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The authors propose that the typologically uncommon combination of labial and palatal constriction in Twi has arisen from a convergence created by general patterns of coarticulation of consonants and vowels. This convergence has been systematized in a (consonantal) acoustic dimension partially independent from the original (vocalic) dimensions of contrast for which the rounding and palatal articulations were specified. These conclusions are based on an examination of distributional patterns, palatograms of the articulation of secondarily articulated consonants, and acoustic analyses. Contrastiveness and quantal considerations can be seen as contributing to the occurrence of typologically odd sounds, provided one keeps in mind how an articulatory gesture functions within a language's contrastive system.
David Hering demonstrates how Kunzru dramatises musical objectification to provide a satirical swipe at the condition of blackness in contemporary America. Following the actions of two young college graduates, Seth and Carter, as they strive to add old blues texture 344s to musical recordings in order to attain a level of cultural authenticity, White Tears emerges as Kunzru’s most atmospheric novel, documenting the insidious cultural contamination of the past on the present. As the chapter argues, their Baudrillardian track, ‘Graveyard Blues’, comes to serve as a liminal object ‘which speaks to a broader social concept of blackness as both object and non-existence, one which Kunzru weaponises by transforming this abject, non-existent, ghostly state into a violent narrative of revenge, revoicing and possession’. Hering’s analysis – via a sustained conversation with Frantz Fanon - examines how Kunzru’s work interrogates the complex interplay of subjecthood and objecthood in relation to the traumatic legacy of racial exploitation, gesturing to the legacies of slavery woven into the fabric of American culture.
Lucienne Loh’s chapter re-evaluates Kunzru’s 2005 satirical globalisation novel to indicate how its dissection of digital interconnection gestures towards the insidious confluence of biological and technological forces in the twenty-first century. Forging clear parallels between Arjun Mehta’s Leela virus and the recent pandemic, with economic damage becoming the primary concern over issues of national safety, Loh suggests the Western world’s attempts to overcome the respective viruses amounts to a ‘relentless and committed drive to secure their hegemonic ideological grip on the world’. With this in mind, the efforts of Thatcherite Guy Swift and his branding agency to market Britain as a global leader alludes to recent attempts to draw heavily on national heritage as a belated attempt to retain international influence. In the concluding part of her chapter, Loh argues that the novel attains an added prescience, satirising a specific strain of British populism – predicated on imperial dreaming and racist ideologies – which would emerge a decade later and slowly transform into a ‘COVID nationalism’ that doubles down on the desire to turn towards the bordered world.