写心之旨·自传之意·小品之格——徐燨《写心杂剧》的转型特征及其戏曲史意义

清代乾隆年间徐燨创作的《写心杂剧》,在杂剧史上是一部具有"范式"意义的作品.其体制形态上由"代人立言"到"自我登场"的转变,改变了以往杂剧创作追求"自喻"的表达方式.通过自我抒情言志和高扬主体精神的"写心"作法、因自传性艺术演述凸显出来的特殊意味,以及与晚明小品灵动自然、清新隽永之艺术格调的同构对应等,都充分显示出《写心杂剧》既徘徊于雅俗之间,同时又为普通文人提供了特殊的话语空间的艺术价值.     

Disempowering Music: The Amandla! Documentary and Other Conservative Musical Projects

Scholars of black South African popular music have established important connections between music and society. Lara Allen’s studies of pennywhistle-kwela, Christopher Ballantine’s research on marabi and African jazz/mbaqanga,and David Coplan’s social history of black city music, among others, have underwritten the new literature in South African musicology and cultural studies. Previous neglect of black popular culture has made oral testimony crucial to the writing of these musical pasts. Recent investigations in the field, which are preoccupied with the articulation of black struggle to music, and the expression of struggle through music, have adopted a more popular format. Within these, the autobiographies of Miriam Makeba and Hugh Masekela are integral, as is Lee Hirsch’s documentary film, Amandla!. The popularity of these studies and their subjects, and their foregrounded debt to oral testimony and veneration of ‘the Struggle’ has tended to foreclose scrutiny of their representational politics. This article questions whether their homological substitution of music and musicians for anti-apartheid struggles in a postapartheid South Africa enables the radical stories they would tell of that past.     

Autobiographical representations of the Rwanda genocide and black diasporic identities in Africa

Abstract

This article uses the example of the Rwandan genocide to deconstruct notions of African diaspora based on margin to centre and pull and push factors. Representing patterns of African migrations and diasporas through the autobiographical mode reveals multiple genocides that took place not only in Rwanda but in the Democratic Republic of Congo. Umutesi's novel, Surviving the Slaughter: The Ordeal of a Rwandan Refugee in Zaire (2004) complicates our standard understanding of what is known of genocide in Africa, forcing us to revise our notions of diaspora because the autobiographical narrative highlights differences within a single refugee diaspora. Umutesi's personal account of the links between genocide and diaspora in the Great Lakes Region interrogates the very authority that is accorded individual subjectivities in autobiographical works of Africa. The contingent nature of African politics, particularly, within the unnatural context of genocide renders African identities transient and perpetually diasporic.     

Teaching Obama: history,critical race theory and social work education

ABSTRACT

Barack Obama's first autobiography, Dreams from My Father (1995), explores themes of race and identity up to the late 1980s in the life of the first African American president. The book emphasizes Obama's personal struggle as the son of an interracial couple, and the social and environmental context that shaped his growth and transformation. Using the tools of critical race theory, Freeman illustrates how Obama's autobiography can be used in the classroom to explore an individual's developing racial consciousness in the 1970s and 1980s, and as a prism through which students can understand what it means to live in the post-civil-rights-movement era. Obama's life history illuminates how the ideas and meanings of racial progress in the United States are contested and struggled over on a daily basis at both the micro and macro level.     

The Inscription of Masculinity and Whiteness in the Autobiography of Mario Vargas Llosa

Abstract — This essay examines the interconnectedness of whiteness and heterosexual masculinity in the autobiography of Mario Vargas Llosa, EI pez en el agua [ A Fish in the Water ]. In this text Vargas Llosa critiques Peruvian racism and machismo, and in his self-portrait attempts to distance himself from the categories of whiteness and masculinity. But in so doing he in fact obscures the workings of race and gender not only in Peruvian society but in his own writing, where the self is implicitly asserted in opposition to an image of nature as the realm of the indigenous and the feminine.     

Promoting Critical Consciousness in Young,African-American Men

SUMMARY

In the U.S. as young African-American men in urban areas mature, they face oppressive social forces as well as the normative developmental challenges of adolescence. Nonetheless, much of psychology focuses on personal rather than sociopolitical development. As a basis for interventions aimed at sociopolitical awareness and action, this article presents a theory of oppression and sociopolitical development based on the work of Serrano Garcia, Freire and others. According to this theory, critical consciousness (i.e., critical awareness about one's political, social and cultural condition) is an essential skill for sociopolitical development. This article also describes the “Young Warriors” program for building critical consciousness in high school aged young men. The results of this action-research project suggest that critical consciousness can be enhanced through a brief, eight-session intervention with the aid of Rap video, film and other products of mass culture.     

“They might read a fly speck”: musical literacy as a discursive resource in Louis Armstrong's autobiographies

Jazz has been described as a music in which the “oral” element plays a crucial role, in opposition to Western “classical” music, seen as a chiefly “written” tradition. Although such an image is frequently advocated by critics and musicians themselves, it is also true that it can generate ambivalence and negative outputs, such as the persistent myth of “primitivism” and “naivety,” often associated with jazz music. Building on Social Semiotics and Critical Discourse Analysis, this study aims at analyzing how the representations of “orality” and “literacy,” that emerge in some autobiographical narratives by Louis Armstrong, are generated, and how they can work as semiotic and discursive resources. It argues that the different depictions of musicians, and the attitude displayed toward musical literacy, are sensitive to the historical, societal, and political context in which texts have been produced and published, as well as to the narrator's willingness and ability to resist or subvert dominant discourses. Moreover, the characterization of a musician (or a category of musicians) as able or unable to access musical literacy can also serve local purposes, such as expressing the narrator's stance toward narrative characters.     

Negotiating the “Drunken Aborigine”: Alcohol in Indigenous Autobiography

This article approaches the question of how Aboriginal Australians describe their own experiences of drinking alcohol, sometimes to excess, and how they recover, through a reading of seven autobiographies alongside the scholarship on Aboriginal drinking. The evidence contained in these life stories stresses personal factors and adds to the picture we glean from the scholarship, whether academic or governmental, epidemiological, anthropological or historical, which explains Aboriginal drinking habits in more social terms. Thus, the autobiographies themselves make an important intervention into the scholarship on Aboriginal drinking. Beyond this, negotiating with the stereotype of the “drunken Aborigine” is unavoidable for Aboriginal people who write about their drinking and these autobiographies represent a challenge to this popular image. This article examines a previously unexamined discourse on Aboriginal drinking that goes some way towards undermining the public representation of a drunken Aboriginal culture while simultaneously giving individual Aboriginal Australians greater voice in describing their past and current experiences.     

The Double Play of Mirrors: Anna Kavan,Autobiography and Self-Portraiture

Abstract

Better known as the author of complex visionary novels of female experience, it is important to note that Anna Kavan was not only a writer, but also an artist, painting throughout her adult life in tandem with her writing. This article considers the nature of the relationship between her literary life and her artistic life, and what her novels tell us about her relationship to the cultivation of her self-image. Famously destroying her personal archive, shirking notable correspondents and recapitulating a mental disquiet across many of her paintings and prose works, it is of little surprise that Kavan’s enigmatic presence often figures more prominently than serious discussion of her literary and artistic achievements. How did this mercurial relationship to identity shape the ways in which Kavan explored her self-image?