Browsing by Subject "Postcolonial"

Now showing 1 - 3 of 3
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    All the Pieces Matter: Fragmentation-as-Agency in the Novels of Edwidge Danticat, Michelle Cliff, and Shani Mootoo
    (2013-01-30) Morguson, Alisun; Springer, Jennifer Thorington; Fox, Stephen L.; Henry Anthony, Ronda C.
    The fragmented bodies and lives of postcolonial Caribbean women examined in Caribbean literature beget struggle and psychological ruin. The characters portrayed in novels by postcolonial Caribbean writers Edwidge Danticat, Michelle Cliff, and Shani Mootoo are marginalized as “Other” by a Western patriarchal discourse that works to silence them because of their gender, color, class, and sexuality. Marginalization participates in the act of fragmentation of these characters because it challenges their sense of identity. Fragmentation means fractured; in terms of these fictive characters, fragmentation results from multiple traumas, each trauma causing another break in their wholeness. Postcolonial scholars have identified the causes and effects of fragmentation on the postcolonial subject, and they argue one’s need to heal because of it. Danticat, Cliff, and Mootoo prove that wholeness is not possible for the postcolonial Caribbean woman, so rather than ruminate on that truth, they examine the journey of the postcolonial Caribbean woman as a way of making meaning of the pieces of her life. This project contends that fragmentation – and the fracture it produces – does not bind these women to negative existences; in fact, the female subjects of Danticat, Cliff, and Mootoo locate power in their fragmentation. The texts studied include Danticat’s "Breath, Eyes, Memory" (1994) and "The Farming of Bones" (1999), Cliff’s "Abeng" (1984) and "No Telephone to Heaven" (1987), and Mootoo’s "Cereus Blooms at Night" (1996) and "He Drown She in the Sea" (2005).
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    Dance and Identity Politics in Caribbean Literature: Culture, Community, and Commemoration
    (2011-06-03) Tressler, Gretchen E.; Springer, Jennifer Thorington; Kubitschek, Missy Dehn; Shepherd, Susan Carol
    Dance appears often in Anglophone Caribbean literature, usually when a character chooses to celebrate and emphasize her/his freedom from the physical, emotional, and societal constraints that normally keep the body in check. This study examines how a character's political consciousness often emerges in chorus with aesthetic bodily movement and analyzes the symbolic force and political significance of Caribbean dance--both celebratory (as in Carnival) and defensive (as in warrior dances). Furthermore, this study observes how the weight of Western views on dance influences Caribbean transmutations and translations of cultural behavior, ritual acts, and spontaneous movement. The novels studied include Samuel Selvon's "The Lonely Londoners" (1956), Earl Lovelace's "The Dragon Can't Dance" (1979), Paule Marshall's "Praisesong for the Widow" (1983), and Marie-Elena John's "Unburnable" (2006).
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    Greenwashed: Identity and Landscape at the California Missions
    (Achaeopress, 2015) Kryder-Reid, Elizabeth
    This paper explores the relationship of place and identity in the historical and contemporary contexts of the California mission landscapes, conceiving of identity as a category of both analysis and practice (Brubaker and Cooper 2000). The missions include twenty-one sites founded along the California coast and central valley in the late eighteenth and early nineteenth centuries. The missions are all currently open to the public and regularly visited as heritage sites, while many also serve as active Catholic parish churches. This paper offers a reading of the mission landscapes over time and traces the materiality of identity narratives inscribed in them, particularly in ‘mission gardens’ planted during the late 19th and first half of the 20th century. These contested places are both celebrated as sites of California's origins and decried as spaces of oppression and even genocide for its indigenous peoples. Theorized as relational settings where identity is constituted through narrative and memory (Sommers 1994; Halbwachs 1992) and experienced as staged, performed heritage, the mission landscapes bind these contested identities into a coherent postcolonial experience of a shared past by creating a conceptual metaphor of ‘mission as garden’ that encompasses their disparities of emotional resonance and ideological meaning.