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Several recent studies have raised postcolonial issues in relation to the biblical texts. Render to Caesar aims to address that conversation and to offer some critique. Chapter 1 discusses Israel’s traditions about empire and its attitudes toward international superpowers as it experienced them from the Egyptians to the Greeks. Chapter 2 considers the same question during the period from the Maccabees to the War with Rome and its aftermath. Against this background, chapter 3 examines what we may know or surmise of the teaching and ministry of Jesus and considers its likely significance vis-à-vis Rome and Roman imperium. Chapter 4 does the same with the passion narratives. Chapters 5 and 6 turn to other early Christian witnesses, namely Paul, Luke-Acts, 1 Peter, and the Book of Revelation. Chapter 7 reflects on appropriate and possibly inappropriate relationships between the study of first- century Israel and Rome, and contemporary postcolonial insights. A concluding “unscientific postscript” reflects on the possible significance of this for our own understanding of empire and “superpower status,” then and now.

Anti-Empire explores how different writers across Lusophone spaces engage with imperial and colonial power at its various levels of domination, while imagining alternatives to dominant discourses pertaining to race, ethnicity, culture, gender, sexuality, and class. Guided by a theoretically eclectic approach ranging from Psychoanalysis, Deconstruction, Postcolonial Theory, Queer Theory, and Critical Race Studies, Empire is explored as a spectrum of contemporary global power inaugurated by European expansion and propagated in the postcolonial present through economic, cultural, and political forces. Through the texts analysed, Anti-Empire offers in-depth interrogations of contemporary power in terms of racial politics, gender performance, socio-economic divisions, political structures, and the intersections of these facets of domination and hegemony. By way of grappling with Empire’s discursive field and charting new modes of producing meaning in opposition to that of Empire, the texts read from Brazil, the Cape Verde Islands, East Timor, Portugal, and São Tomé and Príncipe open new inquiries for Postcolonial and Decolonial Studies while contributing theoretical debates to the study of Lusophone cultures.

This book examines postcolonial filmmakers adapting Victorian literature in Hollywood to contend with both the legacy of British imperialism and the influence of globalized media entities. Since decolonization, postcolonial writers and filmmakers have re-appropriated and adapted texts of the Victorian era as a way to 'write back' to the imperial centre. At the same time, the rise of international co-productions and multinational media corporations have called into question the effectiveness of postcolonial rewritings of canonical texts as a resistance strategy. With case studies of films like Gunga Din, Dracula 2000, The Portrait of a Lady, Vanity Fair and Slumdog Millionaire, this book argues that many postcolonial filmmakers have extended resistance beyond revisionary adaptation, opting to interrogate Hollywood's genre conventions and production methods to address how globalization has affected and continues to influence their homelands.

Mapping Israel, Mapping Palestine is an analysis of the ways that segregated landscapes have shaped digital cartography in Jerusalem and the West Bank since 1967. Extending work on how technology is socially constructed, it investigates the ways that knowledge is geographically produced. Technoscientific practices are situated in landscapes that are at once both social and material, and this influences the content of digital technology in sometimes unpredictable ways. Therefore it is necessary to reflexively engage with materiality and space in order to enable more diverse forms of knowledge. Maps are an iconic symbol of modernity, and they have been central to debates over the future of Palestine and Israel. This has only intensified as Geographic Information Science (GIS) mapmaking has led to increasingly minute forms of surveillance and control. Intended to display objective facts, maps inspire extensive discussions. However, the framing of these discussions cannot be divorced from the participants’ asymmetrical mobilities within the very terrains that they seek to portray. Therefore it is essential to investigate how Palestinian, Israeli, and international cartographers are unevenly affected by the segregated landscapes which their technologies have helped to create. Mapping Israel, Mapping Palestine addresses these important issues by bringing together the disciplines of critical geography, postcolonial theory, and science and technology studies (STS). It presents an analysis of the maps and mapmaking practices that result when diverse cartographers chart the same landscapes that so condition their movement. It investigates the myriad ways that the segregated landscapes of the Israeli occupation shape knowledge about the occupation.

In the context of English’s apparent worldwide spread, this book brings together the fields of postcolonial studies and world Englishes, arguing that this is a necessary and long overdue connection. Although postcolonial studies appears to have its origins in literary studies, and accordingly in the study of language, in fact there have been few connections with fields in linguistics that are clearly relevant to postcolonial approaches to English in particular. The book chiefly makes connections with the growing field of World Englishes studies, considering points of contact, differences in emphasis, and fundamental disagreements. It proposes that postcolonial studies can be renewed through engaging with World Englishes studies, but also that postcolonial studies as a discipline can offer powerful frameworks for World Englishes studies itself. The book examines the existing and potential connections between the fields through examples such as postcolonial dictionaries, postcolonial composition, the language of global citizenship, and the interface between World Literatures and World Englishes. It concludes that World Englishes, by contrast with a monolithic Global English, contribute to a vision of communication that resists globalization’s demand for accessibility and transparency.

Post-Migratory Cultures in Postcolonial France offers a critical assessment of the ways in which French writers, filmmakers, musicians and other artists descended from immigrants from former colonial territories bring their specificity to bear on the bounds and applicability of French republicanism, “Frenchness” and national identity, and contemporary cultural production in France.

The book analyses why religious and racial minorities in Britain and France are unable to integrate into the nation-state. By examining their religious and cultural integration as well as their postcolonial status, I make the argument that historical attitudes towards postcolonial minorities make it very hard for them to be integrated into national life even as they become legal citizens.

This monograph takes as its subject the dynamic new range of performance practices that have been developed since the demise of communism in the flourishing theatrical landscape of Poland. After 1989, Lease argues, the theatre has retained its historical role as the crucial space for debating and interrogating cultural and political identities. Providing access to scholarship and criticism not readily accessible to an English-speaking readership, this study surveys the rebirth of the theatre as a site of public intervention and social criticism since the establishment of democracy and the proliferation of theatre makers that have flaunted cultural commonplaces and begged new questions of Polish culture. Lease suggests that a radical democratic pluralism is only tenable through the destabilization of attempts to essentialize Polish national identity, focusing on the development of new theatre practices that interrogate the rise of nationalism, alternative sexual identities and forms of kinship, gender equality, contested histories of antisemitism, and postcolonial encounters. Lease elaborates a new theory of political theatre as part of the public sphere. The main contention is that the most significant change in performance practice after 1989 has been from opposition to the state to a more pluralistic practice that engages with marginalized identities purposefully left out of the rhetoric of freedom and independence.

Bamako Sounds tells the story of an African city, its people, their values, and their music. Centered on the music and musicians of Bamako, Mali’s booming capital city, this book reveals a community of artists whose lives and works evince a complex world shaped by urban culture, postcolonialism, musical expression, religious identity, and intellectual property. Drawing on years of ethnographic research with classically trained players of the kora (a twenty-one-string West African harp) as well as more contemporary, hip-hop influenced musicians and producers, Ryan Thomas Skinner analyzes how Bamako artists balance social imperatives with personal interests and global imaginations. Whether performed live on stage, broadcast on the radio, or shared over the Internet, music is a privileged mode of expression that suffuses Bamako’s urban soundscape. It animates professional projects, communicates cultural values, pronounces public piety, resounds in the marketplace, and quite literally performs the nation. Music, the artists who make it, and the audiences who interpret it thus represent a crucial means of articulating and disseminating the ethics and aesthetics of a varied and vital Afropolitanism, in Bamako and beyond.

Writing the Welsh borderlands in Anglo-Saxon England is the first study of the Anglo-Welsh border region in the period before the Norman arrival in England, from the fifth to the twelfth centuries. Its conclusions significantly alter our current picture of Anglo/Welsh relations before the Norman Conquest by overturning the longstanding critical belief that relations between these two peoples during this period were predominately contentious. Writing the Welsh borderlands in Anglo-Saxon England demonstrates that the region which would later become the March of Wales was not a military frontier in Anglo-Saxon England, but a distinctively mixed Anglo-Welsh cultural zone which was depicted as a singular place in contemporary Welsh and Anglo-Saxon texts. This book studies how the region of the Welsh borderlands before 1066 was depicted in a group of texts from early medieval Britain which have traditionally been interpreted as reflecting a clear and adversarial Anglo/Welsh divide. Chapters focus on some of the most central literary and historical works from Anglo-Saxon England, including Bede’s Historia Ecclesiastica Gentis Anglorum, Latin and Old English Lives of St. Guthlac, the Old English Exeter Book Riddles, and the Anglo-Saxon Chronicle. These texts depict the Welsh borderlands region differently than the rest of Wales — not as the site of Anglo/Welsh conflict, but as a distinct region with a mixed culture. Writing the Welsh borderlands in Anglo-Saxon England alters our understanding of how the Anglo-Saxons and Welsh interacted with one another in the centuries before the Norman arrival. It demonstrates that the region of the Welsh borderlands was much more culturally coherent, and the impact of the Norman Conquest on it much greater, than has been previously realised.

Virginia Woolf Writing the World addresses such themes as the creation of worlds through literary writing, Woolf’s reception as a world writer, world wars, and natural worlds in Woolf’s writings. The collection represents the theme of internationalism in Woolf’s work, but its global appeal is likewise reflected in the diverse range of contributors from around the world. The volume is divided into four themed sections: “War and Peace”; “World Writer(s),” which reads the Woolfs in a global context; “Animal and Natural Worlds,” which brings recent developments in ecocriticism and post-humanist studies to analysis of Woolf ’s writing; and “Writing and Worldmaking,” which addresses various aspects of genre, style, and composition. In addition to a myriad of historical perspectives, the book also brings us back to international and cultural conflicts in our own day, reminding us why Woolf still matters today.

Branding the Beur Author analyzes mainstream media promotion of literature written by the descendants of North African immigrants to France (often called beurs). Launched in the early 1980s, conversations between journalists and ‘beur’ authors delve into contemporary debates such as racism in the 1980s and Islam in French society in the 1990s. But the interests of journalists looking for sensational subject matter also heavily shape the promotion and reception of these novels: only the ‘beur’ authors who use a realist style to write about the challenges faced by the North African immigrant population in France—and who engage on-air with French identity politics and immigration—receive multiple invitations to participate in interviews. Previous scholarship has taken a necessary first step by analyzing the social and political stakes of this literature (using labels such as ‘beur’ and/or ‘banlieue,’ to designate its urban, economically distressed setting), but this book argues that this approach reproduces the selection criteria deployed by the media that determine which texts receive commercial and critical support. By demonstrating how minority-based literary labels such as  ‘francophone’ and ‘postcolonial’ are always already defined by the socio-political context in which such works are published and promoted, this book establishes that these labels are tautological and cannot reflect the thematic and stylistic richness of beur (and other minority) production in France.

Based on comparative historical analyses of Iran, Jordan, and Kuwait, Sean L. Yom examines the foreign interventions, coalitional choices, and state outcomes that made the political regimes of the modern Middle East. A key text for foreign policy scholars, From Resilience to Revolution shows how outside interference can corrupt the most basic choices of governance: who to reward, who to punish, who to compensate, and who to manipulate. As colonial rule dissolved in the 1930s and 1950s, Middle Eastern autocrats constructed new political states to solidify their reigns, with varying results. Why did equally ambitious authoritarians meet such unequal fates? Yom ties the durability of Middle Eastern regimes to their geopolitical origins. At the dawn of the postcolonial era, many autocratic states had little support from their people and struggled to overcome widespread opposition. When foreign powers intervened to bolster these regimes, they unwittingly sabotaged the prospects for long-term stability by discouraging leaders from reaching out to their people and bargaining for mass support—early coalitional decisions that created repressive institutions and planted the seeds for future unrest. Only when they were secluded from larger geopolitical machinations did Middle Eastern regimes come to grips with their weaknesses and build broader coalitions.

This book examines how the identities of women and girls in colonial India were shaped by interaction with each other, a masculine raj and feminist and non-feminist philanthropists situated mostly outside India. These identities were determined by the emotional and sexual needs of men, racial hybridity, mission and religious orders, European accomplishments mentalities, restricted teacher professionalism and far more expansive medical care interaction. This powerful vista is viewed mostly through the imagery of feminine sensibility rather than feminism as the most consistent but changing terrain of self-actualisation and dispute over the long time period of the book. National, international and colonial networks of interaction could build vibrant colonial, female identities, while just as easily creating dystopias of female exploitation and abuse. These networks were different in each period under study in the book, emerging and withering away as the interplay of state imperatives and female domesticity, professionalism and piety changed over time. Based on extensive archival work in many countries, the book provides important context for studies of late nineteenth and early twentieth-century colonial women in many colonial domains. The book also explains why colonial mentalities regarding females in India were so different to those on the nationalist side of the story in the early twentieth-century. This was even when feminist discourse was offered by a failing raj to claim new modernity after World War One and when key women activists in India chose, instead, to cross over to occupy spaces of Indian asceticism and community living.

Repainting the Walls of Lunda tells a story of the publication and dissemination of an anthropology book, Paredes Pintadas da Lunda (Painted Walls of Lunda) (1953), which reproduced images of Chokwe wall murals and sand drawings in northeastern Angola—and which was subsequently adapted in post-Independence nationalist art and post-civil war contemporary art. After historicizing the moment of a drastic change in media for the Chokwe images, from sand and hut to book, “analog” to “digital,” I analyze the formal and infrastructural logic of the two dimensional images in their subsequent formats of post-independence canvas paintings and now the Internet. Rather than describing each of these iterations of the Chokwe images as a negation or obliteration of the previous one, I argue that the logic of reproductive media is such that it envelops the past; each mediation adds another layer of context and content to the Chokwe image. The images’ historicity is embedded within these media layers, which many Angolan post-independence artists speak of in terms of ghosts or ancestors when describing their encounter with reproductions of the Chokwe murals. The history of Paredes Pintadas da Lunda and its subsequent use in Angolan art follows the history of the diamond industry in Angola, as the major diamond interests there have funded its dissemination. Thus the infrastructural history of Angola is more than just context for the continual reworking of the Chokwe images.

Postcolonial Automobility discusses how the automobile, with its promise of autonomous, unfettered mobility is a paradigmatic object through which one can assess the pleasures, dangers, and limits of global modernity in West Africa. Though automobile ownership is among the lowest in the world and accident rates are some of the highest, automobility in West Africa remains a powerful discourse about the construction of the modern self and about the ways that global African citizens inhabit their world. Exploring an array of cultural texts –plays, novels, films and videos – the author makes palpable the complex ways that automobility in West Africa is, at once, an everyday practice, an ethos, a fantasy of autonomy and mobility, and an affective experience intimately tied to modern social life. This study is the first to address mobility explicitly within an African context and it is one of only a handful of examinations that bring together issues of physical mobility and questions of postcoloniality. Furthermore, Postcolonial Automobility is part of what might be called the infrastructural turn in postcolonial studies, a turn that moves postcolonial studies beyond the much discussed tropes of hybridity, exile, migration, and displacement and towards discussions of how postcoloniality is experienced given the material realities of uneven modernity.

Postcolonial thought is an intellectual approach that recognizes the importance of empire and colonialism in the making of the modern world, including the constitution of modern culture and knowledge. Although postcolonial thought has resonated strongly in the academic humanities, this book explores its implications for social science and, in particular, social theory and sociology. After introducing the respective histories of social theory and postcolonial thought, the book discusses the various waves of postcolonial thought, beginning with the first wave of prominent thinkers and authors, such as W. E. B. Du Bois, Frantz Fanon, Aimé Césaire, Amilcar Cabral, and C. L. R. James. After examining this history, it discusses the second-wave of postcolonial thought, including the work of prominent authors such as Edward Said, Gayatri Spivak, and Homi Bhabha. The book presents the postcolonial challenge to social theory, and charts various strategies for crafting a postcolonial social science. Although some scholars suggest that postcolonial thought and social science are incompatible, this book explores points of convergence as well as difference, and argues for a third wave of postcolonial thought emerging within social science.