Epistemic Justice and Creative Agency

Sarah Colvin is the Schröder Professor of German at the University of Cambridge, UK. She has a DPhil, MA, and BA in German from the University of Oxford, UK, and held chairs at the universities of Edinburgh, Birmingham, and Warwick before moving to Cambridge. Her current research focuses on alternative epistemologies and literary aesthetics. Stephanie Galasso is the Schröder Research Associate and an Affiliated Lecturer in German at the University of Cambridge, UK. After completing her BA in German and English at the University of California, Davis, USA, she completed her MA and PhD in German Studies at Brown University, USA. Her doctoral research was partially supported by a Fulbright grant to study at the University of Konstanz, Germany. Her research focuses on intersections between racialization and aesthetics.

Introduction. Changing the story? Epistemic shifts and creative agency

Sarah Colvin and Stephanie Galasso

PART I On the Promise and Peril of Stories

1 Narratives, social justice, and the common good

Chielozona Eze

2 Divine justice, epistemic crisis, storytelling

Galili Shahar

3 ‘The notation of a silent lament’: hermeneutical injustice in Judith Schalansky’s An Inventory of Losses

Stephanie Galasso

PART II Uncovering Injustice

4 Representational epistemic injustice: disavowing the ‘Other’ Africa in the imaginative geographies of Western animation films

James Odhiambo Ogone

5 Farmers’ self-representation and agency: protest music in the agitations against India’s farm laws

Shambhavi Prakash

6 The postmigrant critique of the Bildungsroman and the epistemic injustice of the educational system in Deniz Ohde’s Scattered Light

Kyung-Ho Cha

Part III Literary Strategies of Resistance

7 The ludic impulse: race narratives ‘at play’ in Toni Morrison’s Playing in the Dark and Zoë Wicomb’s Playing in the Light

Aretha Phiri

8 Narrative pilgrimage and chiastic knowledge in Olivia Wenzel’s 1000 Coils of Fear and Sharon Dodua Otoo’s Ada’s Realm

Sarah Colvin

9 Tell the truth but tell it slant: Mo Yan’s aesthetics of indirection

Shiamin Kwa