Pub Date : 2022-01-02DOI: 10.1080/13534645.2022.2156691
Helena Bodin
Bordering between the East and West, Constantinople – today’s Istanbul – has played the significant role of a world literature topos in national literatures of diverse languages. Yet no single national community could solely embrace this metropolis of religions, ethnicities and languages. This article concentrates on the early-twentieth century, when the capital of the Ottoman Empire was desired by several empires and nation-states, and the modernist ‘feeling for the great city’ combined with the rediscovery of Byzantium and the acute political crisis of Constantinople compelled several British modernist writers to engage with the imperial city.
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Pub Date : 2022-01-02DOI: 10.1080/13534645.2022.2156689
Catherine Barbour
On claiming that a language constitutes ‘the only country without borders’, Bosnian-German writer Sa sa Stani si c taps into the multifaceted debates surrounding its role in literary practice. Throughout history, the global movement and mixing of peoples, languages, cultures and ideas has triggered diverse, innovative and experimental forms of creativity. Translingual writing, in which the writer adopts a second language, or moves between two or more named languages in their work, is an example of such. National literatures, conceived of as repositories of the nation since the consolidation of nationstates in the nineteenth century, are conditioned and policed according to essentialist markers of linguistic, geoand biopolitics. Inclusion in literary traditions, termed literary ‘citizenship’ in a reflection of its relation to national identity, has historically been barred from writers and texts that do not adhere to stringent categorisation. Located across and between languages and cultures, translingual texts resist this facile classification. Pointing to the plurilingualism inherent in national cultures, they emit fluid, multifaceted, and conflicting transnational cultures and identities that destabilise the bounded, monolingual parameters of the ‘imagined communities’ identified by Benedict Anderson.
在声称一种语言构成了“唯一没有边界的国家”时，波斯尼亚-德国作家Sa Sa Stani si利用了围绕其在文学实践中的作用的多方面辩论。纵观历史，人类、语言、文化和思想的全球流动和融合引发了多种多样、创新和实验性的创造力。译语写作就是这样的一个例子，在这种写作中，作者使用第二语言，或者在两种或两种以上的指定语言之间转换。自19世纪民族国家巩固以来，民族文学被视为民族的宝库，它受到语言、地理和生物政治的本质主义标记的制约和监管。文学传统的包容性，被称为文学“公民身份”，反映了它与国家身份的关系，在历史上，不坚持严格分类的作家和文本被禁止。跨语言和文化的翻译文本抵制这种简单的分类。指出民族文化中固有的多语性，它们发出流动的、多方面的、相互冲突的跨国文化和身份，破坏了本尼迪克特·安德森所确定的“想象社区”的有限的、单语言参数。
{"title":"Translingual Empowerment: Exophonic Women’s Writing in Catalan and Spanish","authors":"Catherine Barbour","doi":"10.1080/13534645.2022.2156689","DOIUrl":"https://doi.org/10.1080/13534645.2022.2156689","url":null,"abstract":"On claiming that a language constitutes ‘the only country without borders’, Bosnian-German writer Sa sa Stani si c taps into the multifaceted debates surrounding its role in literary practice. Throughout history, the global movement and mixing of peoples, languages, cultures and ideas has triggered diverse, innovative and experimental forms of creativity. Translingual writing, in which the writer adopts a second language, or moves between two or more named languages in their work, is an example of such. National literatures, conceived of as repositories of the nation since the consolidation of nationstates in the nineteenth century, are conditioned and policed according to essentialist markers of linguistic, geoand biopolitics. Inclusion in literary traditions, termed literary ‘citizenship’ in a reflection of its relation to national identity, has historically been barred from writers and texts that do not adhere to stringent categorisation. Located across and between languages and cultures, translingual texts resist this facile classification. Pointing to the plurilingualism inherent in national cultures, they emit fluid, multifaceted, and conflicting transnational cultures and identities that destabilise the bounded, monolingual parameters of the ‘imagined communities’ identified by Benedict Anderson.","PeriodicalId":46204,"journal":{"name":"Parallax","volume":"28 1","pages":"58 - 73"},"PeriodicalIF":0.3,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41525813","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/13534645.2022.2156692
Aafje de Roest
‘That shit is just HIP-HOP!’ is how writer Soortkill characterises the popular local youth language ‘Smibanese’. Soortkill is one of the members of SMIB, a trendy Amsterdam hip-hop art collective that uses this self-named and selfclaimed local youth language in their hip-hop-inspired art performances. SMIB, founded in 2014 by artists Ray Fuego and GRGY, currently consists of multiple artists who produce a wide range of hip-hop art, ranging from music to fashion, podcasts, and even books, reaching a national audience with their locally oriented stories. The collective has played a crucial part in the spread of ‘Smibanese’ all over the Netherlands, both through their extensive usage of it in their hip-hop oeuvre (including lyrics, music videos and social media posts) and through their documentation of the local youth language in their two publications of the Smibanese Woordenboek (Smibanese Dictionary, 2017 and 2019).
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Pub Date : 2022-01-02DOI: 10.1080/13534645.2022.2156688
Jesse van Amelsvoort, N. Pireddu
Only a couple of years ago, one of our colleagues in linguistics was attempting to find monolingual speakers of Dutch. This proved nigh impossible: most potential research subjects confessed to having a sufficient command of English to hold everyday conversations, or spoke a specific regional language, or a diasporic language, or in another way appeared to move through various languages and linguistic registers in life. This case might be uniquely specific for the Netherlands – a small country with an international economy –, yet it appears true to us that the contemporary world is increasingly characterised by, and appreciative of, multilingualism. This emerging phenomenon reveals more than the pervasiveness of linguistic pluralism in patterns of communication both globally and locally. It also prompts us to explore the implications of multilingualism for how people in the West, if not worldwide, imagine the links between one another. How does the coexistence of different linguistic codes redefine speakers’ collective allegiances? How do literary and aesthetic representations symbolise the multiple identification mechanisms enabled by linguistic diversity and what do they entail for our understanding of community formation outside the frame of nationhood, which historically has relied upon geopolitical and linguistic delimitation?
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Pub Date : 2022-01-02DOI: 10.1080/13534645.2022.2156693
Nisha Ghatak
South Asia manifests a unique socio-linguistic identity that celebrates a paradox of what I call singular pluralities. Within it, India is a democratic country built on multi-ethnicity, multiculturalism, multilingualism, secularism and on a tainted history of colonial rule. In the years that have followed the colonial era, the English language has been embraced by India as her own. According to Ethnologue, India is home to 398 vernacular languages and over a thousand local dialects. Namita Gokhale and Malashri Lal further filter these vast numbers into more quantifiable measures to problematise India’s multilingual existence:
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Pub Date : 2022-01-02DOI: 10.1080/13534645.2022.2156690
S. Bertacco
The Poem-a-Day sent to my mailbox on 2 November 2021 is entitled ‘The Tower of Babel.’ It was written by Orlando Ricardo Menes, a CubanAmerican poet who emigrated to the US from Peru and offers a re-writing, via a Christian and multilingual prism, of the Beatitude series in Matthew’s Gospel, 5:5, which is itself a re-telling of Jesus’ Sermon on the Mount: not the powerful or the strong that are usually celebrated in this world, but the meek, the gentle, the weak will inherit God’s kingdom. In the poem, however, the ones being blessed are not people per se but the lost languages and dialects of those who have left their homelands and relocated elsewhere:
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Pub Date : 2021-11-12DOI: 10.1080/13534645.2021.1976456
Ellie Byrne, L. Connell, Philip Leonard
In a context in which the idea of globalisation is now routinely condemned in the name of a nationhood that should once again assert its sovereign preeminence, to question the purpose or place of this idea is both politically and intellectually risky. If the era of globalisation is coming to an end, it is often posited, then it is because the idea of the nation – as a territory and a population with a defined social and cultural character – is again in the ascendant. Any critical or intellectual challenge to globalisation today risks being perceived either as enabling neo-nationalist anti-globalism or as seeking to preserve neoliberalism’s crumbling narrative of open movement and free exchange. If we are to avoid these risks then one option is to look to Peter Sloterdijk’s observation that a structural shift is under way not because of the nation-state’s resurgence but because ‘we are today living through a dramatic crisis of reformatting’. In this drama, the disavowal of the foreign is aligned to a micropolitics in which groups and individuals are fixated on self-preservation and self-care, but the nation too is rejected as a principle and as a mechanism that permits shared association.
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Pub Date : 2021-10-02DOI: 10.1080/13534645.2022.2073691
Camille Turner
The smallish room nestled in the labyrinthine bowels of the basement of Sir Wilfrid Laurier University’s library was separated from the offices of the archivists by a wall of glass windows. Large oak tables were pushed together to form a continuous working surface. Books and stacks of laminated copies of archival documents heaped on the tables were illuminated by small gooseneck desk lamps, some with blue bulbs and others with red. The student who had agreed to perform with me had arrived just moments before the performance was scheduled to begin. I had been able to meet with, or had at least spoken to, all the Afronauts I had previously worked with, so I was nervous about how this unknown student was going to transition into a fullyfledged Afronaut in mere minutes. Upon his arrival, I helped him into his copper-coloured silk cape, white headwrap and boots. As he dressed, I briefed him on the world I had created and the mythology we were about to enter and animate together. I spoke quickly, hoping he would be able to absorb the information I urgently needed to convey. The Afronauts, I explained, are space travellers who are descendants of the Dogon people of Northern Mali, West Africa. Our extraordinary knowledge of star systems, encoded in our stories and rituals, predates Western science. Our ancestors left Earth 10,000 years ago, and each generation inherited the knowledge that Earth is our home. We have returned because our beloved planet is in danger. Our mission is to help and to heal and we do this by unveiling silenced truths and creating a space where the labour of reckoning with atrocities of the past takes place. Even if he could not grasp anything else, I needed him to understand that our presence as futuristic beings, and the otherworldly format of our lab, affirms the possibility of transcending the past and present. Liberation is not only possible, it is imminent. We embody hope. We are the future.
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Pub Date : 2021-10-02DOI: 10.1080/13534645.2022.2073676
J. Allen-Paisant
The future is not waiting to be created. It is ancestral intimacies. It is fugitive practices – forms of otherwise living and imagining which have already existed. They have been enacted in the past, are now being enacted, are waiting to be embodied. This is the ‘futurism’ we foreground in this conversation, a future that has been already. The futurism we discuss here is not a hope or a utopia; it is a counter-reality that already exists.
{"title":"The Circle – Notes Towards a Topography of Afro-diasporic Time: By Way of Introduction","authors":"J. Allen-Paisant","doi":"10.1080/13534645.2022.2073676","DOIUrl":"https://doi.org/10.1080/13534645.2022.2073676","url":null,"abstract":"The future is not waiting to be created. It is ancestral intimacies. It is fugitive practices – forms of otherwise living and imagining which have already existed. They have been enacted in the past, are now being enacted, are waiting to be embodied. This is the ‘futurism’ we foreground in this conversation, a future that has been already. The futurism we discuss here is not a hope or a utopia; it is a counter-reality that already exists.","PeriodicalId":46204,"journal":{"name":"Parallax","volume":"27 1","pages":"363 - 372"},"PeriodicalIF":0.3,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43354804","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-02DOI: 10.1080/13534645.2022.2073686
Honor Ford-Smith
Letters from the Dead is a cycle of collaborative performances that mourns and remembers all those who have died in the Caribbean and its diaspora as a result of state violence, gendered violence and the violence of armed strongmen. As both performance process and product, the cycle tells of the living worlds of those who have died as a result of violence and creates a space in which the restorative and caring labour of mourning and remembrance can Figure 1. Street Performance of Letters from the Dead, Kingston, Jamaica, 2009. Photo: Deborah Thomas
《死者的信》是一个合作表演的循环，悼念和纪念所有在加勒比地区因国家暴力、性别暴力和武装强人暴力而死亡的人。作为表演过程和产品，这个循环讲述了那些因暴力而死亡的人的生活世界，并创造了一个空间，在这个空间里，哀悼和纪念的恢复和关怀劳动可以(图1)。《死者来信》街头表演，金斯顿，牙买加，2009年。图片来源:Deborah Thomas
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