{"title":"现代主义和Māoritanga","authors":"P. Steer","doi":"10.1093/OSO/9780199980963.003.0014","DOIUrl":null,"url":null,"abstract":"In its reading of the bone people, this chapter reexamines Keri Hulme’s controversial borrowings from literary modernism in light of her claims to represent a postcolonial identity derived from Māori cultural traditions. The chapter distinguishes between a “modernist critical realism” deriving from Ernest Hemingway and Sherwood Anderson and a more formally experimental modernism employing myth, fantasy, intertextual borrowings, and Joycean wordplay. This second strain of modernism has raised doubts about the “authenticity” of Hulme’s representation of a New Zealand reborn out of Māori culture. The chapter argues that it was never Hulme’s aim to portray or preserve a pure and “authentic” Māori culture. Hulme’s narrative instead models an understanding of indigeneity as capable of incorporating modernist aesthetics within it. Hulme thus reconfigures “postcolonial hybridity” in the service of a bicultural vision of New Zealand that embraces settler culture within a distinctively Māori framework.","PeriodicalId":105749,"journal":{"name":"Modernism, Postcolonialism, and Globalism","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2018-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"Modernism and Māoritanga\",\"authors\":\"P. Steer\",\"doi\":\"10.1093/OSO/9780199980963.003.0014\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In its reading of the bone people, this chapter reexamines Keri Hulme’s controversial borrowings from literary modernism in light of her claims to represent a postcolonial identity derived from Māori cultural traditions. The chapter distinguishes between a “modernist critical realism” deriving from Ernest Hemingway and Sherwood Anderson and a more formally experimental modernism employing myth, fantasy, intertextual borrowings, and Joycean wordplay. This second strain of modernism has raised doubts about the “authenticity” of Hulme’s representation of a New Zealand reborn out of Māori culture. The chapter argues that it was never Hulme’s aim to portray or preserve a pure and “authentic” Māori culture. Hulme’s narrative instead models an understanding of indigeneity as capable of incorporating modernist aesthetics within it. Hulme thus reconfigures “postcolonial hybridity” in the service of a bicultural vision of New Zealand that embraces settler culture within a distinctively Māori framework.\",\"PeriodicalId\":105749,\"journal\":{\"name\":\"Modernism, Postcolonialism, and Globalism\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2018-12-27\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Modernism, Postcolonialism, and Globalism\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1093/OSO/9780199980963.003.0014\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Modernism, Postcolonialism, and Globalism","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/OSO/9780199980963.003.0014","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
In its reading of the bone people, this chapter reexamines Keri Hulme’s controversial borrowings from literary modernism in light of her claims to represent a postcolonial identity derived from Māori cultural traditions. The chapter distinguishes between a “modernist critical realism” deriving from Ernest Hemingway and Sherwood Anderson and a more formally experimental modernism employing myth, fantasy, intertextual borrowings, and Joycean wordplay. This second strain of modernism has raised doubts about the “authenticity” of Hulme’s representation of a New Zealand reborn out of Māori culture. The chapter argues that it was never Hulme’s aim to portray or preserve a pure and “authentic” Māori culture. Hulme’s narrative instead models an understanding of indigeneity as capable of incorporating modernist aesthetics within it. Hulme thus reconfigures “postcolonial hybridity” in the service of a bicultural vision of New Zealand that embraces settler culture within a distinctively Māori framework.