Archive for 2020

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[Commlist] New issue: Celebrity and Protest in the Anti-Apartheid Struggle

Tue Sep 22 16:54:33 GMT 2020

Taylor & Francis Online - The new journals and reference work platform for Taylor & Francis <>

Critical Arts, Volume 34, Issue 1, February 2020 <> is now available online on Taylor & Francis Online <>.

Celebrity and Protest in the Anti-Apartheid Struggle

This new issue contains the following articles:



*Articles *

Celebrity and Protest in the Anti-Apartheid Movement <>
Louise Bethlehem & Tal Zalmanovich
Pages: 1-9 | DOI: 10.1080/02560046.2020.1725775

Nelson Mandela’s “Show Trials”: An Analysis of Press Coverage of Mandela’s Court Appearances <>
Martha Evans
Pages: 10-24 | DOI: 10.1080/02560046.2019.1694557

“Trevor is ‘News’”: Celebrity as Protest in the Early Anti-Apartheid Struggle, 1948–1960 <>
Tal Zalmanovich
Pages: 25-40 | DOI: 10.1080/02560046.2019.1655081

Not Merely a Newsworthy Commodity: Jean-Paul Sartre's Engagement in the Struggle Against Apartheid <>
Tal Sela
Pages: 41-55 | DOI: 10.1080/02560046.2019.1691616

“A Black Rather Well-Known South African Recently Arrived in London”: Critical Responses to Todd Matshikiza’s Chocolates for My Wife <>
Andrea Susan Thorpe
Pages: 56-72 | DOI: 10.1080/02560046.2019.1696382

Literary Celebrity and Political Activism: Wole Soyinka’s Nobel Prize Lecture and the Anti-Apartheid Struggle <>
Karin Berkman
Pages: 73-86 | DOI: 10.1080/02560046.2019.1691246

The Gods must be Crazy, or the Rhetoric of Apartheid: A (Re)evaluation of Jamie Uys's Film in the Context of French Anti-apartheid Solidarity <>
Namara Burki
Pages: 87-98 | DOI: 10.1080/02560046.2019.1684967

From South Africa to South Central L.A.: Transnational Black Protest, Celebrity, and the Cultural Boycott <>
Mychal Matsemela Odom & Daniel Bankole Widener
Pages: 99-115 | DOI: 10.1080/02560046.2020.1725586

“We Are Worried Mothers:” A Panel of “Ordinary South Africans” on US Capitol Hill <>
Myra Ann Houser
Pages: 116-128 | DOI: 10.1080/02560046.2019.1680719

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*Critical Arts: Aims and scope*

From its inception, Critical Arts  examined the relationship between texts and contexts, cultural formations and popular forms of expression, mainly in the Third World, but after the 1994 transition in South Africa  Critical Arts repositioned itself in the South-North  and  East-West nexus focusing on developing transdisciplinary epistemologies. Critical Arts ' authors are Africans debating Africa with the rest; and the rest debating Africa and the South and with each other.

The journal is rigorously peer reviewed, via ScholarONE Manuscripts, and aims to shape theory on the topics it covers.  Cutting edge theorisation (supported by empirical evidence) rather than the reporting of formulaic case studies is preferred.  Submissions are sought from both established and new researchers, and recent topics have included political economy of the media, political communication, intellectual property rights, visual anthropology and indigeneity,  the ethnographic turn in art, and of course cultural studies. Submissions must, perhaps, aim to restore the vision of earlier theorists and historians, for whom ‘culture’ was a kind of synthesis arising from the contradictions between human society and the politics of nations. Under the pressures of globalization, this kind of understanding becomes more relevant at every turn. Critical Arts seeks to profile those approaches to issues that are amenable to a cultural studies-derived intervention, on the basis that ‘culture’ is a marker of deeper continuities than the immediate conflicts under the fire of which so many must somehow live their lives.

Editor-in-Chief: Keyan Tomaselli – (keyant /at/ <mailto:(keyant /at/>

Managing Editor: David Nothling – (criticalarts /at/ <mailto:(criticalarts /at/>

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