2 Breaking the chains of ethnic identity: Faïza Guène, Saphia Azzeddine, and Nadia Bouzid, or the birth of a new Maghrebi-French women’s literature Patrick Saveau Some labels are hard to get rid of. They provide a helpful taxonomy to classify, sort out, or separate. They enable us to distinguish what can be included or excluded from the epistemological field we are exploring, and ultimately they give us a sense of order and clarity in a world that is becoming ever more complicated to understand, let alone to explain. This is particularly true in the humanities
Reading works on Baldwin from 2017 to 2019, the author tracks the significance of Baldwin within the Black Lives Matter movement and our growing need for police reform in conjunction with a revaluation of the lives of racial and ethnic minorities within the oppressive systemic biases of American social and political life.
The concept of 'margins' denotes geographical, economic, demographic, cultural and political positioning in relation to a perceived centre. This book aims to question the term 'marginal' itself, to hear the voices talking 'across' borders and not only to or through an English centre. The first part of the book examines debates on the political and poetic choice of language, drawing attention to significant differences between the Irish and Scottish strategies. It includes a discussion of the complicated dynamic of woman and nation by Aileen Christianson, which explores the work of twentieth-century Scottish and Irish women writers. The book also explores masculinities in both English and Scottish writing from Berthold Schoene, which deploys sexual difference as a means of testing postcolonial theorizing. A different perspective on the notion of marginality is offered by addressing 'Englishness' in relation to 'migrant' writing in prose concerned with India and England after Independence. The second part of the book focuses on a wide range of new poetry to question simplified margin/centre relations. It discusses a historicising perspective on the work of cultural studies and its responses to the relationship between ethnicity and second-generation Irish musicians from Sean Campbell. The comparison of contemporary Irish and Scottish fiction which identifies similarities and differences in recent developments is also considered. In each instance the writers take on the task of examining and assessing points of connection and diversity across a particular body of work, while moving away from contrasts which focus on an English 'norm'.
7 Sounding out the margins: ethnicity and popular music in British cultural studies SEAN CAMPBELL Introduction In their discussion of the development of British cultural studies,1 Jon Stratton and Ien Ang point out that the ‘energizing impulse’ of the field has ‘historically … lain in [a] critical concern with, and validation of, the subordinate, the marginalized [and] the subaltern within Britain’ (1996: 376). Accordingly, many of the field’s principal practitioners have paid a considerable amount of attention to questions of ‘race’2 and ethnicity in post
’ ( What Are We Doing Here? 88). In the shift to educating college students not for life but for mere jobs, Americans ‘are enacting the strange – and epochal – tendency of Western civilization to impoverish’ (90). We sense that in Robinson's view, democratising privilege requires access to higher education across distinctions of class, gender, sexuality, disability, religion, and ethnicity – though she does not state this explicitly. The basis here is ethical, and one Noddings has explored in great depth since the 1980s: ‘An education that would be moral must “nurture
selfhood, is possible, however, only within the rule-based reciprocity between subjects outlined in Wittgenstein's public language games. Only capable of conceiving of connection as based in shared substance, Hal is incapable of meaningfully relating to others. 2 There is no substantial connection apparent in his family. Hal is ‘the only extant Incandenza who looks in any way ethnic’ (Wallace, 2006 : 101) and is thus completely unlike his brother Orin, who ‘got the Moms's Anglo
. Wilfrid Laurier University Press , 2011 . 1–15 . Petit , Susan . “ Field of Deferred Dreams: Baseball and Historical Amnesia in Marilynne Robinson's Gilead and Home .” MELUS: Multi-Ethnic Literature of the United States 37 . 4 ( 2012 ): 119–137 . Pollack , Harriet , and Christopher Metress
Middle English Alliterative Poetry ( Dublin : Four Courts Press , 2000 ), pp. 184–95; and P. Schwytzer , ‘ Exhumation and ethnic conflict: from St Erkenwald to Spenser in Ireland ’, Representations , 95 ( 2006 ), 1 – 26 . 8
within the human subject that can be exploited by humans to subjugate other humans: ‘Man’s animality, animality within and against man … is thus the means specific to theoretical racism for conceptualizing human historicity.’ 35 The comparison of human singing voices to animals in the late European Middle Ages assumed a more overtly racialising aspect when it was aligned with national, religious and ethnic
male. Interestingly, however, Hal's self-image is curiously alienated from this identity both through racialization and gendering: he is described as ‘the only extant Incandenza who looks in any way ethnic [due to Native American heritage]’ and ‘worrie[d] secretly that he looks half-feminine’ (Wallace, 1996 : 101). Prior to his disability, though, he was externally an amalgam of all the possible forms of embodied privilege, and for most of the novel we see him in this form. His body, therefore, inscribes the actions and experiences of the Western male body – an