The Cambridge History of Black and Asian British Writing最新文献

英文中文

Looking Back, Looking Forward 回顾过去，展望未来

The Cambridge History of Black and Asian British Writing

Pub Date : 2020-01-16 DOI: 10.1017/9781108164146.014

Alison Donnell

引用次数: 0

Engaging the Public 让公众参与

The Cambridge History of Black and Asian British Writing

Pub Date : 2020-01-16 DOI: 10.1017/9781108164146.007

P. Rastogi

引用次数: 0

Mobile Modernisms

The Cambridge History of Black and Asian British Writing

Pub Date : 2020-01-16 DOI: 10.1017/9781108164146.009

Anna Snaith

引用次数: 0

Vernacular Voices 方言的声音

The Cambridge History of Black and Asian British Writing

Pub Date : 2020-01-16 DOI: 10.1017/9781108164146.022

S. Welsh

ABSTRACT Black British poetry is the province of experimenting with voice and recording rhythms beyond the iambic pentameter. Not only in performance poetry and through the spoken word, but also on the page, black British poetry constitutes and preserves a sound archive of distinct linguistic varieties. In Slave Song (1984) and Coolie Odyssey (1988), David Dabydeen employs a form of Guyanese Creole in order to linguistically render and thus commemorate the experience of slaves and indentured labourers, respectively, with the earlier collection providing annotated translations into Standard English. James Berry, Louise Bennett, and Valerie Bloom adapt Jamaican Patois to celebrate Jamaican folk culture and at times to represent and record experiences and linguistic interactions in the postcolonial metropolis. Grace Nichols and John Agard use modified forms of Guyanese Creole, with Nichols frequently constructing gendered voices whilst Agard often celebrates linguistic playfulness. The borders between linguistic varieties are by no means absolute or static, as the emergence and marked growth of ‘London Jamaican’ (Mark Sebba) indicates. Asian British writer Daljit Nagra takes liberties with English for different reasons. Rather than having recourse to established Creole languages, and blending them with Standard English, his heteroglot poems frequently emulate ‘Punglish’, the English of migrants whose first language is Punjabi. Whilst it is the language prestige of London Jamaican that has been significantly enhanced since the 1990s, a fact not only confirmed by linguistic research but also by its transethnic uses both in the streets and on the page, Nagra’s substantial success and the mainstream attention he receives also indicate the clout of vernacular voices in poetry. They have the potential to connect with oral traditions and cultural memories, to record linguistic varieties, and to endow ‘street cred’ to authors and texts. In this chapter, these double-voiced poetic languages are also read as signs of resistance against residual monologic ideologies of Englishness. © Book proposal (02/2016): The Cambridge History of Black and Asian British Writing p. 27 of 43

英国黑人诗歌是对声音进行实验的领域，并记录了抑扬格五音步以外的节奏。不仅在表演诗歌和口语中，而且在纸上，英国黑人诗歌构成并保存了一个独特语言多样性的健全档案。在《奴隶之歌》(1984)和《苦力奥德赛》(1988)中，大卫·达比迪恩采用了一种形式的圭亚那克里奥尔语，以便在语言上呈现和纪念奴隶和契约劳工的经历，并将早期的集合提供了标准英语的注释翻译。詹姆斯·贝瑞、路易斯·贝内特和瓦莱丽·布鲁姆改编牙买加方言来庆祝牙买加的民间文化，有时也表现和记录后殖民大都市的经历和语言互动。格蕾丝·尼科尔斯和约翰·阿加德使用圭亚那克里奥尔语的修改形式，尼科尔斯经常构建性别声音，而阿加德经常庆祝语言的乐趣。正如“伦敦牙买加语”(Mark Sebba)的出现和显著增长所表明的那样，语言变体之间的边界绝不是绝对的或静态的。亚裔英国作家达尔吉特·纳格拉(Daljit Nagra)对英语的自由运用有着不同的原因。他的异种语言诗歌经常模仿“Punglish”，而不是求助于既定的克里奥尔语言，并将它们与标准英语混合，“Punglish”是第一语言是旁遮普语的移民的英语。自20世纪90年代以来，伦敦牙买加语的语言声望得到了显著提升，这一事实不仅得到语言学研究的证实，而且在街头和报纸上的跨种族使用也证实了这一点，Nagra的巨大成功和他受到的主流关注也表明了白话在诗歌中的影响力。它们有可能与口头传统和文化记忆联系起来，记录语言的多样性，并赋予作者和文本“街头信誉”。在本章中，这些双重发音的诗歌语言也被视为抵抗残余的单一英语意识形态的标志。©图书建议(2016年2月):剑桥黑人和亚裔英国作家的历史，第27页，共43页

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