Pub Date : 2023-12-20DOI: 10.25071/2369-7326.40357
Roxanne Brousseau
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Pub Date : 2023-12-20DOI: 10.25071/2369-7326.40353
Aemun Wasim Syed
The face is dissolved, into the mass grave that is White Space.
脸被溶解，变成了白色空间的乱葬岗。
{"title":"Dissolved","authors":"Aemun Wasim Syed","doi":"10.25071/2369-7326.40353","DOIUrl":"https://doi.org/10.25071/2369-7326.40353","url":null,"abstract":"The face is dissolved, into the mass grave that is White Space.","PeriodicalId":297142,"journal":{"name":"Pivot: A Journal of Interdisciplinary Studies and Thought","volume":"479 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139170484","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-20DOI: 10.25071/2369-7326.40351
M. Díaz
A person opening space on a white space with her pencil.
一个人用铅笔在空白处开辟空间。
{"title":"Untitled","authors":"M. Díaz","doi":"10.25071/2369-7326.40351","DOIUrl":"https://doi.org/10.25071/2369-7326.40351","url":null,"abstract":"A person opening space on a white space with her pencil.","PeriodicalId":297142,"journal":{"name":"Pivot: A Journal of Interdisciplinary Studies and Thought","volume":"383 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139170791","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-20DOI: 10.25071/2369-7326.40376
Samran Muhammad
"The Phone Call" is a short story about a woman, Nadia, dealing with grief and her deteriorating mental health.
"电话 "是一个短篇小说，讲述了一个名叫纳迪娅的女人如何面对悲痛和日益恶化的精神健康的故事。
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Pub Date : 2023-12-20DOI: 10.25071/2369-7326.40355
Marshall Burr
Central to virtually any indictment of South African literature, its historiography, or otherwise culturally and politically influenced modes of representation persist themes of social, political, and racial inequality. That is not to say that all South African cultural productions revolve around a centrifuge of racially focused social commentary; rather, that when historicizing a work of South African aesthetics such themes inevitably arise because of the nation’s colonial history and the Eurocentrism that have pervaded its modern socio-political foundations. When examining South African aesthetic/cultural representations (in this case, a literary text) it is thus crucial to properly locate the work in as full a historical context as possible. My research therefore aims to link South Africa’s history of colonization with the damaged race relations that ensued in the twentieth century as represented in a prominent work of South African theater: Athol Fugard’s “Master Harold” … And the Boys. My essay traverses the history of British and Dutch colonization in South Africa and seeks therein to register foundations for the Eurocentric, whitewashed ideologies which would eventually translate into official state policy in 1948 and which precipitated the broken race relations that Fugard’s semi-autobiographical play interrogates. I discuss Fugard’s depiction of white privilege while systematically linking such representations back to their colonial foundations, and ultimately assess Fugard’s play as a condemnation of white supremacy and as a plea for the recalibration of prejudiced racial hierarchies.
{"title":"Scars of a Colonial History","authors":"Marshall Burr","doi":"10.25071/2369-7326.40355","DOIUrl":"https://doi.org/10.25071/2369-7326.40355","url":null,"abstract":"Central to virtually any indictment of South African literature, its historiography, or otherwise culturally and politically influenced modes of representation persist themes of social, political, and racial inequality. That is not to say that all South African cultural productions revolve around a centrifuge of racially focused social commentary; rather, that when historicizing a work of South African aesthetics such themes inevitably arise because of the nation’s colonial history and the Eurocentrism that have pervaded its modern socio-political foundations. When examining South African aesthetic/cultural representations (in this case, a literary text) it is thus crucial to properly locate the work in as full a historical context as possible. My research therefore aims to link South Africa’s history of colonization with the damaged race relations that ensued in the twentieth century as represented in a prominent work of South African theater: Athol Fugard’s “Master Harold” … And the Boys. My essay traverses the history of British and Dutch colonization in South Africa and seeks therein to register foundations for the Eurocentric, whitewashed ideologies which would eventually translate into official state policy in 1948 and which precipitated the broken race relations that Fugard’s semi-autobiographical play interrogates. I discuss Fugard’s depiction of white privilege while systematically linking such representations back to their colonial foundations, and ultimately assess Fugard’s play as a condemnation of white supremacy and as a plea for the recalibration of prejudiced racial hierarchies.","PeriodicalId":297142,"journal":{"name":"Pivot: A Journal of Interdisciplinary Studies and Thought","volume":"108 35","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138958673","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-20DOI: 10.25071/2369-7326.40360
Olivia De Sanctis
This paper explores the transformation of poetic blank space in the work of three contemporary poets: Carolyn Thompson, Sonja Johanson, and Lisa Huffaker. Specifically, Thompson's Actions Speak Louder Than Words, and The Eaten Heart, Johnson's Untitled Erasure poem series, and Huffaker's 6 Images are compared and contrasted for their unique approaches to using the space of the page to add to the reading experience. The works discussed by each poet are erasure works that transform the page's white spaces surrounding the poem, using various additive or reductive methods to reimagine this space. If the white spaces surrounding a poem are often read as silences or voids, then using multi-modal techniques, these three poets transform these spaces in ways that signal intimacy and movement instead. This creation of intimacy and movement is explored through the intertextual jesters, an essential aspect of erasure poetry, along with the intersections between poetry and sculpture, bodily interactions with and implications within the texts, and poetry and avant-garde notions of cartography.
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Pub Date : 2023-12-20DOI: 10.25071/2369-7326.40369
Tara Costello
This essay analyzes how Cheryl Foggo’s memoir Pourin’ Down Rain contextualizes itself in the recovery of Black space, identity, and story in Canada. An understanding of Black storytelling, founded in Joanne Braxton’s Black Women Writing Autobiography, provides insight into the ways in which Foggo’s memoir fits within a Black storytelling tradition, and how these forms work to disrupt the kind of tradition preserving the ideological space of the “White West.” An analysis of photography and oral storytelling helps explore how Foggo uses alternative narrative techniques to tell a story that challenges dominant perceptions of Blackness and what historical archiving should look like. Finally, this essay deconstructs perceptions of the Canadian West as established by the region’s pre-existing literary canon, and explores how Pourin’ Down Rain opposes these perceptions by challenging some of the common conventions in White prairie narratives.
本文分析了谢丽尔-福戈（Cheryl Foggo）的回忆录《倾盆大雨》（Pourin' Down Rain）如何在加拿大黑人空间、身份和故事的恢复过程中实现自身的语境化。从琼安-布拉克斯顿（Joanne Braxton）的《写自传的黑人妇女》（Black Women Writing Autobiography）一书中对黑人讲故事的理解，有助于深入了解福戈的回忆录是如何融入黑人讲故事的传统的，以及这些形式是如何努力打破那种维护 "西方白人 "意识形态空间的传统的。对摄影和口述故事的分析有助于探索福格戈如何使用另类叙事技巧来讲述一个故事，挑战黑人的主流观念以及历史存档应该是什么样的。最后，这篇文章解构了加拿大西部地区先前存在的文学经典对该地区的看法，并探讨了《倾盆大雨》如何通过挑战白人草原叙事中的一些常见惯例来反对这些看法。
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Pub Date : 2022-10-17DOI: 10.25071/2369-7326.40324
Kristen Smith
Abstract Diving into the politics of radical hospitality, the acceptance of alterity, and the erasure of black women’s bodies in “The Ga(s)p” (2018), m. NourbeSe Philip demonstrates reciprocal breath as a thread of connection that is central to human existence. Throughout this essay, Philip counters prominent, male-centric theories on receptive bodies through the emphasis on the ubiquity of contingent respiration. Philip contends that this “process of shared breath … and dependency becomes useful as a model of community and connectedness in a more female-centred, embodied symbolic universe” (36). Philip enacts this theory on the page in her book-length poem Zong! (2008). Using the court report of Gregson v. Gilbert as a source text, Zong! grapples with the November 1781 massacre of 150 Africans aboard the slave ship Zong on its passage from Ghana to England. Zong! is an erasure poem of 173 pages with movements that Philip describes as “the bones” and “the flesh.” The linguistic material of the poem and its arrangement reflect corporeality and respiration; the textual fragments are physically separated on the page—leaving room for breath. The body and breath of Zong! extends beyond the page to performance. In theory and praxis, Philip uses challenging linguistic material and arrangement to inscribe the body on the page; consequently, she causes the reader to interrogate their positionality and their relationship to the body, to language, and to performance. Keywords: erasure, erasure poetry, body, performance, breath, respiration, reciprocity, positionality
{"title":"“It’s all to do with the breath”: (Un)Sound in M. NourbeSe Philip’s “The Ga(s)p” and Zong!","authors":"Kristen Smith","doi":"10.25071/2369-7326.40324","DOIUrl":"https://doi.org/10.25071/2369-7326.40324","url":null,"abstract":"Abstract \u0000Diving into the politics of radical hospitality, the acceptance of alterity, and the erasure of black women’s bodies in “The Ga(s)p” (2018), m. NourbeSe Philip demonstrates reciprocal breath as a thread of connection that is central to human existence. Throughout this essay, Philip counters prominent, male-centric theories on receptive bodies through the emphasis on the ubiquity of contingent respiration. Philip contends that this “process of shared breath … and dependency becomes useful as a model of community and connectedness in a more female-centred, embodied symbolic universe” (36). Philip enacts this theory on the page in her book-length poem Zong! (2008). \u0000 Using the court report of Gregson v. Gilbert as a source text, Zong! grapples with the November 1781 massacre of 150 Africans aboard the slave ship Zong on its passage from Ghana to England. Zong! is an erasure poem of 173 pages with movements that Philip describes as “the bones” and “the flesh.” The linguistic material of the poem and its arrangement reflect corporeality and respiration; the textual fragments are physically separated on the page—leaving room for breath. The body and breath of Zong! extends beyond the page to performance. In theory and praxis, Philip uses challenging linguistic material and arrangement to inscribe the body on the page; consequently, she causes the reader to interrogate their positionality and their relationship to the body, to language, and to performance. \u0000 \u0000Keywords: \u0000erasure, erasure poetry, body, performance, breath, respiration, reciprocity, positionality","PeriodicalId":297142,"journal":{"name":"Pivot: A Journal of Interdisciplinary Studies and Thought","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114232933","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-17DOI: 10.25071/2369-7326.40332
Olivia De Sanctis
{"title":"Three Poems","authors":"Olivia De Sanctis","doi":"10.25071/2369-7326.40332","DOIUrl":"https://doi.org/10.25071/2369-7326.40332","url":null,"abstract":"","PeriodicalId":297142,"journal":{"name":"Pivot: A Journal of Interdisciplinary Studies and Thought","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121970222","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-17DOI: 10.25071/2369-7326.40321
S. Akhtar
{"title":"One Poem","authors":"S. Akhtar","doi":"10.25071/2369-7326.40321","DOIUrl":"https://doi.org/10.25071/2369-7326.40321","url":null,"abstract":"","PeriodicalId":297142,"journal":{"name":"Pivot: A Journal of Interdisciplinary Studies and Thought","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130779115","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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