Cajetan Iheka – författare

By analyzing African and Caribbean texts on their own terms, Horizontal Comparison articulates new forms of transoceanic solidarity.The fields of comparative literature and Black Atlantic studies have an Africa problem: despite sustained attempts to decenter Western paradigms, they still privilege the United States and Europe as the primary loci of reference. So argues Cajetan Iheka in Horizontal Comparison, which aims to redirect both fields toward a non-hierarchical, South-South orientation focusing on the links between Africa and the Caribbean. By analyzing the literary work and real-life trajectories of writers such as Peter Abrahams, Chimamanda Adichie, Maryse Condé, Buchi Emecheta, Jamaica Kincaid, Claude McKay, Dinaw Mengestu, Ferdinand Oyono, Taiye Selasi, and Sam Selvon, Iheka draws our attention to the ways in which African and Caribbean texts inform and mutually constitute each other, bypassing the usual comparisons to Western literary canons. The book challenges not only Western cultural hegemony in the study of global Black writing but also the very methodologies of comparative literary studies, offering fresh insights into reading, trauma, character, and the “worlding” of literature.

By analyzing African and Caribbean texts on their own terms, Horizontal Comparison articulates new forms of transoceanic solidarity.The fields of comparative literature and Black Atlantic studies have an Africa problem: despite sustained attempts to decenter Western paradigms, they still privilege the United States and Europe as the primary loci of reference. So argues Cajetan Iheka in Horizontal Comparison, which aims to redirect both fields toward a non-hierarchical, South-South orientation focusing on the links between Africa and the Caribbean. By analyzing the literary work and real-life trajectories of writers such as Peter Abrahams, Chimamanda Adichie, Maryse Condé, Buchi Emecheta, Jamaica Kincaid, Claude McKay, Dinaw Mengestu, Ferdinand Oyono, Taiye Selasi, and Sam Selvon, Iheka draws our attention to the ways in which African and Caribbean texts inform and mutually constitute each other, bypassing the usual comparisons to Western literary canons. The book challenges not only Western cultural hegemony in the study of global Black writing but also the very methodologies of comparative literary studies, offering fresh insights into reading, trauma, character, and the “worlding” of literature.

This volume provides scholars and students with a birds-eye view of the stories African literature has told about itself. It elaborates on Africa's contributions to an evolving, transnational literary vocabulary and though its organization around key terms rather than specific periods or national canons, Intellectual Traditions of African Literature also facilitates movement between and across African traditions: its framework is intrinsically comparative. As befits a project of this scale and versatility, its contributors are drawn from across professional ranks, areas of geographical and subfield expertise, and academies of origin. By contextualizing African literature within a larger set of literary terms and movements, it demonstrates that African literature is intrinsically worldly and transnational, even at points of local historical engagement.

The problem of environmental degradation on the African continent is a severe one. In this book, Cajetan Iheka analyzes how African literary texts have engaged with pressing ecological problems in Africa, including the Niger Delta oil pollution in Nigeria, ecologies of war in Somalia, and animal abuses. Analyzing narratives by important African writers such as Amos Tutuola, Wangari Maathai, J. M. Coetzee, Bessie Head, and Ben Okri, Iheka challenges the tendency to focus primarily on humans in the conceptualization of environmental problems, and instead focuses on how African literature demonstrates the interconnection and 'proximity' of human and nonhuman beings. Through this, Iheka ultimately proposes a revision of the idea of agency based on human intentionality in African literary studies and postcolonialism: that texts yoke the exploitation of Africans to the despoliation of the environment, and they recommend responsibility toward human and nonhuman beings as crucial for ecological sustainability and addressing climate change.

The problem of environmental degradation on the African continent is a severe one. In this book, Cajetan Iheka analyzes how African literary texts have engaged with pressing ecological problems in Africa, including the Niger Delta oil pollution in Nigeria, ecologies of war in Somalia, and animal abuses. Analyzing narratives by important African writers such as Amos Tutuola, Wangari Maathai, J. M. Coetzee, Bessie Head, and Ben Okri, Iheka challenges the tendency to focus primarily on humans in the conceptualization of environmental problems, and instead focuses on how African literature demonstrates the interconnection and 'proximity' of human and nonhuman beings. Through this, Iheka ultimately proposes a revision of the idea of agency based on human intentionality in African literary studies and postcolonialism: that texts yoke the exploitation of Africans to the despoliation of the environment, and they recommend responsibility toward human and nonhuman beings as crucial for ecological sustainability and addressing climate change.

In African Ecomedia, Cajetan Iheka examines the ecological footprint of media in Africa alongside the representation of environmental issues in visual culture. Iheka shows how, through visual media such as film, photography, and sculpture, African artists deliver a unique perspective on the socioecological costs of media production, from mineral and oil extraction to the politics of animal conservation. Among other works, he examines Pieter Hugo's photography of electronic waste recycling in Ghana and Idrissou Mora-Kpai's documentary on the deleterious consequences of uranium mining in Niger. These works highlight not only the exploitation of African workers and the vast scope of environmental degradation but also the resourcefulness and creativity of African media makers. They point to the unsustainability of current practices while acknowledging our planet's finite natural resources. In foregrounding Africa's centrality to the production and disposal of media technology, Iheka shows the important place visual media has in raising awareness of and documenting ecological disaster even as it remains complicit in it.

In African Ecomedia, Cajetan Iheka examines the ecological footprint of media in Africa alongside the representation of environmental issues in visual culture. Iheka shows how, through visual media such as film, photography, and sculpture, African artists deliver a unique perspective on the socioecological costs of media production, from mineral and oil extraction to the politics of animal conservation. Among other works, he examines Pieter Hugo's photography of electronic waste recycling in Ghana and Idrissou Mora-Kpai's documentary on the deleterious consequences of uranium mining in Niger. These works highlight not only the exploitation of African workers and the vast scope of environmental degradation but also the resourcefulness and creativity of African media makers. They point to the unsustainability of current practices while acknowledging our planet's finite natural resources. In foregrounding Africa's centrality to the production and disposal of media technology, Iheka shows the important place visual media has in raising awareness of and documenting ecological disaster even as it remains complicit in it.

In African Ecomedia, Cajetan Iheka examines the ecological footprint of media in Africa alongside the representation of environmental issues in visual culture. Iheka shows how, through visual media such as film, photography, and sculpture, African artists deliver a unique perspective on the socioecological costs of media production, from mineral and oil extraction to the politics of animal conservation. Among other works, he examines Pieter Hugo''s photography of electronic waste recycling in Ghana and Idrissou Mora-Kpai''s documentary on the deleterious consequences of uranium mining in Niger. These works highlight not only the exploitation of African workers and the vast scope of environmental degradation but also the resourcefulness and creativity of African media makers. They point to the unsustainability of current practices while acknowledging our planet''s finite natural resources. In foregrounding Africa''s centrality to the production and disposal of media technology, Iheka shows the important place visual media has in raising awareness of and documenting ecological disaster even as it remains complicit in it.

Examines the representations of migration in African literature, film, and other visual media, with an eye to the stylistic features of these works as well as their contributions to debates on migrationThis essay collection examines the representations of migration in African literature, film, and other visual media. Inspired by the proliferation of texts focused on this theme and the ongoing migration crises, essays in the volume probe the ways in which African cultural productions shape and are shaped by the migration debates, the contributions these productions make to an understanding of globalization, and the stylistic features of the works. The texts analyzed here include important recent writings and films that have yet to receive considerable scholarly attention, by artists such as Chimamanda Adichie, Teju Cole, Leila Aboulela, Noo Saro-Wiwa, and Marzek Allouache.Current scholarship on migration largely focuses on the journey from Third World spaces to the First World, thereby radically limiting our understanding of migratory flows. This project works against this lopsided analysis ofmigration and considers narratives of return as central to migratory flows. The book also invests in underanalyzed and underrepresented diasporas on the continent including the Lusophone and Indian diasporas. Unlike much scholarship on migration in African cultural studies, which tends to focus primarily on a genre (literature), a region, or a specific language, the current book emphasizes Africa's geographical and linguistic diversity by being attentive to Anglophone, Francophone, and Lusophone areas, as well as an array of texts encompassing various genres.

Taking up the idea that teaching is a political act, this collection of essays reflects on recent trends in ecocriticism and the implications for pedagogy. Focusing on a diverse set of literature and media, the book also provides background on historical and theoretical issues that animate the field of postcolonial ecocriticism. The scope is broad, encompassing not only the Global South but also parts of the Global North that have been subject to environmental degradation as a result of colonial practices. Considering both the climate crisis and the crisis in the humanities, the volume navigates theoretical resources, contextual scaffolding, classroom activities, assessment, and pedagogical possibilities and challenges. Essays are grounded in environmental justice and the project to decolonize the classroom, addressing works from Africa, New Zealand, Asia, and Latin America and issues such as queer ecofeminism, disability, Latinx literary production, animal studies, interdisciplinarity, and working with environmental justice organizations.

A global anthology, curated by experts from around the world, draws on fiction and poetry to examine environmental challenges and their implications for communities.  Featuring short stories, poetry, drama, and creative nonfiction from around the world, this anthology showcases contemporary literature to envision the future of the environment. While environmental literature written in English has been dominated by English and American men who make solo explorations into an unspoiled natural world, Environmental Futures emphasizes local and indigenous writers contending with global landscapes that are far from pristine. Their work opens up decolonial perspectives from Anglophone Africa, South Asia, India, China, South America, the peripheries of Europe, and BIPoC North America. Introducing many writers who will be unfamiliar to English-speaking readers, this collection explores resistance to the oil economy, the impact of storms and natural disasters, extinction, and relations between humans and animals, among other themes.  The pieces are organized by geographical area in five sections: Africa, Asia, Europe, Latin America, and North America. Expert scholars and translators—Kurt Cavender, Roberto Forns-Broggi, Cajetan Iheka, Upamanyu (Pablo) Mukherjee, Irina Sadovina, and Shaobo Xie—selected the works and provided critical introductions for each section.