Concentric: Studies in English Literature and Linguistics
Permanent URI for this collectionhttp://rportal.lib.ntnu.edu.tw/handle/20.500.12235/219
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Item Historical Distance and Textual Intimacy(英語學系, 2011-09-??) Hsiu-chuan LeeToni Morrison’s A Mercy (2008) encourages a meditation on literature’s interaction with history. Focusing on the way in which “novel time” operates here to challenge the serial, diachronic conception of history, I seek in A Mercy a space to negotiate the historical distance between periods, events, and peoples. The shifting tenses of narrating voices introduced by the novel, along with the linkages that memories create between times, prompt the spreading-out of seventeenth-century American history into a textual network of elastic ligaments and a kind of dialogism. Moreover, challenging the logic of ethnic division and racial segregation, A Mercy elucidates the proximity of different races in early American history. It enacts cross-color intimacy as a new way of conceiving the origins of American culture. Morrison’s writing about history in A Mercy is not simply a return to the past or a retrieval of the repressed. By evoking a lost age and digging out from what has disappeared logics and ideas that resist existent historical lines and racial categorizations, the novel fosters in its textual present an intermediary agency for negotiating the structure of history, thereby ushering in new historical epistemes.Item Historical Distance and Textual Intimacy(英語學系, 2011-09-??) Hsiu-chuan LeeToni Morrison’s A Mercy (2008) encourages a meditation on literature’s interaction with history. Focusing on the way in which “novel time” operates here to challenge the serial, diachronic conception of history, I seek in A Mercy a space to negotiate the historical distance between periods, events, and peoples. The shifting tenses of narrating voices introduced by the novel, along with the linkages that memories create between times, prompt the spreading-out of seventeenth-century American history into a textual network of elastic ligaments and a kind of dialogism. Moreover, challenging the logic of ethnic division and racial segregation, A Mercy elucidates the proximity of different races in early American history. It enacts cross-color intimacy as a new way of conceiving the origins of American culture. Morrison’s writing about history in A Mercy is not simply a return to the past or a retrieval of the repressed. By evoking a lost age and digging out from what has disappeared logics and ideas that resist existent historical lines and racial categorizations, the novel fosters in its textual present an intermediary agency for negotiating the structure of history, thereby ushering in new historical epistemes.Item Judging the Book by Its Cover: Phantom Asian America in Monique Truong’s Bitter in the Mouth(英語學系, 2013-09-??) Begoña Simal-GonzálezWithin the ongoing debate about what constitutes Asian America, recent “transracial adoption narratives” both act as a litmus test for “Asian Americanness” and introduce the ultimate Asian American phantom. Adoptees from Asia who find themselves in America, as new members of non-Asian families, may or may not feel Asian American, but they certainly “look the part.” In literary texts too, such adoptee characters represent the phantasmatic other for “true” Asian Americans, since they openly defy biologist assumptions underlying racial categories. Among Asian American adoption stories, Monique Truong’s recent novel Bitter in the Mouth (2010) is a case in point, in which its narrative complexity precisely highlights the issue of what constitutes Asian America. Truong’s stance in the novel apparently wavers between the quest for the primordial “fixed origins,” so common among adoption narratives, and a calculated elusiveness, translated in fictitious stories of origins. In this peculiar quest, the protagonist’s racialized body is silenced for most of the novel. It may be argued that the narrative strategy chosen by Truong, by withholding, if not erasing, the “racial traces” in the text, actually foregrounds the very issue of “race.” At the same time, Truong’s avowed aim in writing this novel is to move from such one-dimensional understandings of human identity. For that purpose, she chooses to highlight synesthesia as the most defining feature in the protagonist. I will examine whether this strategy is successful and what consequences it has for our understanding of Asian America.