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Afterword: Genre Queries, African Studies

Published online by Cambridge University Press:  06 July 2017

Moradewun Adejunmobi
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Abstract

This essay on genres acknowledges the constructed nature of the fluid classifications that form around recognized and recognizable types of creative work. Some systems of classification owe their recognition to powerful cultural intermediaries. Others, often located in the realm of popular culture, emerge without input from cultural intermediaries. As constructed groupings of works, genres matter for their ability to generate distinct circuits of transmission that allow for a specific type of encounter with the work and a type of response to the work.

Keywords

genre fictionpopular culturecultural intermediaries
Type
Articles
Information
Cambridge Journal of Postcolonial Literary Inquiry , Volume 4 , Special Issue 2: Special Issue: African Genre , April 2017 , pp. 258 - 264
Copyright
© Cambridge University Press 2017 

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References

1 Mittel, Jason, Genre and Television: From Cop Shows to Cartoons in American Culture (London: Routledge, 2004), 2 CrossRefGoogle Scholar.

2 Dimock, Wai Chee, “Introduction: Genres as Fields of Knowledge,” PMLA 122.5 (2007): 1378 Google Scholar.

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8 Shu-Mei Shih, “Literature and the Technologies of Recognition,” 16–17.

9 Shu-Mei Shih, “Literature and the Technologies of Recognition,” 25.

10 Maguire and Matthews, “Are We All Cultural Intermediaries Now? An Introduction to Cultural Intermediaries in Context,” 552.

11 See the following for the interview: https://www.theguardian.com/books/2015/feb/13/aminatta-forna-dont-judge-book-by-cover.

12 Dimock, Wai Chee, “Genre as World System: Epic and Novel on Four Continents,” Narrative 14.1 (2006): 85–101 Google Scholar.

13 Okpewho, Isidore, The Epic in Africa: Toward a Poetics of the Oral Performance (New York: Columbia University Press, 1970)Google Scholar; Sisòkò, Fa-Digi and Johnson, John William, The Epic of Son-Jara: A West African Tradition (Bloomington, IN: Indiana University Press, 1992)Google Scholar; Belcher, Stephen, Epic Traditions of Africa (Bloomington, IN: Indiana University Press, 1999)Google Scholar.

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15 Bamako. Directed by Aberrahmane Sissako, produced by Archipel 33, 2006.

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17 See for example, Haynes, Jonathan and Okome, Onookome, “Evolving Popular Media: Nigerian Video Films,” Nigerian Video Films, ed. Jonathan Haynes. (Athens, OH: Ohio University Press, 2000) 55 Google Scholar.

18 The highest grossing film at the Nigerian box office thus far in 2017 is a romantic comedy: The Wedding Party. For more on this, see http://shadowandact.com/2017/04/04/the-wedding-party-is-the-highest-grossing-film-in-nigerian-box-office-history/; http://variety.com/2017/film/global/wedding-party-fuels-record-nigerian-box-office-despite-ailing-economy-1201977878/. In 2016, the highest grossing locally produced film in Nigeria was a comedy: A Trip to Jamaica.

19 For the list of titles in the Adoras series, see http://www.nei-ceda.com/fr/14-collection-adoras.