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Nelson Mandela: a World Life
National Centre of Biography, ANU Professor Elleke Boehmer: Nelson Mandela: A World Life Date: Tuesday 21 February 2017 Venue: McDonald Room, Menzies Library, ANU Time: 3.30 p.m. Inquiries: [email protected] Professor Boehmer will speak about Nelson Mandela (1918-2013), first president of democratic South Africa, as a world life—a national leader whose life also had global dimensions. How did this passionately nationalist leader, who identified himself completely with his country and his people, also appeal to the world? And what is his legacy for the globalised 21st century? His story of patient onward progression towards justice and democracy, as told in his autobiography Long Walk to Freedom (1994), traces one of the most resonant political stories of the twentieth century, whose influence impacted South Africa, and the rest of the southern African sub-continent, and by extension, if in highly mediatized ways, the world. Elleke Boehmer is Professor of World Literature in English, in the English Faculty at the University of Oxford. She is the director of The Oxford Research in the Humanities (TORCH) and deputy director of the Oxford Life Writing Centre at Wolfson College, where she is also a governing body fellow. She is General Editor of the Oxford Studies in Postcolonial Literatures Series, and she was a Man Booker International judge 2013-15. During February 2017, she will be a visiting fellow in the school of history, ANU. The author of five monographs and five novels, Boehmer is a foundational figure in the field of colonial and postcolonial literary studies. Her monographs are Colonial and Postcolonial Literature (1995, 2005), Resistance in Interaction (2002), Stories of Women (2005), the biography Nelson Mandela (2008), and Indian Arrivals 1870-1915: Networks of British Empire (2015). -
Colonial Body Into Postcolonial Narrative
BOEHMER Makeup 3/22/05 2:55 PM Page 127 John's G5:Users:john:Public:John's Mac: John's Job 7 Transfiguring: colonial body into postcolonial narrative to get me out of the belly of my patriarchal mother . [distance] my eye from her enough so as to see her in a different way, not fragmented into her metaphoric parts. Crossing through the symbol while I am writing. An exercise in decondi- tioning that allows me to acknowledge my own legitimacy. The means whereby every woman tries to exist; to be illegitimate no more. (Nicole Brossard, These Our Mothers)1 The silenced and wounded body of the colonised is a pervasive figure in colo- nial and postcolonial discourses, although its valencies obviously shift with the transition from colonial into postcolonial history. In the postcolonial process of rewriting, certainly, the trope of the dumb, oppressed body undergoes sig- nificant translations or transfigurations, which this chapter will examine in closer detail. In Maru (1971), a novelistic indictment of intra-black racism, the South African writer Bessie Head stakes out a number of epigraphic moments with which to begin the discussion. Maru recounts the tale of a woman who learns to paint – to figure – and in so doing undergoes significant changes of status and position in her society: from having no place or recognition she becomes a figure in the community.2 This character, Margaret Cadmore, is marginalised on a number of counts: she is a woman, an orphan and above all a Marsarwa (more commonly known by the derogatory term ‘Bushman’). -
Hollow Men: Colonial Forms, Irish Subjects, and the Great Famine in Modernist Literature, 1890-1930
Graduate Theses, Dissertations, and Problem Reports 2016 Hollow Men: Colonial Forms, Irish Subjects, and the Great Famine in Modernist Literature, 1890-1930 Aaron Matthew Percich Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Percich, Aaron Matthew, "Hollow Men: Colonial Forms, Irish Subjects, and the Great Famine in Modernist Literature, 1890-1930" (2016). Graduate Theses, Dissertations, and Problem Reports. 6399. https://researchrepository.wvu.edu/etd/6399 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Hollow Men: Colonial Forms, Irish Subjects, and the Great Famine in Modernist Literature, 1890-1930 Aaron Matthew Percich A dissertation submitted to the Eberly College of Arts and Sciences at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English. Lisa Weihman, Ph.D., Chair Dennis W. Allen, Ph.D. Gwen Bergner, Ph.D. John B. Lamb, Ph.D. Enda Duffy, Ph.D. -
Elleke Boehmer – Selected Major Publications
ELLEKE BOEHMER – SELECTED MAJOR PUBLICATIONS I RESEARCH MONOGRAPHS, EDITED BOOKS and CRITICAL EDITIONS Indian Arrivals 1870-1915: Networks of British Empire. Oxford: Oxford University Press. 2015. Edited with Laura Wright and Jane Poyner. Approaches to Teaching Coetzee’s Disgrace and Other Works. New York. Modern Languages Association. 2014. MLA highlighted book June 2014. Nominated for Teaching Literature Book Award 2015 (Idaho State University) Edited with Sarah de Mul. The Postcolonial Low Countries: Literature, Colonialism, Multiculturalism. Lexington Press. 2012. ISBN 978-0-7391- 6428-0. Introduction (Boehmer and De Mul), reprinted in Journal for Gender and Diversity Studies Digest. June 2014. Edited with Rosinka Chaudhuri. The Indian Postcolonial: A Critical Reader. London. Routledge. 2010. ISBN 978-0-415-56766-4 Edited with Stephen Morton. Terror and the Postcolonial. Oxford. Wiley- Blackwell. 2010. 395 pp. ISBN 978-1-4501-9154-8 See Blackwell Reference Online. www.blackwellreference.com. Edited with Robert Eaglestone and Katy Iddiols. J.M. Coetzee in Context and Theory. London. Continuum. 2009. ISBN 978-0-8264-9883-0 Nelson Mandela: Postcolonial Thinker. Oxford. Oxford UP. Very Short Introduction Series. 2008. ISBN 978-0-19-280301-6 pp. 204. AHRC Research Leave-funded. AN/E503543/1. Expanded US edition. Nelson Mandela. New York. Sterling. 2010. pp. 209. Translation into Arabic and Thai 2011. Portuguese (Brazil area) 2012. Stories of Women: Gender and Narrative in the Postcolonial Nation. Manchester. Manchester UP. 2005. ISBN 9-7807-19-068782. pp. 239. AHRB RL-funded. Ch.1 to be reprinted in Stephen Howe, ed. Empire and Nation. Routledge. 2007. Paperback Summer 2009. ISBN 9-7807-19-068782. -
Notes on Contributors
Notes on Contributors D EREK A TTRIDGE is Professor of English and Related Literature at the Uni- versity of York. Among his books are J.M. Coetzee and the Ethics of Read- ing: Literature in the Event (2004), The Singularity of Literature (2004), and Reading and Responsibility: Deconstruction’s Traces (2010), and, as co- editor, Writing South Africa: Literature, Apartheid and Democracy 1970– 1995 (1998) and The Cambridge History of South African Literature (co- edited with David Attwell, 2012). D AVID A TTWELL is Professor of English at the University of York. His books include J.M. Coetzee: South Africa and the Politics of Writing (1993) and Doubling the Point: Essays and Interviews (1992). More recently he has pub- lished Rewriting Modernity: Studies in Black South African Literary History (2005, 2006), Bury Me at the Marketplace: Es’kia Mphahlele and Company, Letters 1946–2006 (co-edited with N. Chabani Manganyi, 2010), and The Cambridge History of South African Literature (co-edited with Derek At- tridge, 2012). E LLEKE BOEHMER, Professor of World Literature in English at the University of Oxford, stands watchfully if warily at the interesting interface between creative and critical practice. She is the author of four acclaimed novels, Screens against the Sky (short-listed for the David Hyam Prize, 1990), An Immaculate Figure (1993), Bloodlines (short-listed for the SANLAM award, 2000), and Nile Baby (2008), as well as the short-story collection Sharmilla and Other Portraits (2010). Her other books include Colonial and Postcolo- nial Literature (1995, 2005), Empire, the National and the Postcolonial, 1890–1920 (2002), Stories of Women (2005), and the biography Nelson Mandela (2008). -
Postcolonial Poetics Elleke Boehmer Postcolonial Poetics
Postcolonial Poetics Elleke Boehmer Postcolonial Poetics 21st-Century Critical Readings Elleke Boehmer University of Oxford Oxford, UK ISBN 978-3-319-90340-8 ISBN 978-3-319-90341-5 (eBook) https://doi.org/10.1007/978-3-319-90341-5 Library of Congress Control Number: 2018940670 © The Editor(s) (if applicable) and The Author(s) 2018 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors, and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the pub- lisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institu- tional affiliations. Cover illustration: The etching on the front cover is titled “Compound Housing” (2014) by South African artist Mongezi Ncaphayi. -
In Conversation with Gail Jones1
In Conversation with Gail Jones1 MARIA DEL PILAR ROYO GRASA University of Zaragoza Gail Jones is one of the most prominent and sensitive contemporary Australian fiction writers. Her publications include a critical monograph, her two collections of short stories The House of Breathing (1992) and Fetish Lives (1997), and her five novels Black Mirror (2002), Sixty Lights (2004), Dreams of Speaking (2006), Sorry (2007) and Five Bells (2011). She has been shortlisted for the Miles Franklin Literary Award three times. In 2005, The Association for the Study of Australian Literature (ASAL) granted her its most prestigious prize, the ALS Gold Medal, for her second novel. A long list of other national awards should also be mentioned: the WA Premier’s Award for Fiction, the Nita B. Kibble Award, the Steele Rudd Award, the Age Book of the Year Award, the Adelaide Festival Award. She is currently living in Sydney, where she combines her academic life as a Professor of Writing at the Writing and Research Centre of the University of Western Sydney with her passion for writing. M. Pilar Royo I would like to start by congratulating and thanking you for the aesthetic pleasures you have provided us, your readers, with your two collections of short stories and five novels. Your fiction sparks off the beauty of words. When reading your work, one can feel the joy of a writer who celebrates writing and playing with the sound and textuality of language. Could you please tell us a bit about how it feels to create and work with language? Gail Jones I am attracted to poetry, and as a novelist I read a lot of poetry. -
From the Categorical to the De-Centering Literary Subject in the Black Atlantic Jarad Heath Fennell University of South Florida, [email protected]
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 11-16-2016 The on-IN dentical Anglophone Bildungsroman: From the Categorical to the De-Centering Literary Subject in the Black Atlantic Jarad Heath Fennell University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the African Languages and Societies Commons, English Language and Literature Commons, and the Other History Commons Scholar Commons Citation Fennell, Jarad Heath, "The on-IN dentical Anglophone Bildungsroman: From the Categorical to the De-Centering Literary Subject in the Black Atlantic" (2016). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/6500 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. The Non-Identical Anglophone Bildungsroman: From the Categorical to the De-Centering Literary Subject in the Black Atlantic by Jarad Fennell A dissertation submitted in partial fulfillment of the requirement for the degree of Doctor of Philosophy in English Literature Department of English College of Arts and Sciences University of South Florida Major Professor: Hunt Hawkins, Ph.D. Marty Gould, Ph.D. Gurleen Grewal, Ph.D. Ylce Irizarry, Ph.D. Date of Approval: October 25, 2016 Keywords: post-colonial, British, African, African-American, feminist Copyright © 2016, Jarad Fennell DEDICATION This dissertation is dedicated to my mother, Cheryl Fennell-Konyha, my wife, Elizabeth Valle, and my children, Carmen Fennell and Isaac Fennell, who continue to inspire me every day. -
Gail Jones's Intertextual Mirrors: in the Footsteps of Virginia Woolf
Fecha de recepción: 1 septiembre 2019 Fecha de aceptación: 2 noviembre 2019 Fecha de publicación: 9 febrero 2020 URL: https://oceanide.es/index.php/012020/article/view/48/191 Oceánide número 13, ISSN 1989-6328 DOI: https://doi.org/10.37668/oceanide.v13i.48 Dra. María Socorro Suárez Lafuente Universidad de Oviedo, España ORCID: https://orcid.org/0000-0003-2631-8861 Gail Jones’s Intertextual Mirrors: In the footsteps of Virginia Woolf Resumen En este artículo intento probar que la palabra (en su doble intención, ya que pertenece tanto al mundo de quien habla como al mundo de quien escucha) y que la vida “que no es vida” pero es todo lo que conocemos son el eje de las historias literarias y de toda la narrativa desde el modernismo. Tanto la noción de “diseminación” de Derrida como nuestros intentos individuales por resolverla están presentes en cada obra de literatura. En este artículo intento demostrar que, con una diferencia aproximada de tres generaciones, la australiana Gail Jones sigue de cerca las ideas de Virginia Woolf sobre las imágenes especulares y los espejos en tanto que piedras de toque para el reflejo y la reflexión sobre la cultura, la historia y el desarrollo individual. La vida y el día a día han de ser convertidos en historias para ser entendidos como “reales”, visibles, como una visión que permita abrir posibilidades al cambio y a los avances. Para hacer esto posible, se necesita un sujeto que reflexione, que pueda sacar adelante este hecho literario complejo, un sujeto que posea las características del sujeto nómade acuñado por Rosi Braidotti. -
Footprints of Caliban: Appropriation of English in Selected African Fictional Texts
Footprints of Caliban: Appropriation of English in Selected African Fictional Texts Cheela Himutwe K. Chilala Prolegomenon This paper is concerned with the appropriation of the English lan- guage by African fiction writers. The paper refers to appropriation as Calibanisation—a term derived from the name of Caliban, the monster character who is disinherited and enslaved by Prospero in Shakespeare’s play, The Tempest. Caliban uses the European language taught to him by Prospero to resist the oppressor. This paper explores how some African writers have appropriated the English language to create an Africanised English. Some of the best examples of such appropriation of the English language are the fictional works of Chinua Achebe, especially Things Fall Apart. The paper also explores the use of the appropriation device in two Zambian fictional works: Before Dawn by Andreya Masiye, and The Chosen Bud by John Luangala. Few fictional characters have attracted as much debate as Caliban, the monster character of Shakespeare’s play, The Tem- pest.1 At the heart of this debate has been the contention by some schools of thought that Caliban’s experience is metonymic of the experiences of the colonised at the hands of the colonisers. They proceed from the premise that the relationship between Caliban and his master, Propero is a paradigm of imperialism.2 In this regard it may be argued that Caliban’s hostile attitude towards his master, Prospero, epitomizes one of the tools of resistance to, and subversion of, the colonial enterprise. More specifically, Caliban’s resistance is characterised by the appropriation of the master’s language, which, as Lamming argues, is one of the means by which Prospero colonises Caliban.3 Postcolonial literature, as exhibited on the African continent, is in part characterised by the appropria- tion of the colonial languages—in particular English—to carry the burden of the African spirit and culture. -
What Is Post/Colonial Literature, and Why Are They Saving Such Terrible Things About It?
Links & Letters 4, 1997 11-18 What is Post/Colonial Literature, and why are they saving such terrible things about it? Theo D'haen Leiden University September 1996 Abstract The present article first discusses the «ideological» implications of the use of the terms «post-colonial»and «postcolonial»in some recent publications, mainly Elleke Boehmer's 1995 Colonial & Postcolonial literature and John Thieme's 1996 The ArnoldAnthology 4 Post-Colonial Literatures in English. It then tries to situate these uses with regard to cur- rent discourses on English Studies and on postmodernism. Key words: postcolonial, postcolonialism, English Studies, postmodern, postmodernism. A spectre is haunting literary studies: the spectre of «post/colonialism.» No self-respecting scholarly journal can survive without a regular dose of it. No decent academic institution can do without a specialist, or at least an amateur, in the field. But what is the beast that goes by the name of «post/ colonial literature))? 1s it merely ~CommonwealthLiterature)) putting on another set of stripes, replacing those of former and now late popular dis- guises such as «New Literatures in English~or «World Literature Written in English))?Or is there more to it than that? And why does the term cause such heated debate? It is not my aim here to exhaustively survey the already vast and still bur- geoning literature with regard to post/colonialism. Rather, 1 will touch upon some of the main issues involved by reference to some of the better known and more easily accesible publications in the field, books the interested reader may well want to turn to for further enlightenment. -
White Story and Black Pains in Gail Jones' Sorry
Concentric: Literary and Cultural Studies 46.2 September 2020: 115-135 DOI: 10.6240/concentric.lit.202009_46(2).0006 White Story and Black Pains in Gail Jones’ Sorry Labao Wang School of English Studies Shanghai International Studies University, China Abstract Australian writer Gail Jones’s postmodern novel Sorry (2007) can be read as a serious if modest intervention in Australia’s recent debates about the white treatment of indigenous populations. Without resorting to an appropriated Aboriginal testimonial voice for a full presentation of indigenous tribulations, the novel (1) taps into Aboriginal pains through the occasional and sidelong glimpses afforded readers while a white female narrator is relating a story about her own family tragedy; (2) hints at the horrendous mistreatment of Aborigines by white people through the story of the narrator’s own struggle between imperial and colonial knowledge; and (3) treats Aboriginal suffering through a deliberate form of poetic “shadow-speaking” in which pain is vicariously felt from a distance. For these reasons, Sorry would not impress readers as a direct censure of white colonial atrocities. Instead of claiming authority as a grand national narrative, the novel is designed as a postmodern petit récit that tackles a big issue in a small way. If it engages with the theme of national reconciliation, it communicates the message through a form of personal dissent against Australia’s conservative political establishment’s refusal to apologize. Through a voice of humility, Sorry champions a kind of communication ethics that requires listening to and caring for the other. Keywords Gail Jones, Sorry, white story, Aboriginal pains, petit récit, personal intervention, ethics This essay is a part of a research project on contemporary Australian postmodern fiction with the Chinese National Philosophy and Social Sciences Office (16BWW054), and I acknowledge the valuable support that the Grant has rendered available.