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1 Introduction China has experienced an unprecedented rate of urbanisation since opening up in 1978, not only in the growth of urban populations but also in the spatial expansion of built-up areas ( Gu et al., 2012 , Deng et al., 2015 , Liu et al., 2014 ). This rapid urban expansion is accompanied by the large-scale appropriation of rural land for development purposes, and as a result, millions of peasants have lost their land for agricultural production and living and are displaced involuntarily to purpose-built resettlement neighbourhoods ( Xu et al., 2011b
In response to Chris Marker and Alain Resnais’s collaborative meditation on art and colonialism in Statues Also Die (1953), Duncan Campbell’s video installation It for Others (2013) takes a complex approach to presenting a Marxist criticism of the commoditization of art and culture. This article considers the intermedial and intertextual properties of It for Others as an example of convergence culture that transcends postmodern quotation and pastiche. While the film is apparently a bricolage of visual artefacts, it is in fact an intricately woven audiovisual essay concerned with the appropriation of not only colonized objects as its narration makes clear, but also of still images, moving images, written texts, sound samples, and the labour that produced them. The article examines how the film troubles notions of documentary realism and truth through its acts of appropriation that reflexively criticize the commercial appropriation and commoditization of artworks and histories. It also reflects on the film’s Marxist approach to related issues around authorship, ownership and access to artworks, particularly in the light of the film’s acknowledgement in prize culture.
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This paper examines the appropriation of writing as an integral part of the colonial encounter in Achebe’s Arrow of God (1964). Achebe’s hero (Ezeulu) realizes the pitfalls of orality in the confrontation with Europeans who are equipped with writing and its accompaniments. The coming of the West is therefore welcomed as Ezeulu quickly sides with them to empower himself against the contending forces of a disintegrating society. I argue that, as the Chief Priest of Ulu, Ezeulu is aware of the flaws in the oral nature of his religious pantheon and by sending his son Oduche to learn the art of writing he appropriates the technology of writing in order to prevail against his enemies and ineluctably allows his god’s surrender to the Christian God. This absorption into a greater pantheon is facilitated through the appropriation of writing and the sacred book.
In the novel Vengeance du traducteur, Brice Matthieussent focuses on the translator-author relationship and tackles the question from the point of view of the translator’s note. The author is eventually murdered by the translator out of revenge, not only in symbolical terms but also in literal terms. A given aesthetics of translation is thereby conveyed, going through stages of appropriation, digestion, transportation and transgression of text and translation rules, which nonetheless does not necessarily reflect the author’s genuine stand, a famous translator himself.
Part of the raw material accumulation for the medicinal plant industry in Romania is reliant on gathering plants from the so-called spontaneous flora. The imagery of medicinal plants played upon by medicinal plant product manufacturers is often abundant in visions of either wilderness or traditional peasant landscapes such as pastures. This article aims to present instead two different spaces where medicinal plants come from: wild pansy from within an oil seed rape cultivation, and elderflowers and nettles from the ruins of a former socialist orchard. These spaces of spontaneous flora highlight the process of capital’s appropriation or salvage of the ‘free’ reproductive labour (spontaneous growth) of weeds often at odds and against other capitalist processes. Moreover, salvaging or scrounging is done through the cheap labour of a family whose livelihood depends on work both inside and outside of this capitalist process. These places, therefore, highlight the tension between the spontaneous flora and scroungers on the ground and Nature with its ancestral peasants on the supermarket and nature shop shelves.