Pub Date : 2023-03-01DOI: 10.1632/S0030812923000172
Carmen Nocentelli
Abstract Albeit widely cited, the 1598 engraving known as Elizabeth I as Europa is something of a mystery: little to nothing is known of its authorship or of the circumstances of its production and circulation. Tracing the print's origins to one of Europe's earliest news periodicals, I argue that Elizabeth I as Europa is not about Elizabeth but about Europa—which is to say, about the construction of an early modern public that could understand itself as European. The print participated in this construction in two interrelated ways: as an intervention in Europa Regina cartography, it thematized Europe as a shared (if highly contested) space of discourse that could cut across national, linguistic, and confessional differences; as a piece of transnational reportage meant for broadscale circulation, it helped conjure up the public on which that space of discourse depended.
{"title":"Rereading Elizabeth I as Europa","authors":"Carmen Nocentelli","doi":"10.1632/S0030812923000172","DOIUrl":"https://doi.org/10.1632/S0030812923000172","url":null,"abstract":"Abstract Albeit widely cited, the 1598 engraving known as Elizabeth I as Europa is something of a mystery: little to nothing is known of its authorship or of the circumstances of its production and circulation. Tracing the print's origins to one of Europe's earliest news periodicals, I argue that Elizabeth I as Europa is not about Elizabeth but about Europa—which is to say, about the construction of an early modern public that could understand itself as European. The print participated in this construction in two interrelated ways: as an intervention in Europa Regina cartography, it thematized Europe as a shared (if highly contested) space of discourse that could cut across national, linguistic, and confessional differences; as a piece of transnational reportage meant for broadscale circulation, it helped conjure up the public on which that space of discourse depended.","PeriodicalId":47559,"journal":{"name":"PMLA-PUBLICATIONS OF THE MODERN LANGUAGE ASSOCIATION OF AMERICA","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88238650","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1632/s0030812923000317
An abstract is not available for this content. As you have access to this content, full HTML content is provided on this page. A PDF of this content is also available in through the ‘Save PDF’ action button.
{"title":"In Memoriam","authors":"","doi":"10.1632/s0030812923000317","DOIUrl":"https://doi.org/10.1632/s0030812923000317","url":null,"abstract":"An abstract is not available for this content. As you have access to this content, full HTML content is provided on this page. A PDF of this content is also available in through the ‘Save PDF’ action button.","PeriodicalId":47559,"journal":{"name":"PMLA-PUBLICATIONS OF THE MODERN LANGUAGE ASSOCIATION OF AMERICA","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134996248","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1632/S003081292300024X
M. Samuelson
MEG SAMUELSON is associate professor at the University of Adelaide and associate professor extraordinary at Stellenbosch University. She works in the oceanic humanities and with literatures of the south, and is particularly interested in relating African, Indian Ocean, and other southern situations to planetary thought. She has published widely in these and related fields, including the recent Claiming the City in South African Literature (Routledge, 2021). The recent recognition extended to Abdulrazak Gurnah’s fiction by the Nobel Prize in Literature is cause for celebration: this understated yet profound oeuvre is finally finding the wider readership that it deserves. In locating its work “in the gulf between cultures and continents,” however, the motivation for the award overlooks its distinctive coastal orientation (“Abdulrazak Gurnah: Facts”; my emphasis). This orientation is both critical to Gurnah’s worldmaking from the south and perplexing to north-centered frameworks. That the premier global literary prize has thus far been presented to only fifteen writers from the south over its entire history of more than 120 years is illustrative of the myopic and distorting nature of these frameworks. This is not a new concern, though it remains a persistent one. This essay does not rehearse again the complaints it has elicited, besides to note the methodological importance of attending to the alternative lenses afforded by Gurnah’s fiction. Instead of tracing north-south or center-periphery axes, his novels home in on coastal situations that center the south and offer notably complicated perspectives on “the effects of colonialism and the fate of the refugee” (“Abdulrazak Gurnah: Facts”)—as well as on the world at large. Littoral locations feature prominently across Gurnah’s oeuvre (see Moorthy; Samuelson, “Abdulrazak Gurnah’s Fictions” and “Coastal Form”). One of the novels emphasizes them in its title, By the Sea, and this phrase recurs repeatedly across the oeuvre. It refers at times to a generalized proximity to the ocean by which characters who have traversed the “gulf” between Africa and England are able to rehome themselves in the world. But the shore that acts as beacon to Gurnah’s worldmaking is more specifically what is described in By the Sea as “that stretch of coast on the eastern side of the continent,
{"title":"Worldmaking from the South and “By the Sea” in Abdulrazak Gurnah's Fiction","authors":"M. Samuelson","doi":"10.1632/S003081292300024X","DOIUrl":"https://doi.org/10.1632/S003081292300024X","url":null,"abstract":"MEG SAMUELSON is associate professor at the University of Adelaide and associate professor extraordinary at Stellenbosch University. She works in the oceanic humanities and with literatures of the south, and is particularly interested in relating African, Indian Ocean, and other southern situations to planetary thought. She has published widely in these and related fields, including the recent Claiming the City in South African Literature (Routledge, 2021). The recent recognition extended to Abdulrazak Gurnah’s fiction by the Nobel Prize in Literature is cause for celebration: this understated yet profound oeuvre is finally finding the wider readership that it deserves. In locating its work “in the gulf between cultures and continents,” however, the motivation for the award overlooks its distinctive coastal orientation (“Abdulrazak Gurnah: Facts”; my emphasis). This orientation is both critical to Gurnah’s worldmaking from the south and perplexing to north-centered frameworks. That the premier global literary prize has thus far been presented to only fifteen writers from the south over its entire history of more than 120 years is illustrative of the myopic and distorting nature of these frameworks. This is not a new concern, though it remains a persistent one. This essay does not rehearse again the complaints it has elicited, besides to note the methodological importance of attending to the alternative lenses afforded by Gurnah’s fiction. Instead of tracing north-south or center-periphery axes, his novels home in on coastal situations that center the south and offer notably complicated perspectives on “the effects of colonialism and the fate of the refugee” (“Abdulrazak Gurnah: Facts”)—as well as on the world at large. Littoral locations feature prominently across Gurnah’s oeuvre (see Moorthy; Samuelson, “Abdulrazak Gurnah’s Fictions” and “Coastal Form”). One of the novels emphasizes them in its title, By the Sea, and this phrase recurs repeatedly across the oeuvre. It refers at times to a generalized proximity to the ocean by which characters who have traversed the “gulf” between Africa and England are able to rehome themselves in the world. But the shore that acts as beacon to Gurnah’s worldmaking is more specifically what is described in By the Sea as “that stretch of coast on the eastern side of the continent,","PeriodicalId":47559,"journal":{"name":"PMLA-PUBLICATIONS OF THE MODERN LANGUAGE ASSOCIATION OF AMERICA","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81458159","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1632/S0030812923000159
Doyle Calhoun
Abstract Besides the neologism négritude, the term verrition, a hapax legomenon and the final word of Aimé Césaire's celebrated long poem Cahier d'un retour au pays natal (1939–56), is perhaps the most contested and ambiguous signifier in the poet's corpus. This essay reconsiders the much-debated question of verrition and its poiesis. Contra a long-standing tenet of Césaire criticism—that verrition was a pure neologism—and further to René Hénane (Glossaire des termes rares [2004]) and Carrie Noland (Voices of Negritude [2015]), I identify several textual antecedents to and possible sources of this supposed neologism that have implications for how we read the final stanza of the Cahier. Critical focus on Césairean neology has had a somewhat obfuscatory effect on thinking through subtler dimensions of Césaire's decolonial poetics, especially how the poet frequently reinvests and rearticulates existing terms in French, redirecting them toward antiracist and anticolonial ends.
摘要:除了“心怀感激”这一新词外，“忏悔”一词作为一种偶然的传说，也是艾姆斯•卡萨伊的著名长诗《回忆》(Cahier d’un retour au pays natal, 1939 - 1956)的结语，可能是其语料库中最有争议和最模棱两可的能指。本文重新思考了备受争议的真实性问题及其论点。与长期以来对canalys批评的原则——verversion是一个纯粹的新词——以及ren hanalys(《glossary des terms rares》[2004])和Carrie Noland(《Voices of negro》[2015])相反，我确定了这个所谓的新词的几个文本先例和可能的来源，这些先例和来源对我们如何阅读《备忘录》的最后一节有影响。对camesaire新语的批判性关注对camesaire去殖民主义诗学的微妙维度产生了某种模糊的影响，特别是诗人如何频繁地在法语中重新投资和重新表达现有的术语，将它们重新导向反种族主义和反殖民主义的目的。
{"title":"Variations on Verrition: (Re)turning to the Enigmatic Final Word of Aimé Césaire's Cahier d'un retour au pays natal","authors":"Doyle Calhoun","doi":"10.1632/S0030812923000159","DOIUrl":"https://doi.org/10.1632/S0030812923000159","url":null,"abstract":"Abstract Besides the neologism négritude, the term verrition, a hapax legomenon and the final word of Aimé Césaire's celebrated long poem Cahier d'un retour au pays natal (1939–56), is perhaps the most contested and ambiguous signifier in the poet's corpus. This essay reconsiders the much-debated question of verrition and its poiesis. Contra a long-standing tenet of Césaire criticism—that verrition was a pure neologism—and further to René Hénane (Glossaire des termes rares [2004]) and Carrie Noland (Voices of Negritude [2015]), I identify several textual antecedents to and possible sources of this supposed neologism that have implications for how we read the final stanza of the Cahier. Critical focus on Césairean neology has had a somewhat obfuscatory effect on thinking through subtler dimensions of Césaire's decolonial poetics, especially how the poet frequently reinvests and rearticulates existing terms in French, redirecting them toward antiracist and anticolonial ends.","PeriodicalId":47559,"journal":{"name":"PMLA-PUBLICATIONS OF THE MODERN LANGUAGE ASSOCIATION OF AMERICA","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90958428","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1632/s0030812923000202
A. H. Tanpinar, Shaj Mathew, Seli̇n Ünlüönen
Ahmet Hamdi Tanpınar (1901–62), the face of Turkish literary modernism, owes much of his popularity in the anglophone world to Maureen Freely and Alexander Dawe’s recent translation of Saatleri Ayarlama Enstitüsü (The Time Regulation Institute). The novel, originally published in serial form from 1954 to 1961, recounts the beleaguered attempts of a government agency to synchronize all the clocks in Turkey, satirizing the modernization project that took place in the late Ottoman Empire and early Turkish Republic. In the process, the novel captures the fallout of Turkey’s political, social, and linguistic transformation through the 1920s—a decade when Tanpınar himself was in his twenties. The philosophy of composition that underpins The Time Regulation Institute, as well as Tanpınar’s 1948 novel Huzur (A Mind at Peace), finds its most explicit expression in his 1961 “Antalyalı Genç Kıza Mektup” (“Letter to a Young Girl from Antalya”), translated here into English for the first time. This letter— an endearing twist on Rilke’s Letters to a Young Poet—doubles as an artistic credo. A bit of mystery shrouds its writing: the letter was in fact addressed to a high school boy from Antalya named Mustafa Erol (İnci). Tanpınar apparently receivedmany letters from young people seeking advice, and early editors of his diaries mistook Erol for another correspondent, a young girl who was also from Antalya, and gave the letter its misleading title. While Tanpınar implies that his letter was composed in haste—“I was not able to get to your letter in time,” he begins in a huff—the existence of at least one additional amended version of the letter suggests considerable forethought. Tanpınar had reason to consider its reception: today the letter is widely viewed as a chronicle of his path to modernism. While his tone appears wary at first, Tanpınar’s guardedness soon melts as he opens up to the high schooler. His correspondent is from Antalya, a city on Turkey’s Mediterranean coast where Tanpınar lived from 1916 to 1918. Sketching his experiences
{"title":"Letter to a Young Girl from Antalya","authors":"A. H. Tanpinar, Shaj Mathew, Seli̇n Ünlüönen","doi":"10.1632/s0030812923000202","DOIUrl":"https://doi.org/10.1632/s0030812923000202","url":null,"abstract":"Ahmet Hamdi Tanpınar (1901–62), the face of Turkish literary modernism, owes much of his popularity in the anglophone world to Maureen Freely and Alexander Dawe’s recent translation of Saatleri Ayarlama Enstitüsü (The Time Regulation Institute). The novel, originally published in serial form from 1954 to 1961, recounts the beleaguered attempts of a government agency to synchronize all the clocks in Turkey, satirizing the modernization project that took place in the late Ottoman Empire and early Turkish Republic. In the process, the novel captures the fallout of Turkey’s political, social, and linguistic transformation through the 1920s—a decade when Tanpınar himself was in his twenties. The philosophy of composition that underpins The Time Regulation Institute, as well as Tanpınar’s 1948 novel Huzur (A Mind at Peace), finds its most explicit expression in his 1961 “Antalyalı Genç Kıza Mektup” (“Letter to a Young Girl from Antalya”), translated here into English for the first time. This letter— an endearing twist on Rilke’s Letters to a Young Poet—doubles as an artistic credo. A bit of mystery shrouds its writing: the letter was in fact addressed to a high school boy from Antalya named Mustafa Erol (İnci). Tanpınar apparently receivedmany letters from young people seeking advice, and early editors of his diaries mistook Erol for another correspondent, a young girl who was also from Antalya, and gave the letter its misleading title. While Tanpınar implies that his letter was composed in haste—“I was not able to get to your letter in time,” he begins in a huff—the existence of at least one additional amended version of the letter suggests considerable forethought. Tanpınar had reason to consider its reception: today the letter is widely viewed as a chronicle of his path to modernism. While his tone appears wary at first, Tanpınar’s guardedness soon melts as he opens up to the high schooler. His correspondent is from Antalya, a city on Turkey’s Mediterranean coast where Tanpınar lived from 1916 to 1918. Sketching his experiences","PeriodicalId":47559,"journal":{"name":"PMLA-PUBLICATIONS OF THE MODERN LANGUAGE ASSOCIATION OF AMERICA","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77797429","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1632/S0030812923000366
B. Edwards
It was a fortunate coincidence that while I was reading the exquisite and devastating oeuvre of Abdulrazak Gurnah and editing the cluster of articles on his fiction that appears in this issue, I was also preparing to give a talk at a conference on Toni Morrison at Princeton University (sitesofmemorysymposium.org/), held in conjunction with the opening of a small but revelatory exhibition of papers and artifacts drawn from her personal archive. Fortunate not because they happen to be fellow winners of the Nobel Prize for literature— even if Morrison was one of the previous awardees Gurnah said he admired as he jokingly told an interviewer at the Swedish Academy in April 2022 that “it’s great to join this team” (“Abdulrazak Gurnah, Nobel Prize in Literature”)—but because it provided an opportunity to take account of the unexpected parallels between their bodies of work. While upon first glance there might appear to be an ocean of difference between their styles as novelists, an infinite distance between the “small patch[es] of ground” they cover (“Abdulrazak Gurnah with Susheila Nasta” 354), they might be said to share a determination to “translate the historical into the personal,” as Morrison once phrased it (“Toni Morrison” 103), shifting our attention from the large-scale forces of slavery, war, colonialism, and migration to the intimacies of individual lives. There are methodological similarities too. Both start with memory, but not because their novels are driven by an autobiographical impulse.Morrison’s insistence on what she calls “the ruse of memory” in writing fiction is not meant to grant some absolute authority to the recollection of personal experience. Instead for her the term memory signals “a form of willed creation. It is not an effort to find out the way it really was—that is research. The point is to dwell on the way it appeared and why it appeared in that particular way” (“Memory” 385). Likewise, Gurnah notes that for the migrant writer “it’s memory that becomes the source and your subject,” but “you don’t always remember accurately and you begin to recall things you didn’t even know you remembered,” with the result that “the stories take on a
这是一个幸运的巧合，当我在阅读阿卜杜拉扎克·古尔纳精美而震撼人心的作品，并在这期杂志上编辑关于他的小说的文章时，我也在普林斯顿大学准备在一个关于托尼·莫里森的会议上发表演讲(sitesofmemorysymposium.org/)，)，与此同时，一个小型但具有启发性的展览开幕了，展出了从她的个人档案中抽出的论文和手工艺品。幸运的不是因为他们碰巧是诺贝尔文学奖的得主——尽管莫里森是古尔纳之前钦佩的获奖者之一，他曾在2022年4月在瑞典学院接受采访时开玩笑地说:“加入这个团队真是太好了”(“阿卜杜勒拉扎克·古尔纳，诺贝尔文学奖”)——而是因为这提供了一个机会，让我们考虑到他们的作品之间意想不到的相似之处。虽然乍一看，他们作为小说家的风格似乎有天壤之别，他们所涵盖的“一小块土地”之间存在无限的距离(“Abdulrazak Gurnah with Susheila Nasta”354)，但他们可能会说，他们都有“将历史转化为个人”的决心，正如莫里森曾说过的那样(《托尼·莫里森》(Toni Morrison))，将我们的注意力从奴隶制、战争、殖民主义和移民等大规模力量转移到个人生活的亲密关系上。两者在方法上也有相似之处。他们都是从记忆开始的，但不是因为他们的小说是由自传体的冲动驱动的。莫里森在小说写作中坚持她所说的“记忆的诡计”，并不是要赋予个人经历的回忆某种绝对的权威。相反，对她来说，记忆这个词象征着“一种意志创造的形式”。这不是一种努力，以找出它真正的方式-这是研究。重点是要详述它出现的方式，以及它为什么以这种特殊的方式出现”(《记忆》385)。同样，古纳指出，对于移民作家来说，“记忆成为了素材和主题”，但“你并不总是记得准确，你开始回忆起一些你甚至不知道自己记住的事情”，结果是“故事呈现出一种模糊的感觉。
{"title":"Other Afterlives","authors":"B. Edwards","doi":"10.1632/S0030812923000366","DOIUrl":"https://doi.org/10.1632/S0030812923000366","url":null,"abstract":"It was a fortunate coincidence that while I was reading the exquisite and devastating oeuvre of Abdulrazak Gurnah and editing the cluster of articles on his fiction that appears in this issue, I was also preparing to give a talk at a conference on Toni Morrison at Princeton University (sitesofmemorysymposium.org/), held in conjunction with the opening of a small but revelatory exhibition of papers and artifacts drawn from her personal archive. Fortunate not because they happen to be fellow winners of the Nobel Prize for literature— even if Morrison was one of the previous awardees Gurnah said he admired as he jokingly told an interviewer at the Swedish Academy in April 2022 that “it’s great to join this team” (“Abdulrazak Gurnah, Nobel Prize in Literature”)—but because it provided an opportunity to take account of the unexpected parallels between their bodies of work. While upon first glance there might appear to be an ocean of difference between their styles as novelists, an infinite distance between the “small patch[es] of ground” they cover (“Abdulrazak Gurnah with Susheila Nasta” 354), they might be said to share a determination to “translate the historical into the personal,” as Morrison once phrased it (“Toni Morrison” 103), shifting our attention from the large-scale forces of slavery, war, colonialism, and migration to the intimacies of individual lives. There are methodological similarities too. Both start with memory, but not because their novels are driven by an autobiographical impulse.Morrison’s insistence on what she calls “the ruse of memory” in writing fiction is not meant to grant some absolute authority to the recollection of personal experience. Instead for her the term memory signals “a form of willed creation. It is not an effort to find out the way it really was—that is research. The point is to dwell on the way it appeared and why it appeared in that particular way” (“Memory” 385). Likewise, Gurnah notes that for the migrant writer “it’s memory that becomes the source and your subject,” but “you don’t always remember accurately and you begin to recall things you didn’t even know you remembered,” with the result that “the stories take on a","PeriodicalId":47559,"journal":{"name":"PMLA-PUBLICATIONS OF THE MODERN LANGUAGE ASSOCIATION OF AMERICA","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90120988","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1632/S0030812923000275
Esther Pujolràs-Noguer
From the sea, the town seemed the luscious heart of paradise. Come nearer and you have to turn a blind eye to the slimy gutters and the house walls that have been turned into open-air urinals. Come nearer so we can see whether you are dark or fair, friend or foe. —
{"title":"Tracing Lines in the Trauma of Displacement: Slavery in Abdulrazak Gurnah's Paradise and Afterlives","authors":"Esther Pujolràs-Noguer","doi":"10.1632/S0030812923000275","DOIUrl":"https://doi.org/10.1632/S0030812923000275","url":null,"abstract":"From the sea, the town seemed the luscious heart of paradise. Come nearer and you have to turn a blind eye to the slimy gutters and the house walls that have been turned into open-air urinals. Come nearer so we can see whether you are dark or fair, friend or foe. —","PeriodicalId":47559,"journal":{"name":"PMLA-PUBLICATIONS OF THE MODERN LANGUAGE ASSOCIATION OF AMERICA","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81348474","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1632/s0030812923000226
Zachary M Turpin
{"title":"The Hostage of Harvard","authors":"Zachary M Turpin","doi":"10.1632/s0030812923000226","DOIUrl":"https://doi.org/10.1632/s0030812923000226","url":null,"abstract":"","PeriodicalId":47559,"journal":{"name":"PMLA-PUBLICATIONS OF THE MODERN LANGUAGE ASSOCIATION OF AMERICA","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83516607","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1632/S0030812923000123
Alexandra R. Brown
Abstract Science fiction criticism has long attended the relationship between form and utopian thought. However, increased study of Latin American narratives has allowed for a return to foundational science fiction theories with renewed perspective. While critics have recognized the tendency of Latin American science fiction to slip between genres, a trend termed the “slipstream phenomenon,” there has been little analysis of its impact on utopian imagination. As a result, we miss one of the region's most unique contributions to broader science fiction traditions. In response, this article locates Samanta Schweblin's Kentukis (2018) within the legacies of cyberpunk and argues that the novel uses slipstream to establish and dismantle a series of classic utopian horizons by shifting its genre identity. In doing so, this work identifies a turn in recent Latin American science fiction that metacritically questions the ability of science fiction form itself to imagine a utopian horizon beyond global capitalism.
{"title":"404 Utopia Not Found: Cyberpunk Avatars in Samanta Schweblin's Kentukis","authors":"Alexandra R. Brown","doi":"10.1632/S0030812923000123","DOIUrl":"https://doi.org/10.1632/S0030812923000123","url":null,"abstract":"Abstract Science fiction criticism has long attended the relationship between form and utopian thought. However, increased study of Latin American narratives has allowed for a return to foundational science fiction theories with renewed perspective. While critics have recognized the tendency of Latin American science fiction to slip between genres, a trend termed the “slipstream phenomenon,” there has been little analysis of its impact on utopian imagination. As a result, we miss one of the region's most unique contributions to broader science fiction traditions. In response, this article locates Samanta Schweblin's Kentukis (2018) within the legacies of cyberpunk and argues that the novel uses slipstream to establish and dismantle a series of classic utopian horizons by shifting its genre identity. In doing so, this work identifies a turn in recent Latin American science fiction that metacritically questions the ability of science fiction form itself to imagine a utopian horizon beyond global capitalism.","PeriodicalId":47559,"journal":{"name":"PMLA-PUBLICATIONS OF THE MODERN LANGUAGE ASSOCIATION OF AMERICA","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83630407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1632/S0030812923000287
Delali Kumavie
DELALI KUMAVIE is an assistant professor in the Department of English at Syracuse University. She is writing a book on aviation in global Black literature and culture. I first encountered Abdulrazak Gurnah when I read his novel Desertion (2005). The novel’s ungroundedness—that is, its attempt to fill in the silences and gaps of historical and personal narratives and memories with imagination—was unsettling. Because within this ungroundedness, I realized, was a meditation on the substantive gaps that writing attempts to fill. As Rashid, the narrator ofDesertion, writes a story that is filled with elisions, stitched together with what he knows and remembers, with letters from his brother Amin, and with his imagination, one soon comes to understand that this story is both possible and impossible because of the interplay between what is known and what is unknowable. Thus, Gurnah’s writing is an encounter with the considerable intersecting histories, inventions, and epistemes that crystallize at the site of the African continent—a continent that is both marked and haunted by the Atlantic and Indian Oceans and embedded in global economies of exchange and expropriation. Across Gurnah’s novels, it is the Indian Ocean littoral of the African continent, its islands, and its proximity to the Arab Gulf, Persia, and the Indian subcontinent that are the focus of stories about journeys, individual intimacies, and the changing nature of state power. It is here, within these stories, that Gurnah grapples with elisions, silences, and the unknowable. In this way his novels unravel narratives, experiences, and representations of Africa, which, as Achille Mbembe notes, emerges in the world as “incomplete, mutilated and unfinished, its history reduced to a series of setbacks in its quest for humankind” (1). With Gurnah as a guide, the journey through the history of the Indian Ocean littoral, its trades, its occupations, its colonization, its revolutions and expulsions, and its leaps toward a globalizing modernity all demand that we see
{"title":"Substantive Gaps and Indian Ocean Entanglements: Reading Abdulrazak Gurnah","authors":"Delali Kumavie","doi":"10.1632/S0030812923000287","DOIUrl":"https://doi.org/10.1632/S0030812923000287","url":null,"abstract":"DELALI KUMAVIE is an assistant professor in the Department of English at Syracuse University. She is writing a book on aviation in global Black literature and culture. I first encountered Abdulrazak Gurnah when I read his novel Desertion (2005). The novel’s ungroundedness—that is, its attempt to fill in the silences and gaps of historical and personal narratives and memories with imagination—was unsettling. Because within this ungroundedness, I realized, was a meditation on the substantive gaps that writing attempts to fill. As Rashid, the narrator ofDesertion, writes a story that is filled with elisions, stitched together with what he knows and remembers, with letters from his brother Amin, and with his imagination, one soon comes to understand that this story is both possible and impossible because of the interplay between what is known and what is unknowable. Thus, Gurnah’s writing is an encounter with the considerable intersecting histories, inventions, and epistemes that crystallize at the site of the African continent—a continent that is both marked and haunted by the Atlantic and Indian Oceans and embedded in global economies of exchange and expropriation. Across Gurnah’s novels, it is the Indian Ocean littoral of the African continent, its islands, and its proximity to the Arab Gulf, Persia, and the Indian subcontinent that are the focus of stories about journeys, individual intimacies, and the changing nature of state power. It is here, within these stories, that Gurnah grapples with elisions, silences, and the unknowable. In this way his novels unravel narratives, experiences, and representations of Africa, which, as Achille Mbembe notes, emerges in the world as “incomplete, mutilated and unfinished, its history reduced to a series of setbacks in its quest for humankind” (1). With Gurnah as a guide, the journey through the history of the Indian Ocean littoral, its trades, its occupations, its colonization, its revolutions and expulsions, and its leaps toward a globalizing modernity all demand that we see","PeriodicalId":47559,"journal":{"name":"PMLA-PUBLICATIONS OF THE MODERN LANGUAGE ASSOCIATION OF AMERICA","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89445892","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：