Epistemic Justice and Creative Agency

Sarah Colvin is the Schröder Professor of German at the University of Cambridge, UK. She has a DPhil, MA, and BA in German from the University of Oxford, UK, and held chairs at the universities of Edinburgh, Birmingham, and Warwick before moving to Cambridge. Her current research focuses on alternative epistemologies and literary aesthetics. Stephanie Galasso is the Schröder Research Associate and an Affiliated Lecturer in German at the University of Cambridge, UK. After completing her BA in German and English at the University of California, Davis, USA, she completed her MA and PhD in German Studies at Brown University, USA. Her doctoral research was partially supported by a Fulbright grant to study at the University of Konstanz, Germany. Her research focuses on intersections between racialization and aesthetics.

• Introduction. Changing the story? Epistemic shifts and creative agency Sarah Colvin and Stephanie GalassoPART I On the Promise and Peril of Stories1 Narratives, social justice, and the common good Chielozona Eze2 Divine justice, epistemic crisis, storytelling Galili Shahar3 ‘The notation of a silent lament’: hermeneutical injustice in Judith Schalansky’s An Inventory of Losses Stephanie GalassoPART II Uncovering Injustice4 Representational epistemic injustice: disavowing the ‘Other’ Africa in the imaginative geographies of Western animation films James Odhiambo Ogone5 Farmers’ self-representation and agency: protest music in the agitations against India’s farm laws Shambhavi Prakash6 The postmigrant critique of the Bildungsroman and the epistemic injustice of the educational system in Deniz Ohde’s Scattered LightKyung-Ho ChaPart III Literary Strategies of Resistance7 The ludic impulse: race narratives ‘at play’ in Toni Morrison’s Playing in the Dark and Zoë Wicomb’s Playing in the LightAretha Phiri8 Narrative pilgrimage and chiastic knowledge in Olivia Wenzel’s 1000 Coils of Fear and Sharon Dodua Otoo’s Ada’s Realm Sarah Colvin9 Tell the truth but tell it slant: Mo Yan’s aesthetics of indirectionShiamin Kwa