The one vs. the many : minor characters and the space of the protagonist in the novel
09 Feb 2009-
About: The article was published on 2009-02-09. It has received 315 citations till now.
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TL;DR: This paper argued that Love Medicine makes visible the subject of collective rights of recent indigenous political activism by reshaping the usual conflict between individual protagonists and the societies they inhabit, the conflict between what Georg Lukacs calls "the soul and the world".
Abstract: This essay argues that Louise Erdrich’s Love Medicine makes visible the subject of collective rights of recent indigenous political activism by reshaping the usual conflict between individual protagonists and the societies they inhabit, the conflict between what Georg Lukacs calls “the soul and the world.” Moreover, I contend that, while tribalist, the novel’s politics of representation differ from those of Native American nationalism, which tasks literature and criticism with establishing a tribal nation’s cultural distinctiveness.
6 citations
TL;DR: In this paper, Austen's analogy of her novel writing to miniature painting has been addressed widely, most often to address her celebrated “style.” Although some critics have considered her fictive descripti...
Abstract: Jane Austen's analogy of her novel writing to miniature painting has been addressed widely, most often to address her celebrated “style.” Although some critics have considered her fictive descripti...
6 citations
TL;DR: The Dogeaters (1990) as mentioned in this paper is a novel that imagines how a sundry mix of Manila residents might have responded to and participated in turbulent events leading to the demise of the infamous Marcos regime.
Abstract: Against a backdrop of politically charged unrest and bustling street-level commerce, Jessica Hagedorn’s novel Dogeaters (1990) imagines how a sundry mix of Manila’s residents might have responded to and participated in turbulent events leading to the demise of the infamous Marcos regime. Though only a teenager of indeterminate years, protagonist Joey Sands participates full-time in Manila’s entertainment industry, assuming work as a sex laborer and D.J. Other than a predatory pimp who appoints himself as Joey’s guardian, Joey is on his own, being orphaned by his mother, a Filipina sex worker who died when he was a child, and father, an African American G.I. whom he has never met. This unlikely candidate, as an eyewitness to the assassination of Senator Domingo Avila, must transition from a junkie hustler to a potential student of ascetic communist guerrilla activism. Counter to Joey’s dubious pedigree yet on an intersecting journey, Daisy Avila is Senator Domingo Avila’s sheltered daughter and the reigning Miss Philippines beauty pageant queen. Her father’s assassination and her own rape shatter this life of safety and literal entitlement, compelling this once pristine daughter of the Philippines to transform into a hardened communist guerrilla soldier. Soon after its publication, Asian Americanist scholars hailed this novel
5 citations
01 Jan 2015
5 citations
TL;DR: The authors examined the consumption of mixed-race Japanese Brazilian female bodies in Japan by examining two case-study representations: Miss Nikkei in Karen Tei Yamashita's mixed-media collection of essays and short stories, Circle K Cycles (2001), and performances by the Japanese idol group Linda Sansei (2013 debut).
Abstract: In this article, I examine fans’ consumption of mixed-race Japanese Brazilian female bodies in Japan. The article does this by examining two case-study representations of Japanese Brazilian female bodies: Miss Nikkei in Karen Tei Yamashita's mixed-media collection of essays and short stories, Circle K Cycles (2001); and performances by the Japanese idol group Linda Sansei (2013 debut). I argue that although the Japanese Brazilian population has largely been represented as minor characters in Japanese history, literature, and culture, the degree of consumption by fans belies this and points to the multiplicity of Japanese Brazilian identities. Moreover, the gendered, feminized body in these texts becomes a stereotyped, Orientalized, and fetishized Japanese body that is oftentimes juxtaposed to a sexualized, racialized Brazilian body. While this could distance fans and disavow the mixed-race Japanese Brazilian female body, Miss Nikkei and Linda Sansei perform gender and race in ways that demand recognition ...
5 citations