book offers a chronicle of artistic theories, practices, and institutions during Nigeria's independence years (1957–67) amid the historical frames of Third World liberation, African decolonization, and Cold War realpolitik. The essay explores in particular how Postcolonial Modernism revisits and explores the thematic of “national culture”—the concept presented by Frantz Fanon in 1959, with long-lasting impact on theories of postcolonial arts—in the (decentralized) Nigerian art world, with a focus on the synthetic studio practices of members of the Zaria Art Society. Fanon's “two-fold becoming” model of national culture, which implies catalyzing links to international liberation movements, impacts not only Okeke-Agulu's narrative of a generational opposition to the preceding cultural paradigms of Negritude, but also—the essay argues—the writing of global modernist history at-large.
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Crapo, Ruthanne, and Matthew Palombo. "Postcolonial Pedagogy and the Art of Oral Dialogues." American Association of Philosophy Teachers Studies in Pedagogy 3 (2017): 87–108. http://dx.doi.org/10.5840/aaptstudies201710324.

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Dieng, Modu. "Transgression: African Contemporary Art and a Postcolonial World." Critical Interventions 1, no. 1 (January 2007): 45–49. http://dx.doi.org/10.1080/19301944.2007.10781316.

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McCarthy, Cameron, and Greg Dimitriadis. "The Work of Art in the Postcolonial Imagination." Discourse: Studies in the Cultural Politics of Education 21, no. 1 (April 2000): 59–74. http://dx.doi.org/10.1080/01596300050005501.

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Higgins, Iain MacLeod. "The Postcolonial Middle Ages ed. by Jeffrey Jerome Cohen." Arthuriana 12, no. 2 (2002): 151–52. http://dx.doi.org/10.1353/art.2002.0025.

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Johnston, Andrew James. "Chaucer‘s Postcolonial Renaissance." Bulletin of the John Rylands Library 91, no. 2 (September 2015): 5–20. http://dx.doi.org/10.7227/bjrl.91.2.1.

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This article investigates how Chaucer‘s Knight‘s and Squire‘s tales critically engage with the Orientalist strategies buttressing contemporary Italian humanist discussions of visual art. Framed by references to crusading, the two tales enter into a dialogue focusing, in particular, on the relations between the classical, the scientific and the Oriental in trecento Italian discourses on painting and optics, discourses that are alluded to in the description of Theseus Theatre and the events that happen there. The Squire‘s Tale exhibits what one might call a strategic Orientalism designed to draw attention to the Orientalism implicit in his fathers narrative, a narrative that, for all its painstaking classicism, displays both remarkably Italianate and Orientalist features. Read in tandem, the two tales present a shrewd commentary on the exclusionary strategies inherent in the construction of new cultural identities, arguably making Chaucer the first postcolonial critic of the Renaissance.
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Ene-Orji, Chinedu. "Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria." African Arts 55, no. 2 (2022): 95–96. http://dx.doi.org/10.1162/afar_r_00662.

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Jaeggi, Urs, and Jacob Blumenfeld. "Here and There: Reflections on Postcolonial Art and Society." Social Research: An International Quarterly 81, no. 3 (September 2014): 541–54. http://dx.doi.org/10.1353/sor.2014.0038.

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Dissertations / Theses on the topic "Postcolonial art"

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Chaplain, Josefina. "Gendered visions postcolonial Indian art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31223928.

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Peng, Li-Hsun. "Crossing borders: a Formosan's postcolonial exploration of European Art Deco women designers." University of Southern Queensland, Faculty of Arts, 2007. http://eprints.usq.edu.au/archive/00004436/.

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[Abstract]: This is research on cultural identity and the history of design. The project, by applying aspects of postcolonial theories (third space, border theory and hybridity) to the history of the four women designers in the Art Deco period in Europe, explores the influences of Eastern cultures in developing their Western designperspective.Their experience in fighting against patriarchal society toward success is a useful analogy for my country Taiwan’s struggle to win recognition in the world. It isthrough the recognition of these four women designers’ contributions to design history that I present their stories as models to my design students in Taiwan toassist them in establishing their own design identity.The research findings indicate that these women designers’ benefited from Eastern culture and created a successful cultural mélange between the East and West. Similarly, my design students in Taiwan will have the opportunity toreverse the pathway in appropriating from the West to create new possibilities in the East. I argue that hybridity is a key component for responding to and foraddressing the identity crisis and internal disruption in present-day Taiwan. Through knowing and understanding these women designers’ achievements, Taiwanese students have a model for self-reflection to recognise the importance of our own cultural value to the world.
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Yamamoto, Hiroki. "The art of decolonisation : on the possibility of socially engaged art in the postcolonial context of East Asia." Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13478/.

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Through a new idea of ‘the art of decolonisation’, this thesis explores the possibility of socially engaged art in the postcolonial context of East Asia. Japan, throughout its national history as an expanding empire from the late 19th century to the Second World War, has left a large number of unresolved legacies of colonialism in East Asia. These problematic legacies had remained almost intact within the architecture of Cold War, the bipolar confrontation between the United States and the Soviet Union, formed immediately following WWII. After the collapse of the Cold War structure in the late 1980s, then, the task of ‘decolonisation’ has become extremely pressing in East Asia. This thesis aims to unearth the potential contribution of art to the incomplete project of decolonisation, with its emphasis on, first, its visual and sensory nature and, second, the significance of ‘participation’ and ‘collaboration’ as method. The first part of this thesis is an art-historical and cultural studies investigation of discursive practices of decolonisation in East Asia and Britain. It accompanies a theoretical reconsideration of the concept of ‘decolonisation’ and a historical reflection of the postcolonial statuses of these regions. The second part is a practice-based investigation on art’s potentiality in tackling postcolonial issues in East Asia. It discusses and analyses my own art projects conducted in Japan and Korea between 2014 and 2016. ii This thesis will help advance decolonisation of knowledge in two directions. The contribution to knowledge of this thesis is twofold. First, it expands the notion of ‘socially engaged art’ theorised in the West by examining works and projects in East Asia in conjunction with a geo-historical setting of the non-Western world. This will contribute to the development of the scholarship critical to Euro-American centrism, dominant in Cultural Studies, in understanding non-Western art. Second, it proposes applied methods integrating artistic practice for addressing the contentious agendas that stem from colonial historiography of East Asia. This will lead us to a viable methodology that might open up alternative pathways toward more reconciled postcolonial relations among East Asian countries and regions.
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Samwanda, Biggie. "Postcolonial monuments and public sculpture in Zimbabwe." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1006825.

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The study critically examines public art in postcolonial Zimbabwe‘s cities of Harare and Bulawayo. In a case by case approach, I analyse the National Heroes Acre and Old Bulawayo monuments, and three contemporary sculptures – Dominic Benhura‘s Leapfrog (1993) and Adam Madebe‘s Ploughman (1987) and Looking into the future (1985). I used a qualitative research methodology to collect and analyse data. My research design utilised in-depth interviews, observation, content and document analysis, and photography to gather nuanced data and these methods ensured that data collected is validated and/or triangulated. I argue that in Zimbabwe, monuments and public sculpture serve as the necessary interface of the visual, cultural and political discourse of a postcolonial nation that is constantly in transition and dialogue with the everyday realities of trying to understand and construct a national identity from a nest of sub-cultures. I further argue that monuments and public sculpture in Zimbabwe abound with political imperatives given that, as visual artefacts that interlace with ritual performance, they are conscious creations of society and are therefore constitutive of that society‘s heritage and social memory. Since independence in 1980, monuments and public sculpture have helped to open up discursive space and dialogue on national issues and myths. Such discursive spaces and dialogues, I also argue, have been particularly animated from the late 1990s to the present, a period in which the nation has engaged in self-introspection in the face of socio-political change and challenges in the continual process of imagining the Zimbabwean nation. Little research focusing on postcolonial public art in Zimbabwe has hitherto been undertaken. This study addresses gaps in this literature while also providing a spring board from which future studies may emerge.
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Charon, Mylene. "Blak Feminism : Rapports sociaux de sexe et de race dans la poésie et l’art contemporains des Premières Nations d’Australie." Thesis, CY Cergy Paris Université, 2020. http://www.theses.fr/2020CYUN1064.

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La situation des femmes dans les colonies et celle des peuples Autochtones dans les colonies de peuplement est mentionnée dans les études postcoloniales, mais souvent à titre de question secondaire. Elle se trouve au cœur de cette thèse, qui porte sur les littératures contemporaines d’un groupe social dont l’expérience du sexisme est toujours en même temps façonnée par celle du racisme, les femmes des Premières Nations d’Australie. En s’appuyant sur un corpus large, composé d’œuvres de plus de trente artistes et autrices dont elle fait apparaître les liens intertextuels, elle affirme l’existence d’un positionnement collectif féministe blak, d’après l’auto-définition Autochtone qui prévaut en Australie depuis les années 1990. Le corpus permet donc d’observer la manière, additive, intersectionnelle ou consubstantielle, dont de multiples oppressions sont représentées. Il vise ainsi une meilleure compréhension des réserves des femmes Autochtones australiennes à l’égard d’un certain féminisme blanc, en les mettant en perspective avec les critiques adressées depuis les années 1980 par les féministes noires anglo-américaines au féminisme hégémonique. Les liens entre politique et littérature y sont repensés, à la faveur de l’analyse de la résistance à l’impérialisme et au patriarcat, telle qu’elle s’exprime dans ces canaux alternatifs que sont la poésie et l’art contemporains. Les textes, sélectionnés pour leur force d’interpellation et leur portée intersubjective, engagent enfin une réflexion sur les positions d’objet et de sujet de la recherche, à partir de la situation de la chercheuse et ses implications sur la production de savoirs
Postcolonial studies address the situation of women in the colonies and of Indigenous peoples in settler colonies, but often as a secondary concern. Adopting an opposite approach, this thesis centers on this very question by examining the contemporary literature written by First Nations women of Australia, a social group whose experience of sexism is simultaneously shaped by that of racism. Drawing out intertextual links throughout a large body of works comprised of over thirty artists and writers, this dissertation affirms the existence of a collective feminist standpoint qualified as blak, an appellation which appeared with the Indigenous self-presentation of the 1990s and still prevails in Australia today. The collection of works reveals the ways in which multiple oppressions are represented through additive, intersectional or consubstantial models. Its examination aims at improving the understanding of Indigenous women’s reservations about a specific kind of white feminism, by putting them in dialogue with the criticisms addressed by Anglo-American black feminists toward hegemonic feminism since the 1980s. The relations between politics and literature are thus reexamined through the analysis of resistance to both imperialism and patriarchy, as it is expressed through alternative channels such as contemporary art and poetry. The texts, selected for their formal features of direct address and their intersubjective dimension, spark a reflection upon the positions of object and subject in research, which begins with the acknowledgment of the researcher’s own situation and its consequences on the production of knowledges
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Daniels, Marcel. "Ambivalent realities : postcolonial experiences in contemporary visual arts practice." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/68049/1/Marcel_Daniels_Thesis.pdf.

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This practice-led research project investigates how new postcolonial conditions require new methods of critique to fully engage with the nuances of real world, 'lived' experiences. Framed by key aspects of postcolonial theory, this project examines contemporary artists' contributions to investigations of identity, race, ethnicity, otherness and diaspora, as well as questions of locality, nationality, and transnationality. Approaching these issues through the lens of my own experience as an artist and subject, it results in a body of creative work and a written exegesis that creatively and critically examine the complexities, ambiguities and ambivalences of the contemporary postcolonial condition.
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CABALFIN, EDSON ROY GREGORIO. "ART DECO FILIPINO: POWER, POLITICS AND IDEOLOGY IN PHILIPPINE ART DECO ARCHITECTURES (1928-1941)." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1054760324.

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Koh, Bee Kim. "Coming into Intelligibility: Decolonizing Singapore Art, Practice and Curriculum in Post-colonial Globalization." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397669338.

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Nam, Young Lim. "Re-thinking South Korean Postcolonial Multiculturalism in the Fine Art Textbook for Fifth- and Sixth- Graders." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405453075.

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Sharma, Manisha. "Indian Art Education and Teacher Identity as Deleuzo-Guattarian Assemblage: Narratives in a Postcolonial Globalization Context." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339617524.

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Books on the topic "Postcolonial art"

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Art and architecture in postcolonial Africa. Jefferson, N.C: McFarland & Co., 2005.

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Imagined museums: Art and modernity in postcolonial Morocco. Minneapolis: University of Minnesota Press, 2010.

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Unfixed: Photography and postcolonial perspectives in contemporary art. Heijningen [The Netherlands]: JAPSAM Books, 2012.

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1945-, Phillips Ruth B., and Steiner Christopher Burghard, eds. Unpacking culture: Art and commodity in colonial and postcolonial worlds. Berkeley: University of California Press, 1999.

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Guha-Thakurta, Tapati. Monuments, objects, histories: Institutions of art in colonial and postcolonial India. Delhi: Permanent Black, 2004.

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Picturing the postcolonial nation: (inter) nationalism in the art of Jamaica, 1962-1975. Kingston [Jamaica]: Ian Randle Publishers, 2013.

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Theatre and postcolonial desires. London: Routledge, 2003.

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Amkpa, Awam. Theatre and Postcolonial Desires. London: Taylor & Francis Group Plc, 2003.

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Leung, Helen Hok-Sze. Undercurrents: Queer culture and postcolonial Hong Kong. Vancouver: UBC Press, 2008.

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Undercurrents: Queer culture and postcolonial Hong Kong. Vancouver: UBC Press, 2008.

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Book chapters on the topic "Postcolonial art"

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Fantone, Laura. "Asian American Art for the People." In Local Invisibility, Postcolonial Feminisms, 25–61. New York: Palgrave Macmillan US, 2018. http://dx.doi.org/10.1057/978-1-137-50670-2_2.

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Shilton, Siobhán. "Transcultural Encounters in Contemporary Art: Gender, Genre and History." In Comparing Postcolonial Diasporas, 56–80. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230232785_4.

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Tlostanova, Madina. "Postsocialist/Postcolonial Tempo-Localities." In Postcolonialism and Postsocialism in Fiction and Art, 93–128. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-48445-7_5.

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Wainwright, Leon. "Alien Nation: Contemporary Art and Black Britain." In Postcolonial Media Culture in Britain, 27–40. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-1-137-28577-5_3.

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Casey, Conerly. "The Art of Suffering: Postcolonial (Mis)Apprehensions of Nigerian Art." In Suffering, Art, and Aesthetics, 121–49. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137426086_6.

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Man, Eva Kit Wah. "Some Reflections on “Feminist Aesthetics”: Private/Public? Personal/Political? Gender/PostColonial?—the Case of Women Art in PostColonial Hong Kong in 1990s." In Chinese Contemporary Art Series, 65–70. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46510-3_9.

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Elliott, Denielle. "The art of storytelling/stories of science." In Reimagining Science and Statecraft in Postcolonial Kenya, 1–29. New York : Routledge, 2018. | Series: Routledge contemporary Africa series: Routledge, 2018. http://dx.doi.org/10.4324/9781315163840-1.

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Ogbechie, Sylvester Okwunodu. "Art, African Identities, and Colonialism." In The Palgrave Handbook of African Colonial and Postcolonial History, 429–49. New York: Palgrave Macmillan US, 2018. http://dx.doi.org/10.1057/978-1-137-59426-6_18.

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McMillan, Kate. "Art and Unforgetting: The Role of Art and Memory in Postcolonial Landscapes." In Contemporary Art and Unforgetting in Colonial Landscapes, 105–40. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17290-9_5.

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Tinius, Jonas. "Awkward Art and Difficult Heritage: Nazi Collectors and Postcolonial Archives." In An Anthropology of Contemporary Art, 130–45. New York: Bloomsbury Academic, An imprint of Bloomsbury Publishing Plc, 2017.: Routledge, 2020. http://dx.doi.org/10.4324/9781003084464-12.

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Conference papers on the topic "Postcolonial art"

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Adamicka, Monika. "POSTCOLONIAL NOVEL OF ANTON BALAZ: THE LAND OF FORGETTING (KRAJINA ZABUDNUTIA)." In 6th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgemsocial2019v/6.1/s11.023.

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Huang, Yuandan. "Spontaneous Flow of Colonialism: A Postcolonial Reading of Joseph Conrad's Heart of Darkness." In 2017 International Conference on Sports, Arts, Education and Management Engineering (SAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/saeme-17.2017.58.

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Fellahi, Nadjla. "The Impact of Globalization on Architectural Production in Algeria Regarding Post-colonial Identity." In 6th International Students Science Congress. Izmir International Guest Student Association, 2022. http://dx.doi.org/10.52460/issc.2022.002.

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Algeria imported Western culture through early globalization, which continued with the global integration of the French colonial period and proceeded its impact in the postcolonial era. This paper seeks to analyse the impact of globalization in Algeria in the postcolonial era starting from the remaining colonial impact, as well as how it functioned as an introduction to modern globalization aspects in the postcolonial Algerian identity in the decades before to present. The impact of thousands of colonial houses occupied by Algerians shortly after independence that created old/new dwellings, as well as the rise of individualism as a result of the change in housing notion. The reaction of nationalist Algerian architects as well as the consequences of academics and architects studying abroad in parallel with the availability of internet, architectural media, and commodities, and the rise of consumer culture, that led the change in Algerians' housing preferences. Foreign investments and globalization trends: Are all the aspects that have been discussed to understand the impact of globalization on the post-colonial Algerian identity regarding architectural production. The results show that the Algerian post-colonial architectural production has been remarkably affected by both earlier globalization and modern globalization. Local authorities of Algeria can focus on making young architects familiar with traditional culture in order to maintain the authenticity of their culture in architectural design in the upcoming future.
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Rahman, Ainur, and Burhan Nurgiyantoro. "Subalternity of Hindia Women in Racun untuk Tuan Short Story by Iksaka Banu: Postcolonial Studies." In 1st International Conference on Language, Literature, and Arts Education (ICLLAE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200804.074.

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Mouli, T. Sai Chandra. "Towards Understanding Identity, Culture and Language." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.3-8.

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Knowledge of self is at the core of all human endeavours. In the quest identity assumes significance. It acquired greater relevance and respect on account of Postcolonial concerns. ‘Class’ emerged as the basis of a person’s identity. Subsequent to liberation of colonies from alien rule, postcolonial concerns gained ground. Focus on indigenous ways of life adds new dimension. Social, cultural, psychological and economic structures became the basis of one’s own view of identity. These dynamics are applicable to languages that flourished, perished or are on the verge of extinction. In India, regional, linguistic, religious diversity add to the complexity of the issue in addition to several subcultures that exist. Culture is not an independent variable. Historical factors, political developments, geographical and climatic conditions along with economic policies followed do contribute to a larger extent in fixing the contours of a country’s culture. Institutional modifications also sway the stability of national culture. Cultural transmission takes place in diverse ways. It is not unidirectional and unilateral. In many countries culture models are passed on from one generation to another through recitation. The learners memorize the cultural expressions without understanding meaning or social significance of what is communicated to them. Naturally, this practice results in hierarchical patterns and hegemony of vested elements. This is how norms of ‘high’ and ‘low’ are formed and extended to written works and oral/folk literatures respectively. This presentation focuses on the identity, culture and language of indigenous people in Telugu speaking states of Telangana and Andhra Pradesh in South India.
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Salam, Aprinus. "The Postcolonial Subject Vis A Vis Magic Realism. Some Cases From Indonesian Novels And Its Pedagogical Contribution To The Teaching Of Literature." In Proceedings of the International Conference on Science, Technology, Education, Arts, Culture and Humanity - "Interdisciplinary Challenges for Humanity Education in Digital Era" (STEACH 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/steach-18.2019.24.

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Timiri, Sai Chandra Mouli. "Rise and Decline of Languages: A Struggle for Survival." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.3-3.

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Shifts in language presence are often predicated on the political and economic power of its users, where power level correlates with the longevity of the language. Further, during language contact, any resistance between the communities may lead to political and social conflict. The dominant language usually prevails, subjugating the weaker speech communities to the point where they adapt in various ways, processes which effect hegemonies. Language contact also motivates bilingualism, which takes effect over years. This paper suggests that, observing colonization through certain Asian countries, and centrally India, phonological influences have become conspicuous. Postcolonial contexts have selected language identities to assert local linguistic and sociocultural identities through specifying phonetic uniqueness. The study notes that economic trends alter this process, as do political factors. The study investigates how the role of English as an official language and lingua franca in India predicates the selection of certain phonetic patterns so as to legitimize identities of language communities. As such, Indian Englishes have developed their own unique varieties of language, through this process.
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Estrina, Tatiana, Shengnan Gao, Vivian Kinuthia, Sophie Twarog, Liane Werdina, and Gloria Zhou. "ANALYZING INDIGENEITY IN ACADEMIC AND ARCHITECTURAL FRAMEWORKS." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end091.

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While the Truth and Reconciliation Commission of Canada fosters agency for Indigenous Canadians, this mandate like others, attempts to Indigenize an existing colonial system. The acknowledgement of the Indigenous experience within academic institutions must begin with a deconstruction of educational frameworks that are enforced by pre-existing neo-colonial policies and agendas. The colonial worldview on institutional frameworks is rooted in systemic understandings of property, ownership and hierarchy that are supported by patriarchal policies. These pedagogies do not reflect Indigenous beliefs or teachings, resulting in an assimilation or dissociation of Indigenous members into Western-centric educational systems. Addressing this disconnect through Indigenizing existing institutional frameworks within state control favours a system that re-affirms settler-societies. The tokenization and lack of Indigenous participation in the decision-making process reinforces misinformed action towards reconciliation. decentralized. The case studies explored emphasize the rediscovery of an authentic culture-specific vernacular, facilitation of customs through programme, and the fundamental differences between Indigenous and colonial worldviews. The critical analysis of these emerging academic typologies may continue to inform future architectural projects while fostering greater responsibility for architects and positions of authority to return sovereignty to Indigenous communities and incorporate design approaches that embody Indigenous values. This paper will propose the decolonization of academic frameworks to reconstruct postcolonial methodologies of educational architecture that serve Indigenous knowledge and agency.
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9

Vainovski-Mihai, Irina. "GIVING PRECEDENCE TO COMMON POINTS: THE LIMITS OF THE OTHERNESS IN FETHULLAH GÜLEN’S DIALOGIC METHODOLOGY FOR INTERFAITH ENCOUNTERS." In Muslim World in Transition: Contributions of the Gülen Movement. Leeds Metropolitan University Press, 2007. http://dx.doi.org/10.55207/zvgs8407.

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This paper examines Fethullah Gülen’s teaching on interfaith encounters highlighting his dialogic methodology proposed for a globalised world in which Samuel Huntington’s idea of the ‘clash of civilisations’ (Clash of Civilizations and the Remaking of World Order, 1997) is still prominent. This idea, concludes Gülen, stems from the lack of trust in the religion of the “Other” and, rather often than not, from easily passing over the common points. According to Gülen, dialogue is not a superfluous endeavour, but an imperative (“Dialogue is a must”) and it should start by “Giving precedence to common points”. Gülen holds that the tendency toward factionalism exists within human nature. A meaningful and nonetheless necessary goal, he says, should be to make this tendency non-threatening and even beneficial. To fully appreciate the significance of Gülen’s accomplishments, one must understand the perspec- tive from which he approaches the subject of interfaith dialogue. Based on his thinking as noted above, the purpose of this paper is to set out in some detail the way in which this re- nowned Islamic thinker limits the “domain” of the Otherness (Homi Bhabha, The Location of Culture, 2004; Nation and Narration, 1990) to make dialogue possible through overcom- ing both Orientalism (Edward Said, Orientalism, 1978) and Occidentalism (Ian Buruma and Avishai Margalit, Occidentalism: the West in the Eyes of its Enemies, 2004). Challenging the discourse of conflict and focusing on common points may be an important strategy when mutual suspicions are still prevalent and when the field of postcolonial studies stand witness to conflicting processes of refraction (Patricia Crone, Medieval Islamic Political Thought, 2005; Amin Maalouf, Les Croisades vues par les Arabes, 1986). Those who act according to what they have seen are not as successful as those who act according to what they know. Those who act according to what they know are not as successful as those who act according to their conscience. (Gülen 2005:106) This article aims to explore Fethullah Gülen’s teaching on interfaith encounters highlight- ing his dialogic methodology proposed to a globalized world in which models and theories of clashes are still prominent. These theories, concludes Gülen, stem from the lack of trust in the religion of the “Other” and, rather often than not, from easily passing over the com- mon points. According to Gülen, dialogue is not a superfluous endeavour, but an imperative (“Dialogue is a must”) and it should start by “Giving precedence to common points”. Gülen holds that the tendency toward factionalism exists within human nature. A meaningful and nonetheless necessary goal, he says, should be to make this tendency non-threatening and even beneficial. To fully appreciate the significance of Gülen’s accomplishments and the challenges he is facing, one must understand the perspective from which he approaches the subject of interfaith dialogue. Based on the above-mentioned landmarks of his viewpoints regarding the representation constructs, the purpose of my paper is to investigate the way in which this renowned Islamic thinker limits the “domain” of the Otherness or dilutes many of the apparently instituted boundaries. My paper starts from the assumption that recognizing the Other on common grounds is a prerequisite of dialogue. The first section of the essay focuses on conceptual frameworks of defining the “relevant” alterity (Orientalism, Balkanism, Occidentalism) and theories of con- flict (models of clashes, competing meta-narratives). The second section looks into identity markers expressed or implied by Sufi thinkers (Al-Ghazali, Rumi, Nursi). The third section discusses Gülen’s awareness with the Other and, consequently (as detailed in the fourth sec- tion) his identification of common grounds for dialogue. To achieve the aim of my study, throughout all the four sections, Gülen will be presented in a textual exchange of ideas with other thinkers and authors.
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Reports on the topic "Postcolonial art"

1

Stefan, Madalina. Conviviality, Ecocriticism and the Anthropocene: An Approach to Postcolonial Resistance and Ecofeminism in the Latin American Jungle Novel. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, April 2022. http://dx.doi.org/10.46877/stefan.2022.43.

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In the context of the Anthropocene, ecocriticism is gaining an increasingly important role, foregrounding the inextricability of nature and culture, on the one hand, and the postcolonial cultural representation from the Global South on the other. Against this backdrop, the present working paper will focus on the Latin American context, suggesting that conviviality signifies a crucial contribution to the discourse about the Anthropocene and serves as an ideal theoretical framework for the research project on “Postcolonial Resistance and Ecofeminism in the Latin American Jungle novel”, which is outlined at the end of the paper.
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