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The turn of the twenty-first century has witnessed an expansion of critical approaches to African literature. The Routledge Handbook of African Literature is a one-stop publication bringing together studies of African literary texts that embody an array of newer approaches applied to a wide range of works. This includes frameworks derived from food studies, utopian studies, network theory, eco-criticism, and examinations of the human/animal interface alongside more familiar discussions of postcolonial politics. The handbook is divided into seven parts: i) Mapping political agencies, ii) Journeys, geographies, identities, iii) Working through genre, iv) The world of and beyond humans, v) Everyday sociality, vi) Bodies, subjectivities, affect, vii) Literary networks. In each, contributors address the themes of the section from a variety of perspectives in conjunction with analysis of different literary texts. All chapters are original research essays written by a broad spectrum of scholars with expertise in the subject, providing an application of the most recent insights into analysis of particular topics or application of particular critical frameworks to one or more African literary works. The handbook will be a valuable interdisciplinary resource for scholars and students of African literature, African culture, postcolonial literature and literary analysis.

The Cambridge Companion to Postcolonial Literary Studies, first published in 2004, offers a lucid introduction and overview of one of the most important strands in recent literary theory and cultural studies. The volume aims to introduce readers to key concepts, methods, theories, thematic concerns, and contemporary debates in the field. Drawing on a wide range of disciplines, contributors explain the impact of history, sociology and philosophy on the study of postcolonial literatures and cultures. Topics examined include everything from anti-colonial nationalism and decolonisation to globalisation, migration flows, and the 'brain drain' which constitute the past and present of 'the postcolonial condition'. The volume also pays attention to the sociological and ideological conditions surrounding the emergence of postcolonial literary studies as an academic field in the late 1970s and early 1980s. The Companion turns an authoritative, engaged and discriminating lens on postcolonial literary studies.

As postcolonial theories have gradually but persistently gained more prominence in archaeology over the last decade or so, most attention has been directed towards critiques of contemporary academic and, to a lesser extent, popular representations of past colonial contexts. Much less effort has been spent on alternative and fresh interpretations of the colonial contexts in the past themselves. In this issue, however, the focus is firmly on 'doing archaeology' along postcolonial lines. That means either novel interpretations and perspectives on colonial situations in the past, whether distant or less so, or reflections on fieldwork and research in contemporary postcolonial contexts. In both cases, the underlying assumption is that postcolonial theories offer exciting perspectives for doing archaeology differently and it is the aim of this issue to explore these differences, both past and present.

According to Bourdieu, the institution in a broad sense plays an important role in legitimating and transforming certain knowledge, skills, and value into a state of cultural capital; the \"power of instituting\" generates and secures belief in the value of books, thereby contributing to the formation of cultural capital derived from books and expanding the capability of that cultural capital (\"Forms\" 247-48).To subsume Meeks's story into the \"cultural heritage of his people\" might give a homogenized impression of Aboriginal Australians, ignore the diversity of their cultures, and maintain the divide between Aboriginal people and mainstream white society.[...]the brief introduction to the book sketches the Enora story with descriptive words such as \"lush,\" \"tropical,\" and \"native,\" constituting an exotic account of the Aboriginal Dreaming story and arousing a romantic imagination of Aboriginality in readers.[...]there is no intention to establish or maintain the binary opposition between mainstream publishers/editors and Aboriginal publishers/authors, and it is necessary to note that these two \"categories\" actually encompass a rich diversity.[...]as Clare Bradford points out, while the mainstream publisher tends to frame the Aborigi- nal texts with a market-oriented strategy so as to gratify a public readership, it is not \"always feasible for Indigenous authors to publish with Indigenous publishing companies, which are generally small-scale operations producing limited numbers of children's books\" (336).[...]though the collaborative approaches between Aboriginal authors and publishers, or between Aboriginal writers, usually operate on a limited scale, this paper shows that there has been a transformative tendency for Indigenous writers to seize the authorial control in the paratext.