W.J. Sawyer was the mostwell-known local professional African photographer, with a per-manent studio at Calabar

he visited the Pall Mall exhibition of 1893, wherethe Linked Ring Brotherhood was notable by its absenc

Photographs in West Africa were produced and consumedwithin assemblages that constituted local archives. These some-times corresponded to European practices and sometimes dif-fered considerably and were instead articulated within localconfigurations and modes of taxonomy

the parts that are fi tted together are not uniform either in nature or in origin, and that the assemblage actively links these parts together by establishing relations between them.

word used as translation captures only the second of these mean-ings, creating the impression that the concept refers to a product not a process.

English fails to capture the meaning of the original agencement, a term that refers to the action of matching or fi tting together a set of components (agencer), as well as to the result of such an action: an ensemble of parts that mesh together well.

Let us summarize the principal characteristics of a rhizome: unlike trees or their roots, the rhizome connects any point to any other point, and its traits are not necessarily linked to traits of the same nature; it brings into play very different regimes of signs, and even nonsign states. The rhizome is reducible neither to the One nor the multiple.

Unlike psychoanalysis, psy-choanalytic competence (which confines every desire and statement to a genetic axis or overcoding structure, and makes infinite, monotonous trac-ings of the stages on that axis or the constituents of that structure), schizoanalysis rejects any idea of pretraced destiny, whatever name is given to it

Its goal is to describe a de facto state, to maintain balance in intersubjective relations, or to explore an unconscious that is already there from the start, lurking in the dark recesses of memory and language.

deterritorialization

“utterance about utterance”

“alien” to one another presents itself as “utterance within utterance,”

and in their presence women must adopt the veil, a demure attitude, and an averted gaze. Unrelated men, likewise, must adopt a formal style with unrelated women and avert their eyes from them.

erstood

t is precisely this limited and limiting view of the crisis which leads Jeebleh to his simplistic “individual” and, to a certain extent, megalomaniac solution. His singular intervention will save Somali

political

fact that he is innately evil.

Links thus is structured around a clear moral axis, which comes from outside of the individualist worldview of the novels. But in the process of the individualist “reinvention” of sacred eschatology, the socialpractices in which good and evil were constituted are lost. Good and evil exist in the novel simply as sensational elements in a world without complexity.

Political analysis in Farah’s novel, distills down to the inherent evil in certain individuals, challenged, as we shall see, by the good in others, symbolised by the miracle child, Raasta.

Caloosha as the source of whatever disharmony, violence, corruption, cruelty and brutality exist in the novel. Caloosha, the brother of Bile, who, it appears, murdered his own father and had a hand in Bile’s incarceration under the Dictator, is represented as pure, unadulterated evil, a supporter of inter­clan strife, an oppressor of women and the head of a cartel dealing in body parts

All formats designed for digital cinematography are progressive scan,

enealogy of the accented style may be traced not only ato the epochal shifts of postcolonialism and postmodernism but also to the transformation of cinematic structures, theories, and practices since the 1960s. Specifically, it be­gins with the emergence and theorization of a Latin-American cinema of liber­ation, dubbed "Third Cinema,

ccented cinema is not only a minority cinema but also a minor cinema,

Diaspora, like exile, often begins with trauma, rupture, and coercion, and it involves the scattering of populations to places outside their homeland. Sometimes, however, the scattering is caused by a desire for increased trade, for work, or for colonial and imperial pursuits. Consequently, diasporic movements can be classified according to their moti­vating factors

whereas the later years of the genre started to breach outwards (and also on purpose) when realising its potential to convey the post-revolutionary status of the internalised nation to audiences internationally (whether; this was facilitated by Iranian film production companies, or, for the sake of avoiding false charges by the Iranian government such as mentioned in 5 above, contracting instead with international co-publishing film industries) started to prove rather successfu

colonised

degenerative effects of illnes

r from being confidence-inspiring or providing comfort to her readers, Kingsley’s rhetoric actually seems calculated to inspire anxiet

Kingsley grew up reading about and being inspired by Burton’s travels in West Africa.

s;

n

The colonial project short-circuited this rhetorical loop: it demanded that its proponents – often deeply racist, polygenist men – justify the appropriateness of travelling and settling in foreign, climatologically hostile lands

g.

t

ct

While Horton takes pains to document his medical knowl-edge according to the most stringent standards of Western science, Seacole is confident enough to blend both scientific curiosity as well as folk wisdom in her treatment of disease.

s

Seacole’s maternalism forms an interesting contrast with Mary Kingsley’s relationship to domestic roles. Kingsley clearly states that she can go to West Africa only becauseshe has no children or husband to look after, thus excusing herself from ideals of British Victorian moth-ering. In contrast, Seacole posits herself as more capable of mothering young British men abroad than their own delicate Anglo mothers, who must stay at home.

xv

p.

ary Seacole’s Wonderful Adventures of Mrs Seacole in Many Lands (1857) is an autobiographical memoir that also functioned as a petition for financial support; Richard Burton’s Wanderings in West Africa (1863) and Mary Kingsley’s Travels in West Africa (1897) may both be considered informative travel guides, but were also used to advance the authors’ political opinions and goals; the works of Africanus Horton were often ostensibly meant to educate and inform readers regarding West African diseases, but use disease to further the author’s objective of African independence; Joseph Conrad’s ‘An Outpost of Progress’ (1897) and Heart of Darkness (1899) are fictional tales of travel, but were based on Conrad’s own encounters with colo-nial illness and corruption, as recorded in his Congo Diary and ‘Up-river Book’ (1890).

He portrays the colonial struggle as favouring ‘civilised’ subjects, except in those places, such as Africa, where colonists commonly die from tropical diseases. Those exceptional instances he attributes to the foreign lands’ ‘deadly climates’, personified as an ally of ‘the native race’. If tropical diseases are quantifiable and explicable, then Europeans’ intellectual superiority should compensate for their physical vulnerability, allow-ing them to develop fail-safe preventative and curative measures.

placing fictional texts in dialogue with lesser-known nonfictional texts such as travel memoirs, treatises, speeches and diaries, I am able to trace how narratives of tropical illness function across genres. In addition, ephemeral texts highlight colonial health anxieties through their often blatant rhetorical functions.

92

Exploring Victorian Travel Literature: Disease, Race and Climate suggests that we read ‘contact zones’ not just between peoples and peoples or cultures and cultures, or even between disease carriers and disease carriers, but between bodies and weather, bodies and plants, bodies and landscape. By paying close attention to writers’ unsettling portrayals of tropical climates, this book draws out the political and social repercussions of linking environment with disease. It seeks to better understand the human ecologies of the colo-nies, conceiving of ‘environment’ not in terms of the bucolic but also in terms of climatic contact zones.

Victorian travel writers per-ceived themselves not only as in conflict or in negotiation with foreign peoples and cultures but with the ‘space of colonial encounter’ itself – the tropical environment

‘contact zone’ as the ‘space of colonial encounters, the space in which peoples geographically and historically separated come into contact with each other and establish ongoing relations, usually involv-ing conditions of coercion, radical inequality, and intractable conflict’ (1992: 6).

anti-slavery convention in Nantucket