With reference to The Art Lover, a novel by the Italian American writer Carole Maso, the main aim of this paper is to discuss Maso's 'transgeneric" text in relation to Bakhtin's theory of the 'becoming of the text'. Sunt evidențiate o parte dintre atributele performative specifice, a căror valoare reiese din modul de abordare a diverselor stadii de transformare culturală postcolonială și din modificarea unor aspecte privind canonul literar britanic. Acest eseu se centrează pe operele mai multor poeți caraibieni, care au publicat și au primit prestigioase premii în Marea Britanie și în Caraibe. După cum arată literatura caraibiană publicată pe ambele maluri ale Oceanului Atlantic, limbajul și stilul literar se pot îmbina cu dezbaterile teoretice contemporane pentru a reflecta schimbarea culturală. Poezia caraibiană în Marea Britanie, spaţiu literar de schimbare culturală. It delineates some of their inherent performative attributes, which proved effective in addressing various stages of postcolonial cultural transformation and in modifying aspects of the British literary canon. This essay focuses on works of several Caribbean poets, who published and were awarded prestigious prizes in Britain and in the Caribbean. As the Caribbean literature published on both sides of the Atlantic shows, literary language and style can work in parallel with contemporary theoretical debates in expressing cultural change. Considering music as a form of performative collective memory, this article explores the ways in which Caribbean women’s poetry use music as the productive site of the transmission and critical revision of their cultural history and identity.Ĭaribbean Poetry in Britain, A Literary Site of Cultural Change. The article suggests that, in the creative negotiation of their multiple cultural heritage, Caribbean women poets create a poetic counter-archive where different forms of knowledge (both written and oral, European and African) intersect and displace the western division between ‘high’ and ‘low’ cultural forms. ![]() They can be heard in the poetry of Merle Collins, who weaves into her poetry lines from a famous calypso (“She sings on a train and sings inside”), or in Jean ‘Binta’ Breeze’s use of dub, and in her reworking of the quadrille through the mento tradition in “Soun de abeng fi Nanny” and in The Fifth Figure. ![]() While during slavery music constituted a means of communication and ineffable resistance, the traces of that musical revolt are still visible or, as Gilroy argues, audible today. Yet, music is obviously much more than a mere metaphor, providing on the contrary a complex methodological approach to the exploration of Caribbean literary imagination. The Caribbean has often been described in musical terms as ‘fugal’, as a culturally polyphonic society.
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