This book, the first cross-cultural study of post-1970s anglophone Canadian and American multi-ethnic drama, invites assessment of the thematic and aesthetic contributions of this theater in today’s globalized culture. A growing number of playwrights of African, South and East Asian, and First Nations heritage have engaged with manifold socio-political and aesthetic issues in experimental works combining formal features of more classical European dramatic traditions with such elements of ethnic culture as ancestral music and dance, to interrogate the very concepts of theatricality and canonicity. Their “mouths on fire” (August Wilson), these playwrights contest stereotyped notions of authenticity. In¬spired by songs of anger, passion, experience, survival, and regeneration, the plays analyzed bespeak a burning desire to break the silence, to heal and empower. Foregrounding questions of hybridity, diaspora, cultural memory, and nation, this comparative study includes discussion of some twenty-five case studies of plays by such authors as M.J. Kang, August Wilson, Suzan–Lori Parks, Djanet Sears, Chay Yew, Padma Viswanathan, Rana Bose, Diane Glancy, and Drew Hayden Taylor. Through its cross-cultural and cross-national prism,
“Mouths on Fire with Songs” shows that multi-ethnic drama is one of the most diverse and dynamic sites of cultural production in North America today.
In interpreting contemporary Asian American poetry, it is important to understand the cultural hybridity of Asian America identity, located at the interstices of the fixed identifications ‘American’, ‘Asian American’, and ‘Asian’. This rootedness in more than one culture exposes the inapplicability of binary concepts (foreigner/national, etc.). Hybridity, opposing essentialism and ‘the original’, favors multivocality and ambivalence. The exploration of Asian American cultural hybridity is linked both to material realities and poetic manifestations.
Asian American hybrid subjectivity is explored through in-depth interpretations of works from well-established contemporary poets such as Kimiko Hahn, Marilyn Chin, Li-Young Lee, and Arthur Sze, as well as that of many new talents and hitherto neglected writers.
This study examines how language and power interrelate, with translation and linguistic fusion being two approaches adopted by hybrid authors in their creation of alternative discourse. Culturally hybrid subjectivity is independent of and at the same time interconnected with more than one culture, thus enabling innovative political and identitarian positions to be articulated. Also examined are such traditional poetic forms as the zuihitsu, the sonnet, and the ghazal, which continue to be used, though in modernized and often subversive guise. The formal liminal space is revealed as a source of newness and invention deconstructing eurocentric hierarchy and national myth in American society and expanding or undercutting binary constructs of racial, national, and ethnic identities.
A further question pursued is whether there are particular aesthetic modes and concepts that unite contemporary Asian American poetry when the allegiances of the practitioners are so disparate (ultimate geocultural provenience, poetic schools, regions in the USA, generations, sexual orientation, etc.). Wide-ranging interviews with Kimiko Hahn and Chitra Banerjee Divakaruni on identity and roots, language and power, feminism, and the American poetry scene provide illuminating personal yet representative answers to this and other questions.
What kinds of uncertainties and desires do generic issues evoke? How can we account for the continuing hold of the
Bildungsroman as a model of analysis?
Unsettling the Bildungsroman: Reading Contemporary Ethnic American Women’s Fiction combines genre and cultural theory and offers a cross-ethnic comparative approach to the tradition of the female novel of development and the American coming-of-age narrative. Examining closely the work of Jamaica Kincaid, Sandra Cisneros, Maxine Hong Kingston, and Audre Lorde, the chapters foreground processes of constructing an alternative “art of living” which challenges the
Bildungsroman’s drive for either assimilation or ethnic homogeneity and pushes for new configurations of ethnic and American female identity. Drawing on feminist/gender studies, psychoanalytic theory, translation theory, queer theory, and disability studies, the book provides a theoretically engaged rethinking of the
Bildungsroman’s form and function. Addressing questions of aesthetics and politics, freedom and belonging, betrayal and responsibility, and tracing the
Bildungsroman’s links with life-writing forms such as immigrant narrative, mother-daughter story, biomythography, and illness narrative, the study outlines the various ways in which the novel of individual development becomes an appropriate site for the negotiation of several enduring and contentious tensions in ethnic American writing. Of potential interest to scholars of American literature, but also ethnic, feminist and postcolonial literatures, and to students of American literature and culture, the book demonstrates the
Bildungsroman’s ongoing relevance and expanded capacity of representation in an ethnic American and postcolonial context.
This is the first book that comprehensively examines Indigenous filmmaking in North America, as it analyzes in detail a variety of representative films by Canadian and US-American Indigenous filmmakers: two films that contextualize the oral tradition, three short films, and four dramatic films. The book explores how members of colonized groups use the medium of film as a means for cultural and political expression and thus enter the dominant colonial film discourse and create an answering discourse. The theoretical framework is developed as an interdisciplinary approach, combining postcolonialism, Indigenous studies, and film studies. As Indigenous people are gradually taking control over the imagemaking process in the area of film and video, they cease being studied and described objects and become subjects who create self-controlled images of Indigenous cultures. The book explores the translatability of Indigenous oral tradition into film, touching upon the changes the cultural knowledge is subject to in this process, including statements of Indigenous filmmakers on this issue. It also asks whether or not there is a definite Indigenous film practice and whether filmmakers tend to dissociate their work from dominant classical filmmaking, adapt to it, or create new film forms and styles through converging classical film conventions and their conscious violation. This approach presupposes that Indigenous filmmakers are constantly in some state of reaction to Western ethnographic filmmaking and to classical narrative filmmaking and its epitome, the Hollywood narrative cinema. The films analyzed are
The Road Allowance People by Maria Campbell,
Itam Hakim, Hopiit by Victor Masayesva,
Talker by Lloyd Martell,
Smoke Signals by Chris Eyre,
Overweight With Crooked Teeth and
Honey Moccasin by Shelley Niro,
Big Bear by Gil Cardinal, and
Atanarjuat: The Fast Runner by Zacharias Kunuk.
The Atlantic slave trade continues to haunt the cultural memories of Africa, Europe and the Americas. There is a prevailing desire to forget: While victims of the African diaspora tried to flee the sites of trauma, enlightened Westerners preferred to be oblivious to the discomforting complicity between their enlightenment and chattel slavery. Recently, however, fiction writers have ventured to ‘re-member’ the Black Atlantic.
This book is concerned with how literature performs as memory. It sets out to chart systematically the ways in which literature and memory intersect, and offers readings of three seminal Black Atlantic novels. Each reading illustrates a particular poetic strategy of accessing the past and presents a distinct political outlook on memory. Novelists may choose to write back to texts, images or music: Caryl Phillips’s
Cambridge brings together numerous fragments of slave narratives, travelogues and histories to shape a brilliant montage of long-forgotten texts. David Dabydeen’s
A Harlot’s Progress approaches slavery through the gateway of paintings by William Hogarth, Sir Joshua Reynolds and J.M.W. Turner. Toni Morrison’s
Beloved, finally, is steeped in black music, from spirituals and blues to the art of John Coltrane. Beyond differences in poetic strategy, moreover, the novels paradigmatically reveal distinct ideologies: their politics of memory variously promote an encompassing transcultural sense of responsibility, an aestheticist ‘creative amnesia’, and the need to preserve a collective ‘black’ identity.
This work is an examination of British imperial policy and attitudes towards the original inhabitants in the American colonies, New South Wales and the Cape colony of South Africa. A comparative study of the formative phase in this area of policy, it covers the period between the mid-eighteenth and early nineteenth centuries, examining and comparing the development of policy in each of the three geographical regions and tracing the legal and intellectual context within which this policy took shape. It suggests an important shift of attitude towards indigenous peoples in the course of the period covered – a change that had a major impact on political perceptions and policy formation.
In postcolonial theory we have now reached a new stage in the succession of key concepts. After the celebrations of hybridity in the work of Homi Bhabha and Gayatri Spivak, it is now the concept of diaspora that has sparked animated debates among postcolonial critics. This collection intervenes in the current discussion about the 'new' diaspora by placing the rise of diaspora within the politics of multiculturalism and its supercession by a politics of difference and cultural-rights theory. The essays present recent developments in Jewish negotiations of diasporic tradition and experience, discussing the reinterpretation of concepts of the 'old' diaspora in late twentieth- century British and American Jewish literature. The second part of the volume comprises theoretical and critical essays on the South Asian diaspora and on multicultural settings between Australia, Africa, the Caribbean and North America. The South Asian and Caribbean diasporas are compared to the Jewish prototype and contrasted with the Turkish diaspora in Germany. All essays deal with literary reflections on, and thematizations of, the diasporic predicament.
The essays in this collection ( on Canada, the USA, Australia and the UK) question and discuss the issues of cross-cultural identities and the crossing of boundaries, both geographical and conceptual. All of the authors have experienced cross-culturalism directly and are conscious that positions of ‘double vision’, which allow the / to participate positively in two or more cultures, are privileges that only a few can celebrate. Most women find themselves “caught between cultures”. They become involved in a day-to-day struggle, in an attempt to negotiate identities which can affirm the self and, at the same time, strengthen the ties which unites the self with others. Theoretical issues on cross-culturalism, therefore, can either liberate or constrict the /. The essays here illustrate how women's writing negotiates this dualism through a colourful and complex weaving of words - thoughts and experiences both pleasurable and painful - into texts, quilts, rainbows. The metaphors abound. The connecting thread through their writing and, indeed, in these essays, is the concept of ‘belonging’, a theoretical/emotional composite of be-ing and longing. ‘Home’, too, assumes a variety of meanings; it is no longer a static geographical place, but many places. It is also a place elsewhere in the imagination, a mythic place of desire linked to origin.
Policies of multiculturalism can throw up more problems than they solve. In Canada, the difficulties surrounding the cross-cultural debate have given rise to a state of “messy imbroglio”. Notions of authenticity move dangerously close to essentialist identities. ‘Double vision’ is characteristic of peoples who have been uprooted and displaced, such as Australian Aboriginal writers of mixed race abducted during childhood. ‘Passing for’ black or white is full of complications, as in the case of Pauline Johnson, who passed as an authentic Indian. People with hyphenated citizenship (such as Japanese-Canadian) can be either free of national ties or trapped in subordination to the dominant culture; in these ‘visible minorities’, it is the status of being female (or coloured female) that is so often ultimately rendered invisible.
Examination of Canadian anthologies on cross-cultural writing by women reveals a crossing of boundaries of gender and genre, race and ethnicity, and, in some cases, national boundaries, in an attempt to connect with a diasporic consciousness. Cross-cultural women writers in the USA may stress experience and unique collective history, while others prefer to focus on aesthetic links and literary connections which ultimately silence difference. Journeying from the personal space of the / into the collective space of the we is exemplified in a reading of texts by June Jordan and Minnie Bruce Pratt. For these writers identity is in process. It is a painful negotiation but one which can transform knowledge into action.
This volume stems from the idea that the notion of borders and borderlines as clear-cut frontiers separating not only political and geographical areas, but also cultural, linguistic and semiotic spaces, does not fully address the complexity of contemporary cultural encounters. Centering on a whole range of literary works from the United States and the Caribbean, the contributors suggest and discuss different theoretical and methodological grounds to address the literary production taking place across the lines in North American and Caribbean culture. The volume represents a pioneering attempt at proposing the concept of the border as a useful paradigm not only for the study of Chicano literature but also for the other American literatures. The works presented in the volume illustrate various aspects and manifestations of the textual border(lands), and explore the double-voiced discourse of border texts by writers like Harriet E. Wilson, Rudolfo Anaya, Toni Morrison, Cormac McCarthy, Louise Erdrich, Helena Viramontes, Paule Marshall and Monica Sone, among others. This book is of interest for scholars and researchers in the field of comparative American studies and ethnic studies.