By Anne Surma
During this very important publication, Surma combines threads from moral, political, communications, sociological, feminist and discourse theories to discover the effect of writing in various contexts and illustrate the ways that it will probably develop social connections.
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Additional resources for Imagining the Cosmopolitan in Public and Professional Writing
Sample text
Your hero is you (if reportage), or a beautiful, tragic international celebrity/aristocrat who now cares for animals (if fiction). Bad Western characters may include children of Tory cabinet ministers, Afrikaners, employees of the World Bank. When talking about exploitation by foreigners mention the Chinese and Indian traders. Blame the West for Africa’s situation. But do not be too specific. Broad brushstrokes throughout are good. Avoid having the African characters laugh, or struggle to educate their kids, or just make do in mundane circumstances.
7 Given the bias of globalisation towards such rationalist approaches, care is therefore needed to redress the balance and ensure that the human, the social and the environmental are not displaced. A critical cosmopolitanism which incorporates the practice and value of a feminist ethics of care (and the latter’s insistence on the ties of interdependence and responsibility that underpin our relations with others) is crucial in grounding cosmopolitanism in the human, social realm. 9 A feminist ethics of care, which I see as pivotal to writing approaches and practices themselves, as well as to writing about issues related to responsibilities to care, and which treats human beings ‘not as autonomous subjects, but as being embedded in networks and relationships of care’ (Robinson 2009) determinedly situates discussions about relations between self and other at the centre of what we might imagine as valuable and important in both private and public life.
Bad Western characters may include children of Tory cabinet ministers, Afrikaners, employees of the World Bank. When talking about exploitation by foreigners mention the Chinese and Indian traders. Blame the West for Africa’s situation. But do not be too specific. Broad brushstrokes throughout are good. Avoid having the African characters laugh, or struggle to educate their kids, or just make do in mundane circumstances. Have them illuminate something about Europe or America in Africa. African characters should be colourful, exotic, larger than life – but empty inside, with no dialogue, no conflicts or resolutions in their stories, no depth or quirks to confuse the cause.