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Minh-ha is best known as the Vietnamese-born director of a number of experimental documentary films: Her films represent one part of a much larger project, loosely organized around the 'problem' of how to represent a Third World, female Other.
As well as making films, Trinh studied ethnomusicology and West African vernacular architecture, composes music, and has written a number of books. Many of these trends in her work are represented in the book, Woman, Native, Other.
Atwood does not hesitate to mock contemporary trends in gender politics. kill their children. and Offred’s memories of her feminist-activist mother. I explore a number of conservative opinions still held by many—such as a woman’s place is in the home—and also certain feminist pronouncements—women prefer the company of other women. Frankenstein; or, the Modern Narcissus Jeffrey Berman , Elizabeth, on the night of their honeymoon. It is a tribute to the enduring power of the novel that we remember so vividly the haunting imagery of the Frankenstein Creature and his terrible acts. Mary Poovey fuses feminist and psychoanalytic criticism in The Proper Lady and the. Sparked by their own personal “adventures” with Haraway’s work, the authors offer readings of her texts framed by a series of theoretical and political perspectives: feminist materialism, standpoint epistemology, radical democratic theory, queer theory, and .
As the title indicates, Trinh T. Minh-ha 's book is as much about writing as it is 'about' any of its other areas of research: Like her films, Trinh's writing represents a critical engagement with a number of what she terms 'master discourses,' the languages of human sciences that the West has used to represent itself and its Others.
In the four essays published here, Trinh works to interrogate these languages and interrupt their claims to authenticity, transparency, and universality.
Rather than constructing a clear-cut counterdiscourse--a Third World feminist criticism pose in relation to First World male-dominated criticisms--Trinh's writings employ a very different tactic, working inside these discourses to allow other readings, other responses, impersonating them in some instances, playing with them, exposing their limits and contradictions.
This makes for a very mobile ride, as Trinh shifts discourses, speaking positions, and stances, moving in and out of a number of languages of authority and resistance. She describes her method as a form of storytelling. From jagged transitions between the analytical and the poetical to the disruptive, always shifting fluidity of a headless and bottomless storytelling, what is exposed in this text is the inscription and de-scription of a non unitary female subject of color through her engagement, therefore also disengagement, with master discourses.
At times phrases or quotes reappear from one essay to another, as their paths intersect around certain recurring paradoxes. Trinh seems particularly intrigued by Hurston, the African American novelist and 'insider anthropologist' sent by Franz Boas to collect Black folk tales, as a figure in the intersecting stories of ethnography, language, literature, and race probed in Woman, Native, Other.
Hurston's fluid prose--her ability to play with her audience and benefactors, communicating African American experience while evading languages of truth and transparency--makes her a suggestive model for Trinh's use of language. Trinh's text reads as a search for a way of speaking about power and domination that doesn't extend its operations.
Fundamentally, hers is an approach to writing that is always strategic, always positioning itself in relation to other utterances, both silent and spoken. Trinh works within a postcolonial framework that understands modern forms of power as functioning primarily not by brute force, visible mechanisms of power, or the military interventions and imposed governments of the colonial period, but through invisible, internalized relations of power that operate via consent.
This perspective intersects with many feminist analyses of power as well as the work of French philosopher Michel Foucaultwho discerned the emergence of a modern liberal form of power that makes social regulation tolerable by masking its operations and incorporating opposition.
In more familiar terms, Foucault's work proposes a critique of pluralism and cooptation. Similarly, Trinh refuses to describe herself, the Other, the woman of color, in Western languages designed for her submission or annihilation.
A strategy of inclusion, she implies, only reinforces hegemonic power by incorporating the Other into its own language of difference as essence, division, or inferiority--what she calls 'an apartheid kind of difference.
The essay examines a number of propositions, from Sartre's model of the 'engaged writer' with its discussion of 'freedom' and 'responsibility' to Western ideas of 'art for art's sake,' as well as other politically meaningful stances. Trinh works with a range of references, largely drawing from French philosophy and anthropology juxtaposed with writings by U.
Unusual selections sit side by side, illuminating and informing each other, almost as if Trinh stages a series of conversations, between Roland Barthes and Toni Cade BambaraMitsuye Yamada and Julia Kristeva.At the Society for the Study of American Women Writers (SSAWW) Conference, I participated in a number of conversations about the state of the field of scholarship on American women writers, and particularly the state of recovery as both a material and an intellectual scholarly practice.
Allow. To the Lighthouse and the Feminist Path to Postmodernity Bill Martin Philosophy and Literature, Volume 13, Number 2, October , pp.
Fusul I, 2 & 3 Trends in Contemporary Literary Criticism IV, 1 Literary Criticism and the Humanities VI, 1 & 2 Our critical heritage Commmitment: Al-Mawqif al-adabi 9 & 10 (Feb.
). In the first decade of the 21 st century, new media technologies for social networking such as Facebook, MySpace, Twitter and YouTube began to transform the social, political and informational practices of individuals and institutions across the globe, inviting a philosophical response from the community of applied ethicists and philosophers of technology.
In this way arose Feudal Socialism: half lamentation, half lampoon;half echo of the past, half menace of the future; at times, by its bitter,witty and incisive criticism, striking the bourgeoisie to the very heart's core; but always ludicrous in its effect, through total incapacity to comprehend the march of .
Contemporary Trends in Feminist Criticism and Their Echo in Sylvia Plath’s Later Poems This paper on women’s poetry seeks to demonstrate the extent to which two of Sylvia Plath’s later poems are rebellious and non- conventional for her era and how this style corresponds to two views in recent feminist.