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With a career spanning more than fifty years as a writer, scholar, and public intellectual, Édouard Glissant produced an astonishingly wide range of work, including poems, novels, essays, pamphlets, and theater. In Think Like an Archipelago, Michael Wiedorn offers a fresh interpretation of Glissant's work as a cohesive and explicitly philosophical project, paying particular attention to the last two decades of his career, which have received much less attention in the English-speaking world despite their remarkable productivity. Focusing his study on the idea of paradox, Wiedorn argues that it is fundamental to Caribbean culture and thought, and at the heart of Glissant's philosophy.The question of difference has long played a central role in the literary and philosophical traditions of the West, however to think differently, Glissant suggests focusing elsewhere: on the post-plantation societies of the Caribbean, and the Americas more broadly. For Glissant, paradoxical lessons drawn from the natural and cultural realities of the Caribbean can point to new ways of thinking and being in the world: in other words, to the creation of what Glissant calls a "new category of literature," and in turn to the attainment of his utopian political vision. Thinking through such paradoxes, Wiedorn demonstrates, can offer new perspectives on the old questions of totality, alterity, teleology, and the potential of philosophy itself.

Paradox in literature. --- Contradiction in literature. --- Paradoxes in literature --- Glissant, Édouard,

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Edouard Glissant is an accomplished and influential novelist and poet, and has recently emerged as a major theorist in Caribbean studies and post-colonial literature. In this first full-length study of Glissant's creative and theoretical work J. Michael Dash examines his poems, novels, plays and essays in the context of modern French literary movements and the post-negritude Caribbean situation, providing both a useful introduction to, and a challenging assessment of, Glissant's work to date. Dash shows how Glissant has focused in an unprecedented way on the Caribbean in terms of the diverse and hybrid culture that has been created in the region, and how his ideas on a cross-cultural politics are the shaping force in the francophone Caribbean 'Creolite' movement.

Glissant, Edouard --- Glissant, Édouard, --- Criticism and interpretation. --- Caribbean Area --- West Indies, French --- Antilles, French --- Antilles françaises --- French Antilles --- French West Indies --- Antilles, Lesser --- In literature. --- Glissant, Édouard --- Arts and Humanities --- Language & Linguistics --- Glissant (edouard), 1928 --- -Glissant, Édouard, --- -Glissant (edouard), 1928

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"In EMBODYING RELATION Allison Moore reads the development of art photography in the 1990s in Mali through the work of Caribbean philosopher Edouard Glissant. Moore engages with Glissant's concept of relation in order to emphasize the ways in which Malian art photography is concerned primarily with making affective connections with viewers, rather than with contesting colonial histories, as has been the case elsewhere. Moore documents an art movement based in Bamako that has used photography as an expressive project, inviting expansive interpretations from viewers (rather than a documentary medium, as was more common during the era of studio photography). The robust photographic archive that accompanies her analysis demonstrates this transition from studio portraits to a portraiture aesthetic that engages the viewer in the simultaneous immediacy and opacity that Moore uses to introduce the reader to a Malian aesthetic. While Bamako has long been recognized as the center of African a rt photography, the city's capacity to support the growth of the movement is due in large part to the coordination of French patronage, most clearly exemplified by the funding of the Bamako Biennale since 1994. Through combined analysis of the developing aesthetics and institutionalization of the movement, Moore details how Malian photographers established both the market and the taste for photography with a vintage aesthetic in the 1990s. By using Glissant's concept of relation to understand the connections between Bamakois photographers and their global patrons, Moore is able to account for both the photographers' unique aesthetics as well as for the postcolonial acts of mediation they perform. The book's six chapters trace provide a detailed history of Bamakois aesthetics and institutions. Moore first analyzes the political context of the development of the art photography movement following French colonization of Mali and on the heels of its democratization in the 1990s (chapter 1 . Subsequent chapters emphasize the importance of French influence and funding on the Bamako Biennale (chapter 3) as well as on Malian "national" institutions such as the National Museum (chapter 5). In so doing, she emphasizes the inherent global and postcolonial nature of the Bamakois art world, and how the photographers whose work she analyzes must navigate these varying institutional and social locations. Moore also considers the rise in prominence of five female photographers, whose careers were facilitated by the Biennale (chapter 6). Chapter 4 turns to Glissant's concept of the archipelago to rethink what Bourdieu might have called the social field of the Bamakois art world as instead an archipelago of institutions borne of different influences and funding structures, yet all interacting within the Biennale-a creolization of Malian and European institutions. This book will be of interest to readers in African studies, art history, art criticism and theory, cultural studies, and museum studies, as well as readers in postcolonial theory and globalization"--

Photography --- Art, Malian --- Postcolonialism and the arts --- Photography, Artistic --- #SBIB:39A5 --- #SBIB:39A8 --- #SBIB:39A73 --- Artistic photography --- Photography, Pictorial --- Pictorial photography --- Art --- Arts and postcolonialism --- Arts --- Malian art --- Political aspects --- Kunst, habitat, materiële cultuur en ontspanning --- Antropologie: linguïstiek, audiovisuele cultuur, antropologie van media en representatie --- Etnografie: Afrika --- Aesthetics --- Glissant, Édouard, --- Philosophy. --- Photography, Artistic. --- Social aspects --- Glissant, Édouard,

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- Theoretical frameworks. The poetics of the Open work / Umberto Eco ##- The death of the author / Roland Barthes ##- The negation of the autonomy of art by the Avant-garde / Peter Bürger ##- The inoperative community / Jean-Luc Nancy ##- Poetics of relation / Édouard Glissant ##- Chaosmosis: an ethico-aesthetic paradigm / Félix Guattari ##- Problems and transformations in critical art / Jacques Rancière. Artists writings. Towards a situationist international / Guy Debord ##- Notes on the elimination of the audience / Allan Kaprow ##- Dance in my experience / Hélio Oiticica ##- Letters 1968-69 / Lygia Clark and Hélio Oiticica ##- Project for the experimental art series, Rosario / Graciela Carnevale ##- Report of a day's proceedings at the Bureau for Direct Democracy / Joseph Beuys and Dirk Schwarze ##- I am searching for field character / Joseph Beuys ##- Ten appearances ##- Notes on funk, I-II / Adrian Piper ##- On democracy ##- Transnacionala/A journey from the East to the West / Eda Cufer ##- The Baudouin/Boudewijn experiment: a deliberate, non-fatalistic, large-scale group experiment in deviation / Carsten Höller ##- The battle of Orgreave / Jeremy Deller ##- No ghosts in the wall / Rirkrit Tiravanija ##- 24h Foucault / Thomas Hirschhorn. Critical and curatorial positions. Relational aesthetics / Nicolas Bourriaud ##- Social aesthetics / Lars Bang Larsen ##- What is a station? / Molly Nesbit, Hans Ulrich Obrist, Rirkrit Tiravanija ##- Chat rooms / Hal Foster.

art criticism --- kunstenaarsgeschriften --- philosophy of art --- hedendaagse kunst --- art [fine art] --- kunstbeschouwing --- Contemporary [style of art] --- Art --- interactive art --- Tiravanija, Rirkrit --- Höller, Carsten --- Hirschhorn, Thomas --- Beuys, Joseph --- Clark, Lygia --- Deller, Jeremy --- Kaprow, Allan --- Oiticica, Hélio --- Interactive art --- Arts audiences --- Authorship --- Sociological aspects --- kunst --- nineties --- eenentwintigste eeuw --- participatie --- 82:7 --- interactieve kunst --- interactiviteit --- kunsttheorie --- Barthes Roland --- Beuys Joseph --- Bourriaud Nicolas --- Bürger Peter --- Carnevale Graciela --- Clark Lygia --- Collective Actions --- Cufer Eda --- Debord Guy --- Deller Jeremy --- Eco Umberto --- Foster Hal --- Glissant Edouard --- Group Material --- Guattari Félix --- Hirschhorn Thomas --- Höller Carsten --- Kaprow Allan --- Larsen Lars Bang --- Nancy Jean-Luc --- Nesbit Molly --- Obrist Hans Ulrich --- Oiticica Hélio --- Piper Adrian --- Rancière Jacques --- Schwarze Dirk --- Tiravanija Rirkrit --- 7.038/039 --- Literatuur en kunst --- Arts audiences. --- Interactive art. --- Sociological aspects. --- 7.01 --- 82:7 Literatuur en kunst --- Kunst ; theorie, filosofie, esthetica --- Kunsttheorie ; over interactie ; participatie ; dialoog met het publiek --- public art --- community art --- Kunst --- gemeenschapskunst --- openbare kunst --- kunstkritiek --- kunstfilosofie --- Rapport du spectateur à l'objet créé --- Participation --- Performance --- Eco, Umberto --- Barthes, Roland, --- Bourriaud, Nicolas --- Bürger, Peter --- Carnevale, Graciela --- Cufer, Eda --- Debord, Guy --- Foster, Hal --- Glissant, Édouard, --- Guattari, Félix --- Hirschhorn, Thomas, --- Larsen, Lars Bang --- Nancy, Jean-Luc --- Nesbit, Molly --- Obrist, Hans Ulrich --- Piper, Adrian, --- Rancière, Jacques, --- Schwarze, Dirk --- artists' statements --- Authorship - Sociological aspects --- Barthes, Roland, 1915-1980 --- Glissant, Édouard, 1928-2011 --- Guattari, Félix 1930-1992 --- Hirschhorn, Thomas, 1957 --- -Höller, Carsten --- Piper, Adrian, 1948 --- -Rancière, Jacques, 1940 --- -Schwarze, Dirk