Clare Counihan
Biographic Data
| ID | 3784535 |
|---|---|
| NAME | Clare Counihan |
| GIVEN NAMES | Clare |
| FAMILY NAME | Counihan |
| SIGNATURE | COUNIHAN C |
| AFFILIATIONS | Nazareth College |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 8 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2007 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 1 |
The Womxn of Worth at UNC at Chapel Hill
Sea, Land, Air and the Center for Art and Thought
26 Interface Jan Christian Bernabe, Clare Counihan, and Sarita Echavez See Sea, Land, Air and the Center for Art and Thought “Filipinos work everywhere.” With those words, we launched the Center for Art and Thought’s inaugural virtual exhibition Sea, Land, Air: Migration and Labor in summer 2013, and we established the curatorial and intellectual framework that guides all of our projects: a new kind of Philippine-centrism. As the curator, editor…
Interview with Nomusa Makhubu
Clare Counihan interviews Nomusa Makhubu about how her body of work—three series of photographs, Inquietude, Self-Portrait Project 2007/2013, and The Flood—fits into the context of contemporary, post-apartheid South African art. All three series suggest the uneasy relationship between present and past. Makhubu reflects on the impossibility of avoiding politics in South African art, photography's role in the invention of ethnicity in colonial sout…
Childless Mothers and Motherless Children
Mma Ramotswe, the heroine of the No. 1 Ladies’ Detective Agency novels and their adaptations, is proud of “being a traditionally built African lady unlike these terrible stick-like creatures one saw in the advertisements.” This crisis of the ‘traditional’ and the ‘modern’ erupts in the representation in the novels and television series of Mma Ramotswe’s sexuality and mothering, the texts’ failures to acknowledge or negotiate the inconsistencies o…
Desiring Diaspora
Counter to many of the critical readings of Breath, Eyes, Memory , this essay argues that Sophie Caco does not in fact succeed in speaking for herself in the novel's final scene, reflecting the text's ambivalent desire to formulate a Haitian identity that will both testify to Haitian history and function untraumatized in new diasporic spaces. Rather, Counihan posits that the novel fails to reconcile its logic of memorialization with its logic of …
Detecting Outside History in The No. 1 Ladies' Detective Agency
Buttressed by various paratexts, the novel and film The No. 1 Ladies' Detective Agency deploy ethnographic strategies to authorize themselves as realistic representations of Botswana. This essay argues that this use of ethnographic realism and salvage ethnography, respectively, reveal Western desires that Africa remain ahistorical and "authentic."
Books
Reading the Figure of Woman in African Literature
This article examines two interconnected discourses of racial identity in colonial and postcolonial writing to challenge the narratives of difference as they now exist in postcolonial theory. In Black Skin, White Masks, Fanon translates psychoanalysis from a discourse of sexual difference into a discourse of racial difference while explaining the colonial condition. Homi Bhabha subsequently adopts this specific Fanon to create his own psychoanaly…
Detecting Outside History in The No. 1 Ladies' Detective Agency
Buttressed by various paratexts, the novel and film The No. 1 Ladies' Detective Agency deploy ethnographic strategies to authorize themselves as realistic representations of Botswana. This essay argues that this use of ethnographic realism and salvage ethnography, respectively, reveal Western desires that Africa remain ahistorical and "authentic."
Reading the Figure of Woman in African Literature
This article examines two interconnected discourses of racial identity in colonial and postcolonial writing to challenge the narratives of difference as they now exist in postcolonial theory. In Black Skin, White Masks, Fanon translates psychoanalysis from a discourse of sexual difference into a discourse of racial difference while explaining the colonial condition. Homi Bhabha subsequently adopts this specific Fanon to create his own psychoanaly…
Books
Detecting Outside History in The No. 1 Ladies' Detective Agency
Buttressed by various paratexts, the novel and film The No. 1 Ladies' Detective Agency deploy ethnographic strategies to authorize themselves as realistic representations of Botswana. This essay argues that this use of ethnographic realism and salvage ethnography, respectively, reveal Western desires that Africa remain ahistorical and "authentic."
Desiring Diaspora
Counter to many of the critical readings of Breath, Eyes, Memory , this essay argues that Sophie Caco does not in fact succeed in speaking for herself in the novel's final scene, reflecting the text's ambivalent desire to formulate a Haitian identity that will both testify to Haitian history and function untraumatized in new diasporic spaces. Rather, Counihan posits that the novel fails to reconcile its logic of memorialization with its logic of …
Interview with Nomusa Makhubu
Clare Counihan interviews Nomusa Makhubu about how her body of work—three series of photographs, Inquietude, Self-Portrait Project 2007/2013, and The Flood—fits into the context of contemporary, post-apartheid South African art. All three series suggest the uneasy relationship between present and past. Makhubu reflects on the impossibility of avoiding politics in South African art, photography's role in the invention of ethnicity in colonial sout…
Childless Mothers and Motherless Children
Mma Ramotswe, the heroine of the No. 1 Ladies’ Detective Agency novels and their adaptations, is proud of “being a traditionally built African lady unlike these terrible stick-like creatures one saw in the advertisements.” This crisis of the ‘traditional’ and the ‘modern’ erupts in the representation in the novels and television series of Mma Ramotswe’s sexuality and mothering, the texts’ failures to acknowledge or negotiate the inconsistencies o…
Sea, Land, Air and the Center for Art and Thought
26 Interface Jan Christian Bernabe, Clare Counihan, and Sarita Echavez See Sea, Land, Air and the Center for Art and Thought “Filipinos work everywhere.” With those words, we launched the Center for Art and Thought’s inaugural virtual exhibition Sea, Land, Air: Migration and Labor in summer 2013, and we established the curatorial and intellectual framework that guides all of our projects: a new kind of Philippine-centrism. As the curator, editor…
The Womxn of Worth at UNC at Chapel Hill
History (6 works) · Sociology (6 works) · Art (5 works) · African history and culture studies (3 works) · Gender Studies (3 works) · History (3 works) · Law (3 works) · Philosophy (3 works) · Political science (3 works) · Psychoanalysis (3 works)