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Belatedness and innovation: Korean modernism 滞后与创新:韩国现代主义
IF 0.3 3区 文学 0 LITERATURE Pub Date : 2023-01-01 DOI: 10.1111/lic3.12690
Kelly S. Walsh

If Japanese modernists, as Eric Hayot argues, conceived modernism and modernity as originating in the West, colonial Korean artists inevitably apprehended modernism from a double remove, through the mediation of Japanese literature and language. While they self-consciously sought to develop a distinctive Korean modernist poetics (one not prefigured by Japanese modernism), the sense of belatedness remained inescapable among Korean modernist practitioners. With the ‘expansionism’ of the new modernist studies, as is well known, there has been substantial critical work to challenge and reject the belatedness and derivativeness attributed to ‘peripheral’ modernities and modernisms. However, to properly appreciate the singularity of Korean modernism, and its expressive efforts to place its colonial modernity in a global context, it is necessary to confront how these modernists understood, figured, and rearticulated their sense of belatedness. Taking a cue from Michaela Bronstein, I attend to the uses Korean modernists made of Western (and Japanese) modernisms and how these engagements enact the aesthetic and critical force of belatedness. Ultimately, I contend, Korean modernism's self-reflexive, intertextual stagings of belatedness generate stylistic innovation, enabling writers to situate themselves within global modernism and disclose the fraudulence of colonial modernization and its imposition of second-hand forms.

如果日本现代主义者,如埃里克·海奥特(Eric Hayot)所说,认为现代主义和现代性起源于西方,那么殖民时期的韩国艺术家不可避免地通过日本文学和语言的中介,从双重转移中理解现代主义。虽然他们自觉地寻求发展一种独特的韩国现代主义诗学(一种没有被日本现代主义所预示的诗学),但在韩国现代主义实践者中,迟到的感觉仍然是不可避免的。众所周知,随着新现代主义研究的“扩张主义”,已经有大量的批判性工作来挑战和拒绝归因于“外围”现代性和现代主义的滞后性和衍生性。然而,要正确地欣赏韩国现代主义的独特性,以及它将其殖民现代性置于全球背景下的表现性努力,有必要面对这些现代主义者如何理解、塑造和重新表达他们的迟来感。受Michaela Bronstein的启发,我关注韩国现代主义者对西方(和日本)现代主义的使用,以及这些接触如何制定审美和迟来的批判力量。最终,我认为,韩国现代主义的自我反思、互文性的迟滞性产生了风格上的创新,使作家能够将自己置于全球现代主义之中,并揭示殖民现代化的欺诈及其对二手形式的强加。
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引用次数: 0
The regional turn to modernist studies in Singapore 新加坡现代主义研究的区域性转向
IF 0.3 3区 文学 0 LITERATURE Pub Date : 2023-01-01 DOI: 10.1111/lic3.12693
Teck Heng Tan

The past decade or so saw a regional turn to modernist studies in Singapore. Numerous projects are mapping out the networks of institutions, artists, and writers that disseminated and reinvented Euro-American modernism in Southeast Asia from the 1930s. While this networked approach enables the recovery of neglected modernists in the non-West, particularly women, it is also too neatly aligned with Singapore's self-branding as a global city and its ongoing accumulation of cultural capital. Related scholarship is circumscribed by a tension between a desire to diversify modernist studies and a narrow fixation on connecting Singapore-based artists and writers to already established modernist networks. In the process, an implicit conception of modernity and modernism that privileges connectivity, mobility, and capital is installed. Consequently, inconvenient facets of regional art and literature, as well as intra-regional connections, are overlooked. I examine how these dynamics play out in projects on the Nanyang artists and writers, a group of diasporic Chinese literati who worked in Southeast Asia following their exposure to Euro-American modernism. In closing, I turn to emergent avenues of research which counteract the nationalist slant to the study of regional modernisms in Singapore.

过去十年左右的时间里,新加坡的现代主义研究出现了地区性的转向。许多项目正在绘制机构、艺术家和作家的网络,这些机构、艺术家和作家从20世纪30年代开始在东南亚传播和重塑欧美现代主义。虽然这种网络化的方式使非西方被忽视的现代主义者,尤其是女性得以复苏,但它也与新加坡作为一个全球城市的自我形象及其不断积累的文化资本过于一致。现代主义研究多样化的愿望与将新加坡艺术家和作家与已经建立的现代主义网络联系起来的狭隘执着之间的紧张关系,限制了相关的学术研究。在这个过程中,一个隐含的现代性和现代主义的概念,特权连通性,流动性和资本被安装。因此,区域艺术和文学的不便方面,以及区域内的联系,被忽视了。我研究了这些动态是如何在南洋艺术家和作家的项目中发挥作用的,南洋艺术家和作家是一群散居在东南亚的中国文人,他们在接触到欧美现代主义之后工作。最后,我转向新兴的研究途径,以抵消新加坡地区现代主义研究的民族主义倾向。
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引用次数: 0
Positioning modernist texts in the English department in Hong Kong: From ‘planetary’ modernisms to ‘planetary’ pedagogies? 香港英语系现代主义文本定位:从“行星”现代主义到“行星”教育学?
IF 0.3 3区 文学 0 LITERATURE Pub Date : 2023-01-01 DOI: 10.1111/lic3.12691
Evelyn Tsz Yan Chan

This essay discusses the pedagogical implications of recent theorizations of new modernisms as ‘planetary’ for Asian contexts such as Hong Kong. It explains how modernist texts lend themselves strongly to the uncanny experience of seeing the self in the other and vice versa in the setting of Hong Kong modernities, which leads to a much deeper understanding of both the self and the other. The essay argues that this quality can be harnessed using a creative writing approach that emphasizes exploring these present modernities in courses on modernism in English departments. One of the conscious goals of modernist studies in Asian settings such as Hong Kong then becomes not only (or even not primarily) the turn outward, but also the turn inward, the defamiliarization and refamiliarization of the ‘home’.

本文讨论了新现代主义作为“行星”的最新理论对亚洲语境(如香港)的教学意义。它解释了现代主义文本如何强烈地倾向于在他者中看到自我的神秘体验,反之亦然,在香港现代性的背景下,这导致了对自我和他者的更深层次的理解。本文认为,这种品质可以利用创造性写作的方法,强调在英语系的现代主义课程中探索这些当前的现代性。在诸如香港这样的亚洲环境中,现代主义研究的一个有意识的目标不仅是(甚至不是主要的)向外转向,而且是向内转向,对“家”的陌生化和再陌生化。
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引用次数: 0
Global modernist studies: Asian perspectives 全球现代主义研究:亚洲视角
IF 0.3 3区 文学 0 LITERATURE Pub Date : 2023-01-01 DOI: 10.1111/lic3.12695
Nan Zhang, Kunio Shin

Bringing together a polyphony of voices from Asia, this special issue seeks to contribute to a more nuanced picture of modernist histories and practices during both the heyday of modernism in the arts in the early twentieth century and the present day, when the new modernist studies keeps refreshing conceptions of modernism across multiple spatiotemporal scales. With case studies situated in Korea, Japan, Singapore, Hong Kong, and India, the issue aims to be illustrative rather than comprehensive in terms of its focus, scope, and approaches. Addressing conceptual, institutional, and pedagogical aspects of modernist practices across various sites of Asia, this cluster of essays offers new data and fresh perspectives, from which we can examine how an internally diverse region like Asia simultaneously uncovers the intricate complexities of global modernist studies and furnishes possibilities to rethink, or even reshape, its ongoing development.

这期特刊汇集了来自亚洲的各种声音,旨在更细致地描绘20世纪初现代主义艺术全盛时期的现代主义历史和实践,以及现代主义研究跨越多个时空尺度不断刷新现代主义概念的今天。通过对韩国、日本、新加坡、香港和印度的案例研究,本专题的目的是在重点、范围和方法方面进行说明,而不是全面。这组文章从概念、制度和教学方面探讨了亚洲不同地区的现代主义实践,提供了新的数据和新的视角,从中我们可以研究像亚洲这样一个内部多样化的地区如何同时揭示全球现代主义研究的错综复杂,并为重新思考甚至重塑其持续发展提供了可能性。
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引用次数: 0
Whitewashing white permanence: The (dis)/(re)membering of white corporeality in early modern England 白色洗涤白色永恒:现代早期英国对白色物质性的(dis)/(re)记忆
IF 0.3 3区 文学 0 LITERATURE Pub Date : 2022-12-05 DOI: 10.1111/lic3.12659
Matthieu Chapman

In early modern English drama, black flesh is remarkable. In the Shakespeare canon, the visibly black flesh of the eponymous Moor of Venice in Othello and the villainous Aaron in Titus Andronicus has been the subject of scholarly analysis for centuries. Yet, in a field that has placed so much emphasis on flesh marked by color, unmarked flesh is imbued with assumptions of whiteness that make unremarkable, a privilege that renders it unthought and uncritiqued, processes that contribute to the normativity of whiteness as inextricable from subjectivity. This rhetoric of whiteness as largely unremarkable continues to influence our modern conceptualizations of what Shakespeare looks like both in our minds and on the stage. Too often, modern productions of Shakespeare engage in casting practices that elide important early modern identity distinctions in service of contemporary white supremacy. For instance, national identity—the difference between being English, Irish, Scottish, French, etc—mattered both for character and actor on the Early Modern English stage. Yet, these distinctions fade into the fringes of memory when casting today's productions, allowing directors to include and exclude bodies based on modern conceptions of racial difference and mis-remembering of whiteness as a coherent and stable early modern identity. But whiteness was neither so stable nor so stoic in Shakespeare's day or in the works of Shakespeare as our modern theatrical culture continually mis-remembers and re-performs. This essay engages with the ways in which the modern theatre mis-remembers Shakespeare in relation to whiteness to reinforce white supremacy. This essay uses contemporary theories of Afro-Pessimism and Black Critical Theory to destabilize the mythology of white permanence that undergirds Renaissance history. I argue that the notions of the stable white corporeal whole that scholars and artists assume of the majority of Shakespeare's characters requires an anachronistic reading of whiteness that is the product of chattel slavery and a paradigm that relies on the destruction of black flesh for the unified white body to gain corporeal coherence. The essay concludes with a critique of epistemology arguing that this forgetting of the historical dismemberment of white flesh makes us mis-remember the role of whiteness in our present.

在早期现代英国戏剧中,黑肉是引人注目的。在莎士比亚经典中,《奥赛罗》中威尼斯摩尔人明显的黑色肉体和《提图斯·安德洛尼克斯》中邪恶的亚伦几个世纪以来一直是学术分析的主题。然而,在一个如此强调以颜色标记的肉体的领域,没有标记的肉体充满了对白色的假设,这使得它不引人注目,这是一种使它不被思考和不被批评的特权,这一过程有助于白色的规范性,因为它与主观性密不可分。这种关于白人的修辞在很大程度上并不引人注目,继续影响着我们对莎士比亚在我们心中和舞台上的形象的现代观念。很多时候,莎士比亚的现代作品在选角时忽略了重要的早期现代身份差异,以服务于当代白人至上主义。例如,民族身份——英格兰人、爱尔兰人、苏格兰人、法国人等之间的区别——对早期现代英国舞台上的人物和演员都很重要。然而,当选择今天的作品时,这些区别逐渐消失在记忆的边缘,允许导演根据种族差异的现代概念包括或排除身体,并错误地记住白人作为连贯和稳定的早期现代身份。但是,在莎士比亚的时代,在莎士比亚的作品中,白色既不那么稳定,也不那么坚忍,因为我们的现代戏剧文化不断地错误地记忆和重新表演。这篇文章探讨了现代戏剧如何在与白人的关系中错误地记住莎士比亚,以加强白人至上主义。本文运用当代的非洲悲观主义理论和黑人批判理论来动摇支撑文艺复兴历史的白人永恒的神话。我认为,学者和艺术家对莎士比亚大部分角色所假定的稳定的白人身体整体的概念,要求对白人的时代错误的解读,即奴隶制的产物,以及一种依赖于破坏黑人肉体以获得统一的白人身体连贯性的范式。文章最后对认识论进行了批判,认为这种对白色肉体的历史肢解的遗忘使我们错误地记住了白色在我们现在的作用。
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引用次数: 0
Language questions: Translation, modanizumu, and modernist studies in Japan 语言问题:翻译、模态与日本现代主义研究
IF 0.3 3区 文学 0 LITERATURE Pub Date : 2022-12-05 DOI: 10.1111/lic3.12692
Kunio Shin

The recent rise of global modernist studies, while in itself exciting, may prove a rather mixed blessing if it fails to be accompanied with an awareness that translation is the ‘necessary precondition’ of global modernism, a process itself conditioned by the ‘uneven politics of language’. From this perspective, this article suggests that delving deeper into the ways modernist studies in Japan originated through the interaction between modernism and translation might give us some useful hints as to how we might confront the factual inequality of languages in the global space in the present. The article in particular focuses on two figures of Japanese modanizumu in interwar Japan, Itō Sei (1905–69) and Sagawa Chika (1911–36), to examine how they negotiated with the anxiety of cultural homelessness through the creative use they made of their own translations of Anglophone modernists such as Joyce and Woolf. Their examples help us envision a practice of translation that resists the dominance of English monolingualism while also breaking through what Walter Benjamin once called ‘decayed barriers’ of one's own national language.

最近全球现代主义研究的兴起,虽然本身令人兴奋,但如果没有意识到翻译是全球现代主义的“必要先决条件”,这一过程本身就受到“语言政治的不平衡”的制约,可能会证明是一种喜忧参半的祝福。从这个角度出发,本文认为,通过现代主义与翻译的相互作用,深入探讨日本现代主义研究的起源,可能会为我们如何面对当今全球空间中语言的现实不平等提供一些有用的提示。这篇文章特别关注了两次世界大战之间的日本modanizumu的两位人物,ititsei(1905-69)和Sagawa Chika(1911-36),以研究他们如何通过创造性地使用他们自己翻译的英语现代主义者,如乔伊斯和伍尔夫的作品,来处理文化无家可归的焦虑。他们的例子帮助我们设想一种翻译实践,既能抵制英语单一语言的主导地位,又能突破沃尔特·本雅明(Walter Benjamin)所说的母语的“腐朽障碍”。
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引用次数: 0
“A geography of the soul”: The displaced and the city in the work of Aleksandar Hemon “灵魂的地理”:亚历山大·赫蒙作品中的流离失所者和城市
IF 0.3 3区 文学 0 LITERATURE Pub Date : 2022-12-03 DOI: 10.1111/lic3.12686
Rubén Peinado-Abarrio

Bosnian-American author Aleksandar Hemon is a self-described diasporic writer interested in questions of identity, displacement, and exile. This article proposes an approach to the Hemonian displaced character based on two of the most influential conceptualisations of contemporary subjectivity: on the one hand, Rosi Braidotti's critical posthuman subject, a nomadic, multiple subject who embodies complexity, favours a dynamic notion of relationality, opposes the view of difference as inferiority, and embraces a situated and accountable perspective. On the other, Nicolas Bourriaud's radicant subject, a wanderer caught between an urge to connect with the other and the forces of dislocation and removal, between individuality and the standardisation enforced by globalisation, between exchange and imposition, between enrooting and uprooting. In Hemon, subject and city are essential constituents of an elaborate system—aimed at fostering bonding and building community—which has been damaged by forced migration and violence. The insistence with which the subject's process of becoming is grounded in an urban context invites a topopoetic reading of Hemon's fiction and nonfiction. The obsessive description of the war-ravaged architecture of besieged Sarajevo turns home into what Maria Tumarkin calls a ‘traumascape’, a place marked by violence and loss. Meanwhile, Chicago is the non-place that the refugee is forced to shape into a narrative space in order to build a human network and a personal infrastructure—what Hemon terms ‘a geography of the soul’. Ultimately, the phenomenological approach to the sensory experiences and material practices of the displaced person reveals how their predicament adds new meanings to urban wandering and the construction and appropriation of the city from below. The human and the urban are seen as operating in a complex network of interconnections and interdependencies, generating an ongoing state of encounter that allows Hemon and his characters to feel ‘placed’, both physically and metaphysically.

波斯尼亚裔美国作家Aleksandar Hemon自称是一位散居作家,对身份、流离失所和流亡问题感兴趣。本文基于当代主体性的两个最具影响力的概念,提出了一种处理赫莫尼亚位移性格的方法:一方面,罗西·布雷多蒂的批判后人类主体,一个游牧的、多重的主体,体现了复杂性,赞成动态的关系观,反对将差异视为自卑的观点,并包含一种情境化和负责任的视角。另一方面,尼古拉斯·布里亚德(Nicolas Bourriaud)的激进主题,一个徘徊在与他人联系的冲动与错位和移除的力量之间,在个性与全球化所强制的标准化之间,在交换与强加之间,在逃亡与背井离乡之间的流浪者。在赫蒙,主体和城市是一个精心设计的系统的重要组成部分,该系统旨在促进联系和建立社区,但已被强迫移民和暴力破坏。主体的成长过程是建立在城市背景下的,这一坚持引发了对赫蒙小说和非小说的地形诗意解读。对被围困的萨拉热窝饱受战争蹂躏的建筑的痴迷描述将家变成了玛丽亚·图马尔金所说的“创伤猿”,一个充满暴力和损失的地方。与此同时,芝加哥不是难民为了建立人际网络和个人基础设施而被迫塑造成叙事空间的地方——赫蒙称之为“灵魂的地理”。最终,对流离失所者的感官体验和物质实践的现象学方法揭示了他们的困境如何为城市流浪以及城市从下方的建设和挪用增添了新的意义。人类和城市被视为在一个复杂的相互联系和相互依存的网络中运作,产生了一种持续的相遇状态,让赫蒙和他的角色在物理和形而上学上都感到“被安置”。
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引用次数: 0
Disorienting empathy: Reimagining the global border regime through Mohsin Hamid's Exit West 迷失方向的同理心:通过哈米德的西方出口重新想象全球边境制度
IF 0.3 3区 文学 0 LITERATURE Pub Date : 2022-12-03 DOI: 10.1111/lic3.12694
Stefano Bellin

This article explores how literature can sensitise us to our potential implication in the injustice and violence of the global border regime. The violence of borders today sustains a large economic and political system that “produces precarity and disposability, exposes migrants and refugees to harm and exploitation, and reinforces global inequalities”. While it manifests itself in direct events, policies, and actions, the violence produced by the global border regime is structural, widespread, and racially charged. Citizens of the global North are not precisely perpetrators of border violence, yet they bear a certain kind of political responsibility for the experiences of trauma, death, impoverishment, and discrimination that borders generate and institutionalise. Reading Mohsin Hamid's Exit West (2017), I investigate how we can recognise ourselves in the position of the ‘implicated subject’ (Michael Rothberg) through a process of what I call ‘disorienting empathy’. This form of expanded and self-aware perspective-taking elicits our concern for others, but simultaneously de-centres our self, leading us to reflect critically on our subject position and on our potential indirect involvement in systemic violence. By examining Exit West's literary strategies, I argue that empathy, non-appropriative identification, and disorientation can generate a self-reflexivity about our responsibility in relation to the global border regime. Drawing on affect theory, literary theory, migration studies, and critical race theory, the article highlights contemporary fiction's capacity to represent diasporic experiences and reimagine the freedom of movement in the twenty-first century.

这篇文章探讨了文学如何能使我们敏感到我们在全球边境制度的不公正和暴力中的潜在含义。今天的边境暴力维持着一个庞大的经济和政治体系,“造成不稳定和一次性,使移民和难民受到伤害和剥削,并加剧了全球不平等”。虽然它表现在直接的事件、政策和行动中,但全球边境制度产生的暴力是结构性的、广泛的和种族主义的。全球北方的公民并不完全是边境暴力的肇事者,但他们对边境产生并制度化的创伤、死亡、贫困和歧视的经历负有某种政治责任。阅读莫辛·哈米德(Mohsin Hamid)的《西方出口》(Exit West, 2017),我研究了我们如何通过一个我称之为“迷失方向的同理心”的过程,在“牵连主体”(迈克尔·罗斯伯格)的位置上认识到自己。这种形式的扩展和自我意识的视角引发了我们对他人的关注,但同时也使我们的自我去中心化,导致我们批判性地反思我们的主体地位和我们潜在的间接参与系统性暴力。通过考察“西方出口”的文学策略,我认为移情、非占有认同和迷失方向可以产生一种关于我们与全球边境制度有关的责任的自我反思。借鉴情感理论,文学理论,移民理论
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引用次数: 1
Narratives of the new diasporas: A theoretical approach 新移民叙事:一种理论方法
IF 0.3 3区 文学 0 LITERATURE Pub Date : 2022-12-03 DOI: 10.1111/lic3.12697
María Alonso Alonso, Bárbara Fernández-Melleda

This introduction offers a survey of Border Studies and Diaspora Theory to contextualize the ways in which contemporary fictions of migration in the 21st century have reinterpreted classic paradigms. Literature has played a paramount role in illustrating many of the challenges of narrating the experience of migration. This role is the motivation for this Special Issue as it examines the literary mechanisms that engage with current social, economic, and political issues and shows how discourses on migration contest perspectives on concepts such as “mobility” or “space.” Thus after contextualizing “the Black Atlantic,” “diaspora space,” “third scenario,” “necropolitics” or “gore capitalism,” this introduction describes the contributors' diverse critical readings, which are presented and organized to illustrate the evolution of academic research around Diaspora Studies. The new avenues of research that 21st-century migration has fostered bear witness to the complex and intricate phenomena of human mobility.

这篇引言提供了一篇关于边界研究和流散理论的综述,以将21世纪当代移民小说重新诠释经典范式的方式置于语境中。文学在阐释讲述移民经历的许多挑战方面发挥了至关重要的作用。这一角色是本特刊的动机,因为它探讨了与当前社会、经济和政治问题相关的文学机制,并展示了关于移民的论述如何与“流动”或“空间”等概念的观点相竞争。因此,在将“黑大西洋”、“散居空间”、“第三种场景”、“死亡政治”或“血腥资本主义”置于背景之后,本引言描述了撰稿人的各种批判性阅读,这些阅读是为了说明围绕散居研究的学术研究的演变而呈现和组织的。21世纪移民培养的新的研究途径见证了人类流动的复杂现象。
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引用次数: 0
Indigenous diasporas in speculative fiction: Writing through estrangement 投机小说中的土著流散者:在隔阂中写作
IF 0.3 3区 文学 0 LITERATURE Pub Date : 2022-12-03 DOI: 10.1111/lic3.12687
Miasol Eguíbar-Holgado

This article explores diasporic dimensions of Indigenous experiences and narratives on Turtle Island, by looking at the Indigenous speculative fiction novels The Back of the Turtle (2014) by Thomas King, The Marrow Thieves (2017) by Cherie Dimaline, and The Moon of the Crusted Snow (2018) by Waubgeshig Rice. The three evoke (post)apocalyptic or dystopic futures involving environmental crises and destruction. As Indigenous peoples have historically witnessed and experienced Apocalypse with colonization, both in the past and the present, speculative fiction provides fertile narrative ground to work with and through those legacies of devastation. I particularly focus on how these novels offer accounts of different forms of mobility that may be defined as diasporic. Often prompted by settler use and abuse of the land, and even the exploitation of Indigenous peoples as resource, the displacements and movements recorded in these stories trace routes of both oppression and resistance. These diasporas have fundamental political and historical significance, in that they highlight connections between past acts of colonialization and the violence of present-day neoliberal capitalist practices. Simultaneously, speculating with estrangement in the form of the supernatural, apocalyptic or dystopic, serves as a mechanism to delineate decolonial stories of presence and survivance. These stories, while constantly referring to the past, also include motion towards possible better futures, countering Western notions of Indigenous peoples as static and futureless.

本文通过托马斯·金(Thomas King)的土著推理小说《海龟的背》(2014)、切丽·迪马琳(Cherie Dimaline)的《偷骨髓的人》(2017)和瓦格希格·赖斯(Waubgeshig Rice)的《结壳的雪的月亮》(2018),探讨了海龟岛上土著经历和叙事的流散维度。三者唤起了(后)世界末日或反乌托邦的未来,涉及环境危机和破坏。正如土著人民在过去和现在历史上目睹和经历过殖民的启示录一样,推理小说为处理和克服这些破坏遗产提供了肥沃的叙事土壤。我特别关注这些小说如何描述可能被定义为流散的不同形式的流动。这些故事中记录的流离失所和运动往往是由于定居者对土地的使用和滥用,甚至是对土著人民作为资源的剥削,从而追踪到压迫和抵抗的路线。这些流散者具有根本的政治和历史意义,因为他们强调了过去的殖民行为与当今新自由主义资本主义实践的暴力之间的联系。同时,以超自然、启示录或反乌托邦的形式进行疏远的推测,是描绘存在和生存的非殖民化故事的一种机制。这些故事在不断提及过去的同时,也包括朝着可能更美好的未来前进,反对西方认为土著人民是静止的、没有未来的观念。
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