Pub Date : 2022-11-01DOI: 10.3390/literature2040023
Hee Park
In Tropic of Orange (1997), Karen Tei Yamashita uses literary imagination to challenge the settler-colonial discourse on space and time in the Americas. The influence of Latin American magical realism on Yamashita is most pronounced in the orange, a nonhuman object imbued with human agency. The orange magically initiates cross-border movements of people that disrupt the binaries of local/global, East/West, and North/South, challenging the unequal distribution of freedom of movement across the globe. In this paper, I engage with Wai-Chee Dimock’s concept of “deep time” to discuss the temporality of such border crossings. I propose that the cyclicality symbolized by the orange provides an alternative to linear settler-colonial management of spacetime.
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Pub Date : 2022-10-26DOI: 10.3390/literature2040022
Ahmad A. Ghashmari
This paper addresses the commodification of the human experience in late capitalism as depicted in William Gibson’s novel Pattern Recognition and the potential of technology in helping the human subject in evading commodification. The novel shows how the virtual world and the physical world can become mutually supportive in allowing the characters to search for meaning, pattern and wholeness by using technology as an empowering force for the human subject while managing to avoid being consumed by a powerful capitalist market. The novel’s protagonist’s success in using technology as a humanizing force proves that humans can thrive within its sphere without necessarily being absorbed or overwhelmed by it.
{"title":"William Gibson’s Pattern Recognition: Finding Human Agency in a Commodified Techno-Culture","authors":"Ahmad A. Ghashmari","doi":"10.3390/literature2040022","DOIUrl":"https://doi.org/10.3390/literature2040022","url":null,"abstract":"This paper addresses the commodification of the human experience in late capitalism as depicted in William Gibson’s novel Pattern Recognition and the potential of technology in helping the human subject in evading commodification. The novel shows how the virtual world and the physical world can become mutually supportive in allowing the characters to search for meaning, pattern and wholeness by using technology as an empowering force for the human subject while managing to avoid being consumed by a powerful capitalist market. The novel’s protagonist’s success in using technology as a humanizing force proves that humans can thrive within its sphere without necessarily being absorbed or overwhelmed by it.","PeriodicalId":40504,"journal":{"name":"Childrens Literature","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84046367","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 : 2022-10-12DOI: 10.3390/literature2040021
T. Tatsumi
The literary topic of Siamese twins is not unfamiliar. American literary history tells us of the genealogy from Mark Twain’s pseudo-antebellum story The Tragedy of Pudd’nhead Wilson and the Comedy Those Extraordinary Twins (1894), Karen Tei Yamashita’s postmodern metafiction “Siamese Twins and Mongoloids: Cultural Appropriation and the Deconstruction of Stereotype via the Absurdity of Metaphor” (1999), down to Shelley Jackson’s James Tiptree, Jr. award winner Half-Life (2006). Rereading these works, we are easily invited to notice the political unconscious hidden deep within each plot: Twain’s selection of the Italian Siamese twins based upon Chang and Eng Bunker, antebellum stars of the Barnum Museum, cannot help but recall the ideal of the post-Civil War world uniting the North and the South; Yamashita’s figure of the conjoined twins Heco and Okada derives from Hikozo Hamada, an antebellum Japanese who made every effort to empower the bond between Japan and the United States, and John Okada, the Japanese American writer well known for his masterpiece No No Boy (1957); and Jackson’s characterization of the female conjoined twins Nora and Blanche Olney represents a new civil rights movement in the post-Cold War age in the near future, establishing a close friendship between the humans and the post-humans. This literary and cultural context should convince us that Yamashita’s short story “Siamese Twins and Mongoloids” serves as a kind of singularity point between realist twins and magic realist twins. Influenced by Twain’s twins, Yamashita paves the way for the re-figuration of the conjoined twins not only as tragi-comical freaks in the Gilded Age but also as representative men of magic realist America in our Multiculturalist Age. A Close reading of this metafiction composed in a way reminiscent of Jorge Luis Borges, Stanislaw Lem and Bruce Sterling will enable us to rediscover not only the role conjoined twins played in cultural history, but also the reason why Yamashita had to feature them once again in her novel I Hotel (2010) whose plot centers around the Asian American civil rights movement between the 1960s and the 1970s. Accordingly, an Asian American magic realist perspective will clarify the way Yamashita positioned the figure of Siamese Twins as representing legal and political double standards, and the way the catachresis of Siamese Twins came to be naturalized, questioned and dismissed in American literary history from the 19th century through the 21st century.
连体双胞胎的文学话题并不陌生。美国文学史告诉我们，从马克·吐温的伪战前故事《傻瓜威尔逊的悲剧和喜剧那些非凡的双胞胎》(1894)，到凯伦·泰·山下的后现代元小说《连体双胞胎和蒙古人:文化占有和通过荒谬的隐喻解构刻板印象》(1999)，再到雪莱·杰克逊的《半条命》(2006)。重读这些作品，我们很容易注意到隐藏在每个情节深处的政治无意识:吐温选择的意大利连体双胞胎是根据巴纳姆博物馆(Barnum Museum)的战前明星张邦克(Chang Bunker)和英邦克(Eng Bunker)设计的，这不禁让人想起内战后南北统一的理想世界;山下的连体双胞胎何子和冈田的形象来源于滨田谦三(Hikozo Hamada)和冈田约翰(John Okada)，前者是战前的日本人，为加强日美关系做出了一切努力;后者是日裔美国作家，以代表作《No No Boy》(1957年)闻名;杰克逊对女性连体双胞胎诺拉和布兰奇·奥尔尼的刻画代表了不久的将来后冷战时代的一场新的民权运动，建立了人类和后人类之间的亲密友谊。这种文学和文化语境应该让我们相信，山下的短篇小说《连体双胞胎和蒙古人》是现实主义双胞胎和魔幻现实主义双胞胎之间的一种奇点。受吐温双胞胎的影响，山下为这对连体双胞胎的重新塑造铺平了道路，他们不仅是镀金时代的悲喜剧怪胎，而且是我们这个多元文化时代美国魔幻现实主义的代表人物。仔细阅读这部让人想起豪尔赫·路易斯·博尔赫斯、斯坦尼斯拉夫·莱姆和布鲁斯·斯特林的元小说，不仅能让我们重新发现连体双胞胎在文化历史上所扮演的角色，还能让我们明白，为什么山下之弥不得不在她的小说《我的酒店》(2010)中再次出现连体双胞胎。这部小说的情节围绕着20世纪60年代至70年代的亚裔美国民权运动展开。因此，从亚裔美国魔幻现实主义的视角出发，将厘清山下如何将连体双胞胎的形象定位为法律与政治双重标准的代表，以及连体双胞胎在19世纪至21世纪的美国文学史上是如何被入籍、质疑和否定的。
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Pub Date : 2022-10-10DOI: 10.3390/literature2040020
Tee Montague
Recent studies of the conceptualization of the Devil in the early modern period have pointed to the shifting theological and philosophical coordinates, which made possible a diverse spectrum of representation of diabolical evil—from Francis Bacon’s naturalistic scepticism to King James’s supernatural demonology. Shakespeare has always been central to this discussion but has not yet been placed in a contextual frame that incorporates the rise of scholarly interest in the diabolical. This article interprets Shakespeare’s representation of diabolical evil in Hamlet (1601), Othello (1603), Measure for Measure (1604) and Macbeth (1606) as constituted by a complex tension between natural and supernatural ideas about the origin of evil. Drawing on a raft of recent scholarship on representations of witchcraft and devils in the period, I show that diabolical figures in the universe of Shakespeare during the period of great tragedies between 1601 to 1606 exist in two modes of representation: as a persistent magical ambience and as a localized agent. Ambivalence is expressed in the hesitation between these opposing theological modes and is evident in the way that the Devil’s material agency is obscured and left unresolved. Viewing this through the lens of the fantastic as an ontological uncertainty that results in epistemological hesitation helps us to frame Shakespeare’s ambivalence, which at least in part originates in the ambivalent theology of Calvin. The analysis thereby positions hesitation and diabolic temptation in line with Calvin’s theology and shows how Calvin’s framework of secular evil presents an intellectual context through which Shakespeare’s ambiguity can be understood in theological terms.
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Pub Date : 2022-10-10DOI: 10.3390/literature2040019
Todd Foley
Mao Dun’s (茅盾) 1932 short story “Spring Silkworms” (春蚕), the first of a three-part series known as the Village Trilogy, is widely regarded as one of the author’s most representative works. Given Mao Dun’s leftist politics and commitment to critical realism, the story has generated debate over its depiction of the Chinese peasantry and the extent to which it condemns tradition in support of revolutionary progress. This article contends that the key to the ambiguity of the peasants’ depiction lies in the fundamental questioning of what is human, which underlies the story’s overall ideological framework. Through a close examination of the story and its 1933 film adaptation, the article aims to show how the silkworms act as a metaphor for the villagers themselves, who are dehumanized through their helplessness and alienated labor. By reading the human villagers as metaphorical worms, the article demonstrates how they are both exposed as a kind of valueless “bare life” and situated in a narrative pause in historical materialist time, which indicates a space for the potential fundamental reconceptualization of the human, Ultimately, the article hopes to push beyond didactic readings of the story’s politics to reveal an ontological anxiety at its core.
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Pub Date : 2022-09-29DOI: 10.3390/literature2040018
Keith Moser
This essay explores Michel Serres’s “poetic dream of another epistemology” connected to an anti-Cartesian, sensorial view of knowledge. The philosopher alludes to empirical studies from the field of cognitive neuroscience, which have demonstrated that the mind and body are interwoven as part of one integrated entity, in order to propose an alternative epistemological framework for (re-) envisioning the nature of knowledge. The philosopher’s rehabilitation of our senses illustrates that our body is replete with overlapping epistemological channels that bifurcate in all directions. Serres explains how somatic encounters with the universe enable us to constitute a stable sense of self in relation to the larger world. However, he recognizes that there are a plethora of obstacles standing in the way of allowing his epistemological dream to come to fruition. In what he refers to as the Exo-Darwinian, hominescent era, the (post-) modern, urbanized lifestyle affords very little contact with the remainder of the planet. Moreover, Serres laments how climate change has already forever eradicated spaces of meaning that are indispensable as part of an epistemological quest of knowing what and who we are as planetary beings.
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Pub Date : 2022-09-20DOI: 10.3390/literature2040017
S. Covington
Inspired by Terry Newman’s literary and sartorial analysis of writers in her book Legendary Authors and the Clothes They Wore, I analyze James Baldwin’s literary and sartorial style using excerpts from his works and archival photography. I also add a signifier/signified analysis using social semiotic theory. According to De Saussure, there are two main parts to any sign, the signifier, which connotes any material thing, and the signified, which is the meaning that is made of that thing by the receiver. Social semiotics changes the focus from the sign to the way people use semiotic resources to produce communicative artifacts, collectively. In the semiotic tradition, I extend the literary text (Go Tell it on the Mountain, Another Country, and Just Above My Head) to a larger reading of the culture in which it was created and to the more universal structures that are inherent within it. Clothing is also considered a critical semiotic resource because it is viewed as a sign that signifies a particular meaning. In my analysis, I illuminate how Baldwin’s sartorial style is a mirror (signifier) to reflect his literary style and reflects the creative and spiritual (signified) essence of his work, connected to and with collective Black narratives of style.
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Pub Date : 2022-09-06DOI: 10.3390/literature2030016
L. Hopkins
This essay considers various ways in which St George, an important figure in mummers’ plays before the Protestant Reformation, remained a presence in drama and popular entertainment long after one would have expected him to have disappeared. It notes his importance in the agricultural calendar, his strong association with fireworks, his popular designation as a specifically English saint, and some of the customs traditionally observed on his feast day of 23 April. It then moves on to consider some of the plays in which he is mentioned or alluded to, including works by Shakespeare, Christopher Marlowe, Francis Beaumont, and John Fletcher, as well as a romance by Richard Johnson that was later dramatized, and culminates with references in three plays produced by members of the Cavendish family of Bolsover and Welbeck. It argues that referring to St George offered a way of talking about Englishness even when (perhaps especially when) that concept was contested, and also suggests that the legendary folk hero Guy of Warwick, presented in some texts as the son of St George, could sometimes act as a dramatic proxy for the saint.
这篇文章考虑了圣乔治的各种方式，在新教改革之前，他是戏剧和大众娱乐中的一个重要人物，在人们认为他已经消失很久之后，他仍然存在于戏剧和大众娱乐中。它注意到他在农业日历中的重要性，他与烟花的强烈联系，他作为一个特别的英国圣人的流行名称，以及在他的节日4月23日的一些传统习俗。然后继续考虑一些提到或暗示他的戏剧，包括莎士比亚、克里斯托弗·马洛、弗朗西斯·博蒙特和约翰·弗莱彻的作品，以及理查德·约翰逊的一部浪漫小说，这部小说后来被戏剧化，并在由卡文迪许家族成员博尔索弗和维尔贝克制作的三部戏剧中达到高潮。它认为，提及圣乔治提供了一种谈论英国人特性的方式，即使(也许特别是当)这个概念受到质疑时，它也表明，传说中的民间英雄沃里克的盖伊(Guy of Warwick)，在一些文本中被描述为圣乔治的儿子，有时可以作为圣人的戏剧性代理。
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Pub Date : 2022-09-01DOI: 10.3390/literature2030015
Nigus Michael Gebreyohannes, Abiye Daniel David
The purpose of this research is to explore ecofeminist issues in Chimamanda Nagozi Adichie’s novel Purple Hibiscus. It examines the connections between women and nature as well as how unjustified patriarchal domination and Christianity impact these groups as well as indigenous people. A close reading of the novel was conducted in order to select extracts that demonstrate ecofeminist issues. Then, textual analysis was adopted to analyze the selected extracts. Thus, based on the analysis made, the novel shows strong interaction between women and the natural environment. The main character, Kambili, perceives nature as a symbol of hope, freedom, and impressiveness. In contrast, she represents nature as a foreshadowing of chaos and loss of life. The other issue stated in the novel is the women’s skill in nurturing plants and flowers. The novel claims that Aunty Ifeoma is knowledgeable and skillful when it comes to gardening. Additionally, Kambili’s mother is characterized as an excellent gardener who enjoys caring for the plants and flowers in her garden. Moreover, women are portrayed in the novel as the ones who harvest and produce agricultural goods. Finally, Purple Hibiscus illustrates how the patriarchal system and Christianity have led to an unjustified domination of nature and humans based on gender, religion, class, and tradition.
{"title":"Women and Nature: An Ecofeminist Reading of Chimamanda Ngozi Adichie’s Purple Hibiscus","authors":"Nigus Michael Gebreyohannes, Abiye Daniel David","doi":"10.3390/literature2030015","DOIUrl":"https://doi.org/10.3390/literature2030015","url":null,"abstract":"The purpose of this research is to explore ecofeminist issues in Chimamanda Nagozi Adichie’s novel Purple Hibiscus. It examines the connections between women and nature as well as how unjustified patriarchal domination and Christianity impact these groups as well as indigenous people. A close reading of the novel was conducted in order to select extracts that demonstrate ecofeminist issues. Then, textual analysis was adopted to analyze the selected extracts. Thus, based on the analysis made, the novel shows strong interaction between women and the natural environment. The main character, Kambili, perceives nature as a symbol of hope, freedom, and impressiveness. In contrast, she represents nature as a foreshadowing of chaos and loss of life. The other issue stated in the novel is the women’s skill in nurturing plants and flowers. The novel claims that Aunty Ifeoma is knowledgeable and skillful when it comes to gardening. Additionally, Kambili’s mother is characterized as an excellent gardener who enjoys caring for the plants and flowers in her garden. Moreover, women are portrayed in the novel as the ones who harvest and produce agricultural goods. Finally, Purple Hibiscus illustrates how the patriarchal system and Christianity have led to an unjustified domination of nature and humans based on gender, religion, class, and tradition.","PeriodicalId":40504,"journal":{"name":"Childrens Literature","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85350530","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 : 2022-08-12DOI: 10.3390/literature2030014
C. Biswas, S. Channarayapatna
The article identifies the Sundarbans landscape as a ‘marginal scape’ in the context of the Marichjhapi Massacre of 1979. It applies the conservationist vs. environmental (in)justice approach of ecocriticism to Amitava Ghosh’s The Hungry Tide and Deep Halder’s Blood Island: An Oral History of Marichjhapi Massacre. It relates the idea of environmental discrimination and injustice based on caste to the misallocation of the ‘Commons’. For the Marichjhapi Dalit Refugees, the Sundarbans landscape and its ecological attributes become an essential medium in reconstructing their layered identity after migrating from Bangladesh to Sundarbans, which becomes marginalized. The paper argues that the management of environmental resources/landscapes has always been in the hands of the rich, entwined with Brahminical hegemony, who try to impose political geography over ecological systems to suppress the dispossessed. It concludes by comprehending that any justice-based approach (here, social and environmental) still favours non-human beings and ends up causing a multi-layered crisis for marginalized human populations.
{"title":"Marginalization of Sundarbans’ Marichjhapi: Ecocriticism Approaches in Amitav Ghosh’s The Hungry Tide and Deep Halder’s Blood Island","authors":"C. Biswas, S. Channarayapatna","doi":"10.3390/literature2030014","DOIUrl":"https://doi.org/10.3390/literature2030014","url":null,"abstract":"The article identifies the Sundarbans landscape as a ‘marginal scape’ in the context of the Marichjhapi Massacre of 1979. It applies the conservationist vs. environmental (in)justice approach of ecocriticism to Amitava Ghosh’s The Hungry Tide and Deep Halder’s Blood Island: An Oral History of Marichjhapi Massacre. It relates the idea of environmental discrimination and injustice based on caste to the misallocation of the ‘Commons’. For the Marichjhapi Dalit Refugees, the Sundarbans landscape and its ecological attributes become an essential medium in reconstructing their layered identity after migrating from Bangladesh to Sundarbans, which becomes marginalized. The paper argues that the management of environmental resources/landscapes has always been in the hands of the rich, entwined with Brahminical hegemony, who try to impose political geography over ecological systems to suppress the dispossessed. It concludes by comprehending that any justice-based approach (here, social and environmental) still favours non-human beings and ends up causing a multi-layered crisis for marginalized human populations.","PeriodicalId":40504,"journal":{"name":"Childrens Literature","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73760420","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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