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Necessary Fictions”: Authorship and Transethnic Identity in Contemporary American Narratives
MILNE, LEAH A., PhD. “Necessary Fictions”: Authorship and Transethnic Identity in Contemporary American Narratives. (2015) Directed by Dr. Christian Moraru. 352 pp. As a theory and political movement of the late 20th century, multiculturalism has emphasized recognition, tolerance, and the peaceful coexistence of cultures, while providing the groundwork for social justice and the expansion of the American literary canon. However, its sometimes uncomplicated celebrations of diversity and its focus on static, discrete ethnic identities have been seen by many as restrictive. As my project argues, contemporary ethnic American novelists are pushing against these restrictions by promoting what I call transethnicity, the process by which one formulates a dynamic conception of ethnicity that cuts across different categories of identity. Through the use of self-conscious or metafictional narratives, authors such as Louise Erdrich, Junot Díaz, and Percival Everett mobilize metafiction to expand definitions of ethnicity and to acknowledge those who have been left out of the multicultural picture. I further argue that, while metafiction is often considered the realm of white male novelists, ethnic American authors have galvanized self-conscious fiction—particularly stories depicting characters in the act of writing—to defy multiculturalism’s embrace of coherent, reducible ethnic groups who are best represented by their most exceptional members and by writing that is itself correct and “authentic.” Instead, under the transethnic model, ethnicity is self-conflicted, forged through ongoing revision and contestation and in ever- fluid responses to political, economic, and social changes. “NECESSARY FICTIONS”: AUTHORSHIP AND TRANSETHNIC IDENTITY IN CONTEMPORARY AMERICAN NARRATIVES by Leah A. Milne A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Greensboro 2015 Approved by _____________________ Committee Chair ©2015 Leah A. -
Hawai'i Ethnic Humor, Local Identity and the Myth of Multiculturalism
Pragmatics 14:2/3.291-316 (2004) International Pragmatics Association “WE CAN LAUGH AT OURSELVES”: HAWAI‘I ETHNIC HUMOR, LOCAL IDENTITY AND THE MYTH OF MULTICULTURALISM1 Roderick N. Labrador Abstract Hawai‘i’s multiculturalism and perceived harmonious race and ethnic relations are widely celebrated in popular and academic discourse. The image of Hawai‘i as a “racial paradise,” a rainbow of peacefully co- existing groups, partially stems from the fact that among the various racial and ethnic groups there is no numerical majority and from the common belief in equality of opportunity and status. Hawai‘i ethnic humor is part and parcel of the maintenance and continued reinforcement of the notion of Hawai‘i as “racial paradise” with underlying racializing and stigmatizing discourses that disguise severe social inequalities and elide differential access to wealth and power. In this paper, I examine the intersection of language, humor, and representation by analyzing the linguistic practices in the comedy performances of Frank DeLima, a pioneer in Hawai‘i ethnic humor, and excerpts from Buckaloose: Shmall Keed Time (Small Kid Time), a comedy CD by Da Braddahs, a relatively new but tremendously popular comedy duo in Hawai‘i. Central to these comedy performances is the use of a language variety that I call Mock Filipino, a strategy often employed by Local comedians to differentiate the speakers of Philippine languages from speakers of Hawai‘i Creole English (or Pidgin). A key component to understanding the use of Mock Filipino is the idea of “Local” as a cultural and linguistic identity category and its concomitant multiculturalist discourse. -
July 1 2016 Issue to Print.Pmd
PAGE 2 • THE FIL-AM COURIER • JULY 1-15, 2016 THE FIL-AM COURIER • JULY 1-15, 2016 • PAGE 3 Bennette Espineli Misalucha SERVING THE COMMUNITY SINCE 1987 PUBLISHER Mary Llanos Cordero MANAGING EDITOR Bennette Espineli Misalucha WHERE ARE OUR YOUNG LEADERS? DIRECTOR OF DESIGN Armando Dela Cruz Busmente “The secret message communicated to most young people today by the society PRODUCTION MANAGER around them is that they are not needed, that the society will run itself quite nicely Alice Llanos Busmente until they — at some distant point in the future — will take over the reigns. Yet the ASSISTANT EDITOR fact is that the society is not running itself nicely… because the rest of us need all Radiant Cordero the energy, brains, imagination and talent that young people can bring to bear down COPY EDITOR on our difficulties. For society to attempt to solve its desperate problems without the Danielle Evangelista full participation of even very young people is imbecile.” — Alvin Toffler PHOTOGRAPHERS/GRAPHICS Brandon dela Cruz The Philippine Consulate Noah Felipe lanai was the venue for this Gabe de Liso Jeff Orig year’s annual Oahu Filipino James Ramos Community Council (OFCC) COLUMNISTS convention. Edna Alikpala Alex Vergara, the current Rhoda Yabez Alvarez, Esq. Jesse Bacon II President kept the Nancy Bernal convention’s official matters Cesar Bonilla Alice Llanos Busmente on point as the conferees Amelia Casamina Cabatu eagerly listened to the issues Anabel Gasmen Cabebe Dr. Rickie Camara presented. This was the end Dr. Patricia Halagao of Manong Alex’s two year Zeny Muyot Angie Santiago term, but as the deliberations Perfecto Yasay Jr. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Hip-hop, Streetdance, and the Remaking of the Global Filipino Permalink https://escholarship.org/uc/item/16q5z7gp Author Perillo, Jeffrey Lorenzo Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Hip-hop, Streetdance, and the Remaking of the Global Filipino A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Jeffrey Lorenzo Perillo 2013 © Copyright by Jeffrey Lorenzo Perillo 2013 ! ABSTRACT OF THE DISSERTATION Hip-hop, Streetdance, and the Remaking of the Global Filipino by Jeffrey Lorenzo Perillo Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2013 Professor Susan Leigh Foster, Committee Co-Chair Professor Victor Bascara, Committee Co-Chair New York-based African American, Latino, and Caribbean immigrant youth of the 1960s and early 1970s gave life to one of the world's major contemporary cultural movements: Hip-hop. Initially misunderstood as a faddish form of Black male musical expression, Hip-hop's cultural resistance practices were quickly recognized as four core elements (emceeing, turntablism, graffiti art, and b-boying/b-girling). In the global context, Hip-hop has generated scholarly discourse that points to either the cultural globalization of American Blackness or a "global village." My project interrupts this conversation and focuses on the unique, multi-site cultural history of Filipino identity as constituted through practitioners of Hip-Hop dance. My work argues that a community of Filipinos, situated in different geo-political loci—Berkeley, California, Honolulu, Hawai‘i, and Manila, Philippines—configure prevailing concepts of Hip-hop while remaking conditions of ! ii dispossession and displacement in the late twentieth and early twenty-first centuries. -
FANHS 2006 Conference Program Book
HONOLULUNATIONAL 2006 HISTORICAL SOCIETY FILIPINO AMERICAN SAKADAS AND BEYOND: CONNECTING THE PAST TO INSPIRE THE FUTURE Conference Program 11th Biennial National Conference • Hosted by the Filipino-American Historical Society of Hawaii June 29 - July 1, 2006 • Renaissance Ilikai Waikiki Hotel Aloha and Welcome... to the 11th Biennial National Conference of the Filipino American National Historical Society. This year’s conference theme is, “Sakadas and Beyond, Connecting the Past to Inspire the Future” and is being held in Honolulu, Hawaii, as part of Hawaii’s commemoration of 100 years of Filipino migration to Hawaii. Although Filipinos in Hawaii are closely identifi ed with “sakadas,” not all Hawaii Filipinos had migrated to Hawaii as sakadas; in fact, many contemporary Hawaii Filipinos do not count any sakada-links in their family lines. This common (mis)perception is indicative of the actual diversity of the Filipino experience in Hawaii and beyond. Our conference in Honolulu serves as an appropriate gathering place to learn about, discuss and debate this diversity and, hopefully, to develop new understandings to inspire the future. Table of CONTENTS MAP 2 CONFERENCE SESSIONS 3 SCHEDULE-AT-A-GLANCE 4-6 CONFERENCE SCHEDULE 7-11 CONFERENCE DESCRIPTIONS 14-27 FILMS/VIDEO SCHEDULE 28-29 BIOGRAPHIES 30-46 AWARDS 49 INDEX OF PARTICIPANTS 50-52 ACKNOWLEDGEMENTS inside cover Cover graphics from Hawaii State Archives and Local 5 union. Original graphic on this page by Danilo Campos. FANHS HONOLULU 2006 1 2 FANHS HONOLULU 2006 CONFERENCE SESSIONS Conference session information in this booklet is listed in the following four sections: Schedule AT-A-GLANCE Quick reference of entire conference Conference Schedule Daily listing of each session with panelists Conference Session Descriptions Daily listing of each session with abstracts Index Listing of participants with Session Keys. -
Today's Live Programming!
Issue 5 back page MONDAY LUI Continued MORNING consider herself authentic in any her mentor, Lonny, who has taught just want to see her live again, Jane VOLUME 2 particular genre since she is always her about the business side. Lonny will be performing as a member ISSUE 5 changing and finding harmony in is a marketing agent for a guitar of Starline Theorie in San Diego on SEPT 5, 2005 her music. company. He taught her about the Sept 17th at the Ken Club. Go check it politics and pressures of business. out! Jane hopes to eventually break in She now understands the power -Jason Hong the Asian market. At first, she didn’t of word of mouth. She hand wrote www.janeshands.com want to do conventions and be la- 800 cards for the PMX bags that beled into a niche Asian market. She were given out at registration, has didn’t want to get stereotyped as thoroughly enjoyed her experience Karaoke another Asian musician. However, here. when she performed in Europe, she Results See ‘Ya Next Year !!! received an interesting response When asked to tell us about one of PMX’s Second Annual Karaoke Con- which opened her eyes. Her physical her favorite stories, Jane elaborated test was a one-round blitzkrieg, with appearance is Asian. The European that there is no one story to tell, but individual performers competing audience expected the meek, ac- an idea. It would be any story that head-to-head against groups. Once cented voice. They got a big surprise. involves a sacrifice, a sacrifice of the scoresheets were tabulated, Not Just Another Plain Jane Jane has no accent because she has ones self for a greater good, a sacri- Mandy Andrew and her rendition of Jane Lui has been living in the months in the process of complet- been in the States so long and her fice where a risk is involved. -