Pub Date : 2021-01-02DOI: 10.1080/20512856.2021.1882024
Kui Zeng
ABSTRACT Critical attention to D. H. Lawrence’s two Italian novels has focused on themes of sexual politics and leadership politics, and few critics have noted their engagement with colonial politics. Informed by postcolonial studies, this paper argues that Lawrence’s representation of Italy in The Lost Girl and Aaron's Rod is overloaded with Orientalist imagery in that Italy is imagined as an Other within Europe that contrasts with the industrialised and civilised North. Italy is portrayed as alternatively redemptive and destructive. While the Italian landscape is idealised as an exotic Other, its people and culture are demonised as a savage Other. Both representation modes are trapped in the logic of imperialist discourses. The celebration of the landscape marginalises Italy from the modern world and the demonisation of the community affirms the racial and cultural inferiority of Italy. Lawrence’s representation of Italy indicates that in the cultural imagination of Britain the racial and national others within Europe are often subject to the colonising gaze of the ‘imperial eyes’.
{"title":"Orientalism in D. H. Lawrence’s Novelistic Representation of Italy","authors":"Kui Zeng","doi":"10.1080/20512856.2021.1882024","DOIUrl":"https://doi.org/10.1080/20512856.2021.1882024","url":null,"abstract":"ABSTRACT Critical attention to D. H. Lawrence’s two Italian novels has focused on themes of sexual politics and leadership politics, and few critics have noted their engagement with colonial politics. Informed by postcolonial studies, this paper argues that Lawrence’s representation of Italy in The Lost Girl and Aaron's Rod is overloaded with Orientalist imagery in that Italy is imagined as an Other within Europe that contrasts with the industrialised and civilised North. Italy is portrayed as alternatively redemptive and destructive. While the Italian landscape is idealised as an exotic Other, its people and culture are demonised as a savage Other. Both representation modes are trapped in the logic of imperialist discourses. The celebration of the landscape marginalises Italy from the modern world and the demonisation of the community affirms the racial and cultural inferiority of Italy. Lawrence’s representation of Italy indicates that in the cultural imagination of Britain the racial and national others within Europe are often subject to the colonising gaze of the ‘imperial eyes’.","PeriodicalId":40530,"journal":{"name":"Journal of Language Literature and Culture","volume":"68 1","pages":"1 - 9"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20512856.2021.1882024","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41326158","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/20512856.2021.1907016
Gülşah Göçmen, Özlem Özmen Akdoğan
ABSTRACT This article argues that the adaptation of Kazuo Ishiguro’s novel The Remains of the Day (1989) by Merchant Ivory evokes nostalgia as a trope that glorifies the imperial past of the British through portraying extravagantly both the butler protagonist’s professionalism and his attachment to the country house (Darlington Hall), one of the symbolic places used in heritage cinema. In the novel, Stevens’ sense of nostalgia is presented as a sensual impetus or a blueprint to revisit the past to construct a more insightful understanding of the self. Analysing both uses of nostalgia in the source text and its adaptation, this article reveals that the Merchant Ivory adaptation (1993) limits its nostalgic perspective to depicting the idealised imperial past, and it does not evoke any dissident conception of nostalgia for the audience as the novel provides through its protagonist’s retrospection for the reader. Discussing the politics and contextual background of the adaptation, it concludes that Merchant Ivory’s film version of Ishiguro’s novel exemplifies characteristics of heritage cinema to convey dominantly conservative ideologies such as elitism and nationalism as common norms upheld in Thatcher’s Britain.
摘要本文认为，根据石黑一雄（Kazuo Ishiguro）的小说《一天的遗迹》（the Remains of the Day，1989）改编的《商人象牙》（Merchant Ivory），通过夸张地描绘管家主人公的职业精神和他对乡村别墅（Darlington Hall）的依恋，唤起了怀旧之情，这是一个美化英国帝国历史的比喻。在小说中，史蒂文斯的怀旧感被呈现为一种感官动力或一种重新审视过去的蓝图，以构建对自我更深刻的理解。本文分析了怀旧在原文及其改编作品中的使用，发现《象牙商人》改编作品（1993）将怀旧视角局限于描绘理想化的帝国历史，并没有像小说主人公通过对读者的回顾所提供的那样，为观众唤起任何持不同政见的怀旧观念。讨论了改编的政治和背景，得出结论，Merchant Ivory的石黑一雄小说电影版体现了传统电影的特点，传达了精英主义和民族主义等保守意识形态，这些意识形态是撒切尔时代英国的共同规范。
{"title":"Nostalgic (Re)Visions of Englishness in Merchant Ivory’s Adaptation of Kazuo Ishiguro’s The Remains of the Day","authors":"Gülşah Göçmen, Özlem Özmen Akdoğan","doi":"10.1080/20512856.2021.1907016","DOIUrl":"https://doi.org/10.1080/20512856.2021.1907016","url":null,"abstract":"ABSTRACT This article argues that the adaptation of Kazuo Ishiguro’s novel The Remains of the Day (1989) by Merchant Ivory evokes nostalgia as a trope that glorifies the imperial past of the British through portraying extravagantly both the butler protagonist’s professionalism and his attachment to the country house (Darlington Hall), one of the symbolic places used in heritage cinema. In the novel, Stevens’ sense of nostalgia is presented as a sensual impetus or a blueprint to revisit the past to construct a more insightful understanding of the self. Analysing both uses of nostalgia in the source text and its adaptation, this article reveals that the Merchant Ivory adaptation (1993) limits its nostalgic perspective to depicting the idealised imperial past, and it does not evoke any dissident conception of nostalgia for the audience as the novel provides through its protagonist’s retrospection for the reader. Discussing the politics and contextual background of the adaptation, it concludes that Merchant Ivory’s film version of Ishiguro’s novel exemplifies characteristics of heritage cinema to convey dominantly conservative ideologies such as elitism and nationalism as common norms upheld in Thatcher’s Britain.","PeriodicalId":40530,"journal":{"name":"Journal of Language Literature and Culture","volume":"68 1","pages":"49 - 63"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20512856.2021.1907016","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45645428","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/20512856.2021.1882027
Tanupriya, Dhishna Pannikot
ABSTRACT ‘Sex' is understood as ‘anatomically' and ‘biologically’ inherent in an individual and is mirrored through 'gender' and its signifiers. The contested binaries of male and female are associated with the perceptions of an individual's level of conformity to the vexed ideals of ‘masculinity' and ‘femininity', but a ‘trans' identity finds its expression outside these assigned gender dichotomous roles and find its expression in embodied and bodied practices. The aspects of masculinity and femininity are seen as ‘performative' which can be reflected through ‘sign vehicle' and ‘body idiom', the terms used by Sociologist Erving Goffman. Based on the Butlerian theory of ‘performativity of gender' and ‘materialization', this study pursues the question of hijra (trans woman) construction through the conceptual framework of ‘performance', ‘corporeal significations' and ‘appearance' which is linked to their gendered identity. The reading examines and critiques on the construction of hijra identity and further observes that in imitating the inveterate femininity their construction goes beyond the ascribed ‘feminine’ gender role. It engages with select hijra autobiographies namely, The Truth About Me (2010) by A Revathi, I Am Vidya (2007) by Vidya and Me Hijra, Me Laxmi (2015) by Laxmi, which provides narratives on distinct construction of hijra feminine identity.
{"title":"Enactment of Gender and Performing Selves: A Study on Hijra Performativity","authors":"Tanupriya, Dhishna Pannikot","doi":"10.1080/20512856.2021.1882027","DOIUrl":"https://doi.org/10.1080/20512856.2021.1882027","url":null,"abstract":"ABSTRACT ‘Sex' is understood as ‘anatomically' and ‘biologically’ inherent in an individual and is mirrored through 'gender' and its signifiers. The contested binaries of male and female are associated with the perceptions of an individual's level of conformity to the vexed ideals of ‘masculinity' and ‘femininity', but a ‘trans' identity finds its expression outside these assigned gender dichotomous roles and find its expression in embodied and bodied practices. The aspects of masculinity and femininity are seen as ‘performative' which can be reflected through ‘sign vehicle' and ‘body idiom', the terms used by Sociologist Erving Goffman. Based on the Butlerian theory of ‘performativity of gender' and ‘materialization', this study pursues the question of hijra (trans woman) construction through the conceptual framework of ‘performance', ‘corporeal significations' and ‘appearance' which is linked to their gendered identity. The reading examines and critiques on the construction of hijra identity and further observes that in imitating the inveterate femininity their construction goes beyond the ascribed ‘feminine’ gender role. It engages with select hijra autobiographies namely, The Truth About Me (2010) by A Revathi, I Am Vidya (2007) by Vidya and Me Hijra, Me Laxmi (2015) by Laxmi, which provides narratives on distinct construction of hijra feminine identity.","PeriodicalId":40530,"journal":{"name":"Journal of Language Literature and Culture","volume":"68 1","pages":"27 - 48"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20512856.2021.1882027","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41961040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-01DOI: 10.1080/20512856.2020.1849946
C. H. Seaton
ABSTRACT This article examines the phenomenon of migratory grief through an analysis of crónicas by Bolivian-born medical doctor Clara Espinosa, who migrated to Australia in 1988 and wrote under the pseudonym ‘Woggy Girl’. Crónicas are newspaper columns that comment on aspects of daily life, social habits and the concerns of communities. They have appeared in Spanish-language newspapers in Australia since the late 1970s. A selection of Woggy Girl's crónicas are examined to determine what these narratives reveal about Espinosa's migratory journey and her process of adaptation to the host language and culture – which involved relinquishing her primary identity as a senior medical specialist. Espinosa identified this process as being one of grief, which she chronicled through the newspaper columns that are the focus of this study. Drawing on migratory grief theories from psychological and psychiatric disciplines, this article analyses Woggy Girl's crónicas to determine what they reveal about the author's self-diagnosed journey through migratory grief. I conclude that crónica writing provided Espinosa with a mechanism through which to process the myriad of emotions that accompanied her migratory grief journey, until such time as she was able to carve out a new identity, positioned closer to that of Australian mainstream society.
{"title":"One Woman's Experience of Migratory Grief: The ‘Woggy Girl’ Crónicas in Spanish-language Newspapers in Australia","authors":"C. H. Seaton","doi":"10.1080/20512856.2020.1849946","DOIUrl":"https://doi.org/10.1080/20512856.2020.1849946","url":null,"abstract":"ABSTRACT This article examines the phenomenon of migratory grief through an analysis of crónicas by Bolivian-born medical doctor Clara Espinosa, who migrated to Australia in 1988 and wrote under the pseudonym ‘Woggy Girl’. Crónicas are newspaper columns that comment on aspects of daily life, social habits and the concerns of communities. They have appeared in Spanish-language newspapers in Australia since the late 1970s. A selection of Woggy Girl's crónicas are examined to determine what these narratives reveal about Espinosa's migratory journey and her process of adaptation to the host language and culture – which involved relinquishing her primary identity as a senior medical specialist. Espinosa identified this process as being one of grief, which she chronicled through the newspaper columns that are the focus of this study. Drawing on migratory grief theories from psychological and psychiatric disciplines, this article analyses Woggy Girl's crónicas to determine what they reveal about the author's self-diagnosed journey through migratory grief. I conclude that crónica writing provided Espinosa with a mechanism through which to process the myriad of emotions that accompanied her migratory grief journey, until such time as she was able to carve out a new identity, positioned closer to that of Australian mainstream society.","PeriodicalId":40530,"journal":{"name":"Journal of Language Literature and Culture","volume":"67 1","pages":"111 - 123"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20512856.2020.1849946","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49351269","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-01DOI: 10.1080/20512856.2020.1849943
A. Whyte
ABSTRACT Utopian literature is a literature of interfaces, as it is a discursive space in which countless modes and genres meet and converse. Utopia’s shadow, dystopia, is ‘a lens through which we filter historical reality’, and dystopian discourses have enabled productive and critical scrutiny of the excesses of modern history, although their role in perceiving the interconnectedness of political enormities is still developing. This article utilises dystopia as an interface for comparing the speculative representation of oppressive and destructive political actions in the form of totalitarianism and imperialist colonial policy. It will make a case study of this in the revisions from 1934 to the late 1950s of the dystopian Númenor narratives of J.R.R. Tolkien, which engage with themes of totalitarian and colonial subjugation. This will demonstrate how dystopian representation enhances understanding of totalitarianism and imperialism as interrelated phenomena.
{"title":"Many a Tale of Dread: The Dystopian Interface of Totalitarianism and Colonial Imperialism in the Númenor Narratives of J.R.R. Tolkien","authors":"A. Whyte","doi":"10.1080/20512856.2020.1849943","DOIUrl":"https://doi.org/10.1080/20512856.2020.1849943","url":null,"abstract":"ABSTRACT Utopian literature is a literature of interfaces, as it is a discursive space in which countless modes and genres meet and converse. Utopia’s shadow, dystopia, is ‘a lens through which we filter historical reality’, and dystopian discourses have enabled productive and critical scrutiny of the excesses of modern history, although their role in perceiving the interconnectedness of political enormities is still developing. This article utilises dystopia as an interface for comparing the speculative representation of oppressive and destructive political actions in the form of totalitarianism and imperialist colonial policy. It will make a case study of this in the revisions from 1934 to the late 1950s of the dystopian Númenor narratives of J.R.R. Tolkien, which engage with themes of totalitarian and colonial subjugation. This will demonstrate how dystopian representation enhances understanding of totalitarianism and imperialism as interrelated phenomena.","PeriodicalId":40530,"journal":{"name":"Journal of Language Literature and Culture","volume":"67 1","pages":"83 - 96"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20512856.2020.1849943","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43261892","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-01DOI: 10.1080/20512856.2021.1849945
P. Sharrad
ABSTRACT Australian poet Judith Wright has been read for her lyrical presentation of a woman-centred perspective on love, for her expression of guilt over colonial history and her solidarity with Aboriginal writer Oodgeroo Noonuccal, and for her support for environmental causes. Some critics have noted elements of mysticism, connecting them to Western literary traditions, but this article outlines her debts to Hindu, Buddhist and Sufi images and thought, concluding that these are multicultural tools for her to form a poetic that can be defended against claims that she failed to integrate lyric immediacy and philosophical abstraction.
{"title":"Judith Wright’s Fire Sermons","authors":"P. Sharrad","doi":"10.1080/20512856.2021.1849945","DOIUrl":"https://doi.org/10.1080/20512856.2021.1849945","url":null,"abstract":"ABSTRACT Australian poet Judith Wright has been read for her lyrical presentation of a woman-centred perspective on love, for her expression of guilt over colonial history and her solidarity with Aboriginal writer Oodgeroo Noonuccal, and for her support for environmental causes. Some critics have noted elements of mysticism, connecting them to Western literary traditions, but this article outlines her debts to Hindu, Buddhist and Sufi images and thought, concluding that these are multicultural tools for her to form a poetic that can be defended against claims that she failed to integrate lyric immediacy and philosophical abstraction.","PeriodicalId":40530,"journal":{"name":"Journal of Language Literature and Culture","volume":"67 1","pages":"159 - 171"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20512856.2021.1849945","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44378694","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-01DOI: 10.1080/20512856.2020.1849944
C. Thakur
ABSTRACT The David Malouf Collections at Canberra and Brisbane archive the manuscripts, correspondence, and diary entries of the noted Australian writer. Malouf’s authorship transforms these ordinary drafts and materials into finished works that are recognised and read internationally. The present paper attempts to indicate some nodes from the collections which bear traces of this metamorphosis of the commonplace into the novel. The paper is divided into three sections. The introductory part reflects on a recent study conducted on the manuscript collections of J. M. Coetzee. Through a close reading of Malouf’s Fly Away Peter, it argues that much like Coetzee, the former’s novels also figure the ‘writing event’ in their narrative in a manner that exceeds the various contexts of its production, reception, and exchange. The second segment of the paper pays particular attention to three novels of Malouf – Johnno, An Imaginary Life, and The Great World. It close-reads sections from these works to underline the significance of the way their published versions differ from their numerous drafts and re-drafts. The conclusion discusses the implications of such dissonance in terms of some current developments in the fields of ‘postcritical’ thinking, literary editing, and book history.
{"title":"David Malouf and the Event of Writing","authors":"C. Thakur","doi":"10.1080/20512856.2020.1849944","DOIUrl":"https://doi.org/10.1080/20512856.2020.1849944","url":null,"abstract":"ABSTRACT The David Malouf Collections at Canberra and Brisbane archive the manuscripts, correspondence, and diary entries of the noted Australian writer. Malouf’s authorship transforms these ordinary drafts and materials into finished works that are recognised and read internationally. The present paper attempts to indicate some nodes from the collections which bear traces of this metamorphosis of the commonplace into the novel. The paper is divided into three sections. The introductory part reflects on a recent study conducted on the manuscript collections of J. M. Coetzee. Through a close reading of Malouf’s Fly Away Peter, it argues that much like Coetzee, the former’s novels also figure the ‘writing event’ in their narrative in a manner that exceeds the various contexts of its production, reception, and exchange. The second segment of the paper pays particular attention to three novels of Malouf – Johnno, An Imaginary Life, and The Great World. It close-reads sections from these works to underline the significance of the way their published versions differ from their numerous drafts and re-drafts. The conclusion discusses the implications of such dissonance in terms of some current developments in the fields of ‘postcritical’ thinking, literary editing, and book history.","PeriodicalId":40530,"journal":{"name":"Journal of Language Literature and Culture","volume":"67 1","pages":"97 - 110"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20512856.2020.1849944","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60021541","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-01DOI: 10.1080/20512856.2020.1851156
Mengzhu Xia
ABSTRACT The memory of marginal subjects is a recurring theme in Chinese migrant novelist Geling Yan’s stories against the backdrop of Modern Chinese history, and it constitutes a narrative of ‘marginal memory’ in her novella White Snake (1998). In this study, I first investigate the multi-perspective narrative structure in Yan’s novella, concerning how private, marginal memory contradicts mainstream narratives of gender and sexuality. Secondly, I expound the memory of the body that mediates this marginal memory, regarding the fantasised body, the disciplined body, resistance, and emancipation of the body. I discuss how gender stereotypes are challenged, gender performance is manipulated, and normalised sexuality is transgressed in power relations, in light of Michel Foucault and Judith Butler’s theories of body and gender politics. Finally, I investigate the ‘de-marginality’ that compromises the marginal position of sexual minorities and complicates the marginal memory. Overall, by conceptualising ‘marginal memory’ vis-à-vis public memory, I argue that the narrative of marginal memory being appropriated and silenced constitutes the alternative accounts to rethink historical and individual trauma. I propose that within Yan’s writing emerges a vision of marginality that champions the autonomy and creativity, which arises from queerness and trauma.
{"title":"Gender Myth and Disciplined Sexuality in Geling Yan’s White Snake","authors":"Mengzhu Xia","doi":"10.1080/20512856.2020.1851156","DOIUrl":"https://doi.org/10.1080/20512856.2020.1851156","url":null,"abstract":"ABSTRACT The memory of marginal subjects is a recurring theme in Chinese migrant novelist Geling Yan’s stories against the backdrop of Modern Chinese history, and it constitutes a narrative of ‘marginal memory’ in her novella White Snake (1998). In this study, I first investigate the multi-perspective narrative structure in Yan’s novella, concerning how private, marginal memory contradicts mainstream narratives of gender and sexuality. Secondly, I expound the memory of the body that mediates this marginal memory, regarding the fantasised body, the disciplined body, resistance, and emancipation of the body. I discuss how gender stereotypes are challenged, gender performance is manipulated, and normalised sexuality is transgressed in power relations, in light of Michel Foucault and Judith Butler’s theories of body and gender politics. Finally, I investigate the ‘de-marginality’ that compromises the marginal position of sexual minorities and complicates the marginal memory. Overall, by conceptualising ‘marginal memory’ vis-à-vis public memory, I argue that the narrative of marginal memory being appropriated and silenced constitutes the alternative accounts to rethink historical and individual trauma. I propose that within Yan’s writing emerges a vision of marginality that champions the autonomy and creativity, which arises from queerness and trauma.","PeriodicalId":40530,"journal":{"name":"Journal of Language Literature and Culture","volume":"67 1","pages":"172 - 189"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20512856.2020.1851156","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44459203","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-01DOI: 10.1080/20512856.2020.1849948
Richard Jorge Fernández
ABSTRACT Colonial domination has been exercised by many means, exhibiting varied forms and expressions, one of the most prominent ones being language. Postcolonial countries and writers usually have to contend with the dilemma of which language to use, whether to employ their own native tongues, thus fostering national invigoration and a demise of colonial past, or whether the language of the coloniser is a valid tool for national, postcolonial expression. The Irish case is paradoxical: while Ireland possesses a language different to the tongue of the colonisers, by the time literacy was widespread, it had lost its vantage point among the majority of the population, especially the educated elites. In Ireland the question was how to best adapt the language to employ it as a decolonising tool. While many critics place such abrogation movement in the early twentieth century, in the context of the Irish Revival, this paper demonstrates that such language deployments had its origins in the nineteenth century, invigorated by Celticism and Protrestant Cultural Nationalism. By examining two narratives by Dublin-born writer Joseph Sheridan Le Fanu, the present study unveils how language was employed to break the well-established paradigms associated to Catholic classes and the Irish national identity.
{"title":"Debunking Protestant Celticism: Joseph Sheridan Le Fanu’s Language Appropriation in ‘The Quare Gander’ and ‘An Account of Some Strange Disturbances in Aungier Street’","authors":"Richard Jorge Fernández","doi":"10.1080/20512856.2020.1849948","DOIUrl":"https://doi.org/10.1080/20512856.2020.1849948","url":null,"abstract":"ABSTRACT Colonial domination has been exercised by many means, exhibiting varied forms and expressions, one of the most prominent ones being language. Postcolonial countries and writers usually have to contend with the dilemma of which language to use, whether to employ their own native tongues, thus fostering national invigoration and a demise of colonial past, or whether the language of the coloniser is a valid tool for national, postcolonial expression. The Irish case is paradoxical: while Ireland possesses a language different to the tongue of the colonisers, by the time literacy was widespread, it had lost its vantage point among the majority of the population, especially the educated elites. In Ireland the question was how to best adapt the language to employ it as a decolonising tool. While many critics place such abrogation movement in the early twentieth century, in the context of the Irish Revival, this paper demonstrates that such language deployments had its origins in the nineteenth century, invigorated by Celticism and Protrestant Cultural Nationalism. By examining two narratives by Dublin-born writer Joseph Sheridan Le Fanu, the present study unveils how language was employed to break the well-established paradigms associated to Catholic classes and the Irish national identity.","PeriodicalId":40530,"journal":{"name":"Journal of Language Literature and Culture","volume":"67 1","pages":"143 - 158"},"PeriodicalIF":0.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20512856.2020.1849948","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48115035","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-01DOI: 10.1080/20512856.2020.1851161
Priyanka Banerjee, Rajni Singh
ABSTRACT Madame Beaumont’s ‘Beauty and the Beast’ has become one of the most popular fairy tales to be appropriated in both text and screen over the years. This paper analyses how Donoghue’s reinterpretation of this classic tale in ‘The Tale of the Rose’ counters heteropatriarchal discourses about masculinity and femininity through a lesbian subject position. This paper attempts a queer reading of the 2017 Disney live action musical Beauty and the Beast and demonstrates how it challenges the heteronormative ideals of Madame Beaumont’s tale. The paper further interrogates how these later appropriations engage in activism by encouraging a dialogue about gender diversity in the mainstream. This will be done using lesbian feminism, queer theory, and adaptation of fairy tales as theoretical framework.
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