Sohrab Sepehri (1928–1980), the Iranian poet, painter, and translator, wrote during the tumultuous decades before the Islamic revolution in Iran (1979), concurrent with global decolonizing movements. At a time when many of his contemporaries were active participants in the “Committed” literary movement and wrote ostensibly political poetry, Sepehri’s work was considered apolitical and thus marginal in the revolutionary discourse of the time. This article demonstrates how his writing in fact worked towards decolonizing the mind of the Iranian subject by creating his own unique language of revolt–a language that refrained from engaging in the East-West binarism of this discourse. His language of revolt comes out of his subversive view of culture and through his frequent travels to global literary spaces while simultaneously de-centering these spaces. I analyze his poem "Address" in tandem with its visual representation by Abbas Kiarostami to present the embodiment of his poetic geography.

This article provides a contextual analysis of an enigmatic object—dubbed the “Confucius Dressing Mirror” (Kongzi yijing 孔子衣鏡)—recently unearthed from the tomb of Liu He 劉賀 (Marquis of Haihun 海昏侯, d. 59 BCE) in 2015. I raise questions about the prevailing identification of this object as a “dressing mirror” and a “lived object,” used by Liu He for moral self-cultivation or political self-preservation in his volatile life as the deposed ninth emperor of Han. Instead, I treat the object as an assemblage and analyze its complete material composition and physical placement in Liu He's tomb in the broader context of funerary material culture and burial practice in early imperial China. I propose that the entombed object can be considered as a composite talisman to protect the deceased against baleful and harmful influences in the tomb and in his afterlife. Methodologically, this article stresses the importance of contextual analysis in shedding light on the traditional conceptual categories such as “lived object” (shengqi 生器) and “funerary objects” (mingqi 明器) in actual funerary ritual processes.

Aminatta Forna’s latest novel, Happiness, has deservedly won commendations from eminent critics and reviewers such as Salman Rushdie. Some readers, however, while being sensitive to its charm, to the elegance of the writing, to the power of the description and the remarkable use of detail, might find the relationship between the title and the numerous concerns of the novel rather problematic. Although titles do not always suggest the main concerns of the novel, they can act as significant pointers. This novel lays hands on apparently disparate elements such as the need to protect animals and other endangered species, the search for a disturbed young boy whose mother has been wrongfully detained by British immigration authorities, the need to care for a once brilliant scientist now suffering from Alzheimer’s, the psychiatric issues involved in the defense of a young widow accused of arson, and the brutalities perpetrated by humans all over the world. Some readers might wonder whether there is a central focus and whether that focus is indeed happiness. Essentially, the main issue is how the concept of happiness fits into all of this. And yet, it is the argument of this paper that Happiness possesses an overarching common thread and manifests an overwhelming central concern.

Neuroprosthetic speech devices are an emerging technology that can offer the possibility of communication to those who are unable to speak. Patients with ‘locked in syndrome,’ aphasia, or other such pathologies can use covert speech—vividly imagining saying something without actual vocalization—to trigger neural controlled systems capable of synthesizing the speech they would have spoken, but for their impairment.

We provide an analysis of the mechanisms and outputs involved in speech mediated by neuroprosthetic devices. This analysis provides a framework for accounting for the ethical significance of accuracy, control, and pragmatic dimensions of prosthesis-mediated speech. We first examine what it means for the output of the device to be accurate, drawing a distinction between technical accuracy on the one hand and semantic accuracy on the other. These are conceptual notions of accuracy.

Both technical and semantic accuracy of the device will be necessary (but not yet sufficient) for the user to have sufficient control over the device. Sufficient control is an ethical consideration: we place high value on being able to express ourselves when we want and how we want. Sufficient control of a neural speech prosthesis requires that a speaker can reliably use their speech apparatus as they want to, and can expect their speech to authentically represent them. We draw a distinction between two relevant features which bear on the question of whether the user has sufficient control: voluntariness of the speech and the authenticity of the speech. These can come apart: the user might involuntarily produce an authentic output (perhaps revealing private thoughts) or might voluntarily produce an inauthentic output (e.g., when the output is not semantically accurate). Finally, we consider the role of the interlocutor in interpreting the content and purpose of the communication.

These three ethical dimensions raise philosophical questions about the nature of speech, the level of control required for communicative accuracy, and the nature of ‘accuracy’ with respect to both natural and prosthesis-mediated speech.

This response to Arjun Appadurai’s paradigm piece “The Ready-Made Pleasures of déjà vu” turns on the example of the classic Bollywood song ‘Baar baar dekho’ (“Watch it again and again,” Chinatown, 1962), to elaborate on the pleasures of cinematic repetition captured by Appadurai’s interest in “repeat viewing,” or “watching as if for the second time.” By proffering the template of “call and response,” which derives from Africanist kinesthetic principles, in dialogue with Appadurai’s appeal to an Indic investment in “re-call and re-turn,” I examine how the protocols and structures of “spontaneous” improvisation constitute a shared yet divergent basis for a global, modern politics of pleasure. Through this strategy of placing in percussive play two cultural systems of rhythmic repetition, I posit the redemptive potential of repetition as difference as an answer to political mobilizations of repetition against difference.

Mia Couto is among the most prominent of contemporary Mozambican writers. Yet he has also enjoyed a career as an environmental biologist and ecologist, having expressed much interest in interrogating the border between what is human and not human through his scientific practice. In this essay I locate the nexus of Couto’s literary and ecological careers in his concern with recovering forms of proximity among humans, environments, and other species. Through an analysis of some of Couto’s recently translated novels, I argue that his work reconceives of the relations between humans and animals through the concept of biosemiotics, an approach attuned to languages conveyed semiotically through embodied and skillful engagement with the larger-than-human world. Couto’s work in turn grounds biosemiotics in segments of African life that find their basis in forms of animism, thus implicating the concept in the postcolonial work of cultural recuperation and decolonization.

This essay argues that the art student who decides not to be an artist exposes the essential lack in many working artists today: this is the lack of fun, which is necessary for successful art and which—ironically—the artist might find once they leave their craft. Responding to Arjun Appadurai’s essay, “The Ready-Made Pleasures of Déjà Vu: Repeat Viewing of Bollywood Films,” I use Appadurai’s “repeat viewer” to focalize the art student as a figure who is both the repeat viewer and the artist who creates the work of art that solicits repeat viewing to begin with. The art student embodies in his or her own self the transition from the artist to the viewer, allowing for a productive reciprocity whereby the artist performs the role of the viewer and vice versa. I close my essay by reflecting on the art student as a possibility for rethinking India’s political dilemma that concludes Appadurai’s essay.

This essay provides a critical review of the field of postcolonial African genocide writing. The review makes a case for scholarly recognition of the discourse of African genocide literature. The essay advances some broad claims, among which include the following: that genocidal atrocities in Africa have provoked a body of imaginative literature, which, among other things, has attempted to imagine the conditions giving rise to African genocides, and that this body of literature underlines a confluence of sensibilities shaping atrocity writings and their critical receptions in Africa since the mid-twentieth century. The review provides a critical overview of fictional narratives as well as their scholarly receptions bordering on genocidal atrocities in the Nigerian and Rwandan contexts.

Happiness explores the themes of violence and trauma as one of its fundamental concerns. In this regard, the character and role of Dr. Attila Asare, a Ghanaian psychiatrist, is crucial to understanding Forna’s theorizations on trauma and advancement of a new hypothesis on its manifestations and possibilities of recovery. In laying the foundation for the articulation of his new theory of trauma, Attila gives us a window into violence in two different geographical settings: Bosnia in the winter of 1995 and Sierra Leone in 1995. It is significant that both wars occurred at about the same time and that they were both notorious for the nature and extent of the carnage that characterize them.