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Acknowledgments | |
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Introduction | |
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Ivoirian Nationalism and Urban Popular Culture | |
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Yere and Gaou: Authenticity and the Cosmology of Modernity | |
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Sapeurs and Bluffeurs: Discourses on African Mimesis | |
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Mimesis and Masking: Real Fakes and the Elusive Illusion of Modernity | |
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Abidjan: The Urban Setting | |
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Methodology | |
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Oudine of the Argument | |
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Enregistering Modernity, Bluffing Criminality: How Nouchi Speech Reinvented the Nation | |
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Les Nouchis: Speaking of "Gangsters" | |
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Loubard, Boss, and Bakroman: Further Stereotypes | |
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Yere and Gaou: Nouchi Hierarchy and Modernity | |
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Ivoirian Language Policy and the French Model of National Identity | |
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Urban Cultural Integration and the Ivoirianization of French | |
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The Emergence of Nouchi and the Self-Recognition of Ivoirian Popular Culture | |
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Vicarious Banditry: The Mediation of Nouchi | |
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Purity and the Perils of Degeneration: Anxious Interpretations of Nouchi | |
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Nouchi and National Identity | |
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Bizness and "Blood Brothers": The Moral Economy of Crime | |
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The Infamy of Treichville | |
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The Economic Underpinnings of the Bluff: Illicit yet Moral Economies | |
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The Illegitimacy of Labor | |
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Kinship, Economy, and Gendered Sociality | |
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Bizness | |
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The Productivity of Social Networks | |
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The Normative Network | |
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State Intervention/State Cooperation | |
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Hierarchical Relations | |
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Social Accumulation | |
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Faire le show: Masculinity and the Performative Success of Waste | |
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The Maquis: Public Space Par Excellence | |
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Imbibing Differentiation: Drinking Establishments and Disdain | |
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The Gift of Bluffing: Exchanges Underlying the "Show" | |
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Out on "La Rue" | |
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The Dangers of Display | |
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Street Rituals: Urban Life Cycle Ceremonies and the Maquis | |
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Potlatch and the Production of Audience | |
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Masculinity and the Dangerous Consumption of Women | |
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Gender and the Performativity of the Bluff | |
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Fashioning Alterity: Masking, Metonymy, and Otherworld Origins | |
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The Centrality of the Sartorial | |
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The Bluff: Appearance and Economy | |
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Elite Consumption: Following the French | |
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Yere Consumers and Urban Symbols of Modernity | |
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Suits versus Hip-Hop: Taste and Social Hierarchy | |
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Whiteness and the Otherworld: A Local Cosmology of Externality | |
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Evaluating Objects: The Modernity of Brands | |
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Authentic Imitations, Metonymic Transformations | |
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Ivoirian Masquerades and Yere Vision | |
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Paris Is Hard like a Rock: Migration and the Spatial Hierarchy of Global Relations | |
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Urban-Village Migration | |
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Migrating Dreams | |
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Migratory Practicalities | |
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The Descent and the Bluff | |
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Bengiste Networks, Migrant Economies | |
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Demystification and Remythologizing Discourses | |
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The Mediation of the Otherworld: Migration as a Form of Consumption | |
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Migration and National Identity | |
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Counterfeit Belongings: Branding the Ivoirian Political Crisis | |
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Ethnicity, Postcoloniality, and National Identity | |
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Ivoirian Models of Nationality: French versus Nouchi | |
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The Death of Houphou�t and the Emergence of Ivoirit� | |
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Boubous and the Politics of Exclusion | |
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The Structure of the North-South Divide in Popular Culture | |
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Branding the Nation: Cultural Mastery and the Unstable Signification of Authenticity | |
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Conclusion: Modernity as Bluff | |
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On the Nature of "Western" Imitation | |
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On the Character of (Alternative?) Modernity | |
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Postcolonial Mimesis and the Crisis of Signification | |
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Incommensurability: Fetishes, Doubles, and the Fake | |
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Notes | |
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Glossary | |
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References | |
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Index | |