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Theorising the en-gendered nation
Elleke Boehmer

Africa as place of authenticity – though the poet is concerned to tag his own identity as male. In Ingoapele Madingoane’s Africa My Beginning (Johannesburg: Ravan Press, 1988), the dichotomies are starker: the mother is the comforting custodian of Africanness who serves to guarantee the ‘manhood’ of Africa’s black men (pp. 4–5). See also Deborah Gaitskell and Elaine Unterhalter, ‘Mothers of the nation: a comparative analysis’, in Nira Yuval-Davis and Floya Anthias (eds), Woman-NationState (London: Macmillan 1989), p. 72. It is worth adding that, in societies where

in Stories of women
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Postcolonial women writers in a transnational frame
Elleke Boehmer

’s Butterfly Burning’, and Emmanuel Chiwome, ‘A comparative analysis of Solomon Mutswairo and Yvonne Vera’, in Robert Muponde and Mandi Taruvinga (eds), Sign and Taboo: Perspectives on the Poetic Fiction of Yvonne Vera (Harare: Weaver Press, 2002), pp. 108 and 179–90, respectively. Fredric Jameson, ‘Third-World literature in the era of multinational capitalism’, Social Text, 15 (1986), 65–88. Gillian Rose, Feminism and Cultural Geography: The Limits of Geographical Knowledge (Oxford: Polity Press, 1993). Rosemary M. George, The Politics of Home: Postcolonial Relocations and

in Stories of women
Literary appreciation, comparatism, and universalism in the Straits Chinese Magazine
Porscha Fermanis

shift after 1700 from a rhetorical culture where reading was primarily seen as an instrument of social power to a new kind of cultural arrangement centred on literary appreciation, in particular on a close reading of literary ‘classics’ (western and non-western). 19 In this formulation, literature became the ‘domain of a universalized, cosmopolitan discourse of the value of culture’, which simultaneously sought to theorise culture as, in Arnold’s words, ‘the best that has been thought or said’ and to see it trans-historically as ‘the fruit of comparative analysis

in Worlding the south
The Show from street to print
Tracey Hill

(perhaps such details were uncertain until a very late stage); Okes is named the following year, when an additional 300 copies were ordered. The earliest surviving printed and illustrated text of a European royal entertainment – in this case, an entry into Bruges – was published in Paris in 1515 (see Kipling, ‘The King’s Advent Transformed’, pp. 92 and 121 n. 4). Prior to that, manuscript accounts of fifteenth-century London pageantry were sometimes compiled (see Barron, ‘Pageantry on London Bridge’, p. 93). Comparative analysis of ‘festival books’ as a genre has been

in Pageantry and power