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This 1998 book examines a range of nineteenth-century European accounts from the Pacific, depicting Polynesian responses to imported metropolitan culture, in particular its technologies of writing and print. Texts designed to present self-affirming images of 'native' wonderment at European culture in fact betray the emergence of more complex modes of appropriation and interrogation by the Pacific peoples. Vanessa Smith argues that the Pacific islanders called into question the material basis and symbolic capacities of writing, even as they were first being framed in written representations. Examining accounts by beachcombers and missionaries, she suggests that complex modes of self-authorization informed the transmission of new cultural practices to the Pacific peoples. This shift of attention towards reception and appropriation provides the context for a detailed discussion of Robert Louis Stevenson's late Pacific writings.
In a time of dynamism and contradiction in Pacific cultural production, a time of 'turning things over' and 'writing from the inside out, ' this far-reaching volume provides a comprehensive set of essays and interviews on the emergent literatures of the New Pacific. With its dynamic combination of important position papers, polemics, and decolonizing critiques by noted authors and of analysis by new and established post-colonial scholars, this volume exposes 'the maze and mix of literatures and cultural identities breaking down and building up across the Pacific Ocean.' This pioneering work will be the definitive resource for anyone researching or teaching Pacific literature and will be invaluable for bringing Pacific culture to readers outside the region
In a time of dynamism and contradiction in Pacific cultural production, a time of 'turning things over' and 'writing from the inside out, ' this far-reaching volume provides a comprehensive set of essays and interviews on the emergent literatures of the New Pacific. With its dynamic combination of important position papers, polemics, and decolonizing critiques by noted authors and of analysis by new and established post-colonial scholars, this volume exposes 'the maze and mix of literatures and cultural identities breaking down and building up across the Pacific Ocean.' This pioneering work will be the definitive resource for anyone researching or teaching Pacific literature and will be invaluable for bringing Pacific culture to readers outside the region
The Pacific, long a source of fantasies for EuroAmerican consumption and a testing ground for the development of EuroAmerican production, is often misrepresented by the West as one-dimensional, culturally monolithic. Although the Asia/Pacific region occupies a prominent place in geopolitical thinking, little is available to readers outside the region concerning the resistant communities and cultures of Pacific and Asian peoples. Asia/Pacific as Space of Cultural Production fills that gap by documenting the efforts of diverse indigenous cultures to claim and reimagine Asia/Pacific as a space for their own cultural production. From New Zealand to Japan, Taiwan to Hawaii, this innovative volume presents essays, poems, and memoirs by prominent Asia/Pacific writers that resist appropriation by transnational capitalism through the articulation of autonomous local identities and counter-histories of place and community. In addition, cultural critics spanning several locations and disciplines deconstruct representations--particularly those on film and in novels--that perpetuate Asia/Pacific as a realm of EuroAmerican fantasy. This collection, a much expanded edition of boundary 2, offers a new perception of the Asia/Pacific region by presenting the Pacific not as a paradise or vast emptiness, but as a place where living, struggling peoples have constructed contemporary identities out of a long history of hegemony and resistance. Asia/Pacific as Space of Cultural Production will prove stimulating to readers with an interest in the Asia/Pacific region, and to scholars in the fields of Asian, American, Pacific, postcolonial, and cultural studies. Contributors. Joseph P. Balaz, Chris Bongie, William A. Callahan, Thomas Carmichael, Leo Ching, Chiu Yen Liang (Fred), Chungmoo Choi, Christopher L. Connery, Arif Dirlik, John Fielder, Miriam Fuchs, Epeli Hau`ofa, Lawson Fusao Inada, M. Consuelo León W., Katharyne Mitchell, Masao Miyoshi, Steve Olive, Theophil Saret Reuney, Peter Schwenger, Subramani, Terese Svoboda, Jeffrey Tobin, Haunani-Kay Trask, John Whittier Treat, Tsushima Yuko, Albert Wendt, Rob Wilson
The authors have brought together a collection of works from specialists in Pacific History from across Australia and throughout the Pacific. The individual contributions were specifically written to meet the needs of senior history courses in Australia. Max Quanchi and Ron Adams are well-known educationists who have specialised in the pacific. They have extensively travelled and studied in the Pacific and have spent many years teaching history to secondary and fertiary students. The result is an authoritative text for all senior History and Australian Studies students who need to understand the Pacific region.
This groundbreaking collection focuses on what may be, for cultural studies, the most intriguing aspect of contemporary globalization—the ways in which the postnational restructuring of the world in an era of transnational capitalism has altered how we must think about cultural production. Mapping a "new world space" that is simultaneously more globalized and localized than before, these essays examine the dynamic between the movement of capital, images, and technologies without regard to national borders and the tendency toward fragmentation of the world into increasingly contentious enclaves of difference, ethnicity, and resistance. Ranging across issues involving film, literature, and theory, as well as history, politics, economics, sociology, and anthropology, these deeply interdisciplinary essays explore the interwoven forces of globalism and localism in a variety of cultural settings, with a particular emphasis on the Asia-Pacific region. Powerful readings of the new image culture, transnational film genre, and the politics of spectacle are offered as is a critique of globalization as the latest guise of colonization. Articles that unravel the complex links between the global and local in terms of the unfolding narrative of capital are joined by work that illuminates phenomena as diverse as "yellow cab" interracial sex in Japan, machinic desire in Robocop movies, and the Pacific Rim city. An interview with Fredric Jameson by Paik Nak-Chung on globalization and Pacific Rim responses is also featured, as is a critical afterword by Paul Bové. Positioned at the crossroads of an altered global terrain, this volume, the first of its kind, analyzes the evolving transnational imaginary—the full scope of contemporary cultural production by which national identities of political allegiance and economic regulation are being undone, and in which imagined communities are being reshaped at both the global and local levels of everyday existence.
During the nineteenth century, British and American naval supremacy spanned the globe. The importance of transoceanic shipping and trade to the European-based empire and her rapidly expanding former colony ensured that the ocean became increasingly important to popular literary culture in both nations. This collection of ten essays by expert scholars in transatlantic British and American literatures interrogates the diverse meanings the ocean assumed for writers, readers, and thinkers on both sides of the Atlantic during this period of global exploration and colonial consolidation. The book’s introduction offers three critical lenses through which to read nineteenth-century Anglophone maritime literature: "wet globalization," which returns the ocean to our discourses of the global; "salt aesthetics," which considers how the sea influences artistic culture and aesthetic theory; and "blue ecocriticism," which poses an oceanic challenge to the narrowly terrestrial nature of "green" ecological criticism. The essays employ all three of these lenses to demonstrate the importance of the ocean for the changing shapes of nineteenth-century Anglophone culture and literature. Examining texts from Moby-Dick to the coral flower-books of Victorian Australia, and from Wordsworth’s sea-poetry to the Arctic journals of Charles Francis Hall, this book shows how important and how varied in meaning the ocean was to nineteenth-century Anglophone readers. Scholars of nineteenth-century globalization, the history of aesthetics, and the ecological importance of the ocean will find important scholarship in this volume.
For the first time, poetry, short stories, critical and creative essays, chants, and excerpts of plays by Indigenous Micronesian authors have been brought together to form a resounding—and distinctly Micronesian—voice. With over two thousand islands spread across almost three million square miles of the Pacific Ocean, Micronesia and its peoples have too often been rendered invisible and insignificant both in and out of academia. This long-awaited anthology of contemporary indigenous literature will reshape Micronesia’s historical and literary landscape. Presenting over seventy authors and one hundred pieces, Indigenous Literatures from Micronesia features nine of the thirteen basic language groups, including Palauan, Chamorro, Chuukese, I-Kiribati, Kosraean, Marshallese, Nauruan, Pohnpeian, and Yapese. The volume editors, from Micronesia themselves, have selected representative works from throughout the region—from Palau in the west, to Kiribati in the east, to the global diaspora. They have reached back for historically groundbreaking work and scouted the present for some of the most cited and provocative of published pieces and for the most promising new authors. Richly diverse, the stories of Micronesia’s resilient peoples are as vast as the sea and as deep as the Mariana Trench. Challenging centuries-old reductive representations, writers passionately explore seven complex themes: “Origins” explores creation, foundational, and ancestral stories; “Resistance” responds to colonialism and militarism; “Remembering” captures diverse memories and experiences; “Identities” articulates the nuances of culture; “Voyages” maps migration and diaspora; “Family” delves into interpersonal and community relationships; and “New Micronesia” gathers experimental, liminal, and cutting-edge voices. This anthology reflects a worldview unique to the islands of Micronesia, yet it also connects to broader issues facing Pacific Islanders and indigenous peoples throughout the world. It is essential reading for anyone interested in Pacific, indigenous, diasporic, postcolonial, and environmental studies and literatures.