How can literary archives adapt to the challenges of the future? Literary archives are per se international because their subject is international. Literature does not end at the borders of its country of origin or its language. Hence, literary archives hold material that is not limited to a country or a language, although one country and language is usually dominant. It might even be the case that an archive has the official task of preserving the literary heritage of a specific territory and is funded for this purpose. How can we conceptualize literary archives in their regional and global frameworks and develop them further? To what extent does digitization foster international cooperation within and beyond the archives and how can we make it more fruitful? How can archives meet the interests of the literary public and of researchers? With contributions by: Stephen Enniss, Lavinia Frey, Jeang-Yean Goak, Ben Hutchinson, David D. Kim, Stefan Litt, B. Venkat Mani, Nelson Mlambo, Sebastian Möring, Sandra Richter, Fred Studemann, Meike G. Werner, Katja Wiesbrock Donovan Literatur endet nicht an den Grenzen ihres Herkunftslandes oder ihrer Sprache, Literaturarchive verfügen also über Material, das weder auf ein Land noch auf eine Sprache beschränkt ist. Internationale Forscherinnen und Forscher fragen, wie Literaturarchive in digitalen Zeiten in ihrem regionalen und globalen Rahmen konzeptualisiert und weiter entwickelt werden können.

A work of literary history that redefines literary modernism's development in relation to the concurrent emergence of total war and the psychological effects it created between the two world wars.

Despite several idealistic efforts towards a united Africa, the term remains a hypothetical concept symbolizing a desired federal state on the continent. While globalization and interconnectedness have brought prosperity in some parts of the world, Africa has not generally benefited from global decisions. These decisions, policies, and practices have tended to be wholly influenced by the rich and powerful countries and their transnational agencies and corporations in pursuit of their national interests. Faced with such enormous external economic and political forces, the divided and powerless African states have been unable to bargain for lucrative economic deals or pursue national interests for the benefit of their people, hence the need to examine what exists in varied fields and the emerging trends for the future. Interdisciplinary Approaches to the Future of Africa and Policy Development addresses critical issues and challenges in Africa and seeks to examine and understand the future trends in Africa through a deconstructive interrogation of present trends. Covering a wide range of topics such as sustainability, equality, and democracy, it is ideal for researchers, academicians, students, economists, policymakers, political parties, trade unions, and NGOs.

In Senegal, portraiture serves as a vital index and creator of social connection. People sit for and display portraits, keep albums, and view illustrated magazines together. Through these portraiture practices, Senegalese have fashioned idealized images to mend fraught and fragmented lives in the context of decades of migration. The Future Is in Your Hands provides an expansive frame for photography to highlight the role of affect in portraiture practices. Moving from the colonial to the newly independent Senegal, Beth Buggenhagen combines museum, ethnographic, and archival research on photography's past with lens-based artists who address themes of separation, visibility, rupture, and repatriation through portraiture. Buggenhagen, in collaboration with Senegalese photographers, explores how photographs, as visual and material objects, migrate themselves and, like the bodies they represent, create a record not only of lived experiences but also of the cycle of migration for this labor-exporting country. By complicating the history of portraiture in Senegal, The Future Is in Your Hands reveals the enduring power of images and the efforts under way to keep this art form safely in Senegalese hands.

This book examines the future in Indigenous North American speculative literature and digital arts. Asking how different Indigenous works imagine the future and how they negotiate settler colonial visions of what is to come, the chapters illustrate that the future is not an immutable entity but a malleable textual/digital product that can function as both a colonial tool and a catalyst for decolonization. Central to this study is the development of a methodology that helps unearth the signifying structures producing the future in selected works by Darcie Little Badger, Gerald Vizenor, Stephen Graham Jones, Skawennati, Danis Goulet, Scott Benesiinaabandan, Postcommodity, Kite, Jeff Barnaby, and Ryan Singer. Drawing on Jason Lewis’s "future imaginary" as the theoretical core, the book describes the various forms of textual representation and virtual simulation through which notions of Indigenous continuation are expressed in literary and new media works. Arguing that Indigenous authors and artists apply the aesthetics of the future as a strategy in their works, the volume conceptualizes its multimedia corpus as a continuously growing archive of, and for, Indigenous futures.

The term 'temporality' often refers to the traditional mode of the way time is: a linear procession of past, present and future. As philosophers will note, this is not always the case. Christine Ross builds on current philosophical and theoretical examinations of time and applies them to the field of contemporary art: films, video installations, sculpture and performance works. Ross first provides an interdisciplinary overview of contemporary studies on time, focusing on findings in philosophy, psychology, sociology, communications, history, postcolonial studies, and ecology. She then illustrates how contemporary artistic practices play around with what we consider linear time. Engaging the work of artists such as Guido van der Werve, Melik Ohanian, Harun Farocki, and Stan Douglas, allows investigation though the art, as opposed to having art taking an ancillary role. The Past is the Present; It's the Future Too forces the reader to understand the complexities of the significance of temporal development in new artistic practices.

Celebrating the twentieth anniversary of the groundbreaking Testimony, this collection brings together the leading academics from a range of scholarly fields to explore the meaning, use, and value of testimony in law and politics, its relationship to other forms of writing like literature and poetry, and its place in society. It visits testimony in relation to a range of critical developments, including the rise of Truth Commissions and the explosion and radical extension of human rights discourse; renewed cultural interest in perpetrators of violence alongside the phenomenal commercial success of victim testimony (in the form of misery memoirs); and the emergence of disciplinary interest in genocide, terror, and other violent atrocities. These issues are necessarily inflected by the question of witnessing violence, pain, and suffering at both the local and global level, across cultures, and in postcolonial contexts. At the volume’s core is an interdisciplinary concern over the current and future nature of witnessing as it plays out through a ‘new’ Europe, post-9/11 US, war-torn Africa, and in countless refugee and detention centers, and as it is worked out by lawyers, journalists, medics, and novelists. The collection draws together an international range of case-studies, including discussion of the former Yugoslavia, Gaza, and Rwanda, and encompasses a cross-disciplinary set of texts, novels, plays, testimonial writing, and hybrid testimonies. The volume situates itself at the cutting-edge of debate and as such brings together the leading thinkers in the field, requiring that each address the future, anticipating and setting the future terms of debate on the importance of testimony.

Fat bodies of today are commonly assumed to have no future at all. In this line of thinking, a fat life is framed as failure, and a fast track towards death itself. Meanwhile, the histories of modern fat existence, communities, activists, and artists have been essentially unknown, written out of origins and existence. Most medical and cultural evaluations of fat have rendered the fat body more and more visible, and yet the lived experiences of fat people are continually erased. At a moment when scholars from various disciplines are contending with the question of who has a future, this book explores the relationship between fat experience and the social construction of time. The works in this volume draw from fields as diverse as social geography, women and gender studies, critical race theory, disability studies, cultural studies, visual art and craft, social work, communication studies, and queer theory, generating renewed understandings of the relationship between fatness and temporality. The Future Is Fat reimagines understandings of time to allow for new expressions of fat experience. The chapters in this book were originally published as a special issue of Fat Studies: An Interdisciplinary Journal of Body Weight and Society.