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Language in the USA
This page intentionally left blank Language in the USA This textbook provides a comprehensive survey of current language issues in the USA. Through a series of specially commissioned chapters by lead- ing scholars, it explores the nature of language variation in the United States and its social, historical, and political significance. Part 1, “American English,” explores the history and distinctiveness of American English, as well as looking at regional and social varieties, African American Vernacular English, and the Dictionary of American Regional English. Part 2, “Other language varieties,” looks at Creole and Native American languages, Spanish, American Sign Language, Asian American varieties, multilingualism, linguistic diversity, and English acquisition. Part 3, “The sociolinguistic situation,” includes chapters on attitudes to language, ideology and prejudice, language and education, adolescent language, slang, Hip Hop Nation Language, the language of cyberspace, doctor–patient communication, language and identity in liter- ature, and how language relates to gender and sexuality. It also explores recent issues such as the Ebonics controversy, the Bilingual Education debate, and the English-Only movement. Clear, accessible, and broad in its coverage, Language in the USA will be welcomed by students across the disciplines of English, Linguistics, Communication Studies, American Studies and Popular Culture, as well as anyone interested more generally in language and related issues. edward finegan is Professor of Linguistics and Law at the Uni- versity of Southern California. He has published articles in a variety of journals, and his previous books include Attitudes toward English Usage (1980), Sociolinguistic Perspectives on Register (co-edited with Douglas Biber, 1994), and Language: Its Structure and Use, 4th edn. -
Postcolonial Female Subjects Rewritten Identities in Andrea Levy’S Small Island and Zadie Smith’S NW
Master’s Degree in European, American and Postcolonial Languages and Literature Final Thesis Postcolonial Female Subjects Rewritten Identities in Andrea Levy’s Small Island and Zadie Smith’s NW Supervisor Ch. Prof. Flavio Gregori Assistant Supervisor Ch. Prof. Shaul Bassi Graduand Buse Umur 876576 Academic Year 2019 / 2020 ACKNOWLEDGMENTS I would like to thank all my professors who have inspired me during my education, enlightened my path with their precious knowledge, and encouraged me to write my thesis. Beyond any doubt, I would not be the person I am without their support and enthusiasm to raise me as a sensible individual. The melody of my life would not sound so harmoniously if it were not for my loving, gentle, insightful, brave, and strong friends. Their unconditional love and support have embellished my life. This thesis has come to life particularly thanks to their profound conversations, incredible company, and joyful laughter. It is my most tremendous fortune to have met beautiful souls across the world, for which I will always be grateful. I would also thank my brother for cheering up my life with his sweet and witty spirit and my father for being the most compassionate person he is and supporting my journey in whichever direction I may take. My greatest gratitude is for the strongest, fiercest, and kindest woman with her glittering blue eyes, brightening my life. For teaching me how to live, not survive, how to make my decisions, not conform, and how to laugh even after crying. For being a woman in a hostile and patriarchal environment, building a life for her family, raising her children with humanist values, and believing in us even when we cannot. -
11593046.Pdf
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES DIPLOMARBEIT Titel der Diplomarbeit „Aboriginal Drama and the Clash between Cultures: Black versus White Australia as Mirrored in the Plays The Keepers , Murras and The Dreamers ” Verfasserin Nicole Hahnl angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2010 Studienkennzahl lt. Studienblatt: A 190 344 333 Studienrichtung lt. Studienblatt: UF Englisch UF Deutsch Betreuer: Ao. Univ.-Prof. Mag. Dr. Franz-Karl Wöhrer DECLARATION OF AUTHENTICITY I confirm to have conceived and written this M.A. thesis in English all by myself. Quotations from other authors are all clearly marked and acknowledged in the bibliographical references, either in the footnotes or within the text. Any ideas borrowed and/or passages paraphrased from the works of other authors have been truthfully acknowledged and identified in the footnotes. Nicole Hahnl HINWEIS Diese Diplomarbeit hat nachgewiesen, dass die betreffende Kandidatin oder der betreffende Kandidat befähigt ist, wissenschaftliche Themen selbstständig sowie inhaltlich und methodisch vertretbar zu bearbeiten. Da die Korrekturen der/des Beurteilenden nicht eingetragen sind und das Gutachten nicht beiliegt, ist daher nicht erkenntlich mit welcher Note diese Arbeit abgeschlossen wurde. Das Spektrum reicht von sehr gut bis genügend. Die Habilitierten des Instituts für Anglistik und Amerikanistik bitten diesen Hinweis bei der Lektüre zu beachten. Aboriginal achievement Is like the dark side of the moon, For it is there But so little is known. (Ernie Dingo) 1 1 This is an extract from Ernie Dingo’s poem “Aboriginal Achievement”, to be found in Kevin Gilbert’s collection of Aboriginal poems Inside Black Australia. -
Health, Race, and the Environment in the British Greater Caribbean
Atlantic Bodies: Health, Race, and the Environment in the British Greater Caribbean Katherine Johnston Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2016 © 2016 Katherine Johnston All Rights Reserved ABSTRACT Atlantic Bodies: Health, Race, and the Environment in the British Greater Caribbean Katherine Johnston This dissertation examines the relationship between race and bodily health in the British West Indies and the Carolina/Georgia Lowcountry from the late seventeenth through the early nineteenth century. In the eighteenth century, planters often justified African slavery by claiming that Africans, unlike Europeans, had bodies particularly suited to labor in warm climates. Historians have tended to take these claims as evidence of a growing sense of biological race in plantation societies. Much of this work, though, relies on published sources. This dissertation examines these public sources, including medical manuals, natural histories, and political pamphlets, alongside private sources, particularly the personal correspondence of planters and slaveholders to uncover a different story of race and slavery. These two source types reveal significant discrepancies between planters’ public rhetoric and private beliefs about health, race, and the environment in plantation societies. First, correspondence between the Greater Caribbean and Britain demonstrates that health and disease did not contribute to the development of racial slavery in the Atlantic. Second, these sources show how and why planters manipulated public conceptions of climate and health to justify and maintain a system of racial slavery. Planters insisted on climate-based arguments for slavery in spite of their experiences in the Americas, rather than because of them. -
Australian Aboriginal Verse 179 Viii Black Words White Page
Australia’s Fourth World Literature i BLACK WORDS WHITE PAGE ABORIGINAL LITERATURE 1929–1988 Australia’s Fourth World Literature iii BLACK WORDS WHITE PAGE ABORIGINAL LITERATURE 1929–1988 Adam Shoemaker THE AUSTRALIAN NATIONAL UNIVERSITY E PRESS iv Black Words White Page E PRESS Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] Web: http://epress.anu.edu.au Previously published by University of Queensland Press Box 42, St Lucia, Queensland 4067, Australia National Library of Australia Cataloguing-in-Publication entry Black Words White Page Shoemaker, Adam, 1957- . Black words white page: Aboriginal literature 1929–1988. New ed. Bibliography. Includes index. ISBN 0 9751229 5 9 ISBN 0 9751229 6 7 (Online) 1. Australian literature – Aboriginal authors – History and criticism. 2. Australian literature – 20th century – History and criticism. I. Title. A820.989915 All rights reserved. You may download, display, print and reproduce this material in unaltered form only (retaining this notice) for your personal, non-commercial use or use within your organization. All electronic versions prepared by UIN, Melbourne Cover design by Brendon McKinley with an illustration by William Sandy, Emu Dreaming at Kanpi, 1989, acrylic on canvas, 122 x 117 cm. The Australian National University Art Collection First edition © 1989 Adam Shoemaker Second edition © 1992 Adam Shoemaker This edition © 2004 Adam Shoemaker Australia’s Fourth World Literature v To Johanna Dykgraaf, for her time and care -
Resisting the Binary in Aboriginal Drama
Kunapipi Volume 15 Issue 1 Article 4 1993 History /history /histories: Resisting the Binary in Aboriginal Drama Joanne Tompkins Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Tompkins, Joanne, History /history /histories: Resisting the Binary in Aboriginal Drama, Kunapipi, 15(1), 1993. Available at:https://ro.uow.edu.au/kunapipi/vol15/iss1/4 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] History /history /histories: Resisting the Binary in Aboriginal Drama Abstract Paul Carter's observation in The Road to Botany Bay, regarding Australia's past, that 'the gaze of most historians has been ... partial',1 is now fairly commonplace. Perhaps not so commonplace is his comment, 'We have no grounds for presuming that Aboriginal history can be treated as a subset of white history, as a history within a history' (p. 325). Now that black versions of history are being told and written down, white critics must learn how to witness and read and listen to these versions, since they must be approached from a different perspective than white texts which generally have as their cornerstone 'official' History. One method that has already been attempted is applying western critical theory to indigenous texts in the same way as one would apply it to a text written by an AngloSaxon, middle-class male. Such a scheme, it is being discovered, is not the answer because it creates a new field of coloni7..ation. -
Tourism and Place in Treasure Beach, Jamaica: Imagining Paradise and the Alternative. Michael J
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1999 Tourism and Place in Treasure Beach, Jamaica: Imagining Paradise and the Alternative. Michael J. Hawkins Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Hawkins, Michael J., "Tourism and Place in Treasure Beach, Jamaica: Imagining Paradise and the Alternative." (1999). LSU Historical Dissertations and Theses. 7044. https://digitalcommons.lsu.edu/gradschool_disstheses/7044 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bteedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Island People
ISLAND PEOPLE [BIBLIOGRAPHY & FURTHER READING] JOSHUA JELLY-SCHAPIRO Island People: Bibliography and Further Reading www.joshuajellyschapiro.com ISLAND PEOPLE The Caribbean and the World By Joshua Jelly-Schapiro [Knopf 2016/Canongate 2017] Bibliography & Further Reading The direct source materials for Island People, and for quotations in the text not deriving from my own reporting and experience, are the works of history, fiction, film and music, along with primary documents from such archiVes as the West Indiana and Special Collections division at the University of the West Indies library in St. Augustine, Trinidad, enumerated in the “Notes” at the back of the book. But as essential to its chapters’ background, and to my explorations of indiVidual islands and their pasts, is a much larger body of literature—the wealth of scholarly and popular monographs on Antillean history and culture that occupy students and teachers in the burgeoning academic field of Caribbean Studies. What follows is a distilled account, more suggestiVe than comprehensiVe, of that bibliography’s essential entries, focusing on those books and other sources informing the stories and ideas contained in my book—and that comprise something like a list of Vital reading for those wishing to go further. Emphasis is here giVen to works in English, and to foreign-language texts that have been published in translation. Exceptions include those Spanish- and French- language works not yet published into English but which form an essential part of any good library on the islands in question. 1 Island People: Bibliography and Further Reading www.joshuajellyschapiro.com Introduction: The Caribbean in the World Start at the beginning. -
Through a Glass, Darkly
Shara McCallum Through a Glass, Darkly If we choose to keep any part of what is behind us, we must take all of it. —Natasha Trethewey left Jamaica for the U.S. in 1981, when I was eight-going- on- nine years I old. Nearly four decades later, one of the ways I continue to see the world is through the lens of that child, the emigrant looking back to measure herself from the distance between where she stands and her first home, quickly receding from lived experience into the realm of memory and imagination. Like many immigrant families, mine migrated without all its members. It was dismembered, the family, its arms and legs left behind. My parents stayed in Jamaica, and my father, two days after my arrival in Miami with my maternal grandparents and three of my sisters, committed suicide back home. A year later, my mother rejoined us in the States, and we were partially reassembled. We were luckier than many families who make such crossings, yet, like the sad figure of Humpty Dumpty from the nursery rhyme, we seemed unable to fully be put back together again after our migration and my father’s death. I still don’t know how I would disentangle these personal losses from the forces of politics, culture, and history that shaped me upon entry into America—just as I don’t know how to disconnect all of it from the maelstrom of adolescence that soon followed. Like many, my transition into adulthood was marked by acute self- consciousness. When I arrived in America, a taken-for-granted aspect of who I’d been began to unravel. -
Ten Years, Lillian Allen—Jamaican-Canadian Dub Poet
BRENDA CARR We believe that art in itself is symbolic and although it can play a major role in people's lives and in social and political movements, it cannot change the structure of social relations. Our work extends beyond merely creating art; we take our poetry and our conviction into the community. LILLIAN ALLEN, "DE DUB: RENEGADES IN A ONE POEM TOWN" JL OR MORE THAN ten years, Lillian Allen—Jamaican-Canadian dub poet, arts activist, community worker, and mother—has been performing a transformative vision of social change and cultural affirmation in the African tradition of the griot or storyteller-keeper of social memory. As a cross-over artist, Allen works within a complex intersection of African, Jamaican, and Western traditions, history, rhythms, languages, and popular culture practices. In the following discussion, I seek to contex- tualize dub aesthetics in the legacies of the African diaspora as these interface with Western traditions, material practices, and technologies. It is also essential to engage Allen's work in the contexts and development of Jamaican women's movements as these emerge with the struggle for national liberation from neocolonial economic and cultural subjugation. Most important, I argue that dub aesthetics are deeply community- rooted and accountable. Because of Allen's complex locations as Afro-Jamaican-Caribbean-Canadian heterosexual woman, her voice rings simultaneously across multiple communities of affil• iation: the international African diaspora, Jamaicans, African- Canadians, anti-imperialists, -
No Sugar.Pdf
JACK DAVIS was born in Perth in 1917 and brought up at Yarloop and the Moore River native settlements. He first began to learn the language and culture of his people, the Nyoongarah of South-West of Western Australia, while living on the Brookton Aboriginal Reserve. He later worked as a stockman in the North-West which brought him into contact with tribal society. He became an activist on behalf of his people and from 1967–71 was director of the Aboriginal Centre in Perth. In 1971 he became the first chairman of the Aboriginal Trust in West Australia and from 1972– 77 was managing editor of the Aboriginal Publications Foundation. He was a member of the Institute of Aboriginal Studies in Canberra and established a course for Aboriginal writers at Murdoch University. He was also a member of the Aboriginal Arts Board of the Australia Council. His first full-length play, Kullark, a documentary on the history of Aboriginals in West Australia, was first presented in 1979. It was followed by The Dreamers (1983), which toured Australia under the auspices of the Australian Elizabethan Theatre Trust. Following the success of this tour, the Trust commissioned No Sugar for the 1985 Festival of Perth and Honey Spot, a children’s play, for the 1985 Come Out Festival in Adelaide. In 1986 No Sugar was remounted by the Trust for a season at the World Theatre Festival in Vancouver. For services to his people Jack Davis received the British Empire Medal in 1977; in 1985 he became a member of the Order of Australia, received the Sydney Myer Performing Arts Award, an Hon. -
Jamaican Women Poets and Writers' Approaches to Spirituality and God By
RE-CONNECTING THE SPIRIT: Jamaican Women Poets and Writers' Approaches to Spirituality and God by SARAH ELIZABETH MARY COOPER A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Centre of West African Studies School of Historical Studies The University of Birmingham October 2004 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract Chapter One asks whether Christianity and religion have been re-defined in the Jamaican context. The definitions of spirituality and mysticism, particularly as defined by Lartey are given and reasons for using these definitions. Chapter Two examines history and the Caribbean religious experience. It analyses theory and reflects on the Caribbean difference. The role that literary forefathers and foremothers have played in defining the writers about whom my research is concerned is examined in Chapter Three, as are some of their selected works. Chapter Four reflects on the work of Lorna Goodison, asks how she has defined God whether within a Christian or African framework. In contrast Olive Senior appears to view Christianity as oppressive and this is examined in Chapter Five.