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As he makes his rounds, a night watchman hears birds calling, insects buzzing, and vehicles roaring by, while a stray kitten keeps him company.

No detailed description available for \"Watching While Black Rebooted!\".

Abstract This article centers what provision grounds meant to and for Afro-Jamaican apprentice laborers, and it details the complicated nature of customary rights, which were under attack after abolition in 1834. Although the apprentices' provision grounds did not belong to them legally, they believed this land was theirs by customary right. Maintaining provision grounds allowed some apprentices to increase their capital and carve out autonomous spaces. For others, provision grounds led to familial and communal disputes over land rights. Furthermore, this study highlights rights lost and gained for apprentices after abolition and emphasizes how apprentice laborers sometimes exercised their newfound right to file complaints against overseers to secure their customary rights. By evaluating the factors that encouraged and discouraged the careful cultivation of one's grounds during apprenticeship, this article also evaluates the role that these grounds played in the wider Afro-Jamaican community forged on pens and plantations.

Two watchmen secure the river that runs through a neighbourhood in Lausanne. Ammar is new to the job, and Daniel shares his experience with him. During their rounds and encounters with the inhabitants, they observe and are observed, while bonds are being formed. What could have happened by the river?

This article centers what provision grounds meant to and for Afro-Jamaican apprentice laborers, and it details the complicated nature of customary rights, which were under attack after abolition in 1834. Although the apprentices’ provision grounds did not belong to them legally, they believed this land was theirs by customary right. Maintaining provision grounds allowed some apprentices to increase their capital and carve out autonomous spaces. For others, provision grounds led to familial and communal disputes over land rights. Furthermore, this study highlights rights lost and gained for apprentices after abolition and emphasizes how apprentice laborers sometimes exercised their newfound right to file complaints against overseers to secure their customary rights. By evaluating the factors that encouraged and discouraged the careful cultivation of one’s grounds during apprenticeship, this article also evaluates the role that these grounds played in the wider Afro-Jamaican community forged on pens and plantations.

Winner of the Best Book Award in Comics History from the Grand Comics Database Honorable Mention, 2019-2020 Research Society for American Periodicals Book PrizeThe term \"graphic novel\" was first coined in 1964, but it wouldn't be broadly used until the 1980s, when graphic novels such as Watchmen and Maus achieved commercial success and critical acclaim. What happened in the intervening years, after the graphic novel was conceptualized yet before it was widely recognized? Dreaming the Graphic Novel examines how notions of the graphic novel began to coalesce in the 1970s, a time of great change for American comics, with declining sales of mainstream periodicals, the arrival of specialty comics stores, and (at least initially) a thriving underground comix scene. Surveying the eclectic array of long comics narratives that emerged from this fertile period, Paul Williams investigates many texts that have fallen out of graphic novel history. As he demonstrates, the question of what makes a text a 'graphic novel' was the subject of fierce debate among fans, creators, and publishers, inspiring arguments about the literariness of comics that are still taking place among scholars today. Unearthing a treasure trove of fanzines, adverts, and unpublished letters, Dreaming the Graphic Novel gives readers an exciting inside look at a pivotal moment in the art form's development. 

Cet article propose un retour critique sur une méthode de terrain faisant usage de l’écriture poétique comme moyen d’accompagner à la parole des personnes peu à l’aise vis-à-vis du récit de soi. Cette expérimentation a notamment été conduite auprès des gardiens de sécurité privée de Nairobi (Kenya), des individus en situation d’isolement au travail et soumis à de fortes logiques de domination. Ces « veilleurs » de la ville apparaissent particulièrement vulnérables face aux attendus implicites de la mise en récit de soi (être en capacité de dire « je », se projeter dans un temps linéaire et progressif, donner du sens aux différents espaces parcourus). Le recours à une langue poétique permet une expression à la fois plus fluide et moins douloureuse, à condition de se montrer particulièrement attentif aux conditions concrètes de son écriture. Ainsi, ce texte revient sur les enjeux d’une création à quatre mains lors des ateliers, de la matérialité de l’écriture, de la constitution d’un « espace à soi » ; autant d’éléments qui, tenus ensemble permettent d’accompagner avec justesse à la parole. Parallèlement, il interroge les conditions d’accueil de ces productions poétiques au sein de nos propres textes en sciences sociales. L’articulation écriture poétique – écriture scientifique, loin de constituer une impasse, permet au contraire de réinsérer une certaine précarité dans nos formes textuelles, nécessaire à la crédibilité de nos discours. This article presents analysis about writing poetry as a creative method in the field, in order to assist people in expressing themselves about their own life, especially those who are not familiar with storytelling. Such a methodology has been developed during a two year’ethnographic field study with private security guards of Nairobi (otherwise called watchmen), subaltern workers whose lives are structured by precarity, everyday humiliations and under strong relationships of domination. These watchmen of Nairobi appear as highly vulnerable, especially when one asks them to build and tell the story of their own life. The ability of saying “I”, the one of being embedded in a linear and progressive time structure, as well as the ease of giving sense to different lived places, are indeed not obvious skills for each and every one. Facing these challenges, I argue that the use of poetry can be of great help in order to express lives with better fluidity. Nevertheless, this requires particular caution with the concrete conditions of writing, and the examination of the ethical questions that they may raise. This paper thus deals with varied issues at stake when one engages in “making others speak” (or write): co-authorship, materiality of writing, building a “space of one’s own”. Alongside, it questions the different ways by which we – as researchers and writers – can incorporate poetic productions within our own academic texts. This poetic/scientific articulation is far from reaching a deadlock, but is rather an advocacy for giving more space to unstable and precarious forms of writing in our texts.

The first book-length study to address Moore’s significance to the Gothic, this volume is also the first to provide in-depth analyses of his spoken-word performances, poetry and prose, as well as his comics and graphic novels. The essays collected here identify the Gothic tradition as perhaps the most significant cultural context for understanding Moore’s work, providing unique insight into its wider social and political dimensions as well as addressing key theoretical issues in Gothic Studies, Comics Studies and Adaptation Studies. Scholars, students and general readers alike will find fresh insights into Moore’s use of horror and terror, homage and parody, plus allusion and adaptation. The international list of contributors includes leading researchers in the field and the studies presented here enhance the understanding of Moore’s works while at the same time exploring the ways in which these serve to advance a broader appreciation of Gothic aesthetics.

\"If we hadn't done our jobs tonight, we'd be hanging by our necks in the royal courtyard getting our eyes pecked out by the royal crows. So excuse me if I don't wallow in some misbegotten guilt all night. Was it fucked up? Yes, it was. But I don't have to feel terrible about it.\"It's 1648. Agra, India. Imperial guards and best mates Humayun and Babur keep watch as the final touches are put to the mighty Taj Mahal behind them. The emperor has decreed that no one, except the masons, labourers and slaves who exist within those walls, shall turn to look at the building until it is complete.Now, as the building nears completion and the first light catches on the pure white domes behind them, the temptation to steal a glance at the most beautiful monument the world has ever seen grows stronger. But beauty has a price and Humayun and Babur are about to learn its true cost.Guards at the Taj takes an enduring legend about the Taj Mahal and prompts audiences to explore questions about art, privilegeand duty. The play premieredat the Atlantic Theater in New York to great acclaim in 2015 and is the recipient of both the Obie Award for Best New American Play and the Lucille Lortel Award for Outstanding Play.

The HBO limited television series Watchmen (2019) represents a politically engaged superhero television show, marking a shift in recent efforts to render the genre more inclusive in terms of gender and race. Specifically, in mixing fictional and real events surrounding racial violence, such as the 1921 Tulsa massacre, Watchmen inscribes the potential of the superhero genre to tackle prescient political issues and social anxieties, that became even more poignant in the wake of the 2020 George Floyd protests. The present paper explores Watchmen’s deep resonances with contemporary social and political issues, not only at the level of representations, but also at the series’ production context, and argues that the show marks a key moment in the politicization of the superhero genre.