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Critical memory in the fictions of s...

Carpio, Glenda Rossana.

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Critical memory in the fictions of slavery.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Critical memory in the fictions of slavery./
作者:	Carpio, Glenda Rossana.
面頁冊數:	318 p.
附註:	Source: Dissertation Abstracts International, Volume: 63-09, Section: A, page: 3190.
Contained By:	Dissertation Abstracts International63-09A.
標題:	Literature, American. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3063315
ISBN:	0493821759

Critical memory in the fictions of slavery.
Carpio, Glenda Rossana.

Critical memory in the fictions of slavery. - 318 p.

Source: Dissertation Abstracts International, Volume: 63-09, Section: A, page: 3190.

Thesis (Ph.D.)--University of California, Berkeley, 2002.

<italic>Critical Memory in the Fictions of Slavery</italic> examines how a group of authors and visual artists underscore the epistemic violence produced by New World slavery and explore how its systematic forms of brutality affect our understanding of American cultures. Moving away from strictly nationalistic paradigms, it examines how the histories of the Caribbean, the United States, Brazil, the African Slave coast and Europe inform the work of novelists Caryl Phillips, Ishmael Reed, Gayl Jones, poet Derek Walcott, visual artists Robert Colescott and Kara Walker and photographer Carrie Mae Weems. The dissertation details the diverse strategies these artists and writers use to illuminate slavery as a traumatic and foundational aspect of the New World. It argues that by using innovative forms of expression they transform not only the ways we understand our relationship to a historical moment but also our own epistemological and hermeneutical practices.

ISBN: 0493821759Subjects--Topical Terms:

1017657
Literature, American.

Critical memory in the fictions of slavery.
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520 $a <italic>Critical Memory in the Fictions of Slavery</italic> examines how a group of authors and visual artists underscore the epistemic violence produced by New World slavery and explore how its systematic forms of brutality affect our understanding of American cultures. Moving away from strictly nationalistic paradigms, it examines how the histories of the Caribbean, the United States, Brazil, the African Slave coast and Europe inform the work of novelists Caryl Phillips, Ishmael Reed, Gayl Jones, poet Derek Walcott, visual artists Robert Colescott and Kara Walker and photographer Carrie Mae Weems. The dissertation details the diverse strategies these artists and writers use to illuminate slavery as a traumatic and foundational aspect of the New World. It argues that by using innovative forms of expression they transform not only the ways we understand our relationship to a historical moment but also our own epistemological and hermeneutical practices.
520 $a Having largely denied captive people the right to literacy, chattel slavery produced an archive that, while including a variety of documents detailing the causes, philosophies evils and consequences of slavery, is also marked by glaring omissions, gaps, and distortions. Like the members of the Subaltern Studies Collective, the writers and artists included in this dissertation work against the grain of this archive, detecting and exploiting sites of tension within its documents in order to reconstitute history and create what Houston Baker has evocatively referred to as “critical memory.” For Baker, this is a form of remembrance that refuses nostalgic and unproblematic renditions of time past and that focuses instead on the past's relationship to “the always uprooted homelessness of the now.” Examining both texts and images, the dissertation demonstrates how writers and artists use formal experimentation, transfiguring the style and structure of genres like the novel and epic poetry, to create critical memories of slavery. The dissertation focuses on Phillips' <italic>Cambridge</italic> (1991), Reed's <italic>Flight to Canada</italic> (1976), Jones's <italic>Corregidora</italic> (1975), Colescott's paintings, Walker's silhouettes, Walcott's <italic>Omeros</italic> (1990) as well as Weems's <italic>Africa Series</italic> (1993) and <italic>From Here I Saw What Happened and I Cried</italic> (1995–6).
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