Jessica Horn – författare

"Written in love and fire, African Feminist Praxis is meticulous and visionary." - Dr. Pumla Dineo Gqola, SARChI Chair in African Feminist Imagination, Nelson Mandela University and author of Female Fear FactorySo much of the story of African resistance has been told in the masculine, tracing the history of spectacle: great struggles, great speeches, the grand displays of nation building. This book adds to the literature that reverses this, exploring the flesh and breadth of contemporary African feminist politics as articulated across the African continent. It is structured around the key principles of kinship, courage, pleasure, care and memory, and draws on the African feminist academic canon, the “grey literature” of practitioner knowledge and narratives of feminists activists themselves. Through this it evidences the argument that African feminist praxis is fundamentally a politics of proposition, a mode of liberatory worldmaking.The Social Science for Social Justice series challenges the Ivory Tower of academia, providing a platform for academics, journalists, and activists of color to respond to pressing social issues.

"Written in love and fire, African Feminist Praxis is meticulous and visionary." - Dr. Pumla Dineo Gqola, SARChI Chair in African Feminist Imagination, Nelson Mandela University and author of Female Fear FactorySo much of the story of African resistance has been told in the masculine, tracing the history of spectacle: great struggles, great speeches, the grand displays of nation building. This book adds to the literature that reverses this, exploring the flesh and breadth of contemporary African feminist politics as articulated across the African continent. It is structured around the key principles of kinship, courage, pleasure, care and memory, and draws on the African feminist academic canon, the “grey literature” of practitioner knowledge and narratives of feminists activists themselves. Through this it evidences the argument that African feminist praxis is fundamentally a politics of proposition, a mode of liberatory worldmaking.The Social Science for Social Justice series challenges the Ivory Tower of academia, providing a platform for academics, journalists, and activists of color to respond to pressing social issues.

"Written in love and fire, African Feminist Praxis is meticulous and visionary." - Dr. Pumla Dineo Gqola, SARChI Chair in African Feminist Imagination, Nelson Mandela University and author of Female Fear Factory So much of the story of African resistance has been told in the masculine, tracing the history of spectacle: great struggles, great speeches, the grand displays of nation building. This book adds to the literature that reverses this, exploring the flesh and breadth of contemporary African feminist politics as articulated across the African continent. It is structured around the key principles of kinship, courage, pleasure, care and memory, and draws on the African feminist academic canon, the "grey literature" of practitioner knowledge and narratives of feminists activists themselves. Through this it evidences the argument that African feminist praxis is fundamentally a politics of proposition, a mode of liberatory worldmaking.The Social Science for Social Justice series challenges the Ivory Tower of academia, providing a platform for academics, journalists, and activists of color to respond to pressing social issues.  

Seminar paper from the year 2004 in the subject American Studies - Literature, grade: 2,0, , course: "The American Short Story", language: English, abstract: On these pages the elements of the Romantic Period in Edgar Allan Poe’s short story “Ligeia“ should be analysed. Poe, “who has so drastically altered the landscape of the popular imagination” (Wright 375) and who “had such a powerful effect on his fellow artists” (Wright 375), created with “Ligeia” a typical text of the Romantic Period. The text “Ligeia” is about the death of the young lady Ligeia. After her death her husband becomes addicted to opium. Although he spends most of his time thinking of Ligeia, he soon gets married with the lady Rowena Trevanion. After their marriage he brings Rowena into a bridal chamber. This chamber is full of funeral decorations, what attacks Rowena with horror. Because of that she gets ill and feels the presence of the dead Ligeia in the room. Finally Rowena dies and the narrator ends the story with Ligeia’s transformation into Rowena’s body. After this transformation the reader has to ask himself if Ligeia actually existed, if the whole story is true or if it only takes place in the imagination of the narrator. To illustrate “Ligeia” as a romantic text I will give a short overview of the history and the elements of the Romantic Period. Afterwards I will explain these elements in Poe’s text “Ligeia” according to keywords like Gothic, Imagination, and the function of the narrator, which are usual for romanticism. Finally I will tell something about Poe’s theory concerning the short story to show on the one hand the importance of the self as a major theme of romanticism and on the other hand why Poe helped to establish the genre of science fiction, horror, and fantasy in his modern form.