Performing the Archive in the Americas [CR: the New Centennial Review]


Performing the Archive in the Americas [CR: the New Centennial Review]
CR: the New Centennial Review
Michigan State University Press, Etats-Unis - Michigan
Volume 22, Number 3, Winter 2022
Avril 2023
164 pages
En savoir +
CR: The New Centennial Review is devoted to comparative studies of the Americas that suggest possibilities for a different future. Centennial Review is published three times a year under the editorship of Scott Michaelsen (Department of English, Michigan State University) and David E. Johnson (Department of Comparative Literature, SUNY at Buffalo).

The journal recognizes that the language of the Americas is translation, and that questions of translation, dialogue, and border crossings (linguistic, cultural, national, and the like) are necessary for rethinking the foundations and limits of the Americas. Journal articles address philosophically inflected interventions, provocations, and insurgencies that question the existing configuration of the Americas, as well as global and theoretical work with implications for the hemisphere. 




Volume 22, Number 3, Winter 2022


The starting point for this special issue was a pre-organized panel at the Louisville Conference on Literature and Culture that took place in 2018 and featured m. nourbeSe philip, author of Zong! (Wesleyan 2008), as the opening creative keynote speaker and Brent Hayes Edwards, author of The Practice of Diaspora (Harvard 2003), as the closing critical keynote. Postcolonial performances of the archive in the Americas seemed a compelling subject for discussion for a panel inspired by the work of the conference keynote speakers. In the area of the Afro-Caribbean diaspora, in fact, this is an essential area of intervention, as the archive here extends beyond traditional definitions that associate it with an institutional and legislative body of authorized and authenticating documents. Working in and through the archive, artists from this diaspora have turned historical memory away from tropes of resurrection to ones of construction, redefining the archive as a performative site where the boundaries between past, present, and future, public and private, reality and fiction are renewed with each act of access. In the hands of writers, artists, and thinkers, the received archive ceases to be a heritage, an obligation binding us in perpetuity. It becomes rather a source of agency—resourceful and repeatable. To borrow a phrase by Jay Bernard, a Black British poet, archivist, and activist of Caribbean origin, the descendants of the enslaved might be “haunted” by history. And yet when Black artists and writers repurpose the archive, they “haunt it back” (2019, xi).




Table of Contents

Introduction : Beginning, Rupture, Redirection
         Simona Bertacco, Delphine Munos, Jason Wiens (view here :
         pp. 1-11

“Breaking and Entering the Colonial Archive”
         M. Nourbese Philip, Simona Bertacco
         pp. 13-35 

Respite. Quiet. A House of Dreams
         Katherine McKittrick
         pp. 37-55

Archiving Black Diasporas: Looking at Photographs with Saidiya Hartman, Myriam J. A. Chancy, and Dionne Brand
         Franca Bernabei
         pp. 57-77

Theater of Ancestral Mediation: Vodou in the Performance Aesthetics of Miracson Saint-Val
         Jason Allen-Paisant
         pp. 79-101

Lose Your Father: Long-Suppressed Voices in Caryl Phillips’s Strange Fruit(s)
         Delphine Munos (view here :
         pp. 103-118

"Liberty or Death!”: An Archaeology of the Freedom Narrative in the Age of Revolution
         William Boelhower
         pp. 119-139

Unhousing the Archives Around the Zong, Again: Winsome Pinnock’s Rockets and Blue Lights and Lawrence Scott’s Dangerous Freedom
         Bénédicte Ledent  (view here :
         pp. 141-158



Éditeur·rice·s scientifiques :

Delphine Munos (ULiège - BELGIQUE) est maître de conférences et assistante au Département de langues modernes : linguisitique, littérature et traduction, et membre de l'Unité de Recherche CEREP
• Jason Wiens (UoC - University of Calgary - CANADA)
• Simona Bertacco (University of Louisville - USA)

Partager cette sortie de presse