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Colonial body into postcolonial narrative

BOEHMER Makeup 3/22/05 2:55 PM Page 127 John's G5:Users:john:Public:John's Mac: John's Job 7 Transfiguring: colonial body into postcolonial narrative to get me out of the belly of my patriarchal mother . . . [distance] my eye from her enough so as to see her in a different way, not fragmented into her metaphoric parts. Crossing through the symbol while I am writing. An exercise in deconditioning that allows me to acknowledge my own legitimacy. The means whereby every woman tries to exist; to be illegitimate no more. (Nicole Brossard, These Our Mothers)1 The

in Stories of women
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Empire, migration and the 1928 English Schoolgirl Tour

provides a case study of how the reality was not so simple. The IODE collaborated with the SOSBW in this impressive cross-Canada tour. In its organization, itinerary and subjects, the tour provides a vivid snapshot of the IODE’s ideal Canada. The itinerary formed a narrative of superior British-based culture, economy and politics in a modern resource-rich, technologically advanced, democratic Canadian

in Female imperialism and national identity
The representation of violence in Northern Irish art

calls into question the ability to re-present atrocity. More specifically, I want to closely examine how artistic silence and narrative breakdown in texts by Northern Irish writers and visual artists often result from an unwillingness to respond to atrocity due to the need to remain ‘expertly civil tongued’,4 from a perception that art lacks efficacy in (what is perceived to be) a cyclical, pre-ordained conflict, and from a sense of being at a disabling temporal, cultural or spatial distance 9780719075636_4_017.qxd 288 16/2/09 9:30 AM Page 288 After words from

in Irish literature since 1990
The sense of an ending in Jeanette Winterson’s The Stone Gods

9 The unsustainable aesthetics of sustainability: the sense of an ending in Jeanette Winterson’s The Stone Gods Adeline Johns-Putra Jeanette Winterson’s 2007 novel, The Stone Gods, is a critique of progress, both in the general sense of movement, journeying, or going forward, and in the specialised sense of human development, particularly the privileging of economic and scientific improvement that is often called the myth or narrative of progress. In the spirit of so many of Winterson’s novels, The Stone Gods places its several protagonists on journeys, most

in Literature and sustainability
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White male vulnerability as heterosexual fantasy

CEO firmly representative of the one per cent. As the most privileged, he is nevertheless depicted as also being spectacularly broken and scarred by childhood trauma. Starting from and revolving around James’ articulation of a hurt, damaged man as an irresistible object of heterosexual desire, this chapter inquires after the intermeshing of privilege, vulnerability and desirability in the narrative fantasy of Fifty Shades. Written as fan fiction online and launched as e-​books in 2011–​12, James’ trilogy gained viral popularity and was published through Vintage as

in The power of vulnerability

border during crossings and interviews about border crossings with a grounded, situated approach that enables an understanding of narratives and representations of border crossing in everyday life away from borders themselves. In this chapter, I draw on 15 months of ethnographic fieldwork in the Ukrainian– Romanian borderlands, which included more than 6 months of participant observation in Diyalivtsi, a village in the Chernivets’ka region of Ukraine, just 4 km from the main road between the region’s two main urban centres – Chernivtsi and Suceava. I begin this

in Migrating borders and moving times
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according to the principles of narrative telling. The cockpit detail is present in our flight sims, but present on screen, rendered in something approximating three dimensions, but flat on the screen. We expect ‘accuracy’, but we do not expect or demand something indistinguishable from the real. We might have force-feedback joysticks, but few players have a set-up that judders and shakes when we hit air turbulence. Nor would many players want such a set-up, that would turn a diverting entertainment into something far less casual. Some gestures made to the artificiality of

in More than a game
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sense of these ‘big stories’ in order to legitimise particular political programmes in the contemporary context. However, national identity derives its power from being embedded in individual subjectivity. Thus the narratives of national identity articulated by political and intellectual elites are manifested and constantly reinterpreted in social practice. None of the three levels can be prioritized because they are mutually constitutive. That is, social practices within nations make no sense outside the narratives of the first and second levels. The first, most

in The formation of Croatian national identity

   The articulation of beur female identity in the works of Farida Belghoul, Ferrudja Kessas and Soraya Nini In view of the relatively recent literary success of works by secondgeneration Maghrebis born and brought up in France and the self-designatory origins of the term beur,1 this chapter examines the work of three beur women writers in order to establish the extent to which the highly specific socio-historical locus of the beur writer, when combined with her female subject position, may produce narrative similarities, whether formal or

in Women’s writing in contemporary France
Gender and narrative in L’Hiver de beauté, Les Ports du silence and La Rage au bois dormant by Christiane Baroche

   Textual mirrors and uncertain reflections: gender and narrative in L’Hiver de beauté, Les Ports du silence and La Rage au bois dormant by Christiane Baroche Un roman est un miroir qui se promène sur une grande route. (Stendhal) (A novel is a mirror travelling along a highway.) L’écriture est la possibilité même du changement, l’espace d’où peut s’élancer une pensée subversive, le mouvement avant-coureur d’une transformation des structures sociales et culturelles. (Cixous) (Writing is precisely the very possibility of change, the space that can serve as

in Women’s writing in contemporary France