In Allegories of the Anthropocene Elizabeth M. DeLoughrey traces how indigenous and postcolonial peoples in the Caribbean and Pacific Islands grapple with the enormity of colonialism and anthropogenic climate change through art, poetry, and literature. In these works, authors and artists use allegory as a means to understand the multiscalar complexities of the Anthropocene and to critique the violence of capitalism, militarism, and the postcolonial state. DeLoughrey examines the work of a wide range of artists and writers—including poets Kamau Brathwaite and Kathy Jetñil-Kijiner, Dominican installation artist Tony Capellán, and authors Keri Hulme and Erna Brodber—whose work addresses Caribbean plantations, irradiated Pacific atolls, global flows of waste, and allegorical representations of the ocean and the island. In examining how island writers and artists address the experience of finding themselves at the forefront of the existential threat posed by climate change, DeLoughrey demonstrates how the Anthropocene and empire are mutually constitutive and establishes the vital importance of allegorical art and literature in understanding our global environmental crisis.
Engaging voices crossing textual limits, race, and ethnic lines
In this collection of essays, scholars from Oceania open a new dialog regarding the vast, complex, and slippery nature of the Bible and the fluid meanings of borders and belongings. From belonging in a place, a group, or movement to belongings as material and cultural possessions, from borders of a text, discipline, or thought to borders of nations, communities, or bodies, the authors follow the currents of Oceania to the shores of Asia and beyond. Scholars contributing essays include Jeffrey W. Aernie, Merilyn Clark, Jione Havea, Gregory C. Jenks, Jeanette Mathews, Judith E. McKinlay, Monica Jyotsna Melanchthon, David J. Neville, John Painter, Kathleen P. Rushton, Ruth Sheridan, Nasili Vaka‘uta, and Elaine M. Wainwright. Michele A. Connolly, David M. Gunn, and Mark G. Brett provide responses to the essays.
Discussion of the impacts of natural disasters and political and ecological upheavals on biblical interpretation and theological reflection
Fourteen essays on texts in the Hebrew Bible and New Testament
Three responses to the essays provide a range of views on the topics
Winner of the Native American Literature Symposium's Beatrice Medicine Award for Published Monograph
In this first extensive study of contemporary Hawaiian literature, Brandy Nalani McDougall examines a vibrant selection of fiction, poetry, and drama by emerging and established Hawaiian authors, including Haunani-Kay Trask, John Dominis Holt, Imaikalani Kalahele, and Victoria Nalani Kneubuhl. At the center of the analysis is a hallmark of Hawaiian aesthetics—kaona, the intellectual practice of hiding and finding meaning that encompasses the allegorical, the symbolic, the allusive, and the figurative.
With a poet’s attention to detail, McDougall interprets examples of kaona, guiding readers through olelo no'eau (proverbs), mo‘olelo (literature and histories), and mooku'auhau (genealogies) alongside their contemporary literary descendants, unveiling complex layers of Hawaiian identity, culture, history, politics, and ecology.
Throughout, McDougall asserts that “kaona connectivity” not only carries bright possibilities for connecting the present to the past, but it may also ignite a decolonial future. Ultimately, Finding Meaning affirms the tremendous power of Indigenous stories and genealogies to give activism and decolonization movements lasting meaning.
from unincorporated territory [hacha] is the first book of native Chamorro poet Craig Santos Perez’s ongoing series about his homeland, the Western Pacific Island of Guåhan (Guam). Perez weaves avant-garde, eco-poetic, indigenous, documentary, multilingual, and abstract expressionist modes to tell the complex story of Guam’s people, culture, history, politics, and ecologies. Since its original publication in 2008, [hacha] has received positive reviews, and it has been taught in universities throughout Asia, the Pacific, the United States, Canada, and Europe. This new and revised edition aims to bring the book to a new generation of readers.
Girl of New Zealand presents a nuanced insight into the way violence and colonial attitudes shaped the representation of Māori women and girls. Michelle Erai examines more than thirty images of Māori women alongside the records of early missionaries and settlers in Aotearoa, as well as comments by archivists and librarians, to shed light on how race, gender, and sexuality have been ascribed to particular bodies.
Viewed through Māori, feminist, queer, and film theories, Erai shows how images such as Girl of New Zealand (1793) and later images, cartoons, and travel advertising created and deployed a colonial optic. Girl of New Zealand reveals how the phantasm of the Māori woman has shown up in historical images, how such images shape our imagination, and how impossible it has become to maintain the delusion of the “innocent eye.” Erai argues that the process of ascribing race, gender, sexuality, and class to imagined bodies can itself be a kind of violence.
In the wake of the Me Too movement and other feminist projects, Erai’s timely analysis speaks to the historical foundations of negative attitudes toward Indigenous Māori women in the eyes of colonial “others”—outsiders from elsewhere who reflected their own desires and fears in their representations of the Indigenous inhabitants of Aotearoa, New Zealand. Erai resurrects Māori women from objectification and locates them firmly within Māori whānau and communities.
As the seas rise, the fight intensifies to save the Pacific Ocean’s Marshall Islands from being devoured by the waters around them. At the same time, activists are raising their poetic voices against decades of colonialism, environmental destruction, and social injustice.
Marshallese poet and activist Kathy Jetnil-Kijiner’s writing highlights the traumas of colonialism, racism, forced migration, the legacy of American nuclear testing, and the impending threats of climate change. Bearing witness at the front lines of various activist movements inspires her work and has propelled her poetry onto international stages, where she has performed in front of audiences ranging from elementary school students to more than a hundred world leaders at the United Nations Climate Summit.
The poet connects us to Marshallese daily life and tradition, likening her poetry to a basket and its essential materials. Her cultural roots and her family provides the thick fiber, the structure of the basket. Her diasporic upbringing is the material which wraps around the fiber, an essential layer to the structure of her experiences. And her passion for justice and change, the passion which brings her to the front lines of activist movements—is the stitching that binds these two experiences together.
Iep Jāltok will make history as the first published book of poetry written by a Marshallese author, and it ushers in an important new voice for justice.
Mapping Modernisms brings together scholars working around the world to address the modern arts produced by indigenous and colonized artists. Expanding the contours of modernity and its visual products, the contributors illustrate how these artists engaged with ideas of Primitivism through visual forms and philosophical ideas. Although often overlooked in the literature on global modernisms, artists, artworks, and art patrons moved within and across national and imperial borders, carrying, appropriating, or translating objects, images, and ideas. These itineraries made up the dense networks of modern life, contributing to the crafting of modern subjectivities and of local, transnationally inflected modernisms. Addressing the silence on indigeneity in established narratives of modernism, the contributors decenter art history's traditional Western orientation and prompt a re-evaluation of canonical understandings of twentieth-century art history. Mapping Modernisms is the first book in Modernist Exchanges, a multivolume project dedicated to rewriting the history of modernism and modernist art to include artists, theorists, art forms, and movements from around the world.
Contributors. Bill Anthes, Peter Brunt, Karen Duffek, Erin Haney, Elizabeth Harney, Heather Igloliorte, Sandra Klopper, Ian McLean, Anitra Nettleton, Chika Okeke-Agulu, Ruth B. Phillips, W. Jackson Rushing III, Damian Skinner, Nicholas Thomas, Norman Vorano
Navigating CHamoru Poetry focuses on Indigenous CHamoru (Chamorro) poetry from the Pacific Island of Guåhan (Guam). Poet and scholar Craig Santos Perez brings critical attention to a diverse and intergenerational collection of CHamoru poetry and scholarship. Throughout this book, Perez develops an Indigenous literary methodology called “wayreading” to navigate the complex relationship between CHamoru poetry, cultural identity, decolonial politics, diasporic migrations, and Native aesthetics. Perez argues that contemporary CHamoru poetry articulates new and innovative forms of indigeneity rooted in CHamoru customary arts and values, while also routed through the profound and traumatic histories of missionization, colonialism, militarism, and ecological imperialism.
This book shows that CHamoru poetry has been an inspiring and empowering act of protest, resistance, and testimony in the decolonization, demilitarization, and environmental justice movements of Guåhan. Perez roots his intersectional cultural and literary analyses within the fields of CHamoru studies, Pacific Islands studies, Native American studies, and decolonial studies, using his research to assert that new CHamoru literature has been—and continues to be—a crucial vessel for expressing the continuities and resilience of CHamoru identities. This book is a vital contribution that introduces local, national, and international readers and scholars to contemporary CHamoru poetry and poetics.
Based on ethnographic fieldwork spanning twenty years, Power Plays is the first scholarly book in English on wayang golek, the Sundanese rod-puppet theater of West Java. It is a detailed and lively account of the ways in which performers of this major Asian theatrical form have engaged with political discourses in Indonesia. Wayang golek has shaped, as well, the technological and commercial conditions of art and performance in a modernizing society.
Using interviews with performers, musical transcriptions, translations of narrative and song texts, and archival materials, author Andrew N. Weintraub analyzes the shifting and flexible nature of a set of performance practices called Padalangan, the art of the puppeteer. He focuses on “superstar” performers and the musical troupes that dominated wayang golek during the New Order political regime of former president Suharto (1966-98) and the ensuing three years of the post-Suharto period. Studies of actual performances illuminate stylistic and formal elements and situate wayang golek as a social process in Sundanese culture and society. Power Plays includes an interactive multimedia CD-ROM of wayang golek.
Power Plays shows how meanings about identity, citizenship, and community are produced through theater, music, language, and discourse. While based in ethnographic theory and methods, this book is at the center of a new synthesis emerging among ethnomusicology, anthropology, and cultural studies. Its cross-disciplinary approach will inspire researchers studying similar struggles over cultural authority and popular representation in culture and the performing arts.
Large, bold, and colorful, indigenous Australian art—sometimes known as Aboriginal art—has made an indelible impression on the contemporary art scene. But it is controversial, dividing the artists, purveyors, and collectors from those who smell a scam. Whether the artists are victims or victors, there is no denying the impact of their work in the media, on art collectors and the art world at large, and on our global imagination. How did Australian art become the most successful indigenous form in the world? How did its artists escape the ethnographic and souvenir markets to become players in an art market to which they had historically been denied access? Beautifully illustrated, this full stunning account not only offers a comprehensive introduction to this rich artistic tradition, but also makes us question everything we have been taught about contemporary art.
In Remote Avant-Garde Jennifer Loureide Biddle models new and emergent desert Aboriginal aesthetics as an art of survival. Since 2007, Australian government policy has targeted "remote" Australian Aboriginal communities as at crisis level of delinquency and dysfunction. Biddle asks how emergent art responds to national emergency, from the creation of locally hunted grass sculptures to biliterary acrylic witness paintings to stop-motion animation. Following directly from the unprecedented success of the Western Desert art movement, contemporary Aboriginal artists harness traditions of experimentation to revivify at-risk vernacular languages, maintain cultural heritage, and ensure place-based practice of community initiative. Biddle shows how these new art forms demand serious and sustained attention to the dense complexities of sentient perception and the radical inseparability of art from life. Taking shape on frontier boundaries and in zones of intercultural imperative, Remote Avant-Garde presents Aboriginal art "under occupation" in Australia today.
When oil and gas exploration was expanding across Aotearoa New Zealand, Patricia Widener was there interviewing affected residents and environmental and climate activists, and attending community meetings and anti-drilling rallies. Exploration was occurring on an unprecedented scale when oil disasters dwelled in recent memory, socioecological worries were high, campaigns for climate action were becoming global, and transitioning toward a low carbon society seemed possible. Yet unlike other communities who have experienced either an oil spill, or hydraulic fracturing, or offshore exploration, or climate fears, or disputes over unresolved Indigenous claims, New Zealanders were facing each one almost simultaneously. Collectively, these grievances created the foundation for an organized civil society to construct and then magnify a comprehensive critical oil narrative--in dialogue, practice, and aspiration. Community advocates and socioecological activists mobilized for their health and well-being, for their neighborhoods and beaches, for Planet Earth and Planet Ocean, and for terrestrial and aquatic species and ecosystems. They rallied against toxic, climate-altering pollution; the extraction of fossil fuels; a myriad of historic and contemporary inequities; and for local, just, and sustainable communities, ecologies, economies, and/or energy sources. In this allied ethnography, quotes are used extensively to convey the tenor of some of the country’s most passionate and committed people. By analyzing the intersections of a social movement and the political economy of oil, Widener reveals a nuanced story of oil resistance and promotion at a time when many anti-drilling activists believed themselves to be on the front lines of the industry’s inevitable decline.
Literary representations of British convicts exiled to Australia were the most likely way that the typical English reader would learn about the new colonies there. In Transported to Botany Bay, Dorice Williams Elliott examines how writers—from canonical ones such as Dickens and Trollope to others who were themselves convicts—used the figure of the felon exiled to Australia to construct class, race, and national identity as intertwined.
Even as England’s supposedly ancient social structure was preserved and venerated as the “true” England, the transportation of some 168,000 convicts facilitated the birth of a new nation with more fluid class relations for those who didn’t fit into the prevailing national image. In analyzing novels, broadsides, and first-person accounts, Elliott demonstrates how Britain linked class, race, and national identity at a key historical moment when it was still negotiating its relationship with its empire. The events and incidents depicted as taking place literally on the other side of the world, she argues, deeply affected people’s sense of their place in their own society, with transnational implications that are still relevant today.
Spanning 65,000 years, this book provides a history of food in Australia from its beginnings, with the arrival of the first peoples and their stewardship of the land, to a present where the production and consumption of food is fraught with anxieties and competing priorities. It describes how food production in Australia is subject to the constraints of climate, water, and soil, leading to centuries of unsustainable agricultural practices post-colonization. Australian food history is also the story of its xenophobia and the immigration policies pursued, which continue to undermine the image of Australia as a model multicultural society. This history of Australian food ends on a positive note, however, as Indigenous peoples take increasing control of how their food is interpreted and marketed.
Unnatural Narratology: Extensions, Revisions, and Challenges offers a number of developments, refinements, and defenses of key aspects of unnatural narrative studies. The first section applies unnatural narrative theory and analysis to ideologically charged areas such as feminism, postcolonial studies, cultural alterity, and subaltern discourse. The book goes on to engage with and intervene in theoretical debates in several areas of both critical theory and narrative theory, including affect studies, immersion, narration, character theory, frames, and theories of reception and interpretation. Antimimetic perspectives are also extended to additional fields, including autobiography, graphic narratives, drama and film, performance studies, and interactive gamebooks. Written by an international assemblage of distinguished and emerging narrative scholars and theorists, this collection promises to greatly enhance the study of narrative and further advance the frontiers of narrative theory.
During the 19th century, throughout the Anglophone world, most fiction was first published in periodicals. In Australia, newspapers were not only the main source of periodical fiction, but the main source of fiction in general. Because of their importance as fiction publishers, and because they provided Australian readers with access to stories from around the world—from Britain, America and Australia, as well as Austria, Canada, France, Germany, New Zealand, Russia, South Africa, and beyond—Australian newspapers represent an important record of the transnational circulation and reception of fiction in this period.
Investigating almost 10,000 works of fiction in the world’s largest collection of mass-digitized historical newspapers (the National Library of Australia’s Trove database), A World of Fiction reconceptualizes how fiction traveled globally, and was received and understood locally, in the 19th century. Katherine Bode’s innovative approach to the new digital collections that are transforming research in the humanities are a model of how digital tools can transform how we understand digital collections and interpret literatures in the past.