Pub Date : 2019-10-15DOI: 10.7311/pjas.13/1/2019.07
Izabella Kimak
This essay constitutes an attempt at reading Bharati Mukherjee’s 2011 novel, Miss New India, through the prism of spatial locations depicted in it. Unlike many of the texts in the late South Asian American author’s oeuvre, which depict migration from the East to the West, Miss New India is located exclusively within South Asia. This notwithstanding, the novel focuses on the impact the West used to and continues to exert on the East. I would like to argue that through her depictions of places and non-places of Bangalore-the novel’s primary location-Mukherjee points to the spatial interconnectedness of the East and the West as well as to the temporal interconnectedness of the colonial past and postcolonial, late-capitalist present.
这篇文章试图通过巴拉蒂·慕克吉(Bharati Mukherjee) 2011年的小说《新印度小姐》(Miss New India)中所描绘的空间位置的棱镜来解读。与这位已故南亚裔美国作家作品中描述从东方到西方移民的许多文本不同，《新印度小姐》只发生在南亚。尽管如此，小说还是着重于西方过去和现在对东方的影响。我想说的是，通过她对班加罗尔(小说的主要地点)的地方和非地方的描绘，慕克吉指出了东方和西方的空间联系，以及殖民时期的过去和后殖民时期、资本主义晚期的现在的时间联系。
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Pub Date : 2019-10-15DOI: 10.7311/pjas.13/2/2019.03
M. Petrelli
Sara Taylor’s The Shore is ex-centric in many ways. As for the setting, it geographically and socially depicts a fringe of the already-peripheral Appalachian culture, shedding a new and interesting light on the Southern “sense of place” through the use of magical-realistic elements that actually connect characters and landscape. Geography, though, is but the palimpsest. The book’s liminality is further reinforced by the fact that The Shore’s long and violent familiar history is chiefly narrated through the voices of six generations of women struggling not to be silenced by the all-embracing southern patriarchy. Considering both the psycho-geographical and socio-historical dimensions described by Taylor, this essay will show how The Shore stands as a counter-dynastic novel giving a voice to those who were excluded from the South’s self-projected image-in-place. Also, through its comprehensive outlook on southern history, the novel chronicles the (frustrated) effort to overcome postmodern placelessness via an-other way of constructing southern identity.
{"title":"Out of Eden: Old South, Post-South and Ur-South in Sara Taylor’s The Shore","authors":"M. Petrelli","doi":"10.7311/pjas.13/2/2019.03","DOIUrl":"https://doi.org/10.7311/pjas.13/2/2019.03","url":null,"abstract":"Sara Taylor’s The Shore is ex-centric in many ways. As for the setting, it geographically and socially depicts a fringe of the already-peripheral Appalachian culture, shedding a new and interesting light on the Southern “sense of place” through the use of magical-realistic elements that actually connect characters and landscape. Geography, though, is but the palimpsest. The book’s liminality is further reinforced by the fact that The Shore’s long and violent familiar history is chiefly narrated through the voices of six generations of women struggling not to be silenced by the all-embracing southern patriarchy. Considering both the psycho-geographical and socio-historical dimensions described by Taylor, this essay will show how The Shore stands as a counter-dynastic novel giving a voice to those who were excluded from the South’s self-projected image-in-place. Also, through its comprehensive outlook on southern history, the novel chronicles the (frustrated) effort to overcome postmodern placelessness via an-other way of constructing southern identity.","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"134 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131458174","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 : 2019-10-15DOI: 10.7311/pjas.13/2/2019.07
Constante González Groba
This novel about US black slavery departs from realism, moving around in time and space as a means of dealing with different racial terrors in different historical periods. One of the author’s intentions is to make us think about slavery not just in the past but with reverberations for the present. Published in 2016, the novel resonates with a contemporary America characterized by acrimonious racial division. After escaping from a Georgia plantation through a literalized Underground Railroad, the adolescent female protagonist soon learns that freedom remains elusive in states further north, even those where slavery has been abolished. The novel fuses the odyssey of Cora with the history and mythology of America, and asserts the inseparability of slavery from American capitalism and the building of empire. Cora explores both the Declaration of Independence and the Bible, two foundational texts of the nation, in a novel that addresses some of the foundational sins of America. Hers is the all-American story of escape to freedom, but her journey takes her through ever darker varieties of depredation and oppression. She becomes an American dreamer in the sense that she never accepts her place in a system that she persists in defying, and through this process becomes a fictional representation of black people who, with their relentless pursuit of freedom, contributed so greatly to the building of American democracy.
{"title":"Riding the Rails to (Un)Freedom: Colson Whitehead’s The Underground Railroad","authors":"Constante González Groba","doi":"10.7311/pjas.13/2/2019.07","DOIUrl":"https://doi.org/10.7311/pjas.13/2/2019.07","url":null,"abstract":"This novel about US black slavery departs from realism, moving around in time and space as a means of dealing with different racial terrors in different historical periods. One of the author’s intentions is to make us think about slavery not just in the past but with reverberations for the present. Published in 2016, the novel resonates with a contemporary America characterized by acrimonious racial division.\u0000\u0000After escaping from a Georgia plantation through a literalized Underground Railroad, the adolescent female protagonist soon learns that freedom remains elusive in states further north, even those where slavery has been abolished. The novel fuses the odyssey of Cora with the history and mythology of America, and asserts the inseparability of slavery from American capitalism and the building of empire.\u0000\u0000Cora explores both the Declaration of Independence and the Bible, two foundational texts of the nation, in a novel that addresses some of the foundational sins of America. Hers is the all-American story of escape to freedom, but her journey takes her through ever darker varieties of depredation and oppression. She becomes an American dreamer in the sense that she never accepts her place in a system that she persists in defying, and through this process becomes a fictional representation of black people who, with their relentless pursuit of freedom, contributed so greatly to the building of American democracy.","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132609802","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 : 2019-10-15DOI: 10.7311/pjas.13/2/2019.06
A. Gorny
The so-called blaxploitation genre — a brand of 1970s film-making designed to engage young Black urban viewers — has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem film,” which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology. Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.”
{"title":"Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South","authors":"A. Gorny","doi":"10.7311/pjas.13/2/2019.06","DOIUrl":"https://doi.org/10.7311/pjas.13/2/2019.06","url":null,"abstract":"The so-called blaxploitation genre — a brand of 1970s film-making designed to engage young Black urban viewers — has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem film,” which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology. Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.”","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"82 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129228224","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 : 2019-10-15DOI: 10.7311/pjas.13/1/2019.04
A. Matysiak
The theater of Sam Shepard has almost emblematically been considered the epitome of the American, particularly the Southwestern, myth of the frontier and, hence, the vastness and masculine expansiveness it traditionally symbolizes. However, Shepard’s theatre attains, I believe, its true potential only when approached in the perspective of the (Neo)Baroque paradigm. Therefore, this article will indicate an alternative manner of interpreting his dramatic thought; the manner, which, as I will argue, allows for re-contextualizing the position of Shepard on the American stage.
{"title":"Sam Shepard and the “True” West","authors":"A. Matysiak","doi":"10.7311/pjas.13/1/2019.04","DOIUrl":"https://doi.org/10.7311/pjas.13/1/2019.04","url":null,"abstract":"The theater of Sam Shepard has almost emblematically been considered the epitome of the American, particularly the Southwestern, myth of the frontier and, hence, the vastness and masculine expansiveness it traditionally symbolizes. However, Shepard’s theatre attains, I believe, its true potential only when approached in the perspective of the (Neo)Baroque paradigm. Therefore, this article will indicate an alternative manner of interpreting his dramatic thought; the manner, which, as I will argue, allows for re-contextualizing the position of Shepard on the American stage.","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134315662","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 : 2019-10-15DOI: 10.7311/pjas.13/2/2019.09
Ewa Klęczaj-Siara
This article explores selected aspects of southern culture as presented in contemporary children’s picture books. It analyzes children’s stories which celebrate New Orleans’ residents and their traditions. Unlike many scholars who point to the end of the New Orleans spirit due to recent economic and demographic changes, children’s authors perceive the culture as a resource which regenerates the city. By means of writing for children they keep the city’s distinct black culture from disappearing. The aim of this article is to examine to what extent the spirit of the South has survived in the minds of contemporary authors and artists addressing young generations of readers. It discusses the presence of such cultural elements as jazz music, body movement and the ritual of parading in selected children’s picture books set in New Orleans. Among others, it analyzes such titles as Freedom in Congo Square (2016) by C. Weatherford, and Trombone Shortly (2015) and The 5 O’ Clock Band (2018) by Troy Andrews. The article focuses on the interaction between the verbal and the visual elements of the books, and the ways they convey the meaning of the stories.
{"title":"Protecting the spirit of the American South: Representations of New Orleans Culture in Contemporary Children’s Picture Books","authors":"Ewa Klęczaj-Siara","doi":"10.7311/pjas.13/2/2019.09","DOIUrl":"https://doi.org/10.7311/pjas.13/2/2019.09","url":null,"abstract":"This article explores selected aspects of southern culture as presented in contemporary children’s picture books. It analyzes children’s stories which celebrate New Orleans’ residents and their traditions. Unlike many scholars who point to the end of the New Orleans spirit due to recent economic and demographic changes, children’s authors perceive the culture as a resource which regenerates the city. By means of writing for children they keep the city’s distinct black culture from disappearing.\u0000\u0000The aim of this article is to examine to what extent the spirit of the South has survived in the minds of contemporary authors and artists addressing young generations of readers. It discusses the presence of such cultural elements as jazz music, body movement and the ritual of parading in selected children’s picture books set in New Orleans. Among others, it analyzes such titles as Freedom in Congo Square (2016) by C. Weatherford, and Trombone Shortly (2015) and The 5 O’ Clock Band (2018) by Troy Andrews. The article focuses on the interaction between the verbal and the visual elements of the books, and the ways they convey the meaning of the stories.","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126676543","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 : 2019-10-15DOI: 10.7311/pjas.13/1/2019.05
J. Milewski
In her book Ties That Bind: Familial Homophobia and Its Consequences (2009) Sarah Schulman explores the way in which heterosexual privilege interacts with the institution of family, and criticizes its destructive impact on familial relationships. According to her theory, the basis of homophobia is a pleasure principle inscribed in the image of family which encourages every privileged family member to enact their dominance on the excluded. Although Schulman has expressed this idea in clear theoretical terms much later, I argue that it has been a visible element of her writing since the 1980s. This paper demonstrates how the author expressed this idea in the past using diverse sociocultural contexts, and how numerous plots from her oeuvre serve as examples to mechanisms of familial homophobia discussed in Ties That Bind.
{"title":"Privilege, Access, Shunning: Familial Homophobia and Its Representations in the Works of Sarah Schulman","authors":"J. Milewski","doi":"10.7311/pjas.13/1/2019.05","DOIUrl":"https://doi.org/10.7311/pjas.13/1/2019.05","url":null,"abstract":"In her book Ties That Bind: Familial Homophobia and Its Consequences (2009) Sarah Schulman explores the way in which heterosexual privilege interacts with the institution of family, and criticizes its destructive impact on familial relationships. According to her theory, the basis of homophobia is a pleasure principle inscribed in the image of family which encourages every privileged family member to enact their dominance on the excluded. Although Schulman has expressed this idea in clear theoretical terms much later, I argue that it has been a visible element of her writing since the 1980s. This paper demonstrates how the author expressed this idea in the past using diverse sociocultural contexts, and how numerous plots from her oeuvre serve as examples to mechanisms of familial homophobia discussed in Ties That Bind.","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130845262","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 : 2019-10-15DOI: 10.7311/pjas.13/1/2019.03
J. Leonard
This essay returns to Jane Tompkins’ original theory of horses in her 1992 book West of Everything: The Inner Life of Westerns as a means of analyzing Charles Portis’ 1968 novel True Grit, a work which Tompkins does not address. Arguing for a Marxist ideology critique of True Grit with a focus on the main character (and narrator) Mattie Ross and her horse named Little Blackie, the essay offers a critique of Tompkins’ idea of the “material presence” of horses in American Western narratives.
{"title":"Horse and Class in True Grit","authors":"J. Leonard","doi":"10.7311/pjas.13/1/2019.03","DOIUrl":"https://doi.org/10.7311/pjas.13/1/2019.03","url":null,"abstract":"This essay returns to Jane Tompkins’ original theory of horses in her 1992 book West of Everything: The Inner Life of Westerns as a means of analyzing Charles Portis’ 1968 novel True Grit, a work which Tompkins does not address. Arguing for a Marxist ideology critique of True Grit with a focus on the main character (and narrator) Mattie Ross and her horse named Little Blackie, the essay offers a critique of Tompkins’ idea of the “material presence” of horses in American Western narratives.","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129706845","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 : 2019-10-15DOI: 10.7311/pjas.13/2/2019.11
E. Álvarez
The forensic thriller has traditionally been constructed as a mainstream American narrative focused on the stereotypical representation of the country as a metropolis with an incredible amount of resources, and the American capitalist dream. The author Patricia Cornwell (Postmortem, first novel in the Kay Scarpetta series, published in 1990) is considered the founding mother of this crime fiction subgenre native to the US, closely followed by Kathy Reichs (Deja Dead, first novel in the Temperance Brennan series, published in 1997) whose series have been successfully adapted to television in the show Bones (2005-2017). But the 21st century has seen the inclusion of more diverse settings for these stories, the South being the most economically successful and dominated by women authors too. Georgian Karin Slaughter is the author of the “Grant County” series, set in the fictional town of Heartsdale, in rural Georgia, and responsible for the inscription of the South in American forensic thrillers thanks to her own experience as a native. Blindsighted (2001) includes elements from both the grotesque southern gothic and the hard boiled tradition. My analysis of the first novel in the series will examine how the southern environment becomes quintessential to the development of the crimes and the characters from a literary, philosophical and feminist point of view. The issues examined will include, but not be limited to crime, morals, religion, professional ambition, infidelity, divorce, sexual desire, infertility, and family relationships.
{"title":"Form and Diversity in American Crime Fiction:The Southern Forensic Thriller","authors":"E. Álvarez","doi":"10.7311/pjas.13/2/2019.11","DOIUrl":"https://doi.org/10.7311/pjas.13/2/2019.11","url":null,"abstract":"The forensic thriller has traditionally been constructed as a mainstream American narrative focused on the stereotypical representation of the country as a metropolis with an incredible amount of resources, and the American capitalist dream. The author Patricia Cornwell (Postmortem, first novel in the Kay Scarpetta series, published in 1990) is considered the founding mother of this crime fiction subgenre native to the US, closely followed by Kathy Reichs (Deja Dead, first novel in the Temperance Brennan series, published in 1997) whose series have been successfully adapted to television in the show Bones (2005-2017). But the 21st century has seen the inclusion of more diverse settings for these stories, the South being the most economically successful and dominated by women authors too.\u0000\u0000Georgian Karin Slaughter is the author of the “Grant County” series, set in the fictional town of Heartsdale, in rural Georgia, and responsible for the inscription of the South in American forensic thrillers thanks to her own experience as a native. Blindsighted (2001) includes elements from both the grotesque southern gothic and the hard boiled tradition. My analysis of the first novel in the series will examine how the southern environment becomes quintessential to the development of the crimes and the characters from a literary, philosophical and feminist point of view. The issues examined will include, but not be limited to crime, morals, religion, professional ambition, infidelity, divorce, sexual desire, infertility, and family relationships.","PeriodicalId":384144,"journal":{"name":"Polish Journal for American Studies","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126626392","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 : 2019-10-15DOI: 10.7311/pjas.13/1/2019.01
Zbigniew Maszewski
William Faulkner was awarded the Nobel Prize in literature for the year 1949. He officially received the Prize and delivered his acceptance speech on December 10, 1950. This article re-examines critical responses to the writer’s Nobel Prize address, their interest in the address’s intertextual references to Faulkner’s earlier works and the works of other writers. The language of the address documents significant aspects of Faulkner-the writer’s/Faulkner-the reader’s aesthetic vision from the perspective of his didactic concern with the duties of the writer facing the challenges of his/ her time and as a means of constructing publicly Faulkner’s own literary self-portrait of universal dimensions.
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