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Acta Neophilologica ACTA NEOPHILOLOGICA 53. 1-2 (2020) Acta_Neophilologica_2020_FINAL.indd 1 26. 11. 2020 14:23:54 ACTA NEOPHILOLOGICA ISSN 0567-784X Editor-in-Chief / Glavni in odgovorni urednik: Igor Maver Editorial Board / Uredniški odbor: Anton Janko, Jerneja Petrič, Miha Pintarič, Frančiška Trobevšek-Drobnak, Danica Čerče Advisory Committee / Svet revije: Henry R. Cooper, Jr. (Bloomington, Ind.), Renzo Crivelli (Trieste), Maria Renata Dolce (Lecce), Kajetan Gantar (Ljubljana), Meta Grosman (Ljub ljana), Angelika Hribar (Ljubljana), Gail Jones (Sydney), Tom Ložar (Montreal), Elisabetta Marino (Rome), Mira Miladinović-Zalaznik (Ljubljana), Genaro M. Padilla (Berkeley), Tom M. S. Priestley (Edmonton, Alb.), Margarete Rubik (Wien), Naomi Segal (London), Neva Šlibar (Ljubljana), Wolfgang Zach (Innsbruck). Published by / Založila: Znanstvena založba Filozofske fakultete Univerze v Ljubljani / Ljubljana University Press, Faculty of Arts Issued by / Izdal: Department of English / Oddelek za anglistiko in amerikanistiko For the publisher / Za založbo: Roman Kuhar, dekan Filozofske fakultete / Dean of the Faculty of Arts Design and layout / Oblikovanje in prelom: Jure Preglau Printed by / Tisk: Birografika Bori d.o.o. Number of copies printed / Naklada: 160 Price / Cena: 15,00 EUR Indexed in: SCOPUS, Directory of Open Access Journals (DOAJ), Emerging Sources Citation Index, Internationale Bibliographie der Zeitschriftenliteratur, MLA International Bibliography, ERIH PLUS This publication was supported by / Publikacija je izšla s podporo: Slovenian Research Agency / Javna agencija za raziskovalno dejavnost RS Address / Naslov urednštva: Filozofska fakulteta Univerze v Ljubljani (Department of English) Aškrečeva 2, SI- 1000 Ljubljana, Slovenia Phone / Tel.: + 386 1 241 1334 E-mail: [email protected] http://revije.ff.uni-lj.si/ActaNeophilologica/ This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. / To delo je ponujeno pod licenco Creative Commons Priznanje avtorstva-Deljenje pod enakimi pogoji 4.0 Mednarodna licenca Acta_Neophilologica_2020_FINAL.indd 2 26. 11. 2020 14:23:54 Contents 3 Contents Unsettling the Binarisms of Dominant Discourse in Hanay Geiogamah’s Plays Body Indian and Foghorn 5 Danica Čerče Submerged Layers of Slovenian Identity in Krissy Kneen’s Writing ��������������� 21 Igor Maver Margaret Atwood, World-Famous but Yet to Be Discovered by Many Slovene Readers 33 Tomaž Onič, Michelle Gadpaille, Jason Blake, Tjaša Mohar The Banality of Violence in A L Kennedy’s Early Short Stories ��������������������� 49 Ema Jelínková Pursuing the Zionist Dream on the Palestinian Frontier: A Critical Approach to Herzl’s Altneuland 61 Saddik Mohamed Gohar “We princes are set on stages” Performing Power in Elizabethan England 83 Elke Mettinger The End of Ideology: The Poetry of Cathy Park Hong 101 Brian Willems Stigma as an Attribute of Oppression or an Agent of Change: The Novel Girl, Woman, Other by Bernardine Evaristo 119 Darja Zorc-Maver Ernest Hemingway in Slovenia since 1990: Scandal, the Soča and Six-Toed Cats 133 Simon Zupan Memoirism hype: Why do Slovenian diplomats write memoirs? ������������������� 153 Boštjan Udovič Matej Cigale (1819–1889) als Übersetzer von Schulbüchern 167 Tanja Žigon Les marqueurs d'identité masculine et féminine dans les fabliaux 183 Urh Ferlež, Miha Pintarič Maurice Barrès et l'icône de l'art moderne 195 Boštjan Marko Turk Acta_Neophilologica_2020_FINAL.indd 3 26. 11. 2020 14:23:54 Les Plaisirs et les Jours et Le Mystérieux Correspondant: quelques réflexions sur l’œuvre de jeunesse de Marcel Proust 207 Katarina Marinčič Verosimilitud novelesca y falsedad histórica: el prólogo autoral a Cornelia Bororquia 217 Ignac Fock La prise de la parole dans Les Contes philosophiques de Diderot 231 Primož Vitez Acta_Neophilologica_2020_FINAL.indd 4 26. 11. 2020 14:23:54 5 ACTA NEOPHILOLOGICA UDK: 821.111(=81/=82).09-2Geiogamah H. DOI: 10.4312/an.53.1-2.5-20 Unsettling the Binarisms of Dominant Discourse in Hanay Geiogamah’s Plays Body Indian and Foghorn Danica Čerče Abstract This essay deals with two plays by the contemporary Native American author Hanay Gei- ogamah, Body Indian and Foghorn. Based on the premise that literature plays an impor- tant role in disrupting the exercise of power and written against the backdrop of critical whiteness studies, it investigates how the playwright intervenes in the assumptions about whiteness as a static privilege-granting category and system of dominance. Keywords: Native American playwriting, Hanay Geiogamah, Body Indian, Foghorn, dest- abilising whiteness Acta_Neophilologica_2020_FINAL.indd 5 26. 11. 2020 14:23:55 6 Danica ČerČe There is no shortage of evidence that writing has played an important role in both establishing whites as authoritative in relation to non-white subjects and in the processes of decolonisation. The latter have involved “a radical dismantling of European codes and a postcolonial subversion and appropriation of the dominant European discourses,” claims Helen Tiffin (95). Interrogating these discourses and the social context in which healthy social interactions between white and indigenous people are impeded because of the presupposed foundation of appar- ently undislocatable binary oppositions upon which the logic of coloniality stands, literary engagement of indigenous population can be seen as an integral part of an organised protest against colonialist authority. In a Canadian context, Armand Garnet Ruffo (1997) argues that Native literature parallels and mirrors the polit- ical resurgence of indigenous people. In a US context, several theorists and artists have made similar claims, seeing literary activism as a way of contesting prevailing power structures. For example, an activist and playwright Monique Mojica has stated that Native American artists offer “an alternative view, the possibility of another interpretation of ‘historical facts’ and the validation of Native American experiences and images” (1). Constituting an intercultural encounter for the white reader and intervening in the institutional and historical processes that have enabled and maintained the dominant position of those identified as white on the one hand, and the concom- itant political, economic, and cultural subordination of indigenous population on the other, Native American literature articulates discourses of “conscious antag- onists,” as Edward Said refers to those who, “compelled by the system to play subordinate roles within it,” react by disrupting it (335). Performing this function, it has earned the label “literature with a purpose,” which – according to the Cher- okee scholar Jace Weaver – can be applied to all postcolonial literatures (44). Here it is relevant to mention that, despite sharing affinities with other postcolonial literatures in that it has also “emerged out of the experience of colonization” and asserted itself by “foregrounding the tension with the imperial power” and by “em- phasising the differences from the assumptions of the imperial Centre” (Ashcroft, Griffiths, and Tiffin 2), the status of Native American literature remains unclear in the postcolonial scholarship.1 In this study, I focus on the plays Body Indian and Foghorn by Hanay Geiog- amah, a Kiowa-Delaware political activist and one of the most prominent con- temporary Native American playwrights. My reading is not concerned with the ‘literariness’ as a principal object of study and appreciation; rather, it is framed by 1 Several non-Native scholars have expressed scepticism towards the applicability of the term ‘post- colonial’ to both Native Americans’ life and literature (Krupat 73). In Arnold Krupat’s view, this is for the simple reason that “there is not yet a ‘post-’ to the colonial status of Native Americans (Ibid.). Acta_Neophilologica_2020_FINAL.indd 6 26. 11. 2020 14:23:55 Unsettling the Binarisms of Dominant Discourse in Hanay Geiogamah’s Plays... 7 an interest in how the two plays function as “a form of public good” (Gonzales and Agostini xvi) or what David Carter and Kay Ferres define as “the public life of literature” (140). Drawing on some of the issues taken up by critical whiteness theory, the study aims to show how the playwright intervenes in the controlling discourses of colonialism that have retained the American indigenous population in the web of hegemonic power. I argue that one of the main textual devices that Geiogamah employs to do what he sees as “the challenging task of the new Native American theatre” (Geiogamah 2000, 163) is humour. For Native Americans, the essential theatrical impulse has a long history. Per- formance was integrated into many aspects of Native cultural life long before the invasion of Europeans. Ceremonies performed for well-being and protection and to celebrate or mourn life-cycles included the theatrical elements of storytell- ing, song, dance and costume to create the emotional and spiritual impact. To- day, many Native American playwrights draw upon traditional tribal performance practices and characters to inform their work. First plays by a Native American were published between the late 1920s and early 1950s by the Cherokee play- wright Lynn Riggs.2 Dealing with the various forms of extreme racism inflicted upon the Cherokee during the transformation of Indian Territory to Oklahoma’s statehood, Riggs’s plays foreshadow the concerns explored by Native American playwrights a few decades later, such as representation, authenticity, and cultural and political empowerment of indigenous population.
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