Psotcolonialism

Colonialism, as a system of denial of human dignity for many people of the world, represents an immense space-time of suffering, oppression and resistance, symbolizing what is nowadays termed the global South. This article, which focuses on an analysis of modern colonialism, is structured around three axes. The first one examines the epistemic project underlying colonization, explaining how abysmal thought is central to modern Eurocentric rationality. In a second moment the analysis is placed upon the legitimating logics of the political and epistemic action of the colonial project in Mozambique. This part is fundamental to understand the ruptures and continuities between the colony and the independent state that is now Mozambique. In the last part, some indications are discussed, as hints towards an epistemic decolonization of the global South.
A colonização, enquanto sistema de negação da dignidade humana para muitos povos do mundo, simboliza um imenso espaço ‑tempo de sofrimento, opressão e resistência, aquilo que hoje é designado de Sul global. Este texto, que se centra numa análise do colonialismo moderno, está estruturado em torno de três eixos. No primeiro examina ‑se o projeto epistémico subjacente à colonização, explicando como o
pensamento abissal é central à moderna racionalidade eurocêntrica.
Num segundo momento analisam ‑se as lógicas legitimadoras da ação política e epistémica do projeto colonial em Moçambique. Esta parte é fundamental para compreender as ruturas e continuidades entre a colónia e o Estado independente que é hoje Moçambique. Na última parte, são apresentadas algumas pistas para uma descolonização epistémica do Sul global.

Feminist practices and theorizing in the Americas is usually referenced alongside national or regional narrations. Moreover, feminisms are often presented in form of containered divisions, on the one hand separating feminist politics from anti-racist or class struggles, and, on the other hand, different feminisms such as white, Amerafrican or indigenous, or working class feminisms from one another. By contrast, this paper argues that much can be gained from focusing on the connected histories and genealogies of feminist politics in the Americas. In the interest of a more complex imaginary of social movements and the social inequalities they address, the paper traces a transregional and an intersectional perspective, according to which axes of stratification such as gender are transnationally linked and always also and always already marked by other axes like race, class, or citizenship/nationality. This paper elaborates on feminist practices and politics along the line of four very different spotlights of constructions of inter-American sites of feminist entanglements:

El colectivo afro-cubano de hip hop Krudas Cubensi (o Las Krudas) se posicionan como “afro-latinoamericanas y cari- beñas” y postulan: “orgullo de mi gente y de mi cuerpo dueña”, conectando así sus identidades, una caribeña afrodescendiente con otra política feminista. Ellas y otros grupos Cubanos de Hip Hop enfatizan la marginalizada dimensión de género, así como géneros musicales “créoles” como el hip hop considerado forma relevante de la producción epistémica y discursiva no sólo, pero especialmente, en contextos transnacionales. A partir de esta posición crítica, estos grupos están creando espacios al- ternativos de encuentro más allá de las diferencias y de las fron- teras geopolíticas, racistas, sexistas y académicas.

ABSTRACT: Shakespeare, the 17th century Universal and Humanist Bardic figure has sown his transnational seeds throughout time and space through the ample usage of appropriations in the literary sphere. While Alexander Huang posits that “the idea that Shakespeare belongs to the world has become a cliché” (Huang, 2006), Linda Hutcheon pinpoints that Shakespeare offer a heteroglossic understanding of the postmodernist concern to grasp the what (Forms), Who? Why? (Adapters), How? (Audiences), Where? When? (Contexts)(Hutcheon, 2006). The fabula, that is, the story or the plot, being the googol of any text has opened up the avenues for Shakespeare’s plays to be appropriated and adapted in a palimpsest literary, media, games, cartoons, and musical comedies on a multi-global arena. Shakespearean appropriations have spread their tentacles to Mauritius, Canada, Italy, Bulgaria, South Africa, USA, U.K, Japan, Caribbean islands, France, Czechoslovakia, Tunisia, India to name a few. Though appropriations demand a lot of effort in preserving the 17th aura, gist and zeitgeist, its complexity brings about polyphonic receptions according to the context, race, age, language, culture, politics, religion and society.
Keywords: Shakespeare, humanist, transnational, heteroglossic, palimpsest, appropriation, polyphonic, zeitgeist, gist, postmodernist.

Feminist practices and theorizing in the Americas is usually referenced alongside national or regional narrations. Moreover, feminisms are often presented in form of containered divisions, on the one hand separating feminist politics from anti-racist or class struggles, and, on the other hand, different feminisms such as white, Amerafrican or indigenous, or working class feminisms from one another. By contrast, this paper argues that much can be gained from focusing on the connected histories and genealogies of feminist politics in the Americas. In the interest of a more complex imaginary of social movements and the social inequalities they address, the paper traces a transregional and an intersectional perspective, according to which axes of stratification such as gender are transnationally linked and always also and always already marked by other axes like race, class, or citizenship/nationality. This paper elaborates on feminist practices and politics along the line of four very ...

El colectivo afro-cubano de hip hop Krudas Cubensi (o Las Krudas) se posicionan como “afro-latinoamericanas y cari- beñas” y postulan: “orgullo de mi gente y de mi cuerpo dueña”, conectando así sus identidades, una caribeña afrodescendiente con otra política feminista. Ellas y otros grupos Cubanos de Hip Hop enfatizan la marginalizada dimensión de género, así como géneros musicales “créoles” como el hip hop considerado forma relevante de la producción epistémica y discursiva no sólo, pero especialmente, en contextos transnacionales. A partir de esta posición crítica, estos grupos están creando espacios al- ternativos de encuentro más allá de las diferencias y de las fron- teras geopolíticas, racistas, sexistas y académicas.