Exu is not Satan – the dialogics of memory and resistance among Afro-Brazilians

ABSTRACT

In 2000s Brazil, an unprecedented number of Brazilian afrodescendentes (Afro-Descendants) have been mobilizing to secure rights and resources for the Brazilian black population. From carnival parading in ‘cultural’ groups to electoral campaigning, from consciousness-raising education to antiracist community outreach, black activists have been aggressively taking a critical stance toward the discursive fabric of Brazilian race relations and national identity. Placing examples of their discursive struggles over Afro-Brazilian history and culture under the lens of intertextual and heteroglossic relations, I illustrate black activists’ efforts to dispute what they see as misconceptions about black people and blackness that have found their way into the dominant narrative conceptions of Brazilian society. In doing so, I argue, they are accomplishing something of broader social significance: They are revising not only the history and collective memory of race relations in Brazil but blackness itself.     

Cultural intertexts and scientific rationality: the case of pregnancy ultrasound

The text begins a line of dialogue between feminist and epistemological work in the life sciences using a case study of the concepts ‘foetus’ and ‘baby’ in diagnostic ultrasound and parental discourse. The case material illustrates the multiple, coexisting registers of clinical discourse and the significance of cultural intertexts, the insertion within biomedical discourse of concepts from other cultural domains. It follows that biomedical rationality lacks the autonomy that Canguilhem argued it has; rather than giving itself its own laws, biomedical rationality is heteronomous, receiving and using cultural intertexts from many and varied domains.     

Making It Up with the Motherland: Revision and Reconciliation in Edna O'Brien's The Light of Evening

This article explores the relationship between the Irish woman writer and exile and return in Edna O'Brien's recent novel The Light of Evening (2006). This work, dedicated as it is ‘To my mother and my motherland’, represents a new chapter in O'Brien's configuration of the connection between the Irish woman writer and the image of Ireland as a place from which escape is a necessary step towards creative freedom. The Light of Evening contains a web of subtle allusions that invite a reading of the novel as a statement of O'Brien's allegiances with the English and Irish literary traditions. Ultimately, however, it foregrounds the quotidian world of the main character's home place—one represented fully in her mother's letters—as the key source of inspiration for the Irish woman writer. The article examines how relationships with the literary past are mapped onto familial ties in the novel, as O'Brien seems to move away from the Joycean promise of creative exile towards a more hopeful reading of the relationship between the Irish woman writer and her ‘motherland’.     

互文性：非稳定意义和稳定意义

"互文性"是当今文学批评和话语分析中使用最广而又误用最多的术语之一.由于它突显了现代文化生活的相互关联和相互依存性,因此是一个十分有用的术语.我们从互文性理论的发展史中总能发现两种"意义"观念的斗争.一方面,互文性一开始就被后结构主义者用来作为批判结构主义所追求的稳定、客观意义的理论武器;另一方面,结构主义者则试图在保留这个概念的同时寻求文本意义的确定性.同一概念在不同的理论家那里似乎获得了截然相反的阐发与运用,其内涵与功能也就随之不同.     

Building new selves: identity, “Passing,” and intertextuality in Zoë Wicomb’s Playing in the Light

This article examines Zoë Wicomb’s wide-ranging use of intertextuality in the novel Playing in the Light to explore the links between identity construction and postcolonial authorship. Focusing on the characters as intertextual agents, I argue that the three coloured women on whom the novel focuses – Helen, Marion, and Brenda – use texts in distinctive ways that illuminate their struggles to position themselves in South Africa’s complex and changing racial landscape. Racial “passing” is one form of a larger pattern in the novel of the use of citation and imitation to achieve specific ends. By embedding the citations of Helen and Marion within the citation-rich narrative of Brenda, Wicomb lays bare the mechanisms of identity construction within a work that stages and highlights its own intertextual practices.