Speech Rumblings : Exile, Transnationalism and the Multilingual Space of Sound Poetry
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Examines the relationship between geographic and linguistic border crossings in twentieth-century literature. This book reveals both the range of creative strategies developed in response to the interstitial situation of exile and the crucial role of exile for a renewed understanding of twentieth-century literature.Keywords:
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Aftermaths is a collection of essays offering compelling new ideas on exile, migration, and diaspora that have emerged in the global age. In seeking fresh perspectives on the movement of people and ideas, the essays included here look to the power of the aesthetic experience, especially in literature and film, to unsettle existing theoretical paradigms and enable the rethinking of conventionalized approaches.
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Silviano Santiago has been a pioneer in the development of concepts crucial to the discourse of contemporary critical and cultural theory, especially postcolonial theory. The notions of “hybridity” and “the space in-between” have been so completely absorbed into current theory that few scholars even realize these terms began with Santiago. He was the first to introduce poststructuralist thought to Brazil—via his publication of the Glossario de Derrida and his role as a prominent teacher. The Space In-Between translates many of his seminal essays into English for the first time and, in the process, introduces the thought of one of Brazil’s foremost critics and theorists of the late twentieth century.
Santiago’s work creates a theoretical field that transcends both the study of a specific national literature and the traditional perspectives of comparative literature. He examines the pedagogical and modernizing mission of Western voyagers from the conquistadors to the present. He deconstructs the ideas of “original” and “copy,” unpacking their implications for the notions of so-called dominant and dominated cultures. Santiago also confronts questions of cultural dependency and analyzes the problems involved in the imposition of an alien European history, the cultural displacements experienced by the Indians through their religious conversion, and the hierarchical suppression of native and Afro-Brazilian values.
Elegantly written and translated, The Space In-Between will provide insights and perspectives that will interest cultural and literary theorists, postcolonial scholars, and other students of contemporary culture.
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This interdisciplinary, transhistorical collection brings together international scholars from English literature, Italian studies, performance history, and comparative literature to offer new perspectives on the vibrant engagements between Shakespeare and Italian theatre, literary culture, and politics, from the sixteenth to the twenty-first century. Chapters address the intricate, two-way exchange between Shakespeare and Italy: how the artistic and intellectual culture of Renaissance Italy shaped Shakespeare’s drama in his own time, and how the afterlife of Shakespeare’s work and reputation in Italy since the eighteenth century has permeated Italian drama, poetry, opera, novels, and film. Responding to exciting recent scholarship on Shakespeare and Italy, as well as transnational theatre, this volume moves beyond conventional source study and familiar questions about influence, location, and adaptation to propose instead a new, evolving paradigm of cultural interchange. Essays in this volume, ranging in methodology from archival research to repertory study, are unified by an interest in how Shakespeare’s works represent and enact exchanges across the linguistic, cultural, and political boundaries separating England and Italy. Arranged chronologically, chapters address historically-contingent cultural negotiations: from networks, intertextual dialogues, and exchanges of ideas and people in the early modern period to questions of authenticity and formations of Italian cultural and national identity in the eighteenth and nineteenth century. They also explore problems of originality and ownership in twentieth- and twenty-first-century translations of Shakespeare’s works, and new settings and new media in highly personalized revisions that often make a paradoxical return to earlier origins. This book captures, defines, and explains these lively, shifting currents of cultural interchange.
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Abstract Approaching Conrad as a transnational writer, this essay argues, poses a challenge to the Anglo-Modernist contextualizing hypothesis that has shaped his reception in the twentieth century. In responding to a condition of linguistic and cultural marginality, Conrad anticipated the artistic projects of writers such as Luigi Pirandello, Italo Svevo, James Joyce, and Franz Kafka, who have contributed to creating a polyphonic literary space within twentieth-century European literature. This transnational space is the proper context for Conrad's texts. This alternative hypothesis will require a research programme involving not only Conradians but scholars of other European literatures, comparativists, narratologists, students of British intellectual history, and all those interested in theories of the novel, particularly those developed by Mikhail Bakhtin. Notes 1 In A Personal Record Conrad writes: “But then, you see, I have been called romantic. Well, that can't be helped. But stay. I seem to remember that I have been called a realist, also. And as that charge, too, can be made out, let us try to live up to it, at whatever cost, for a change… . It is at least as gratifying to be certified sober as to be certified romantic, though such certificates would not qualify one for a secretaryship of a temperance association or for the post of official troubadour to some lordly democratic institution such as the London County Council, for instance” (Conrad Citation2008, 100-1). 2 “The English, Namier thought, were peculiarly blessed because, as a nation ‘they perceive and accept facts without anxiously enquiring into their reasons and meaning.’ For ‘the less man clogs the free play of his mind with political doctrine and dogma, the better for his thinking.’ This theme is repeated by thinker after thinker; it is the hall-mark of the white emigration. Namier tried to dismiss general ideas by showing their historical inefficacy; Popper by denouncing their moral iniquity (‘holism’); Eysenck by reducing them to psychological velleities; Wittgenstein by undermining their status as intelligible discourse altogether” (Anderson Citation1968, 19). 3 With only two exceptions, writes Annan, “[a]ll the members of the original Bloomsbury group … have already appeared in the families which we have examined” (Annan Citation1955, 277–80). 4 See Hampson 2011 in this connection.
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This essay explores the concept of transnationalism, defi ning this term in relation both to the lived experience of transnational subjects, and to transnational texts for children. It argues that rhetorics of globalization have over-emphasized the impact and signifi cance of global cultural and economic fl ows, although the production of children’s books is to some extent shaped by the internationalization of publishing houses and markets. The concept of transnationalism provides a way of thinking about how children’s texts address and are informed by diverse, complex infl uences, sometimes from a variety of cultures and languages. Transnationalism is not a new phenomenon but is visible in colonial texts which are shaped both by the particular, local ideologies of colonial nations, and also by the common concerns and interests of such nations. The essay draws on two contemporary texts to illustrate the workings of transnationalism: the fi lm Howl’s Moving Castle, and Shaun Tan’s picture book The Arrival. It concludes by considering the concept of transnational literacy as a way of approaching scholarship and teaching in children’s literature. Keywords: culture, ethnicity, children’s publishing, postcolonialism, politics, migration, diaspora (Published: 3 March 2011) Citation: Nordic Journal of ChildLit Aesthetics, Vol. 2 , 2011 DOI: 10.3402/ blft.v2i0.5828 Note: This article is being published simultaneously in Barnboken – tidskrift for barnlitteraturforskning/Journal of Children’s Literature Research and Nordic ChildLit Aesthetics/Barnelitteraert forskningstidsskrift
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Borrowed Forms examines the use of music by contemporary novelists and critics from across the Francophone, Anglophone, and Hispanophone worlds. Through readings of Nancy Huston, Maryse Conde, J. M. Coetzee, Assia Djebar, Julio Cortazar, and other late twentieth-century novelists, the book shows how writers deploy musical strategies to expand the possibilities of the novel in response to the demands of transnational citizenship. The book transcends disciplinary boundaries, to reveal the entanglement of musical and narrative forms in ethical, historical, and political questions.Critics from Mikhail Bakhtin to Edward Said established musical forms as an indispensable framework for understanding the novel. This study argues that the turn to music in late twentieth century fiction is linked to new questions of authority and representation, as writers seek to democratize the novel, to bring marginalized voices into fiction, to articulate increasingly hybrid subjectivities, and to negotiate the conflicting histories of the diverse groups that make up today's multicultural societies. The book traces the influence of four musical concepts on theory and the contemporary novel: polyphony, or the art of combining multiple, equal voices; counterpoint, the carefully regulated setting of one voice against another; variations, the virtuosic exploration of a given theme; and opera, the dramatic setting of a story to a musical score. Borrowed Forms is both a vital reference for all those seeking to understand the influence of music on 20th-century literary theory, and a rigorous and interdisciplinary framework for considering the transnational novel.
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Through an analysis of Turkish novelist Murat Uyurkulak’s first novel Tol: Bir Intikam Romani (Tol: A Revenge Novel), this article proposes that some texts fail to achieve “world-literariness” because of their multiplicity and transnationalism. Transnational and polyvocal texts push translation to its limits, which restricts such texts’ ability to enter World Literature’s modes of circulation. Given that transnationalism and multiplicity are qualities cherished and advocated by World Literature, this particularly transnational resistance to translation raises questions about the inadvertent politics of World Literature as a field of study and as a mode of circulation. As this article argues, Uyurkulak’s Tol remains aware of these tensions of literary circulation. Tol details the collapse of the Turkish left in the aftermath of the three military coups in the twentieth century. To narrate this nationally specific story, however, the novel uses a cacophonous language that reveals the multiplicities within Turkish culture and language, which make it impossible to see Turkish language and literature as purely Turkish. This article provides a brief history of what creates these multiplicities within Turkish language and culture, and argues that Tol uses a transnational framework to purposefully challenge both the Turkish nationalist myths of homogeneity and the tokenizing dynamics of world-literary circulation. Following Emily Apter’s argument in Against World Literature, the article suggests untranslatability as an opportunity to think meaningfully about texts that depict a “transnational local” and uses Tol’s example to interrogate the place and role of Turkish Literature within World Literature.
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<i>Music and Displacement: Diasporas, Mobilities, and Dislocations in Europe and Beyond</i> (review)
Reviewed by: Music and Displacement: Diasporas, Mobilities, and Dislocations in Europe and Beyond Joshua S. Walden Music and Displacement: Diasporas, Mobilities, and Dislocations in Europe and Beyond. Edited by Erik Levi and Florian Scheding. (Europea: Ethno musicologies and Modernities, no. 10.) Lanham, MD: Scarecrow Press, 2010. [viii, 207 p. ISBN 9780810863798 (hardcover), $75; ISBN 9780810872950 (paperback), $50.] Music examples, bibliographies, illustrations, index. The study of displacement, or forced migration, exile, and the formation and movement of diasporas, is a relatively young field of inquiry in musicology. Some scholars have recently begun to investigate the impacts of displacement on composition, performance, and listening in a transnational context, examining such questions as the relationship of music to the experiences of nostalgia and acculturation among dispersed peoples, the representation of exile in musical works, and the roles of music in the construction of identities in displaced communities. This new volume, edited by Erik Levi and Florian Scheding, considers this topic in a set of essays that explore music in Europe, America, Israel, and North Africa, paying particular attention to musicians forced into exile from Central Europe during the twentieth century. The book offers a useful investigation of some of the various techniques by which scholars might consider the significant effects of displacement in the history of music. Music and Displacement is divided into three parts that consider the consequences of displacement on the creation and reception of music from complementary perspectives. Part 1 investigates the ways forced migration, racist policy, and genocide have affected musicians and their work. Part 2 focuses on musical evocations of identities in exile, and on historical instances in which musicians have responded to the conditions of displacement to undertake innovative projects in the fields of composition and performance. Part 3 covers displacement’s impacts on music criticism, and the roles a theory of displacement might play in broadening musicological knowledge. Taken together, these groupings of essays provide a usefully broad range of approaches to the subject matter. The first chapter, by Philip V. Bohlman, addresses music composed and performed by prisoners in Nazi concentration camps. Bohlman interpolates his text with poetry, song, and musical notation, as he explores [End Page 107] examples of music that is extant in manuscript form alongside music that has not survived, about whose performance historians know only from reports of life in the camps. He also considers the presence of song and its potent symbolism in works of literary fiction about World War II by authors including Imre Kertész, Primo Levi, Irène Némirovsky, and W. G. Sebald, arguing that music’s role in this genre is to “provide the reader with rhetorical strategies for listening to silence,” for contemplating the displacement and loss brought about by the Holocaust (p. 26). The Holocaust also provides the historical context for the discussion in chapter 2, in which Peter Petersen studies the effects on music of the mass exile and genocide that took place under Nazi rule. Touching on Nazi controls on Jewish musical activities in the ghettos and camps, the representation of the Holocaust in postwar compositions, and the uneven treatment of Nazi anti- Semitism in German scholarship, Petersen outlines both the consequences of and responses to anti-Semitic ideology and violence in the realm of musical production and reception in Germany. In the following chapter, Michael Beckerman addresses the historiography of displaced composers and the challenges involved in interpreting their music as representative of the conditions of exile. Beckerman offers an insightful reminder of the danger of making assumptions about the ways historical subjects might have reacted to their contexts. He demonstrates, for example, how the biographies of exiled Central European composers Jaroslav Ježek and Eric Zeisl can be readily characterized as alternatively tragic or triumphant, based on the sometimes contradictory evidence of their ambivalent reactions to their experiences in America. With this caveat in mind, Beckerman proposes that the middle portions of works by composers forced into exile often operate as the “sonic subconscious,” the passages most likely to evoke the experiences of displacement and diaspora (p. 48). Jehoash Hirshberg opens part two with a study of the roles played by composers displaced from Germany during the Third Reich...
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