Madina Tlostanova is Professor of Postcolonial Feminism at Linkoping University, Sweden.  The author of Gender Epistemologies and Eurasian Borderlands (2010) and Learning to Unlearn: Decolonial Reflection from Eurasia and the Americas (co-authored with Walter Mignolo, 2012), Tlostanova focuses on non-Western feminism, postcolonial and decolonial thought, and postsocialist studies.

“Postcolonialism and Postsocialism in Fiction and Art is a balanced repertory of possible adaptations and deconstructions of postcolonial and postsocialist theories, practical examples of decolonial thinking, impressive reviews and close-readings of artworks, it is a useful and enjoyable text for researchers and students of postcolonial and postsocialist studies and also for art enthusiasts who take interest in the Eurasian borderlands.” (Fanni Feldmann, Hungarian Journal of English and American Studies, Vol. 25 (1), 2019)

• Prologue.- Introduction. A leap into the void?.- 1. How to disengage from the coloniality of perception.- 2. Decolonial art in Eurasian borderlands.- 3. Decolonizing the museum.- 4. Postsocialist/Postcolonial tempo-localities.- 5. Tricksters, Jesters, Qalandars.- 6. Coloniality of memory at the postcolonial/postsocialist juncture.- Afterword. An open finale.- Bibliography.

Madina Tlostanova is Professor of Postcolonial Feminism at Linkoping University, Sweden.  The author of Gender Epistemologies and Eurasian Borderlands (2010) and Learning to Unlearn: Decolonial Reflection from Eurasia and the Americas (co-authored with Walter Mignolo, 2012), Tlostanova focuses on non-Western feminism, postcolonial and decolonial thought, and postsocialist studies.

“Postcolonialism and Postsocialism in Fiction and Art is a balanced repertory of possible adaptations and deconstructions of postcolonial and postsocialist theories, practical examples of decolonial thinking, impressive reviews and close-readings of artworks, it is a useful and enjoyable text for researchers and students of postcolonial and postsocialist studies and also for art enthusiasts who take interest in the Eurasian borderlands.” (Fanni Feldmann, Hungarian Journal of English and American Studies, Vol. 25 (1), 2019)

• Prologue.- Introduction. A leap into the void?.- 1. How to disengage from the coloniality of perception.- 2. Decolonial art in Eurasian borderlands.- 3. Decolonizing the museum.- 4. Postsocialist/Postcolonial tempo-localities.- 5. Tricksters, Jesters, Qalandars.- 6. Coloniality of memory at the postcolonial/postsocialist juncture.- Afterword. An open finale.- Bibliography.