Stark-Strangled Banjos: Linguistic Doubleness in the Work of David Hammons, Harryette Mullen, and Al Hibbler

1999 ◽  
Vol 5 ◽  
pp. 71
Author(s):  
Paul Hoover
Keyword(s):  
Harryette Mullen

Deep Time, Dark Time

2018 ◽  
pp. 99-128
Author(s):  
Tavia Nyong'o
Keyword(s):  
Public Art ◽  
Women Of Color ◽  
Gilles Deleuze ◽  
Deep Time ◽  
Feminist Performance ◽  
Earth Art ◽  
Dark Time ◽  
Harryette Mullen ◽  
Performance Interventions ◽  
Kara Walker

By engaging interventionist art by women of color at two different scales—ephemeral body/earth art and monumental public art—this chapter supplements post-humanist theories of “deep time”—in particular, the temporality of the Anthropocene—with a concept of “dark time.” The intensive, alchemical, and obscure temporality of “dark time” is crucial to understanding black and brown feminist performance interventions against the violence of expropriative capitalism in the Americas. The chapter reads the art work of Kara Walker and Regina José Galindo through the poetry of Harryette Mullen and philosophy of Gilles Deleuze.

scholarly journals A poesia negra de Harryette Mullen em tradução: (des)encontros com o leitor

2010 ◽  
pp. 111-127
Author(s):  
Lauro Maia Amorim
Keyword(s):  
Harryette Mullen ◽  
De Se

Com base em quatro poemas da autora afro-americana contemporânea Harryette Mullen, por mim traduzidos para o português, e nas questões suscitadas por sua obra, este trabalho investiga as seguintes questões: quais seriam os desafios de se traduzir sua poesia, levando-se em consideração os lugares discursivos dos leitores identificados ou não com a estética literária afro-brasileira? Essa (não-) identificação exerceria alguma influência no modo como sua poesia poderia ser lida em tradução? Assim, neste trabalho, busca-se contrastar as questões raciais e estéticas que fundamentam a visão de Mullen a respeito de sua poesia e de seu público-leitor (imaginado) com as questões de público-alvo, contextualmente diversas, que minhas traduções de seus poemas requerem “imaginar” no âmbito das relações sócio-raciais brasileiras.

The Solo Mysterioso Blues: An Interview with Harryette Mullen

Callaloo ◽  
1996 ◽  
Vol 19 (3) ◽  
pp. 651-669 ◽  
Author(s):  
Harryette Romell Mullen ◽  
Calvin Bedient
Keyword(s):  
Harryette Mullen

Harryette Mullen, "The Queen of Hip Hyperbole": An Interview

2000 ◽  
Vol 34 (4) ◽  
pp. 701 ◽  
Author(s):  
Harryette Mullen ◽  
Emily Allen Williams
Keyword(s):  
Harryette Mullen

An Interview with Harryette Mullen

2000 ◽  
Vol 41 (3) ◽  
pp. 397 ◽  
Author(s):  
Elisabeth A. Frost ◽  
Harryette Mullen
Keyword(s):  
Harryette Mullen

Poetry in Expanded Translation: Audre Lorde, Theresa Hak Kyung Cha, Harryette Mullen, Don Mee Choi

2021 ◽  
Author(s):  
Nisha Ramayya
Keyword(s):  
Lived Experiences ◽  
English Language ◽  
Theresa Hak Kyung Cha ◽  
Audre Lorde ◽  
Post Colonial ◽  
Literary Forms ◽  
Everyday Practices ◽  
Language Representation ◽  
Harryette Mullen ◽  
History Of

Abstract In this article, I discuss the politics and poetics of translation in the work of Audre Lorde, Theresa Hak Kyung Cha, Harryette Mullen, and Don Mee Choi, considering each poet's ideas about translation and translation practices, suggesting approaches to reading and thinking about their work in relation to translation and in relation to each other. I ask the following questions: in the selected poets' work, what are the relationships between the movement of people, the removal of dead bodies, and translation practices? How do the poets move between languages and literary forms, and what are the politics and poetics of their movements with regards to migration, dispossession, and death, as well as resistance, refusal, and rebirth? I select these poets because of the ways in which they confront relationships between the history of the English language and literature, imperialism and colonialism, racialisation and racism, gendered experiences and narratives, and their own poetic practices. These histories and experiences do not exist in isolation, nor do the poets attempt to circumscribe their approaches to language, representation, translation, and form from their lived experiences and everyday practices of survival and resistance. The selected poets’ work ranges in form, tone, and argument, but I argue that their refusal to circumscribe politics and poetics pertains to their subject positions and lived experiences as racialised and post/colonial women, and that this refusal is demonstrated in their diverse understandings of translation and translation practices.

“As reading as if”: Harryette Mullen’s ‘cognitive similes’

2005 ◽  
Vol 34 (2) ◽  
Author(s):  
Emily P. Beall
Keyword(s):  
Subject Matter ◽  
Conceptual Metaphor ◽  
Cognitive Poetics ◽  
Harryette Mullen ◽  
The Subject ◽  
As If

AbstractThe poet Harryette Mullen takes the defamiliarization technique celebrated in cognitive poetics to an extreme – she manipulates not only the subject matter of her writing but the process the reader undertakes in attempting to read that defamiliarized language as well. I apply to Mullen’s poem “Wipe That Simile Off Your Aphasia” a number of ideas taken up by cognitive poetics (using Stockwell 2002 as my guide): reading versus interpretation, defamiliarization, prototypicality and actualization, sequential and summary scanning, and the mapping of conceptual metaphor. I then argue for several broader and unaccounted for challenges that Mullen’s work presents for cognitive poetic theory.

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