The push to sustain online learning platforms that have been established in the wake of Covid-19 at South African universities raises a number of concerns. Apart from highlighting the stark and ongoing social inequities in terms of access, the need to ensure that there is still scope in our teaching practice for affective and performative encounters has also been thrown into sharp relief. I draw on two teaching contexts, the one dealing with a literary text, and the other a live performance in order to explore the decolonial potential of affective encounters. In addition to illustrating the complex and unpredictable workings of affect in teaching contexts, I also hope to show how these two incidents offer insight into the interface between sensorial and cognitive knowledge in relation to both literary and performance texts. The aim is to demonstrate how student responses to affective encounters resonate with, rather than directly address, some of the “everyday” processes of decoloniality.

This article is a brief discussion of Pooja Rangan’s book Immediations, highlighting her argument for the need to analyze carefully the audiovisual materialities and ideological assumptions of documentary as a medium.

This article reflects on the challenges that arise when the comparative literature classroom, especially in the Netherlands, is increasingly multilingual and simultaneously increasingly monolingual in its focus on English as a primary language. In view of moving comparative literary studies beyond its Eurocentric framework, what opportunities lie in teaching translated texts in “English(es)” in such a multilingual setting? What are the effects of such an interplay of mono- and multilingualism in view of a commitment to decolonizing the literary curriculum and pedagogical practice? What attention to language and linguistic difference might be available given the diverse linguistic and cultural literacies of students? Less interested in questions of translating texts, the article pursues how teaching literary texts in translation can foster listening to linguistic difference and encourage relational attunement when degrees of literacy and illiteracy are shared at varying levels of competence across students and teachers.

This article is part of a special forum on Pooja Rangan’s award-winning monograph Immediations: The Humanitarian Impulse in Documentary (Duke University Press, 2017).

This response to Pooja Rangan’s book Immediations: The Humanitarian Impulse in Documentary considers the ways nature programs such as Planet Earth and Our Planet make the natural world newly visible yet imagine wildlife and ecosystems almost entirely separate from human contact or intervention, despite concurrent discourses of the Anthropocene and climate crisis.

This response to Pooja Rangan’s bold provocation in Immediations reflects, from a Derridean standpoint, on the impossible responsibility of speaking for the other. In particular, it examines the role played by the microphone as technological prosthesis for the voice in activist practices of audio documentary, analyzing the actions of performance artist Sharon Hayes and sound art collective Ultra-red.

In her response to the forum on Immediations: The Humanitarian Impulse in Documentary (Duke University Press, 2017), author Pooja Rangan takes up a range of issues that emerge in responses to her book by Rey Chow, Lucas Hilderbrand, Ragini Tharoor Srinivasan, and Naomi Waltham-Smith. Rangan’s response revolves around the question: Has reflexivity become untimely? What is the role of reflexive critique in a time of existential crisis? In answering this question, Rangan argues that alongside a “non-naive commitment to a notion of the truth” (a topic that emerges in several of the responses as well as in recent literature on documentary), documentary scholars must pursue a radically uncynical commitment to reflexivity. Redefining reflexivity as a form of “restoration work” (Eli Clare) or “wake work” (Christina Sharpe), Rangan traces the shared investments of documentary critique and contemporary analyses of disability and Black existence.