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This study focuses on William Faulkner, whose works explore the demise of the slavery-based Old South during the Civil War in a highly experimental narrative style. Central to this investigation is the analysis of the temporal dimensions of both individual and collective guilt, thus offering a new approach to the often-discussed problem of Faulkner’s portrayal of social decay. The thesis examines how Faulkner re-narrates the legacy of the Old South as a guilt narrative and argues that Faulkner uses guilt in order to corroborate his concept of time and the idea of the continuity of the past. The focus of the analysis is on three of Faulkner’s arguably most important novels: The Sound and the Fury, Absalom, Absalom!, and Go Down, Moses. Each of these novels features a main character deeply overwhelmed by the crimes of the past, whether private, familial, or societal. As a result, guilt is explored both from a domestic as well as a social perspective. In order to show how Faulkner blends past and present by means of guilt, this work examines several methods and motifs borrowed from different fields and genres with which Faulkner narratively negotiates guilt. These include religious notions of original sin, the motif of the ancestral curse prevalent in the Southern Gothic genre, and the psychological concept of trauma. Each of these motifs emphasizes the temporal dimensions of guilt, which are the core of this study, and makes clear that guilt in Faulkner’s work is primarily to be understood as a temporal rather than a moral problem.
“Chunking” spoken language
(2021)
In this introductory paper to the special issue on “Weak cesuras in talk-in-interaction”, we aim to guide the reader into current work on the “chunking” of naturally occurring talk. It is conducted in the methodological frameworks of Conversation Analysis and Interactional Linguistics – two approaches that consider the interactional aspect of humans talking with each other to be a crucial starting point for its analysis. In doing so, we will (1) lay out the background of this special issue (what is problematic about “chunking” talk-in-interaction, the characteristics of the methodological approach chosen by the contributors, the cesura model), (2) highlight what can be gained from such a revised understanding of “chunking” in talk-in-interaction by referring to previous work with this model as well as the findings of the contributions to this special issue, and (3) indicate further directions such work could take starting from papers in this special issue. We hope to induce a fruitful exchange on the phenomena discussed, across methodological divides.
“Chunking” spoken language
(2021)
In this introductory paper to the special issue on “Weak cesuras in talk-in-interaction”, we aim to guide the reader into current work on the “chunking” of naturally occurring talk. It is conducted in the methodological frameworks of Conversation Analysis and Interactional Linguistics – two approaches that consider the interactional aspect of humans talking with each other to be a crucial starting point for its analysis. In doing so, we will (1) lay out the background of this special issue (what is problematic about “chunking” talk-in-interaction, the characteristics of the methodological approach chosen by the contributors, the cesura model), (2) highlight what can be gained from such a revised understanding of “chunking” in talk-in-interaction by referring to previous work with this model as well as the findings of the contributions to this special issue, and (3) indicate further directions such work could take starting from papers in this special issue. We hope to induce a fruitful exchange on the phenomena discussed, across methodological divides.
The political legacy of the Martinican poet, novelist and philosopher Édouard Glissant (1928–2011) is the subject of an ongoing debate among postcolonial literary scholars. Responding to an influential view shaping this debate, that Glissant’s work can be categorised into an early political and late apolitical phase, this dissertation claims that this division is based on a narrow conception of 'engaged political writing' that prevents a more comprehensive view of the changing political strategies Glissant pursued throughout his life from emerging. Proceeding from this conceptual basis, the dissertation is concerned with re-reading the dimensions of Glissant's work that have hitherto been relegated as apolitical, literary or poetic, with the aim of conceptualising the politics of relation as an integral part of his overall poetic project. In methodological terms, the dissertation therefore proposes a relational reading of Glissant’s life-work across literary genres, epochs, as well as the conventional divisions between political thought, writing and activism. This perspective is informed by Glissant's philosophy of relation, and draws on a conception of political practice that includes both explicit engagements with established political systems and institutions, as well as literary and cultural interventions geared towards their transformation and the creation of alternatives to them. Theoretically the work thus combines a poststructuralist lens on the conceptual difference between 'politics' and 'the political' with arguments for an inherent political quality of literature, and perspectives from the Afro-Caribbean radical tradition, in which writers and intellectuals have historically sought to combine discursive interventions with organisational actions. Applying this theoretical angle to the analysis of Glissant's politics of relation results in an interdisciplinary research framework designed to explore the synergies between postcolonial political and literary studies.
In order to comprehensively describe Glissant's politics of relation without recourse to evolutionary or digressive models, the concept of an intellectual marronage is proposed as a framework to map the strategies making up Glissant's political archive. Drawing on a variety of historic, political theoretical and literary sources, intellectual marronage is understood as a mode of radical resistance to the neocolonial subjugation for which the plantation system stands historically and metaphorically, as an inherently innovative political practice invested in the creation of communities marked by relational ontologies, and as a commitment to fostering an imagination of the world and the human that differs fundamentally from the Enlightenment paradigm. This specific conception of intellectual marronage forms the basis on which three key strategies that consistently shape Glissant's political practice are identified and mapped. They revolve around Glissant's engagement with history (chapter 2), his commitment to fostering an imagination of the Tout-Monde (whole-world) as a political point of reference (chapter 3), and the continuous exploration of alternative forms of community on the levels of the island, the archipelago and the Tout-Monde (chapter 4). Together these strategies constitute Glissant's personal politics of relation. Its abstract characteristics can be put in a productive conversation with related theoretical traditions invested in exploring the political potentials of fugitivity (chapters 5), as well as with the work of other postcolonial actors whose holistic practice warrants to be described as a politics of relation (chapter 6).
This book explores how capitalism shapes the formation of the economic subject in modern European writing. How are subject positions determined by the subject’s relationship to money and work? How fair is a society that predicates social inclusion upon employment? And what happens when full employment is impossible? The volume traces how literary authors and social theorists have answered these questions in different social and historical contexts from the nineteenth century to the present day. The contributions confront the imperatives of productivity, notions of success and failure, the construction of work cultures and environments, the (in)visibility of certain labour groups, and the implications of the body as a productive site.
Writing an alternative Australia : women and national discourse in nineteenth-century literature
(2007)
In this thesis, I want to outline the emergence of the Australian national identity in colonial Australia. National identity is not a politically determined construct but culturally produced through discourse on literary works by female and male writers. The emergence of the dominant bushman myth exhibited enormous strength and influence on subsequent generations and infused the notion of “Australianness” with exclusively male characteristics. It provided a unique geographical space, the bush, on and against which the colonial subject could model his identity. Its dominance rendered non-male and non-bush experiences of Australia as “un-Australian.” I will present a variety of contemporary voices – postcolonial, Aboriginal, feminist, cultural critics – which see the Australian identity as a prominent topic, not only in the academia but also in everyday culture and politics. Although positioned in different disciplines and influenced by varying histories, these voices share a similar view on Australian society: Australia is a plural society, it is home to millions of different people – women, men, and children, Aboriginal Australians and immigrants, newly arrived and descendents of the first settlers – with millions of different identities which make up one nation. One version of national identity does not account for the multitude of experiences; one version, if applied strictly, renders some voices unheard and oppressed. After exemplifying how the literature of the 1890s and its subsequent criticism constructed the itinerant worker as “the” Australian, literary productions by women will be singled out to counteract the dominant version by presenting different opinions on the state of colonial Australia. The writers Louisa Lawson, Barbara Baynton, and Tasma are discussed with regard to their assessment of their mother country. These women did not only present a different picture, they were also gifted writers and lived the ideal of the “New Women:” they obtained divorces, remarried, were politically active, worked for their living and led independent lives. They paved the way for many Australian women to come. In their literary works they allowed for a dual approach to the bush and the Australian nation. Louisa Lawson credited the bushwoman with heroic traits and described the bush as both cruel and full of opportunities not known to women in England. She understood women’s position in Australian society as oppressed and tried to change politics and culture through the writings in her feminist magazine the Dawn and her courageous campaign for women suffrage. Barbara Baynton painted a gloomy picture of the Australian bush and its inhabitants and offered one of the fiercest critiques of bush society. Although the woman is presented as the able and resourceful bushperson, she does not manage to survive in an environment which functions on male rules and only values the economic potential of the individual. Finally, Tasma does not present as outright a critique as Barbara Baynton, however, she also attests the colonies a fascination with wealth which she renders questionable. She offers an informed judgement on colonial developments in the urban surrounds of the city of Melbourne through the comparison of colonial society with the mother country England. Tasma attests that the colonies had a fascination with wealth which she renders questionable. She offers an informed judgement on colonial developments in the urban surrounds of the city of Melbourne through the comparison of colonial society with the mother country England and demonstrates how uncertainties and irritations emerged in the course of Australia’s nation formation. These three women, as writers, commentators, and political activists, faced exclusion from the dominant literary discourses. Their assessment of colonial society remained unheard for a long time. Now, after much academic excavation, these voices speak to us from the past and remind us that people are diverse, thus nation is diverse. Dominant power structures, the institutions and individuals who decide who can contribute to the discourse on nation, have to be questioned and reassessed, for they mute voices which contribute to a wider, to the “full”, and maybe “real” picture of society.
When moral authority speaks
(2023)
What’s in an irish name?
(2006)
Content: 1. Introduction: The Irish Patronymic System Prior to 1600 2. Anglicisation Pressure 3. Anglicisation: 1600-1900 3.1. Phonetic Approximation 3.2. Simplification 3.3. Translation 3.4. Mistranslation 3.5. Equivalence with Existing English Surname 3.6. Multiplicity of Anglicised Forms 3.7. Anglicisation of Prefixes 4. The Call to De-Anglicise 5. Current Personal Naming Patterns in Ireland 5.1. Current Modern Irish 6. Traditional Naming: “X (Son/Daughter) of Y (Son/Daughter) of Z” 7. Nicknames 8. Conclusion
The great Old English epic 'Beowulf' has been dated to practically every century between the 6th and the 11th century, depending on the criteria of dating adopted and the approaches advocated by the respective scholars. As the text successfully avoids to provide definite cues or evidence for a definitive date, these scholarly attempts reveal more about the respective scholars' research interests than offering uncontroversial dates. The point of dating 'Beowulf' then seems to provide scholars with the opportunity to anchor their own personal understanding of the poem within the century of their own personal predilection.
Extract: That the Celtic languages were of the Indo-European family was first recognised by Rasmus Christian Rask (*1787), a young Danish linguist, in 1818. However, the fact that he wrote in Danish meant that his discovery was not noted by the linguistic establishment until long after his untimely death in 1832. The same conclusion was arrived at independently of Rask and, apparently, of each other, by Adolphe Pictet (1836) and Franz Bopp (1837). This agreement between the foremost scholars made possible the completion of the picture of the spread of the Indo-European languages in the extreme west of the European continent. However, in the Middle Ages the speakers of Irish had no awareness of any special relationship between Irish and the other Celtic languages, and a scholar as linguistically competent as Cormac mac Cuillennáin (†908), or whoever compiled Sanas Chormaic, treated Welsh on the same basis as Greek, Latin, and the lingua northmannorum in the elucidation of the meaning and history of Irish words. [...]
Visual Culture
(2004)
Victorian Women Artists
(2010)
This article explores a sequence organizational phenomenon that results from the use of a loosely specifiable turn format (viz., That's + wh-clause) for launching (next) sequences while at the same time connecting back to a prior turn. Using this practice creates a sequential juncture, i.e., a pivot-like nexus between one sequence and a next. In third position, such junctures serve to accomplish seamless sequential transitions from one sequence into a next by presenting the latter as locally occasioned. The practice may, however, also be deployed in second position to launch actions that have not been made relevant or provided for by the preceding action and exhibit response relevance themselves. The sequential junctures then become retro-sequential in character: They transform the projected trajectory of the sequence in progress and create interlocking sequential structures. These findings highlight that sequence is practice, while pointing to understudied interconnections between tying and sequentiality. Data are in English.
This essay focuses on the work of Mexican/Chicano performance artist Guillermo Gómez-Peña, whose main aesthetic principle lies in the criss-crossing of cultural, geographic and linguistic borders. Through his unique fusion of genres, discourses and media, Gómez-Peña creates a hybrid art form that also transgresses more conventional definitions of what constitutes culture. One of the central features of his "New World Border" (1992-1994) performance is the artistic transposition of site-specific border identities and texts to a global level; i.e., the border (and its transgression) becomes a metaphor to address a multiplicity of aesthetic, cultural and socio-political agendas. His performance "Temple of Confessions" (1994) aims, among others, at debunking the rather celebratory discourse of mainstream U.S. multiculturalism. In addition, his project of "reverse anthropology", which informs a number of his performance pieces, seeks to retain the resistance potential of minoritarian art by subverting hegemonic power hierarchies. As will be shown, his representational strategy of "as if" is used by Gómez-Peña and his collaborators to envision a postnational and transcultural spaciousness of the Americas.
Towards Eurasia
(2019)
In order to heed the call in world literature studies to work against disciplinary Eurocentrism by refiguring both what constitutes world literature and how this is read, in this article I propose world literature as an archive of world-making practices and as an impulse for the articulation of alternative methodological approaches. This takes world literature from the postcolonial South as, following Pheng Cheah, instantiating a modality of world literature in which the need for imagining worlds with alternative centres to those determined by coloniality is particularly acute. A response to this is facilitated and illustrated by a reading of Bengali poet Rabindranath Tagore’s Letters from Russia (1930), and South African writer/activist Alex La Guma’s A Soviet Journey (1978). By drawing forward connections between the postcolonial South and the former Soviet Union, this complicates traditional colonial arrangements of the colonial ‘centre’ as cradle of civilisation and culture, as well as postcolonial scholarship’s cumulative fetishisation of ‘Europe’, by allowing a reshuffling of the co-ordinates determining ‘centres’ and ‘peripheries’ and a more nuanced grasp of ‘Europe’ simultaneously. These imaginative journeys destabilise ‘Europe’ as closed category and call forth Eurasia as a more appropriate categorical–cartographical framework for thinking this space and the connections and (hi)story-telling it stages and fosters.
This study examines language ideologies and communicative practices in the multilingual Vaupes region of northwestern Amazonia. Following a comparative overview of the Vaupes as a 'small-scale' language ecology, it discusses claims from existing ethnographic work on the region in light of data from a corpus of video-recordings of sociolinguistic interviews and spontaneous everyday conversations. It shows how a practice-based and interdisciplinary approach combining language documentation methodology and ethnographic, structural linguistic, and interactional perspectives can contribute to understanding of macro and micro aspects of multilingualism, thus contributing to future work on the Vaupes, typologies of small-scale multilingual ecologies, and language contact research.
This article addresses problems of authorship and creative authority in popular music, in particular in view of a pervasive split between modes of aesthetic production (involving modernist assemblage, multiple authorship, and the late capitalist logic of major label policies) and modes of aesthetic reception (which tend to take popular music as the organic output of individual performers). While rock musicians have attempted to come to terms with this phenomenon by either performing a ‘Romantic’ sense of authenticity (basically by importing folk values to the production process) or ‘Modernist authenticity’ (by highlighting experimen- tation and alienation), Damon Albarn and Jamie Hewlett, creators of Gorillaz, found a third way which ingeniously allows them to do both. By creating a virtual rock band, and by hiding their own media personalities behind those of their virtual alter egos, they brought themselves into a position which allows them to produce ‘sincere’ popular music which ‘playfully’ stages the absurdities of major label music business while very successfully operating within its very confines.
Too Poor for Debt
(2020)
Deleuze launches his description/prediction of the emergence and imminent consolidation of the society of control as a postscript. The text thus announces itself as an afterthought, a supplement appended to some complete larger textual body, from which it is, however, unmoored as it is launched as an independent self-standing text that, moreover, does not indicate to what it is an addendum but instead, on what it speaks. By this token, the Postscript unhinges the conventional notion according to which a supplement signals “the addition of something to an already complete entity” (Attridge 1992: 77). By marking his text as the adjunct to an absent main body, Deleuze appears to concede and at the same time emphatically embrace the necessary incompleteness of this short précis on the post-disciplinary regime. My argument in the following will be that the supplementary status of the Postscript does not so much signal some subversive or dissident gesture in the name of the minor or the molecular (even though it does that, too); instead, it primarily serves to keep at bay and contain an exteriority that it aims to ‘confine by exclusion’1; and that exteriority, I will argue, is the Third World.
Tieken-Boon van Ostade, I. (Hrsg.), Two Hundred Years of Lindley Murray; Münster, Nodus, 1996
(1998)
The language situation in the Philipines between the many different native languages and English is complex. The book under review outlines the various contact situations, focussing on the contact between Tagalog, the most important indigenous language of the Philipines on the one hand and English on the other. This serves as the basis for a detailed discussion of the sociological determinasts of the contact continuum between Tagalog on the one hand and Standard English on the other. The main asset of the book is to be found in its well informed survey character resulting from personal teaching experience.
Think local sell global
(2010)
This article considers Isabella Bird’s representation of medicine in Unbeaten Tracks in Japan (1880) and Journeys in Persia and Kurdistan (1891), the two books in which she engages most extensively with both local (Chinese/Islamic) and Western medical science and practice. I explore how Bird uses medicine to assert her narrative authority and define her travelling persona in opposition to local medical practitioners. I argue that her ambivalence and the unease she frequently expresses concerning medical practice (expressed particularly in her later adoption of the Persian appellation “Feringhi Hakīm” [European physician] to describe her work) serves as a means for her to negotiate the colonial and gendered pressures on Victorian medicine. While in Japan this attitude works to destabilise her hierarchical understanding of science and results in some acknowledgement of traditional Japanese traditions, in Persia it functions more to disguise her increasing collusion with overt British colonial ambitions.
The Treatment of Aspect Distinctions in Eighteenth- and Nineteenth-Century Grammars of English
(2003)
Over the last decades Britain´s ethnic minorities have successfully established themselves in a multicultural society. In particular, Indian – Hindu communities generally improved their social and economic situation. In this context, the third generation of British Indians is now growing up. In contrast to the previous generation of the Indian diaspora, these children grow up in an established ethnic community, which learned to retain its religion, traditions and culture in a foreign environment. At the same time, these children are part of the multicultural British society. Based on the academic discussion about the second generation of immigrated ethnic communities, when the youth often suffered from cultural differences, racism and discrimination and therefore rejected aspects of their culture of origin, this paper assumes that the loss of the culture of origin further increases in the third generation. This thesis follows the main theories about the connection between generation and integration. It is believed that the preference of western culture influences the personal, ethnic and cultural identity of young people. This leads to the rejection of traditional bonds. Before introducing this thesis various theoretical concepts are discussed which are inevitable for the comprehension of the diasporic situation in which British Indian youngsters grow up. As part of the worldwide Asian Indian diaspora Indian families in Britain maintain manifold links to Indian communities in various countries. Particularly, the link to India plays a decisive role; the subcontinent is referred to as an abstract homeland, especially by the first generation. While the grandparents strongly adhere to their Indian culture and Hindu religion, the second generation already generated cultural change. In this process various cultural values of the Indian ethnic community have been questioned and modified. Further, the second generation pushed the integration into the British society by giving up the dependence on the ethnic network. This paper is based on a hybrid and fluent definition of culture. This definition also applies to the underlying understanding of identity and ethnicity. Due to migration, cultural contact and the multilocality of the diaspora, diasporic and post-diasporic identities and cultures are characterized by hybridity, heterogeneity, fragmentation and flexibility. Particularly, in the younger generation – though dependent on a number of social and structural factors - cultural change and mixture happen; in this process new ethnicities and identities evolve. In the second and third part of this paper the thesis of loss of culture of origin is refuted on the basis of findings from empirical research. British - Indian youngsters in London have been questioned for the study. Half of the youngsters are related to a sampradaya, a Hindu sect. This enables the author to compare youngsters who do not belong to a particular religious group with those who are included into a religious and / or ethnic community through a sampradaya. The analysis of the findings which are based on qualitative and quantitative social research shows that the young people have great interest in their culture of origin and that they aim to maintain this culture in the diaspora. They identify as Indian and are proud of their cultural differences. In this, they differ from the second generation. In contrast to the generation of their grandparents the Indian identity of the third generation is not based on nostalgic memories. They confirm and emphasize their postdiasporic difference in a western multicultural society. The findings from the survey hereby exceed the thesis from Hansen’s theory about the rediscovery of the culture of origin in the third generation. The comparison of both groups shows that in the context of the differentiation of postmodern and postcolonial communities also ethnic groups become increasingly differentiated. Therefore, the Indian heritage and culture does not play the same role for every young British Indian.
‘The Territorialities of U.S. Imperialisms’ sets into relation U.S. imperial and Indigenous conceptions of territoriality as articulated in U.S. legal texts and Indigenous life writing in the 19th century. It analyzes the ways in which U.S. legal texts as “legal fictions” narratively press to affirm the United States’ territorial sovereignty and coherence in spite of its reliance on a variety of imperial practices that flexibly disconnect and (re)connect U.S. sovereignty, jurisdiction and territory.
At the same time, the book acknowledges Indigenous life writing as legal texts in their own right and with full juridical force, which aim to highlight the heterogeneity of U.S. national territory both from their individual perspectives and in conversation with these legal fictions. Through this, the book’s analysis contributes to a more nuanced understanding of the coloniality of U.S. legal fictions, while highlighting territoriality as a key concept in the fashioning of the narrative of U.S. imperialism.
As the foundation of homes, the marriage institution is an important agent of sociali- zation. In this regard, marriage can be relied upon as a major factor in language and cultural maintenance. However, mixed marriages may contribute to language shift in the home because they can lead to a change in language use patterns among minority language speakers and their children. This means that the likelihood of preserving a minority language is greater in marriages among individuals who speak the same indigenous language than in situations in which spouses speak different languages. This study uses questionnaire data from parents of ethnically mixed marriages to explain how mixed marriages contribute to language shift from minority languages to English (Nigeria's official language), Nigerian Pidgin (informal lingua franca) and the major languages (i.e. Hausa, Igbo and Yoruba) in the home domains. The study shows that the future of minority languages will largely depend on the roles of families and the value attached to minority ethnic identity by young people, particularly those from mixed homes. Keywords: language shift; maintenance; family; minority languages; intermarriage; nigeria
The dissertation examines aspects of the interlingual lexical processes of word recognition and word retrieval in Hungarian-German bilinguals learning English as a foreign language, with particular respect to the role of cognates. The purpose of the study is to describe the process of lexical activaton in a polyglot system and to model the mental lexicons and the ways entries in the lexicons are connected and activated (e.g. activation through direct word association or through concept mediation). Three dependent variables are studied in quantitative and qualitative analysis of empirical data taken from experiments: rate of accurate responses, response latencies and phonological interference. The results of the experiments are interpreted in the framework of a multiple language network model.
The continued linguistic contact in the islands of Britain and Ireland over the past two millenia has led to linguistic convergence processes between the Insular Celtic and West Germanic languages involved. While the Latin, Old Norse and Norman French contact scenarios were recognised and have been well studied since the 19c, the Celtic component received much less scholarly attention until the 1990s because of the continued linguistic bias, once fostered by 19c Anglo-Saxonisms and the idea of racial purity of the Egnlish population. It is only in the very recent past that the many different contact areas between English and the Insular Celtic languages have received recognition after New Labour's post-1997 introduction of "devolution" politics. The closest and longest interaction took of course place between English and Welsh. The present article looks at three major types of interaction which led to convergence in a number of important linguistic features: (1) mutual retention of shared archaic features, (2) mutual shared innovations, and (3) transfer from one language to another, either by unilateral or by bilateral transfer. The exemplary contact features discussed in this article relate to the retention of interdental fricatives, the shared innovation of analycity and multi-word verb formation, and clefting as feature transfer. Transfer is likely to have taken place under the following conditions: (a) earlier written documentation in the donor language, (b) higher frequency of occurrence in the donor language, (c) conformity with other structures in the donor language, and (d) grammaticalisation in the donor language. The conclusion endorses Salikoko Mufwene's claim that the making of English in the island of Britain was subject to the same contact processes which created the English based creoles from indigenised Englishes during the colonial period.
The dissertation proposes that the spread of photography and popular cinema in 19th- and 20th-century-India have shaped an aesthetic and affective code integral to the reading and interpretation of Indian English novels, particularly when they address photography and/or cinema film, as in the case of the four corpus texts. In analyzing the nexus between ‘real’ and ‘reel’, the dissertation shows how the texts address the reader as media consumer and virtual image projector. Furthermore, the study discusses the Indian English novel against the backdrop of the cultural and medial transformations of the 20th century to elaborate how these influenced the novel’s aesthetics. Drawing upon reception aesthetics, the author devises the concept of the ‘implied spectator’ to analyze the aesthetic impact of the novels’ images as visual textures.
No God in Sight (2005) by Altaf Tyrewala comprises of a string of 41 interior monologues, loosely connected through their narrators’ random encounters in Mumbai in the year 2000. Although marked by continuous perspective shifts, the text creates a sensation of acute immediacy. Here, the reader is addressed as implied spectator and is sutured into the narrated world like a film spectator ― an effect created through the use of continuity editing as a narrative technique.
Similarly, Ruchir Joshi’s The Last Jet Engine Laugh (2002) coll(oc)ates disparate narrative perspectives and explores photography as an artistic practice, historiographic recorder and epistemological tool. The narrative appears guided by the random viewing of old photographs by the protagonist and primary narrator, the photographer Paresh Bhatt. However, it is the photographic negative and the practice of superimposition that render this string of episodes and different perspectives narratively consequential and cosmologically meaningful. Photography thus marks the perfect symbiosis of autobiography and historiography.
Tabish Khair’s Filming. A Love Story (2007) immerses readers in the cine-aesthetic of 1930s and 40s Bombay film, the era in which the embedded plot is set. Plotline, central scenes and characters evoke the key films of Indian cinema history such as Satyajit Ray’s “Pather Panchali” or Raj Kapoor’s “Awara”. Ultimately, the text written as film dissolves the boundary between fiction and (narrated) reality, reel and real, thereby showing that the images of individual memory are inextricably intertwined with and shaped by collective memory. Ultimately, the reconstruction of the past as and through film(s) conquers trauma and endows the Partition of India as a historic experience of brutal contingency with meaning.
The Bioscope Man (Indrajit Hazra, 2008) is a picaresque narrative set in Calcutta - India’s cultural capital and birthplace of Indian cinema at the beginning of the 20th century. The autodiegetic narrator Abani Chatterjee relates his rise and fall as silent film star, alternating between the modes of tell and show. He is both autodiegetic narrator and spectator or perceiving consciousness, seeing himself in his manifold screen roles. Beyond his film roles however, the narrator remains a void. The marked psychoanalytical symbolism of the text is accentuated by repeated invocations of dark caves and the laterna magica. Here too, ‘reel life’ mirrors and foreshadows real life as Indian and Bengali history again interlace with private history. Abani Chatterjee thus emerges as a quintessentially modern man of no qualities who assumes definitive shape only in the lost reels of the films he starred in.
The final chapter argues that the static images and visual frames forwarded in the texts observe an integral psychological function: Premised upon linear perspective they imply a singular, static subjectivity appealing to the postmodern subject. In the corpus texts, the rise of digital technology in the 1990s thus appears not so much to have displaced older image repertories, practices and media techniques, than it has lent them greater visibility and appeal. Moreover, bricolage and pastiche emerge as cultural techniques which marked modernity from its inception. What the novels thus perpetuate is a media archeology not entirely servant to the poetics of the real. The permeable subject and the notion of the gaze as an active exchange as encapsulated in the concept of darshan - ideas informing all four texts - bespeak the resilience of a mythical universe continually re-instantiated in new technologies and uses. Eventually, the novels convey a sense of subalternity to a substantially Hindu nationalist history and historiography, the centrifugal force of which developed in the twentieth century and continues into the present.
The Parody of "Parody as Cultural Memory" in Richard Powers" Galatea 2.2 : a response to Anca Rosu
(2003)
The Pacific Solution meets Fortress Europe : Emerging Parallels in Transnational Refugee Regimes
(2007)
The Musical Novel: Imitation of Musical Structure, Performance and Reception in Contemporary Fiction
(2016)
The making of Tupaia’s map
(2019)
Tupaia’s Map is one of the most famous and enigmatic artefacts to emerge from the early encounters between Europeans and Pacific Islanders. It was drawn by Tupaia, an arioi priest, chiefly advisor and master navigator from Ra‘iātea in the Leeward Society Islands in collaboration with various members of the crew of James Cook’s Endeavour, in two distinct moments of mapmaking and three draft stages between August 1769 and February 1770. To this day, the identity of many islands on the chart, and the logic of their arrangement have posed a riddle to researchers. Drawing in part on archival material hitherto overlooked, in this long essay we propose a new understanding of the chart’s cartographic logic, offer a detailed reconstruction of its genesis, and thus for the first time present a comprehensive reading of Tupaia’s Map. The chart not only underscores the extent and mastery of Polynesian navigation, it is also a remarkable feat of translation between two very different wayfinding systems and their respective representational models.
The Making of Tupaia’s Map
(2018)
Tupaia’s Map is one of the most famous and enigmatic artefacts to emerge from the early encounters between Europeans and Pacific Islanders. It was drawn by Tupaia, an arioi priest, chiefly advisor and master navigator from Ra‘iātea in the Leeward Society Islands in collaboration with various members of the crew of James Cook’s Endeavour, in two distinct moments of mapmaking and three draft stages between August 1769 and February 1770. To this day, the identity of many islands on the chart, and the logic of their arrangement have posed a riddle to researchers. Drawing in part on archival material hitherto overlooked, in this long essay we propose a new understanding of the chart’s cartographic logic, offer a detailed reconstruction of its genesis, and thus for the first time present a comprehensive reading of Tupaia’s Map. The chart not only underscores the extent and mastery of Polynesian navigation, it is also a remarkable feat of translation between two very different wayfinding systems and their respective representational models.
Contrary to earlier studies dealing with the cultural identity development of diasporic minorities, this paper assesses the impact of homogeneity on intra-group cohesion and ethnic orientation. To this end, Oromo-Americans, an ethnic group originally located within the national borders of Ethiopia, will be compared to Armenian-Americans, British-Pakistanis and Somali-Americans. Despite different circumstances, all four groups share the experience of displacement owing to war and destitution. Additionally, all groups are confronted with the ramifications of a visible minority status. In the process of comparing these groups, their degrees of homogeneity in regard to language and religion - central aspects of culture and cultural identity - will be examined and juxtaposed at a macro level. Based on the correlative relationship of group homogeneity and social cohesion, I argue that the more homogeneous a group is in terms of language and religion, the more close-knit it will be. Consequently, exiled minorities who share the same language and religion are more likely to develop and retain a strong ethnic orientation than groups who are heterogeneous with regard to language and/or religion.
Extract: [...]Intriguing as they undoubtedly are, the early sixteenth-century lists of books in the Earl of Kildare’s library may well have inadvertently helped to lull scholars into visualising a rather idealised picture of language balance in multilingual late medieval Ireland. The lists reflect a society in which the four languages, Irish, English, Latin and French, vied as scholarly media and where the outcome in the Earl’s library was a four-way photo-finish. The number of volumes in each of the languages was recorded as follows: Latin, 34; French, 35; English, 22; Irish, 20 (Mac Niocaill 1992: 312-314). But of course the multilingual contact situation in Ireland had always been quite dynamic, both at vernacular and at scholarly levels, following the Anglo-Norman invasion of 1169. Although French continued to be employed in official documents into the second half of the 15th century, it had already ceded its vernacular role to English in the towns of the colonists prior to the drawing up of the Statutes of Kilkenny in 1366. These Statutes, composed in Norman-French, the primary language of English law at the time, provide an earlier snapshot of the language situation within the areas under English jurisdiction, as they sought to compel the colonists to desist from adopting Irish as a community vernacular. Ironically, no mention is made of Norman-French in the Statutes themselves. It is clear that what was at issue was a contest for supremacy between Irish and English as the principal vernacular among the colonists.[...]
The Enigma of Arrival
(2006)
The decolonizing pen : cultural diversity and the transnational imaginary in Rushdieïs fiction
(2001)
The Culture of Lyrics
(2010)
The commuting island
(2011)
The cognitive sociolinguistic approach to the lexicon of Cameroon English and other world englishes
(2012)
This collection contains 13 papers presented in the workshop on the "The Celtic Languages in Contact" organised by Hildegard L. C. Tristram at the XIII International Celtic Congress in Bonn (Germany), July 23rd - 27th, 2007. The authors of two papers from another section also contributed their papers to this volume, as they deal with closely related issues. The time-span covered ranges from potential pre-historic contacts of Celtic with Altaic languages or Nostratic cognates in Celtic, through the hypothesis of Afro-Asiatic as a possible substrate for Celtic, Latin and Gaulish contacts in Gaul, the impact of Vulgar Latin on the formation of the Insular Celtic Languages as a linguistic area (Sprachbund), to various contact scenarios involving the modern Insular Celtic languages as well as English and French. The final paper reflects on the political status of the modern Insular Celtic languages in the Europe of the 27 EU countries.
What is "Celtic"and what is universal in the "Celtic Englishes"? This was the central concern of the fourth and final Colloquium of studies on language contact between English and the Celtic languages at the University of Potsdam in September 2004. The contributions to this volume discuss the "Celtic" peculiarities of Standard English in England and in Ireland (North and South). They also examine the perceived "Celticity" of personal names in the "Celtic" countries (Ireland, Wales, Cornwall, Brittany). Moreover, they put emphasis on specific grammatical features such as the expression of perfectivity, relativity, intensification and the typological shift of verbal word formation from syntheticity to analycity as well as the emergence of universal contact trends shared by Celtic, African and Indian Englishes. Thus, the choice of contributors and the scope of their articles makes Celtic Englishes IV an invaluable handbook for scholarly work in the field of the English - Celtic relations.
The Celtic Englishes III
(2003)
The Celtic Englishes II
(2000)