The history of travel writing positions the genre as a form that invents and circulates problematic image(s) of Africa. Emerging from this biased background, postcolonial African travel writing offer reimaginations regarding how to think about the continent differently. This article explores how Sihle Khumalo’s Dark Continent My Black Arse, performs this reimagination through counter-travel. I interrogate Khumalo’s appropriation of parody on three sites—naming, landscape, and the body—to counter the prevalent (mis)representation of the continent and propagate alternative ways of imagining Africa in travel writing. This article argues that although parody as counter-travel strategy is a poignant tool for critiquing the negative representation, authorial prejudices allow for slippages that propagate the same set of biases the form intends to critique.
Parody and Counter-Travel
Cham's Heritage and Legacy
This article draws attention to the transition in print culture that took place between the 1830s and the 1850s, allowing for a new flexibility in format and new relations between word and image. Within this wider context, Cham was an innovator who adapted literary techniques such as mise en abyme, oxymoron and synecdoche to visual storytelling. The article focuses on links between Cham's work and Tristram Shandy: I show how Cham introduces Sterne's reflexivity into his comic strips, using unorthodox framing and inserting blind panels as a deliberate interference in transmission, impeding the reader's privileged point of view. Cham deploys a number of parodic devices to demystify canonical texts: for example, in an incursion across diegetic boundaries, he kills off characters from Victor Hugo's Les Misérables with a few well-aimed swipes from a vast pen.
English Satirical Prints in the Presence of the Academy, c. 1750–1780
This article examines the reciprocity between satirical and academic modes of image making, and locates that relationship within the context of an emergent bourgeois public sphere. The cultural and commercial imperatives of that sphere enabled its inhabitants to engage with conflicting modes of cultural output, consuming grotesque and bawdy satire as an exercise in political autonomy, while simultaneously emulating 'elite' politeness. In particular, the commercial growth and increasing visibility of satirical prints challenged the polite hierarchy of art as it was understood by the nascent academies and societies of art established in the same period. This process of establishment needs to be re-framed in the context of satirical intervention, and will be examined via two paintings that provoked distinct satirical responses: Benjamin West's The Death of Wolfe and Francis Hayman's The See-Saw. Correspondingly, satirical print culture itself can be reframed in light of its use (and parody) of academic visual tropes and techniques.
Roger Stritmatter and Lynne Kositsky
Gary Taylor's 1982 Review of English Studies article, 'A New Source and an Old Date for King Lear', highlights numerous semantic, thematic and structural parallels between Shakespeare's King Lear, customarily assigned a composition date in late 1605 or spring 1606, and Eastward Ho (first published September 1605). Deconstructing Taylor's methodology for determining the order of influence between the two plays, we argue that the authors of Eastward Ho found the bard's cosmic tragedy of royal intrigue and intergenerational strife an irresistible target for rambunctious topical satire. In place of a Lear that without motive incorporates vague patches of Eastward Ho influence, we read an Eastward Ho that enacts an acerbically brilliant parody of several Shakespeare plays, among them King Lear.
The Politics of Carnival in the Dutch Province of Limburg
Leonie Cornips and Vincent De Rooij
In this article, we will present two case studies of language and cultural practices that are part of or strongly related to carnival, in the Dutch peripheral province of Limburg, and more precisely in the southern Limburgian city of Heerlen, which in turn is considered peripheral vis-à-vis the provincial capital Maastricht. We will consider carnival as a political force field in which opposing language and cultural practices are involved in the production of belonging as an official, public-oriented 'formal structure' of membership, and belonging as a personal, intimate feeling of being 'at home' in a place (place-belongingness) (Antonsich 2010; Yuval-Davis 2006). In the case studies presented here, we take seriously the idea that ideology, linguistic form and the situated use of language are dialectically related (Silverstein 1985). In doing so, we wish to transcend disciplinary boundaries between anthropology and (socio)linguistics in Europe.
Comics and Adaptation
Armelle Blin-Rolland, Guillaume Lecomte, and Marc Ripley
canon; and documentary and parody. The article by Alain Boillat focuses on the relatively little-known editorial context of French-language comics serials for children from the immediate post-war years to the mid-1950s. Boillat examines the prominence of
Grace Helbig’s Affective Aesthetics
overtly political subversion or resistance to postfeminist norms. Through parody, her videos reveal the absurdity of postfeminist self-improvement and self-maintenance. While not instructing her audience in how to change the world, Helbig instead provides
Postmodernism and Myths about Great Artists
, indulges in what Hutcheon terms ‘[p]arodic play with what we might call the trappings of realist representation’: 67 exaggerated concern for replicating observable reality makes light of the commonplace that mimetism lends credibility to fiction. Examples
Mariske Westendorp, Bruno Reinhardt, Reinaldo L. Román, Jon Bialecki, Alexander Agadjanian, Karen Lauterbach, Juan Javier Rivera Andía, Kate Yanina DeConinck, Jack Hunter, Ioannis Kyriakakis, Magdalena Crăciun, Roger Canals, Cristina Rocha, Khyati Tripathi, Dafne Accoroni, and George Wu Bayuga
empowering the individual against societal boundaries and violence. Dafne Accoroni Université de Lyon WILCOX, Melissa M., Queer Nuns: Religion, Activism, and Serious Parody , 336 pp., notes, bibliography, index. New York: NYU Press, 2018
Rabbis, Canonicity, Problems and Possibilities
David J. Zucker
The Book of Esther was written as a parody or farce. It has both appalled and appealed to its possible readership. The rabbis may have struggled with whether to accept Esther into the canon, but once it was in, they engaged in fanciful stories about the book. Christians also struggled with accepting the Book of Esther, but for them, too, it did become part of the canon. Esther does have some very dark sides, especially in its treatment of women and its bloodthirsty closing chapters. This article suggests that if approached carefully the Book of Esther offers possibilities for open discussion concerning some sensitive topics.