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In examining the work of three "ethnic" writers (Nakagami Kenji is Japanese burakumin, Leslie Marmon Silko Native American, Salman Rushdie an Indian living in England), this project studies the literary depictions of the ways in which the body is portrayed and used as a space for cultural and ideological inscription. The major issues addressed involve gender, race, and ethnicity as forces which become visible through the socially constructed body. In the works of Nakagami Kenji, Salman Rushdie, and Leslie Marmon Silko, bodies cry out the silence to overwhelm the torturer. They all share a concern with the loss of land which induces migration, a weakened sense of identity, and hybridity. Each author uses the body of his/her protagonist as the site to inscribe the consequences of such loss, along with the criticisms against the dominant system and ideology of society. In each case, an emerging discourse of the body forges the power of the margins to resist and subvert any claims of hegemonic control. The section on Kenji's novel Wings of the Sun includes an investigation of the burakumin, its historical and cultural origin, and how it is excluded from the structure of Japanese society, before moving to an examination of Kenji's texts create a space for the burakumin within the "Body Without Organs" of advanced capitalism. The chapter on Rushdie's Shame shows how the novel uses the bodies of its protagonists as allegories of the violence and conflict within multi-ethnic, post-colonial Pakistan. The analysis of Silko's Ceremony involves the conflict between Native-American and Euro-American cultures in their varying treatments of the body. Much has been written in the last decade about literary representations of the body. This work has stressed that the body is a conceptual category produced by specific discursive operations that can be analyzed and described. Emphasis on the discursive construction of the body facilitates our understanding of the human condition represented in literature or in other cultural products, and in the case of these three authors posits the body as the site of alternative "logics" for dealing with the realities of post-colonial situations.
"The Argentine Nestor Perlongher was a groundbreaking poet and anthropologist whose work takes on the most dynamic and conflictive themes of modern-day Latin America. His poetry addresses issues of dictatorship, national identity, exile, transvestism and marginal sexualities, and modern-day esoteric religions while his anthropological work challenged the very limits of the human being and attacked the most entrenched of contemporary taboos." "Nestor Perlongher: The Poetic Search for an Argentine Marginal Voice is a vital addition to our understanding of the difficult work of this poet, for two reasons. First, Perlongher was a pioneer in a number of fields: sexual rights, urban anthropology, the philosophy of Deleuze and Guattari, esoteric religions and, crucially, modern Plate River poetry. This work is the first in English to comprehensively address this provocative and innovative oeuvre. Secondly, Perlongher's difficult, highly allusive and linguistically challenging poetry creates problems of reading and interpretation for any researcher. Ben Bollig draws on a wealth of historical, cultural and social research about contemporary Argentina, providing a rich background against which to assess Perlongher's work. The detailed close readings of the poems themselves offer ways into Perlongher's work and methodological tools for the study of difficult poetry."--BOOK JACKET.
A wide-ranging collection of essays centred on readings of the body in contemporary literary and socio-anthropological discourse, from slavery and rape to female genital mutilation, from clothing, ocular pornography, voice, deformation and transmutation to the imprisoned, dismembered, remembered, abducted or ghostly body, in Africa, Australasia and the Pacific, Canada, the Caribbean, Great Britain and Eire
In Body as Evidence, Janell Hobson challenges postmodernist dismissals of identity politics and the delusional belief that the Millennial era reflects a "postracial" and "postfeminist" world. Hobson points to diverse examples in cultural narratives, which suggest that new media rely on old ideologies in the shaping of the body politic. Body as Evidence creates a theoretical mash-up of prose and poetry to illuminate the ways that bodies still matter as sites of political, cultural, and digital resistance. It does so by examining various representations, from popular shows like American Idol to public figures like the Obamas to high-profile cases like the Duke lacrosse rape scandal to current trends in digital culture. Hobson's study also discusses the women who have fueled and retooled twenty-first-century media to make sense of antiracist and feminist resistance. Her discussions include the electronica of Janelle Monáe, M.I.A., and Björk; the feminist film odysseys of Wanuri Kahiu and Neloufer Pazira; and the embodied resistance found simply in raising one's voice in song, creating a blog, wearing a veil, stripping naked, or planting a tree. Spinning knowledge out of this information overload, Hobson offers a global black feminist meditation on how our bodies mobilize, destabilize, and decolonize the meanings of race and gender in an increasingly digitized and globalized world.
Verdi, Wagner, polymorphous perversion, Puccini, Brunnhilde, Pinkerton, and Parsifal all rub shoulders in this delightful, poetic, insightful, sexual book sprung by one man's physical response to the power and exaggeration we call opera. Sam Abel applies a light touch as he considers the topic of opera and the eroticized body: Why do audiences respond to opera in a visceral way? How does opera, like no other art form, physically move watchers? How and why does opera arouse feelings akin to sexual desire? Abel seeks the answers to these questions by examining homoerotic desire, the phenomenon of the castrati, operatic cross-dressing, and opera as presented through the media. In this deeply personal book, Abel writes, ‘These pages map my current struggles to pin down my passion for opera, my intense admiration for its aesthetic forms and beauties, but much more they express my astonishment at how opera makes me lose myself, how it consumes me.’ In so doing, Abel uncovers what until now, through dry musicology and gossipy history, has been left behind a wall of silence: the physical and erotic nature of opera. Although Abel can speak with certainty only about his own response to opera, he provides readers with a language and a resonance with which to understand their own experiences. Ultimately, Opera in the Flesh celebrates the power of opera to move audiences as no other book has done. It is indeed a treasure of scholarship, passion, and poetry for everyone with even a passing interest in this fascinating art form.
Why do bodies matter? Body Matters is a collection of essays by feminists working in literary and cultural studies which addresses this question from a range of theoretical perspectives.
The Art of Subtraction is the first full-length study on the CD-ROM as a creative platform. Bruno Lessard traces the rise and relatively rapid fall of the CD-ROM in the 1980s and 1990s and its impact as a creative platform for media artists such as Jean-Louis Boissier, Zoe Beloff, Adriene Jenik, and Chris Marker. Although the CD-ROM was not a lasting commercial success it was a vibrant medium that allowed for experimentation in adapting literary works. Building on the work of Gilles Deleuze and Michele Foucault, Lessard establishes a comparative framework for linking digital adaptations with innovative concepts such as 'subtractive adaptation' and the 'object image' that will be of interest to researchers examining literary adaptations on other digital platforms such as websites, smart phones, tablets, and digital games. The Art of Subtraction is a fascinating study of intermediality in the late twentieth century and it provides the first chapter in the yet unwritten history of digital adaptation.
In its consideration of American Indian literature as a rich and exciting body of work, The Voice in the Margin invites us to broaden our notion of what a truly inclusive American literature might be, and of how it might be placed in relation to an international—a "cosmopolitan"—literary canon. The book comes at a time when the most influential national media have focused attention on the subject of the literary canon. They have made it an issue not merely of academic but of general public concern, expressing strong opinions on the subject of what the American student should or should not read as essential or core texts. Is the literary canon simply a given of tradition and history, or is it, and must it be, constantly under construction? The question remains hotly contested to the present moment. Arnold Krupat argues that the literary expression of the indigenous peoples of the United States has claims on us to more than marginal attention. Demonstrating a firm grasp of both literary history and contemporary critical theory, he situates Indian literature, traditional and modern, in a variety of contexts and categories. His extensive knowledge of the history and current theory of ethnography recommends the book to anthropologists and folklorists as well as to students and teachers of literature, both canonical and noncanonical. The materials covered, the perspectives considered, and the learning displayed all make The Voice in the Margin a major contribution to the exciting field of contemporary cultural studies. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1989.