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Ian Christie
As immersive exhibitions and entertainments have become fashionable, it should be remembered that they have a long history, stretching back to the panoramas of the 18th century and the many optical novelties of the Victorian era, leading up to cinema and subsequent attempts to make this a more immersive experience. More recently, the concepts of cyberspace and the metaverse have been imported from science fiction to describe virtual experiences now available through digital media. Remediation theory should explain these, as well as their evident popularity, yet cultural and aesthetic hostility to such spatial illusions is almost as old as the new media themselves, and has reappeared in response to immersive exhibitions.
22 May 2024
Regenia Gagnier
The impact of colonialism and empire and then of transport, logistics, advertising, media, cinema, radio, tourism, and the internet extended the global reach of English. With 1.13 billion speakers, one in seven in the world now has some English competence. Within this global circulation of English, we have the global teaching of English language and literature, most recently captured for Britain in a June 2023 British Academy report, the relevant findings of which are the decline in the information age and under neoliberal governments of university students reading English Literature and the rise of Creative Writing and world literatures in translation. I distinguish global from world Englishes as the hegemonic language of global trade and finance from more bottom-up Englishes mixed with other languages on the streets; discuss the state of English studies globally; and propose decolonising and denationalising the curriculum. The notion of national languages, identifying a language with national unity, is a very modern idea, only about three centuries old and arising with the formation of modern nation-states. We might use the lived histories of global and world Englishes to transcend both romantic revolutionary and far-right exclusionary nationalisms in literary and language studies in favour of more cosmopolitan, multilingual, and convivial approaches.
22 May 2024
Emmanuel Edafe Erhijodo
The Niger Delta has been a site of trauma as a result of decades of non-stop environmental pollution. Existing studies have explored the socio-political and economic implications of pollution and its quotidian impact on the lived experiences of the people. This study, however, focuses on ecopoetry as a genre that reflects, and reflects on, the trauma of ecological degradation and the spiritual implications for the Niger Delta. By doing so, it explores traumatogenic metaphors and religious motifs in ecopoetry from the region. This informs the purposive selection of two Niger Delta poetry collections—Tanure Ojaide’s Songs of Myself: Quartet (2015) and Stephen Kekeghe’s Rumbling Sky (2020). The poems are subjected to critical literary analysis, undergirded by Jacob Olupona’s perspective of ecology of religion and Stef Craps’ trauma theory, to examine how the impact of environmental degradation on the mental health and spiritual well-being of the people is poetically addressed. (This article is published in the thematic collection ‘African ecologies: literary, cultural and religious perspectives’, edited by Adriaan van Klinken, Simon Manda, Damaris Parsitau and Abel Ugba.)
22 May 2024
Piotr Cieplak
This essay is a reflection on two creative documentary films produced as outputs of projects supported by the British Academy: The Faces We Lost (2017) and (Dis)Appear (2023). Both films focus on the commemorative and memorial functions of domestic and ID photographs – The Faces We Lost in relation to the 1994 genocide against the Tutsi in Rwanda and (Dis)Appear in relation to the civic-military dictatorship in Argentina (1976–1983). The essay outlines the importance of domestic and ID photographs in each context and discusses some of the conceptual, formal and creative decisions behind the two documentaries. But it also attempts to contribute to the conversation about creative documentary filmmaking, and creative practice research more generally, as a form of academic enquiry. Lastly, it asks questions about the opportunities and limitations of making films within the academic rather than commercial environment, especially films made in and about the Global South.
22 May 2024
Bernardine Evaristo
In this personal essay, I reflect on the how cultural shifts in the British art world establishment, have enabled black artists who came of age in the Eighties, to enjoy late career success. I’m particularly interested in the careers of black women, who have traditionally been more overlooked by their male counterparts. I start with my own desire to connect to my Nigerian/African heritage when I was a young woman, one who had grown up brainwashed by the colonial project, and talk about the changes I have witnessed since the Eighties. I interrogate the value placed on transnational artists with ancestral ties to Africa by the art establishment then and now, and how those artists who are currently exhibiting in major art galleries and museums are often showing work created decades ago. This begs the question, if not then, why now? The article arises from a British Academy Lecture delivered on 9 November 2023.
22 May 2024
News
Suggestions for a thematic collection of articles are welcome from those who have been supported through any of the British Academy's programmes and activities and from Fellows of the British Academy. See Information for Guest Editors for more information.
The call has now been opened for proposals for the Special Issue to be published at the end of 2025 (Volume 13, Issue 4). The deadline for proposals is Friday 27 September 2024. The Editors will reach a decision on the proposals, in consultation with the Journal’s Editorial Board, for notification at the end of October 2024.