Concentric: Studies in English Literature and Linguistics
Permanent URI for this collectionhttp://rportal.lib.ntnu.edu.tw/handle/20.500.12235/219
Browse
3 results
Search Results
Item Untitled(英語學系, 2019-09-??) Rowland Chukwuemeka AmaefulaExpressions of transgendered behavior in Nigerian drama have mostly been regarded as either comedy or mere feminist assertiveness. They have scarcely been seen as what they really are: acquisition of non-binary identities with which to resist oppression. Since such topics are seen as taboo in most parts of Africa, there is scant academic inquiry on transgender issues in the continent’s literature, especially in drama. In order to open up scholarly discourses in this area, this study uses Judith Butler’s “Gender Performativity,” and then, through textual analysis and close reading, interrogates Stella Oyedepo’s The Rebellion of the Bumpy-Chested (2002), with a view to identifying how characters resist oppression by rejecting culturally-assigned gender roles and dress patterns. It argues further that, in protest plays, characters cross-dress (in itself, a form of performance) to acquire new individualities with which they dislocate the oppressor into an image of frailty, thereby defeating an unfavorable status quo.Item Untitled(英語學系, 2019-09-??) Rowland Chukwuemeka AmaefulaExpressions of transgendered behavior in Nigerian drama have mostly been regarded as either comedy or mere feminist assertiveness. They have scarcely been seen as what they really are: acquisition of non-binary identities with which to resist oppression. Since such topics are seen as taboo in most parts of Africa, there is scant academic inquiry on transgender issues in the continent’s literature, especially in drama. In order to open up scholarly discourses in this area, this study uses Judith Butler’s “Gender Performativity,” and then, through textual analysis and close reading, interrogates Stella Oyedepo’s The Rebellion of the Bumpy-Chested (2002), with a view to identifying how characters resist oppression by rejecting culturally-assigned gender roles and dress patterns. It argues further that, in protest plays, characters cross-dress (in itself, a form of performance) to acquire new individualities with which they dislocate the oppressor into an image of frailty, thereby defeating an unfavorable status quo.Item Breaking Language Down: Taiwan Sound Poetry and Its Ways of Saying(英語學系, 2017-09-??) Cosima BrunoThis paper explores the appearance and rapid development of a genre that crosses the boundaries between art, music, drama, and literature, and that is being variously called “sound poetry” (聲音詩 shengyin shi), “language art” (語言藝術 yuyan yishu), or “text-sound art” (文本聲音藝術 wenben shengyin yishu). I argue that Taiwan sound poetry develops as an alternative genre to Chinese poetic tradition, forging a disorienting aesthetics that is disruptive of conventional ideas of artistic quality. I conceptualize this phenomenon in its unique history and politics, extrapolating some key features that include: a poetics that strives not for semantic extension or enrichment, but that radically aims at “semantic abjection”; intervention in Taiwan language politics and translingual context, through its contribution to a “culture of the ear”; a shift of attention from textual semantics to performance with audience/users’ participation; strategic denial of a genealogy rooted in the Chinese tradition,with sound poets’ pronouncements about their poetics as being an entirely Western import; double nature as local, Sinophone, and global.