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Ethical Engagement
ETHICAL ENGAGEMENT: CRITICAL STRATEGIES FOR APPROACHING AUTOETHNOGRAPHIC FICTION BY Sandra Cox Copyright 2011 Submitted to the graduate degree program in English and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Dr. Marta Caminero-Santangelo, Chairperson Dr. Doreen Fowler Dr. Stephanie Fitzgerald Dr. Giselle Anatol Dr. Ann Schofield Date Accepted April 18, 2011 ii The Dissertation Committee for Sandra Cox certifies that this is the approved version of the following dissertation: ETHICAL ENGAGEMENT: CRITICAL STRATEGIES FOR APPROACHING AUTOETHNOGRAPHIC FICTION Committee: Dr. Marta Caminero-Santangelo, Chairperson Dr. Doreen Fowler Dr. Stephanie Fitzgerald Dr. Giselle Anatol Dr. Ann Schofield Date Accepted April 18, 2011 iii Dissertation Abstract: Critics of American literature need ways to ethically interpret ethnic difference, particularly in analyses of texts that memorialize collective experiences wherein that difference is a justification for large-scale atrocity. By examining fictionalized autoethnographies—narratives wherein the author writes to represent his or her own ethnic group as a collective identity in crisis—this dissertation interrogates audiences‘ responses and authors‘ impetus for reading and producing novels that testify to experiences of cultural trauma. The first chapter synthesizes some critical strategies specific to autoethnographic fiction; the final three chapters posit a series of textual applications of those strategies. Each textual application demonstrates that outsider readers and critics can treat testimonial literatures with respect and compassion while still analyzing them critically. In the second chapter, an explication of the representations of African American women‘s experiences with the cultural trauma of slavery is brought to bear upon analyses of Toni Morrison‘s A Mercy (2009) and Alice Walker‘s Now Is the Time to Open Your Heart (2003). -
WUD DLS: Past Speakers List
WUD DLS: Past Speakers List The Distinguished Lecture Series has been bringing incredible speakers to campus since 1987. Here’s a list of who’s made it to Wisconsin so far. 2009-10 2006-07 2003-04 2000-01 1996-97 Steven Pinker Laurie David Kurt Vonnegut Jeffrey Wigand Jonathan Kozol Dan Ariely Howard Zinn Salman Rushdie R ubin “Hurricane” Adrienne Rich Jeremy Rifkin Joseph Stiglitz James Dale Carter Stanley Crouch Ayaan Hirsi Ali Dinesh D’Souza Elizabeth Wurtzel Alan Keyes Noam Chomsky Bill Marler Sarah Vowell Linda Chavez Judy Shepard Harry Wu D errick Ashong David Suzuki Sylvia Earle Ralph Nadar Sarah Weddington Post-Racial Comedy Stephen Lewis Jared Diamond Afeni Shakur Stephen Gould Tour: Christian Lander Ali Abunimah (spotlight) Arun Gandhi Robert Pinsky Richard Lamm and Elon James White Jello Biafra (spotlight) H arvey Pekar (spotlight) (spotlight) Cornelia Flora L ama Ole Nydahl 1999-00 Michael Shermer 2005-06 (spotlight) 1995-96 V. S. Ramachandran J ohn Esposito Pat Shroeder Vandava Shiva (spotlight) Isabel Allende Jaime Escalante Last Lectures: William George McGovern Angela Davis Cronon, Donald Downs, 2008-09 E.O. Wilson 2002-03 William Kristol Mary LaYoun, Hyuk Yu Brian Greene Sherman Alexie Gloria Steinem Amira Hanania Francis Bok Howard Zinn Dr. Peter Kramer Lani Guinier Shirin Ebadi Laurie Garrett Cornell West F.W. de Klerk Rebecca Walker Ben Karlin Edward Said Ben Stein Daniel Dennett Mark Zupan 1998-99 Rigoberto Menchi John Trudell Chrystia Freeland Frank Luntz Leslie Feinberg Neil deGrasse Tyson Dan Savage (spotlight) Terri McMillan Chuck D. 1994-95 Robin Wright Chai Ling Molly Ivins Ishmeal Beah Dr. -
3-9. the Violence of Hybridity in Silko and Alexie Cyrus RK
Journal of American Studies of Turkey 6 (1997) : 3-9. The Violence of Hybridity in Silko and Alexie Cyrus R. K. Patell The Native American novelists Leslie Marmon Silko and Sherman Alexie are two writers who ponder upon the predicament faced by all US minority cultures: how to transform themselves from marginalized cultures into emergent cultures capable of challenging and reforming the mainstream. My conception of cultural emergence here draws upon Raymond Williams’s analysis of the dynamics of modern culture, an analysis that has served as the foundation for minority discourse theory in the 1990s. Williams characterizes culture as a constant struggle for dominance in which a hegemonic mainstream— what Williams calls “the effective dominant culture” (121)—seeks to defuse the challenges posed by both residual and emergent cultural forms. According to Williams, residual culture consists of those practices that are based on the “residue of ... some previous social and cultural institution or formation,” but continue to play a role in the present (122), while emergent culture serves as the site or set of sites where “new meanings and values, new practices, new relationships and kinds of relationships are continually being created” (123). Both residual and emergent cultural forms can only be recognized and indeed conceived in relation to the dominant one: each represents a form of negotiation between the margin and the center over the right to control meanings, values, and practices. Both Silko and Alexie make use of a narrative strategy that has proven to be central to the project of producing emergent literature in late-twentieth-century America. -
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Powered by TCPDF (www.tcpdf.org) Magical Realism in Chitra Banerjee Divakaruni’s The Mistress of Spices R. Palani, Assistant Professor, Department of English, Adhiyamaan College of Engineering, Hosur-635 109. Page | 1 Abstract Magical Realism is a genre of fiction in which elements blend with the real world. Magical Realism supposedly began in 1935 with its golden age occurring between 1940 and 1950. The term magical realism described contemporary fiction, usually associated with Latin America, whose narrative blends magical or fantastical elements with reality. Magical Realism is the writing of Spanish and Latin American authors. Two people have been credited for coining the term magical realism, Dudly Fitts and Franz Roh. ********* Author: Mr. K. Muthu Murugan Magical Realism is known for changing the way in which one thinks. Instead of seeing the ordinary and mundane, the magical realism brings a spark of life to the imagination, which turn excites the mind of the readers. Magical Realism is an amalgamation of realism and fantasy. It is also known for showing a different view point on life and the way in which people think or Page | 2 act. It does not use dream motifs, nor does it create false words. Magical Realism is unlike other writing style that try to change or dominate the existing seemed to be forced on people and in turn demand attention and gratification. The extraordinary in magical realism is rarely presented in the form of a dream or a psychological experience because doing so takes the magic out of recognizable material reality and placed it into the little understood world of the imagination. -
Selfhood and Identity in Autobiographical Texts by Native American Authors
İSTANBUL ÜNİVERSİTESİ Sosyal Bilimler Enstitüsü Batı Dilleri ve Edebiyatları Anabilim Dalı Amerikan Kültürü ve Edebiyatı Bilim Dalı Doktora Tezi Self-Representations of the Misrepresented – Selfhood and Identity in Autobiographical Texts by Native American Authors (Amerikan Yerli Otobiyografilerinde Benlik ve Kimlik: Hatalı Temsil Edilenlerin Kendini Temsili) Defne Türker Demir 2502080286 Tez Danışmanı Prof. Dr. Ayşe Erbora İstanbul, 2012 ÖZ Amerikan Yerli Otobiyografilerinde Benlik ve Kimlik: Hatalı Temsil Edilenlerin Kendini Temsili Defne Türker Demir Amerikan Yerli Yazınını oluşturan metinler, politik amaçlı kimlik açılımları veya kimlik edinim eylemleri olarak özetlenebilir. Yüzyılları kapsayan bir çerçevede farklı biçimler kazanan Amerikan Yerli otobiyografilerinin bütününe bakıldığında; az sayıda istisna dışında, çeşitli kimlik kurguları örnekleyen bu metinlerin benzer yönelimler sergilediği gözlemlenir. Bu yönelimler kültürel örüntüler olup, metinsellik yolu ile kimlik kurgulayan bireylerin içselliklerine dair ipuçlarını kapsar. Amerikan Yerlilerinin otobiyografik metinlerinde Amerikan Yerli kimliği, birlik ve toplumsallık temelleri üzerine kurgulanmaktadır. Bu metinlerin merkezinde, benlik ve toplum arasında birliği sağlama amacı ve buna ait çaba yer alır. Çünkü bireyin bütünselliği için olmazsa olmaz önkoşul, birey ile aile/ toplum/ kabile arasında var olabilecek mesafenin kapatılmasıdır. Kısacası, metinlerde kurgulanan toplumsal bir kimliktir ve bu kimlik Amerikan Yerlilerinin geleneklerinden, tarihlerinden ve topraktan beslenir. Sözü edilen toplumsal yönelimin yanı sıra, Amerikan Yerli yazınında kimlik temsilini özgün kılan bir diğer nokta ise, metin ve yazar arasındaki birbirini besleyen ve üreten ilişkidir. Amerikan Yerli otobiyografilerinde, benlik metin üzerinden kurgulanır ve bu yolla metin, kurgulanan kimliğin temelini oluşturur. Böylelikle kelimenin yaratıcı gücü ile toplumsal kimlik üretilir. Her ne kadar günümüz Amerikan Yerli yazınında sözün yerini yazı almış olsa da, kelimeler sözlü yazına özgü mutlak yaratıcı güçlerini korurlar. -
THROWING BOOKS INSTEAD of SPEARS: the Alexie-Treuer Skirmish Over Market Share
THROWING BOOKS INSTEAD OF SPEARS: The Alexie-Treuer Skirmish Over Market Share Ezra Whitman Critical Paper and Program Bibliography Submitted in partial fulfillment of the requirements for the MFA (Master of Fine Arts) in Creative Writing, Pacific Lutheran University, August 2011 1 Throwing Books Instead of Spears: The Alexie-Treuer Skirmish Over Market Share Following the 2006 publication of David Treuer’s Native American Fiction: A User’s Manual, Minneapolis-based publication Secrets of the City interviewed Spokane/Coeur D’Alene Indian writer Sherman Alexie. This gave Alexie an opportunity to respond to the User’s Manual’s essay “Indian/Not-Indian Literature” in which the Ojibwe writer points out the tired phrases and flawed prose of Alexie’s fiction. “At one point,” Alexie said in his interview with John Lurie, “when [Treuer’s] major publishing career wasn’t going well, I helped him contact my agent. I’m saying this stuff because this is where he lives and I want the world to know this: He wrote a book to show off for white folks, and we Indians are giggling at him.” Alexie takes the debate out of the classroom into the schoolyard by summoning issues that deal less with literature, and more with who has more successfully navigated the Native American fiction market. Insecurities tucked well beneath this pretentious “World’s Toughest Indian” exterior, Alexie interviews much the way he writes: on the emotive level. He steers clear of the intellectual channels Treuer attempts to open, and at the basis this little scuffle is just that—a mismatch of channels; one that calls upon intellect, the other on emotion. -
Who Tells Your Story?: Intersections of Power, Domesticity, and Sexuality Relating to Rap and Song in the Musical Hamilton
WHO TELLS YOUR STORY?: INTERSECTIONS OF POWER, DOMESTICITY, AND SEXUALITY RELATING TO RAP AND SONG IN THE MUSICAL HAMILTON By Tia Marie Harvey A THESIS Submitted to Michigan State University in partial fulfillment of the requirement for the degree Musicology—Master of Arts 2019 ABSTRACT WHO TELLS YOUR STORY?: INTERSECTIONS OF POWER, DOMESTICITY, AND SEXUALITY RELATING TO RAP AND SONG IN THE MUSICAL HAMILTON By Tia Marie Harvey In January 2015, Lin-Manuel Miranda’s Hamilton: An American Musical premiered at The Public Theater in New York City. Later that year it moved to Broadway with an engagement at the Richard Rodgers Theater, followed by productions in Chicago and London. Commercially successful and critically acclaimed, Hamilton continues to hold significant cultural relevance in 2019. As a result of this musical’s cultural significance, it has the ability to communicate positive, but also limiting, aspects of our society. In this thesis, I examine the concept of rap as a musical language of power. To do this, I assert that characters in Hamilton who have power, and particularly when expressing that power, do so through rap. In contrast, when characters don’t have power, or are entering realms of the powerless (i.e. spaces gendered female), they do so through lyrical song. In chapter 1, I set up the divide between rap and song as it primarily translates among male characters and class. Chapter 2 is focused on the domestic sphere, and in chapter 3 I discuss sexuality. In the conclusion of this thesis, I revisit the character of Eliza and explore the perceived power of her role as storyteller and the way in which the themes I discuss illuminate many missed opportunities to present an interpretation of America’s founding that is truly revolutionary. -
HAMILTON Project Profile 6 8 20
“HAMILTON” ONE-LINER: An unforgettable cinematic stage performance, the filmed version of the original Broadway production of “Hamilton” combines the best elements of live theater, film and streaming to bring the cultural phenomenon to homes around the world for a thrilling, once-in-a-lifetime experience. OFFICIAL BOILERPLATE: An unforgettable cinematic stage performance, the filmed version of the original Broadway production of “Hamilton” combines the best elements of live theater, film and streaming to bring the cultural phenomenon to homes around the world for a thrilling, once-in-a-lifetime experience. “Hamilton” is the story of America then, told by America now. Featuring a score that blends hip-hop, jazz, R&B and Broadway, “Hamilton” has taken the story of American founding father Alexander Hamilton and created a revolutionary moment in theatre—a musical that has had a profound impact on culture, politics, and education. Filmed at The Richard Rodgers Theatre on Broadway in June of 2016, the film transports its audience into the world of the Broadway show in a uniquely intimate way. With book, music, and lyrics by Lin-Manuel Miranda and direction by Thomas Kail, “Hamilton” is inspired by the book “Alexander Hamilton” by Ron Chernow and produced by Thomas Kail, Lin-Manuel Miranda and Jeffrey Seller, with Sander Jacobs and Jill Furman serving as executive producers. The 11-time-Tony Award®-, GRAMMY Award®-, Olivier Award- and Pulitzer Prize-winning stage musical stars: Daveed Diggs as Marquis de Lafayette/Thomas Jefferson; Renée Elise Goldsberry as Angelica Schuyler; Jonathan Groff as King George; Christopher Jackson as George Washington; Jasmine Cephas Jones as Peggy Schuyler/Maria Reynolds; Lin-Manuel Miranda as Alexander Hamilton; Leslie Odom, Jr. -
New Approaches Toward Recent Gay Chicano Authors and Their Audience
Selling a Feeling: New Approaches Toward Recent Gay Chicano Authors and Their Audience Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Douglas Paul William Bush, M.A. Graduate Program in Spanish and Portuguese The Ohio State University 2013 Dissertation Committee: Ignacio Corona, Advisor Frederick Luis Aldama Fernando Unzueta Copyright by Douglas Paul William Bush 2013 Abstract Gay Chicano authors have been criticized for not forming the same type of strong literary identity and community as their Chicana feminist counterparts, a counterpublic that has given voice not only to themselves as authors, but also to countless readers who see themselves reflected in their texts. One of the strengths of the Chicana feminist movement is that they have not only produced their own works, but have made sense of them as well, creating a female-to-female tradition that was previously lacking. Instead of merely reiterating that gay Chicano authors have not formed this community and common identity, this dissertation instead turns the conversation toward the reader. Specifically, I move from how authors make sense of their texts and form community, to how readers may make sense of texts, and finally, to how readers form community. I limit this conversation to three authors in particular—Alex Espinoza, Rigoberto González, and Manuel Muñoz— whom I label the second generation of gay Chicano writers. In González, I combine the cognitive study of empathy and sympathy to examine how he constructs affective planes that pull the reader into feeling for and with the characters that he draws. -
Teaching the Short Story: a Guide to Using Stories from Around the World. INSTITUTION National Council of Teachers of English, Urbana
DOCUMENT RESUME ED 397 453 CS 215 435 AUTHOR Neumann, Bonnie H., Ed.; McDonnell, Helen M., Ed. TITLE Teaching the Short Story: A Guide to Using Stories from around the World. INSTITUTION National Council of Teachers of English, Urbana, REPORT NO ISBN-0-8141-1947-6 PUB DATE 96 NOTE 311p. AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock No. 19476: $15.95 members, $21.95 nonmembers). PUB 'TYPE Guides Classroom Use Teaching Guides (For Teacher) (052) Collected Works General (020) Books (010) EDRS PRICE MF01/PC13 Plus Postage. DESCRIPTORS Authors; Higher Education; High Schools; *Literary Criticism; Literary Devices; *Literature Appreciation; Multicultural Education; *Short Stories; *World Literature IDENTIFIERS *Comparative Literature; *Literature in Translation; Response to Literature ABSTRACT An innovative and practical resource for teachers looking to move beyond English and American works, this book explores 175 highly teachable short stories from nearly 50 countries, highlighting the work of recognized authors from practically every continent, authors such as Chinua Achebe, Anita Desai, Nadine Gordimer, Milan Kundera, Isak Dinesen, Octavio Paz, Jorge Amado, and Yukio Mishima. The stories in the book were selected and annotated by experienced teachers, and include information about the author, a synopsis of the story, and comparisons to frequently anthologized stories and readily available literary and artistic works. Also provided are six practical indexes, including those'that help teachers select short stories by title, country of origin, English-languag- source, comparison by themes, or comparison by literary devices. The final index, the cross-reference index, summarizes all the comparative material cited within the book,with the titles of annotated books appearing in capital letters. -
World Wide Enough: Historiography, Imagination, and Stagecraft
City University of New York (CUNY) CUNY Academic Works Publications and Research Brooklyn College 2017 World Wide Enough: Historiography, Imagination, and Stagecraft Benjamin L. Carp CUNY Brooklyn College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/bc_pubs/240 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 1 World Wide Enough: Historiography, Imagination, and Stagecraft Benjamin L. Carp Is Hamilton good history? Or is this the wrong question? Hamilton: An American Musical is both an intriguing and imperfect vehicle for understanding the history of the American Revolutionary Era. The show is grounded in learned interpretation of archival sources. The show’s writer, Lin-Manuel Miranda, drew extensively from Ron Chernow’s well- researched biography, Alexander Hamilton. He and his co-creators also researched primary sources, quote from them extensively in the libretto, and use facsimiles of them on stage. Finally, the creators consulted other works to get a sense of historical context, while adding references to hip-hop, musical theater, films about the Revolutionary Era, and other sources.1 At the same time, Miranda relied too heavily on Chernow, who exaggerated Alexander Hamilton’s anti-slavery credentials and his sympathy with debtors, and deemphasized (or even celebrated) some of his more militaristic, elitist, and antidemocratic inclinations. Since there was little scholarly criticism of the biography when it appeared, however, current critics have been poorly equipped to engage in the debate over the quality of the musical’s history now.2 Miranda told a story that focused on elite characters, missing opportunities to show how the Revolution and its conflicts affected—and was effected by—a broader swath of the 1 Lin-Manuel Miranda, Hamilton: An American Musical, dir. -
1 Isabel Allende: Carnalismo and Female Identity
UNIVERSITY OF MAURITIUS RESEARCH JOURNAL – Volume 21 – 2015 University of Mauritius, Réduit, Mauritius Isabel Allende: Carnalismo and Female Identity S Kotiah Department of English Studies Faculty of Social Studies and Humanities University of Mauritius Reduit E-mail: [email protected] Paper accepted on 27 April 2015 Abstract This article proposes a comparative study of two novels, The House of the Spirits (1982) and Portrait in Sepia (2000) by Chilean author, Isabel Allende. In an attempt to represent various facets of Latin American female identity, this article uses carnalismo as recurring trope while reinstating the particular marginalized positions of these women as a subversive discourse altogether. These women do not rewrite, refashion or expropriate stories merely to satisfy some game-playing or some totalizing impulse. Instead, they juxtapose what we think we know of the past with alternative representations. The running argument in the article is therefore based on a celebration of subversive forms of matriarchy that rule untraditional domestic spaces. Furthermore, different storytelling formulations by the same author reflect certain trends in contemporary narrative, namely the ways in which narratives can turn one`s attention away from an aesthetic past towards a more broadly conceived sense of history as textually mediated and constructed. To this end, theoretical frameworks of carnalismo suggest a desire to attract attention to unequal power relations and a consequent desire to celebrate these women. Keywords: Allende, feminism, Latin American literature, magical realism, narrative, postmodernism. *For correspondences and reprints 1 Isabel Allende: Carnalismo and Female Identity 1. INTRODUCTION This article analyses two of Isabel Allende`s Allende`s family chronicles, The House of the Spirits (1982) and Portrait in Sepia (2000), where a form of female carnalismo works in parallel with magical realism.