株式会社極東書店トップ ＞ 商品一覧 ＞ Pandemic Genres : Imagining Politics in a Time of AIDS.
商品詳細
Pandemic Genres : Imagining Politics in a Time of AIDS.
【Open Accessタイトル】
・ISBN 978-0-520-40253-9 paper US$ 34.95
￥8,188.- (税込) ※（※）価格はご注文時の参考価格となります。
納品価格につきましては書籍の入荷時点で確定となります。
版元の原価改定、外国為替の変動等により異なる場合がございますので、予めご了承下さい。
お気に入り
★★★
| 著者・編者 | Hoad, Neville Wallace, |
|---|---|
| 出版社 | (U. California Pr., US) |
| 出版年月 | 2025.02 |
| ページ数 | 264 pp. |
| 言語 | ENG |
| ニュース番号 | ＜740-300＞ |
解説
A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more.
As HIV/AIDS emerged as a public health crisis of significant proportions across sub-Saharan Africa, it became the subject of local and international interest that was at once prurient, benevolent, and interventionist. Meanwhile, the experience of Africans living with HIV/AIDS became an object of aesthetic representation in multiple genres produced by Africans themselves. These cultural representations engaged public discourse-the public policy pronouncements of officials of postcolonial states, an emerging global NGO-speak, and journalism. In Pandemic Genres, Neville Hoad investigates how cultural production-novels, poems, films-around the pandemic supplemented public discourse. He shows that the long historical imaginaries of race, empire, and sex in Botswana, Kenya, and South Africa underwrote all attempts to bring the pandemic into public representation. Attention to genres that stage themselves as imaginary, particularly on the terrain of feeling, may forecast possibilities for new figurations.
As HIV/AIDS emerged as a public health crisis of significant proportions across sub-Saharan Africa, it became the subject of local and international interest that was at once prurient, benevolent, and interventionist. Meanwhile, the experience of Africans living with HIV/AIDS became an object of aesthetic representation in multiple genres produced by Africans themselves. These cultural representations engaged public discourse-the public policy pronouncements of officials of postcolonial states, an emerging global NGO-speak, and journalism. In Pandemic Genres, Neville Hoad investigates how cultural production-novels, poems, films-around the pandemic supplemented public discourse. He shows that the long historical imaginaries of race, empire, and sex in Botswana, Kenya, and South Africa underwrote all attempts to bring the pandemic into public representation. Attention to genres that stage themselves as imaginary, particularly on the terrain of feeling, may forecast possibilities for new figurations.