scholarly journals The Novel in English as Paradigm of Canadian Literary Identity: From Francis Brooke to Sara Jeannette Duncan.

2012 ◽  
Author(s):  
Natalia Rodríguez Nieto
Keyword(s):  
The Novel ◽  
Literary Identity ◽  
Sara Jeannette Duncan

Synecdoche's Obloquy: Beckett and the Performance of Indecency

2020 ◽  
Vol 29 (2) ◽  
pp. 179-195
Author(s):  
Rebecca Kastleman
Keyword(s):  
Alternative Strategy ◽  
Literary Genre ◽  
The Novel ◽  
Cultural Inheritance ◽  
Reading Practices ◽  
Literary Identity ◽  
Literary Style ◽  
Direct Address

In Beckett's Ireland, the practice of censorship was bound up with the workings of literary genre. The fact that printed matter was subject to censorship, while theatre was not, meant that the censor played a role in maintaining the distinction between dramatic and nondramatic writing. Many Irish authors responded to these conditions by remediating censored narratives as theatre. Beckett adopted an alternative strategy, rejecting the legal premises of Irish censorship and crafting his literary style around a critique of the censor's reading practices. Beckett's responses to the Irish censor track his turn from the novel to the drama. Across genres, Beckett's writing in English was shaped by the climate of post-publication censorship in Ireland, the effects of which are legible even in works that were never banned. Beckett's rejoinder to the censor was articulated using terms set out by the Irish Free State's Committee on Evil Literature, which held that censors could prohibit a text based on one ‘indecent’ passage, rather than evaluating that excerpt in the context of the work as a whole. For Beckett, the literary trope of synecdoche—that is, the rhetorical substitution of a part for the whole—became associated with the censor's mode of reading. Beckett harnesses the trope of synecdoche to impugn Irish censorship practices, a pattern evident from the direct address to the censor in Murphy to the dramaturgical evocation of self-censorship in Not I. The use of synecdoche illuminates Beckett's reckoning with his cultural inheritance as an Irish writer and indexes his shift towards a cosmopolitan literary identity.

scholarly journals Fracture: The reception of the 'other' author in Aotearoa

2021 ◽  
Author(s):  
Michalia Arathimos
Keyword(s):  
Lived Experience ◽  
Cultural Theory ◽  
Interdisciplinary Approach ◽  
The Other ◽  
Literary Analysis ◽  
The Novel ◽  
Political Event ◽  
Literary Identity ◽  
Self And Other ◽  
The Individual

The fracturing of cultural identity is a common trope in postcolonial literatures. Traditional binaries of 'self' and 'other' are now complicated by cultural hybridities that reflect the intersectionality of migrant identities, indigeneity and the postcolonial national 'self'. Where the binaries 'self' and 'other' do not hold, creative forms like the novel can go some way towards exploring hybrid and 'other' experiences, both as a reinscribing and reimagining of the centre, and as a complex 'writing back'. This thesis investigates the complex positioning of the hybrid or double-cultured individual in Aotearoa in the last forty years. While postcolonial models have been used to expose the exoticisation of the 'other' in fictional texts, Part One of this thesis goes a step further by applying these models to real authors and interrogating their representations as static objects/products in the collective 'text' of media items written about them. Shifts in 'our' national literary identity can be traced in changes in responses to 'other' authors over time. Using an interdisciplinary approach, the first part of this thesis proves that there are differences in the media‟s portrayal of six Māori and 'other' ethnic authors: Witi Ihimaera, Keri Hulme, Kapka Kassabova, Tusiata Avia, Karlo Mila and Cliff Fell, beginning with the 1972 publication of Ihimaera‟s Pounamu Pounamu and ending in 2009 with Tusiata Avia‟s Bloodclot. Part One of this thesis mixes media studies, postcolonial literary analysis, and cultural theory, and references the work of Ghassan Hage, Graham Huggan, Margery Fee, Patrick Evans, Mark Williams, and Simone Drichel. Part Two of this thesis is comprised of a novel, Fracture. While Part One constitutes an investigation of the positioning of the 'other' author, Part Two is a creative exploration of two double-cultured and dispossessed indigenous characters' lived experience. The novel follows a Greek-New Zealand woman and a Māori man who go to a rural pā to protest fracking, or hydraulic fracturing. While the first part of the thesis explores the positioning of the „other‟ outside of the white self, the novel aims to portray the effects of such 'othering,' on the individual and demonstrate how the historical/political event can be a real experiential locale for the 'other'.

scholarly journals Fracture: The reception of the 'other' author in Aotearoa

2021 ◽  
Author(s):  
◽  
Michalia Arathimos
Keyword(s):  
Lived Experience ◽  
Cultural Theory ◽  
Interdisciplinary Approach ◽  
The Other ◽  
Literary Analysis ◽  
The Novel ◽  
Political Event ◽  
Literary Identity ◽  
Self And Other ◽  
The Individual

<p>The fracturing of cultural identity is a common trope in postcolonial literatures. Traditional binaries of 'self' and 'other' are now complicated by cultural hybridities that reflect the intersectionality of migrant identities, indigeneity and the postcolonial national 'self'. Where the binaries 'self' and 'other' do not hold, creative forms like the novel can go some way towards exploring hybrid and 'other' experiences, both as a reinscribing and reimagining of the centre, and as a complex 'writing back'. This thesis investigates the complex positioning of the hybrid or double-cultured individual in Aotearoa in the last forty years. While postcolonial models have been used to expose the exoticisation of the 'other' in fictional texts, Part One of this thesis goes a step further by applying these models to real authors and interrogating their representations as static objects/products in the collective 'text' of media items written about them. Shifts in 'our' national literary identity can be traced in changes in responses to 'other' authors over time. Using an interdisciplinary approach, the first part of this thesis proves that there are differences in the media‟s portrayal of six Māori and 'other' ethnic authors: Witi Ihimaera, Keri Hulme, Kapka Kassabova, Tusiata Avia, Karlo Mila and Cliff Fell, beginning with the 1972 publication of Ihimaera‟s Pounamu Pounamu and ending in 2009 with Tusiata Avia‟s Bloodclot. Part One of this thesis mixes media studies, postcolonial literary analysis, and cultural theory, and references the work of Ghassan Hage, Graham Huggan, Margery Fee, Patrick Evans, Mark Williams, and Simone Drichel. Part Two of this thesis is comprised of a novel, Fracture. While Part One constitutes an investigation of the positioning of the 'other' author, Part Two is a creative exploration of two double-cultured and dispossessed indigenous characters' lived experience. The novel follows a Greek-New Zealand woman and a Māori man who go to a rural pā to protest fracking, or hydraulic fracturing. While the first part of the thesis explores the positioning of the „other‟ outside of the white self, the novel aims to portray the effects of such 'othering,' on the individual and demonstrate how the historical/political event can be a real experiential locale for the 'other'.</p>

The death of Australian literature in Thea Astley’s Drylands

2019 ◽  
Vol 26 (2) ◽  
pp. 256-268
Author(s):  
Meg Brayshaw
Keyword(s):  
National Culture ◽  
Publishing Industry ◽  
The Novel ◽  
Literary Identity ◽  
Colonial State ◽  
Colonial Modernity ◽  
Systemic Violence ◽  
Global Publishing ◽  
Australian Literature

AbstractThis article reads Thea Astley’s final novel in the context of rhetoric about the death of Australian literature that has been a mainstay of our national culture almost since its inception. In the early 2000s, a new round of obituarists argued that the global publishing industry, critical trends and changing educational pedagogies were eroding Australia’s literary identity. Drylands, published in 1999, can be considered a slightly prescient participant in this conversation: it is subtitled A Book for the World’s Last Reader, seemingly framing the novel in a polemics of decline. My reading, however, sees the book as the product of two correlated yet combative literary projects: the attempt by its primary narrator, Janet Deakin, to write a book after what she sees as the likely death of reading and writing; and Astley’s more nuanced exploration of the role of literature in settler colonial modernity. Reading across the seven narratives that constitute the book, I argue that Drylands performs the fraught relationship between ethics and aesthetics in the context of writing about the systemic violence of the settler colonial state, questioning literary privilege, exclusivity and complicity in ways that remain relevant to debates regarding Australian literature today.

scholarly journals Fracture: The reception of the 'other' author in Aotearoa

2021 ◽  
Author(s):  
Michalia Arathimos
Keyword(s):  
Lived Experience ◽  
Cultural Theory ◽  
Interdisciplinary Approach ◽  
The Other ◽  
Literary Analysis ◽  
The Novel ◽  
Political Event ◽  
Literary Identity ◽  
Self And Other ◽  
The Individual

The fracturing of cultural identity is a common trope in postcolonial literatures. Traditional binaries of 'self' and 'other' are now complicated by cultural hybridities that reflect the intersectionality of migrant identities, indigeneity and the postcolonial national 'self'. Where the binaries 'self' and 'other' do not hold, creative forms like the novel can go some way towards exploring hybrid and 'other' experiences, both as a reinscribing and reimagining of the centre, and as a complex 'writing back'. This thesis investigates the complex positioning of the hybrid or double-cultured individual in Aotearoa in the last forty years. While postcolonial models have been used to expose the exoticisation of the 'other' in fictional texts, Part One of this thesis goes a step further by applying these models to real authors and interrogating their representations as static objects/products in the collective 'text' of media items written about them. Shifts in 'our' national literary identity can be traced in changes in responses to 'other' authors over time. Using an interdisciplinary approach, the first part of this thesis proves that there are differences in the media‟s portrayal of six Māori and 'other' ethnic authors: Witi Ihimaera, Keri Hulme, Kapka Kassabova, Tusiata Avia, Karlo Mila and Cliff Fell, beginning with the 1972 publication of Ihimaera‟s Pounamu Pounamu and ending in 2009 with Tusiata Avia‟s Bloodclot. Part One of this thesis mixes media studies, postcolonial literary analysis, and cultural theory, and references the work of Ghassan Hage, Graham Huggan, Margery Fee, Patrick Evans, Mark Williams, and Simone Drichel. Part Two of this thesis is comprised of a novel, Fracture. While Part One constitutes an investigation of the positioning of the 'other' author, Part Two is a creative exploration of two double-cultured and dispossessed indigenous characters' lived experience. The novel follows a Greek-New Zealand woman and a Māori man who go to a rural pā to protest fracking, or hydraulic fracturing. While the first part of the thesis explores the positioning of the „other‟ outside of the white self, the novel aims to portray the effects of such 'othering,' on the individual and demonstrate how the historical/political event can be a real experiential locale for the 'other'.

scholarly journals The Authorship of Two Girls on a Barge (1891), Reassessed

2021 ◽  
Vol 58 ◽  
pp. 145-153
Author(s):  
Karyn Huenemann
Keyword(s):  
The Novel ◽  
Sara Jeannette Duncan

Until recently, the novel Two Girls on a Barge (1891) has been attributed to Canadian author and journalist Sara Jeannette Duncan (1861–1922), writing under the pseudonym “V. Cecil Cotes.” This article provides evidence that, while Duncan did appear to have influenced the style and structure of the novel, the author was Violet Cecil Cotes (1868–1915), Duncan’s sister-in-law.

scholarly journals Fracture: The reception of the 'other' author in Aotearoa

2021 ◽  
Author(s):  
◽  
Michalia Arathimos
Keyword(s):  
Lived Experience ◽  
Cultural Theory ◽  
Interdisciplinary Approach ◽  
The Other ◽  
Literary Analysis ◽  
The Novel ◽  
Political Event ◽  
Literary Identity ◽  
Self And Other ◽  
The Individual

<p>The fracturing of cultural identity is a common trope in postcolonial literatures. Traditional binaries of 'self' and 'other' are now complicated by cultural hybridities that reflect the intersectionality of migrant identities, indigeneity and the postcolonial national 'self'. Where the binaries 'self' and 'other' do not hold, creative forms like the novel can go some way towards exploring hybrid and 'other' experiences, both as a reinscribing and reimagining of the centre, and as a complex 'writing back'. This thesis investigates the complex positioning of the hybrid or double-cultured individual in Aotearoa in the last forty years. While postcolonial models have been used to expose the exoticisation of the 'other' in fictional texts, Part One of this thesis goes a step further by applying these models to real authors and interrogating their representations as static objects/products in the collective 'text' of media items written about them. Shifts in 'our' national literary identity can be traced in changes in responses to 'other' authors over time. Using an interdisciplinary approach, the first part of this thesis proves that there are differences in the media‟s portrayal of six Māori and 'other' ethnic authors: Witi Ihimaera, Keri Hulme, Kapka Kassabova, Tusiata Avia, Karlo Mila and Cliff Fell, beginning with the 1972 publication of Ihimaera‟s Pounamu Pounamu and ending in 2009 with Tusiata Avia‟s Bloodclot. Part One of this thesis mixes media studies, postcolonial literary analysis, and cultural theory, and references the work of Ghassan Hage, Graham Huggan, Margery Fee, Patrick Evans, Mark Williams, and Simone Drichel. Part Two of this thesis is comprised of a novel, Fracture. While Part One constitutes an investigation of the positioning of the 'other' author, Part Two is a creative exploration of two double-cultured and dispossessed indigenous characters' lived experience. The novel follows a Greek-New Zealand woman and a Māori man who go to a rural pā to protest fracking, or hydraulic fracturing. While the first part of the thesis explores the positioning of the „other‟ outside of the white self, the novel aims to portray the effects of such 'othering,' on the individual and demonstrate how the historical/political event can be a real experiential locale for the 'other'.</p>

The novel steroidal glycoside from the dried bulb of Allium Macrostemon Bunge inhibits platelet activation

2010 ◽  
Vol 34 (8) ◽  
pp. S33-S33
Author(s):  
Wenchao Ou ◽  
Haifeng Chen ◽  
Yun Zhong ◽  
Benrong Liu ◽  
Keji Chen
Keyword(s):  
Platelet Activation ◽  
The Novel ◽  
Steroidal Glycoside ◽  
Allium Macrostemon
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