...Manthia Diawara In 2009, equipped with a camera, Manthia Diawara followed Édouard Glissant on the Queen Mary II in a transatlantic journey from South Hampton, United Kingdom, to Brooklyn, New York. This extraordinary voyage, six days and five nights, resulted in an intellectual biography in which...

...Manthia Diawara Manthia Diawara became a close friend of Édouard Glissant in the early 1990s. In 2008, Glissant granted Diawara permission to make a film about his ideas. The author came with his camera to the 2008 Politics of the One-World conference in Paris to speak to Glissant about the film...

...Édouard Glissant Copyright © 2009 Nka: Journal of Contemporary African Art 2009 , , AI ME CESAI RE THE POET'S PASSION Edouard Glissant translation by Christ opher Winks he...

... not mean the image of man/woman but the traces which, today, are ceaselessly renewed. Edouard Glissant, Le discours Antillais1 T he artworks of Ellen Gallagher and Edgar ­Cleijne may be described as detours, digressions, contaminations, and open-ended gestures instead of return narratives, origin myths...

...Richard J. Powell In his collection of essays, Caribbean Discourse, ´Edouard Glissant describes the Creole languages and literatures of the French Antilles and the pedagogical projects that strive to bring greater understanding and appreciation to créolitié as an “exploded discourse.” In Glissant’s...

... and nostalgic representations of iconic film houses, but as refigurations of landscape paintings. As Glissant puts it, landscape ( le paysage ) is not only a character on equal footing with the human and nonhuman species that occupy it in literature, paintings, and film; it has also become clear...

... for the sake of the grand unity. 14 Unanimity, agreement by all people, involves consensus. For the heretic thinker Édouard Glissant (1928 2011), this semantic field provides the great- est conceivable intellectual and ideological horror: paradise lost minus utopia. The tactics of connect- ing the singular...

... this relation, not just as an inflection via the comparative kinship (or variance) of two states, but also, subsequently, as the potential capacity to change and mutate a state through it. As the propo- nent of a theory or, more aptly, a poetics of relation, Édouard Glissant has claimed that in Relation, ev...

... the interrelationship between multiple histories (colonial, national, and personal) as they collide with social, political, and economic imperatives. Starting with Édouard Glissant’s concept of relational poetics, this article explores reterritorialization and deterritorialization in Idrissou Mora-Kpai’s Arlit...

...Z. S. Strother Toma Muteba Luntumbue, the artistic director of the 4th Biennale of Lubumbashi (October 9 to November 8, 2015), speaks of his goals for the exhibition and his collaboration with cocurator Daniella Géo. Drawing on the “relation politics” of Edouard Glissant, he explains...

...-Arts, Brussels (2003). For the Lubumbashi Biennale, Luntumbue chose the theme of “meteoric realities,” drawn from the work of Edouard Glissant. Most works were chosen in accordance with the theme through...

...Z. S. Strother This review examines the fourth edition of the Lubumbashi Biennale (October 9 to November 8, 2015). Toma Muteba Luntumbue, the artistic director, and cocurator Daniella Géo assembled a strong corpus of socially engaged works of art in phase with Édouard Glissant’s conception...

..., of all possibility of rootedness) little by little suffers the landscape, earns its Nature, knows its land. Édouard Glissant, Poetic Intention Passionately to live the landscape, to release it from the indistinct, to delve into it, to ignite it amongst us. Édouard Glissant, Poetic Intention Mario Lewis...

... of the world, especially lonialism and the corollary ways globalization gives Europe, to see the connections between globaliza- way for the former colonized to break the terms of tion and colonialism and, in the words of Édouard the ransom, Enwezor s appointment as artistic di- Glissant, to understand...

... on Blackness to do something even as it is located outside of the logics of that which is conceived as possible. In line with Carter and Cervenak, what would it mean for Blackness to remain opaque, not asked to do anything, and be accepted as such? As Édouard Glissant so astutely says, The opaque...

... historians.6 Anna Arabindan-Kesson has pointed to a similarly limited engagement with Caribbean art in relation to art by African Americans. Quoting French critic Édouard Glissant, she reminds us that the arrival of the Africans within the phenomenon of slavery is not about the Atlantic, but the Caribbean...

... geographically, culturally, and conceptually a space the Martiniquan writer Édouard Glissant, quoted in the exhibition catalogue, describes as a metaphor for relational identities . . . open-minded, mutable, in flux. 1 Curated by David A. Bailey and Alex Farquharson, the exhibition reflects this plurality...

..., but the framing has intrinsically changed. “Curatorial Statement,” in Fore, contexts that hasn’t been recognized thus far. We exist ed. Lauren Haynes, Naima J. Keith, and Thomas J. Lax (New York: of multiplicities, as Eduard Glissant has framed it, or as Studio Museum in Harlem, 2012), 22–23. Henry Louis...

... s Palimpsest: Tales Spun from Sea and Memories (2022) is featured in a group exhibition for the Grenada pavilion. The exhibition title, An Unknown that Does Not Terrify, references the Martinican-born philosopher and poet Édouard Glissant: We know ourselves as part and as crowd, in an unknown...

... speaks, as it were, to what Édouard Glissant would come to call the right to opacity, which, in the fi­ nal analysis, is perhaps the colonial subject s most capable defense in the face of empire.25 Gerard Aching is a professor of Africana and Romance studies at Cornell University. Notes 1 André Breton...