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Chinese Immigrants and the Changing Terms of Exclusion in Beverly Cleary's Emily's Runaway Imagination and Fifteen 从贝弗利·克利里的《逃亡想象与十五》看中国移民与排斥条件的变化
IF 0.1 4区 文学 Q2 Arts and Humanities Pub Date : 2022-04-01 DOI: 10.1353/uni.2022.0018
S. Sabnis
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引用次数: 0
Robin and the Making of American Adolescence by Lauren O'Connor (review) 《罗宾与美国青少年的形成》劳伦·奥康纳著(书评)
IF 0.1 4区 文学 Q2 Arts and Humanities Pub Date : 2022-04-01 DOI: 10.1353/uni.2022.0015
Sara Austin
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引用次数: 0
I Can Read It All By Myself: The Beginner Books Story by Paul V. Allen (review) 我可以自己读:保罗·v·艾伦的初级书籍故事(书评)
IF 0.1 4区 文学 Q2 Arts and Humanities Pub Date : 2022-04-01 DOI: 10.1353/uni.2022.0023
R. Fitzsimmons
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引用次数: 0
Bridges to Self: Material Culture and Emotional Transnationalism in Grace Lin's Picture Books 通往自我的桥梁:林绘本中的物质文化与情感跨国
IF 0.1 4区 文学 Q2 Arts and Humanities Pub Date : 2022-04-01 DOI: 10.1353/uni.2022.0019
D. D. Rosa
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引用次数: 0
Confusing Boundaries in The Lovebus: Constructing Consent in Dutch YA Fiction 《爱情巴士》中令人困惑的边界:荷兰青少年小说中的共识建构
IF 0.1 4区 文学 Q2 Arts and Humanities Pub Date : 2022-04-01 DOI: 10.1353/uni.2022.0021
V. Veldhuizen
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引用次数: 0
Teaching Young Adult Literature ed. by Mike Cadden, Karen Coats, and Roberta Seelinger Trites (review) 《青少年文学教学》作者:迈克·卡登、凯伦·科茨、罗伯塔·塞林格·特里茨(书评)
IF 0.1 4区 文学 Q2 Arts and Humanities Pub Date : 2022-04-01 DOI: 10.1353/uni.2022.0016
S. Day
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引用次数: 0
Narratives, Nerdfighters, and New Media by Jennifer Burek Pierce (review) 《叙事、书呆子战士和新媒体》詹妮弗·布瑞克·皮尔斯著(评论)
IF 0.1 4区 文学 Q2 Arts and Humanities Pub Date : 2022-04-01 DOI: 10.1353/uni.2022.0014
Gretchen Papazian
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引用次数: 0
Borderland Ethics, Migrant Personhood, and the Critique of State Sovereignty in Jairo Buitrago's Two White Rabbits and José Manuel Matéo's Migrant: The Journey of a Mexican Worker 边境伦理,移民人格,以及对国家主权的批判,在Jairo Buitrago的两只白兔和jos<s:1> Manuel matsamo的《移民:一个墨西哥工人的旅程》中
IF 0.1 4区 文学 Q2 Arts and Humanities Pub Date : 2022-04-01 DOI: 10.1353/uni.2022.0020
Maya Socolovsky
In “Toward a Borderland Ethics,” Pablo Ramirez argues that fiction that blends the United States and Latin America, self and other, and citizen and noncitizen demonstrates a “borderlands ethical stance” that produces “new unauthorized truths and relations outside the law and beyond national borders” (49). However, within those national borders and inside the jurisdiction of the law, the belief that only legal residents are rights-bearers means that to be “illegal” is to have no legitimate public voice or presence; imposing its own logic, the law’s rigid categories make some histories mute (50). Furthermore, because nationalism encourages us to situate ourselves in a determinate manner, the state makes people’s histories and relationships intelligible only through securing and bounding national space. Consequently, personhood can only happen through authorized attachment to nation. Although the nation-state thus reserves the right to police its boundaries and establish immigration policies, an ethical stance abolishes distinctions between documented and undocumented residents and asserts that all individuals possess, as Sara Radoff puts it, a “right to rights” regardless of citizenship (439). With this ethical approach, the polity of belonging is not attached to the classic nation state, but to moral personhood. And when fiction adopts this kind of ethical approach, it emphasizes the complexity of migrant experiences, reimagines the border, and disrupts political understandings of nationhood, proposing new ways to document practices of belonging.
巴勃罗·拉米雷斯(Pablo Ramirez)在《走向边疆伦理》(Toward a Borderland Ethics)一书中认为,将美国与拉丁美洲、自我与他人、公民与非公民融合在一起的小说展示了一种“边疆伦理立场”,这种立场产生了“新的未经授权的真相和法律之外、超越国界的关系”(49)。然而,在这些国家的边界和法律的管辖范围内,只有合法居民才是权利持有者的信念意味着“非法”是没有合法的公众声音或存在;法律的严格分类强加了自己的逻辑,使一些历史变得沉默。此外,由于民族主义鼓励我们以一种确定的方式定位自己,国家只有通过确保和限定民族空间,才能使人们的历史和关系变得可理解。因此,人格只有通过对国家的授权依附才能实现。尽管民族国家因此保留了监管其边界和制定移民政策的权利,但道德立场废除了有证件和无证件居民之间的区别,并断言,正如萨拉·拉多夫(Sara Radoff)所说,所有个人都拥有“权利的权利”,而不管国籍如何(439)。通过这种伦理方法,归属政体不再依附于经典的民族国家,而是依附于道德人格。当小说采用这种伦理方法时,它强调了移民经历的复杂性,重新想象了边界,破坏了对国家的政治理解,提出了记录归属感实践的新方法。
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引用次数: 1
"Handling" Wonder: Tools, Tasks, and the Enchantment of Materialistic Engagement in Philip Pullman's His Dark Materials Trilogy 菲利普·普尔曼的《黑暗物质三部曲》中的“处理”奇迹:工具、任务和物质参与的魅力
IF 0.1 4区 文学 Q2 Arts and Humanities Pub Date : 2022-04-01 DOI: 10.1353/uni.2022.0022
Siddharth Pandey
The centrality of objects to alternative universes can be most palpably surmised from the plethora of titles feeding the fantasy canon. From J. R. R. Tolkien’s The Lord of the Rings to Alan Garner’s The Weirdstone of Brisingamen , C. S. Lewis’ The Lion, the Witch and the Wardrobe to J. K. Rowling’s Harry Potter and the Deathly Hallows , and Terry Brooks’ The Sword of Shannara to Jonathan Stroud’s The Amulet of Samarkand , countless fantasies ceaselessly devote special value to nonhuman materiality in thriving, sentient terms. The genre’s mobilization of things often takes place in synchronization with human work, the overall effect of which produces a sense of enchantment both within the text as well as in the reader’s mind. This article studies the link between human efforts and man-made objects in Philip Pullman’s His Dark Materials trilogy (1995–2000), whose three installments include The Golden Compass (the American title for the British Northern Lights ), The Subtle Knife , and The Amber Spyglass . It argues that meticulous expressions of practiced labor in the form of embodied tasks are key to the particular sense of magical wonder being worked out by Pullman. While much critical attention has been paid to the series’ human-animal relationships in order to understand its specific variety of enchantment, not to mention the role of philosophi cal and theological debates therein, a detailed study of human gestures in concert with the titular tools is conspicuously absent. Leaning on fresh theories of materialistic engagement hitherto unused in children’s literature research and literary research in general, the article lays bare the intricate mechanisms that undergird the trilogy’s tool-based activities. It creatively brings the insights of the British anthropologist Tim Ingold and American sociologist Richard Sennett to bear upon Pullman’s
物体在另一个宇宙中的中心地位,可以从提供幻想经典的大量标题中最明显地推测出来。从j·r·r·托尔金的《指环王》到艾伦·加纳的《布里辛加门怪石》,从c·s·刘易斯的《狮子、女巫和魔衣橱》到j·k·罗琳的《哈利·波特与死亡圣器》,从特里·布鲁克斯的《莎娜拉之剑》到乔纳森·斯特劳德的《撒马尔罕护身符》,无数的幻想不断地以蓬勃发展的、有感情的方式赋予非人类物质以特殊的价值。这种体裁对事物的调动往往与人类的工作同步进行,其整体效果在文本和读者的脑海中都产生了一种迷人的感觉。本文研究了菲利普·普尔曼的《黑暗物质三部曲》(1995-2000)中人类活动与人造物体之间的联系,该三部曲包括《黄金罗盘》(英国北极光的美国名称)、《微妙的刀》和《琥珀望远镜》。它认为,以具身任务的形式细致地表达实践劳动是普尔曼所创造的特殊神奇奇迹感的关键。为了理解这个系列的各种魅力,人们对人与动物之间的关系给予了很多批判性的关注,更不用说其中哲学和神学辩论的作用了,但对人类手势与名义上的工具的详细研究却明显缺失。借助迄今为止在儿童文学研究和一般文学研究中尚未使用的唯物主义参与的新理论,文章揭示了支撑三部曲以工具为基础的活动的复杂机制。它创造性地将英国人类学家蒂姆·英戈尔德和美国社会学家理查德·森内特的见解引入普尔曼的著作中
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引用次数: 0
When Reading Mediation becomes Censorship 当阅读调解变成审查制度
IF 0.1 4区 文学 Q2 Arts and Humanities Pub Date : 2022-01-01 DOI: 10.1353/uni.2022.0007
Isabela Carolina Lopes Coelho
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引用次数: 0
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LION AND THE UNICORN
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