Harry Darkins' "Post-structuralist 'critiqu' and How it Treats Power in Global Politics" (Summary)

 

The debate surrounding post-structuralism makes it a compelling theory for examination. Few areas have faced as much criticism towards their fundamental principles and methodologies, with some asserting a lack of "authentic theoretical innovations.  In this essay Darkins explores the meaning of 'critique' within the context of post-structuralism, and then delve into its treatment of 'power' in international politics. He contends despite its limitations, post-structuralism holds a significant role in interpreting contemporary international politics.

 

Before delving further, it is essential to establish a clear definition of 'post-structuralism'. Originating from US academics, this term encompasses a body of academic work primarily distinguished by its opposition to the structuralist movement that emerged in France during the 1950s and 1960s. According to Michael Merlingen, structuralism posited that social elements only exist within patterned, structured relations within a system, advocating for an approach to understanding the social world through the examination of these systems. In contrast, post-structuralists challenge this theory, rejecting its scientific and positivist aspirations. They often employ discourse analysis techniques to support their arguments, asserting that language is paramount, and that words and sentences do not merely reflect or represent an external reality. Given the central importance post-structuralists place on language, the concept of 'power' may be better conceived as a representative phenomenon rather than a concrete, material entity.

Considering that post-structuralists primarily engage in critiquing existing theories and discourses, it is more accurate to view post-structuralism in the realm of international politics as a method or analytical tool. This is especially pertinent because, as this essay will demonstrate, post-structuralism generally does not aim to present a specific worldview of its own. In essence, our understanding of post-structuralist thinking is best derived from examining how they critique other perspectives. As Foucault asserts, post-structuralist critique "only exists in relation to something other than itself. With this in mind, this paper will evaluate the nature and intent of post-structuralist critique, particularly in its interaction with the concept of 'state sovereignty'.

 Foucault once posed a profound question: "Do you know up to what point you can know?" This query encapsulates the core of post-structuralism, as it inherently challenges established structures of knowledge, transforming it into an act of 'critique'. However, within the realm of post-structuralism, it's important to distinguish between 'critique' and 'criticism'. Judith Butler notes that Foucault viewed 'critique' as a practice that suspends judgment, offering a new framework of values through this suspension. In essence, post-structuralists don't aim to pass value judgments; proposing an alternative action or thought necessitates acceptance of existing boundaries and principles. Instead, through 'critique', they engage in critical thinking that problematizes and destabilizes established frameworks, creating space for new possibilities. Thus, post-structural critique differs from conventional 'criticism' in that it seeks to challenge rather than replace.

 

Post-structuralists posit that language is pivotal in understanding the social world, contending that there exists no reality external to the language we employ. They draw from Nietzsche, who argued that what we say about the world is intrinsically linked to our conception of it, shaped by acquired assumptions and linguistic conventions. For post-structuralists, all facets of human experience are fundamentally bound to textuality. Critiquing a text or discourse, to them, is tantamount to critiquing the world itself.

 

A significant focus of post-structural critique lies in identifying binary oppositions and dichotomies. Jacques Derrida posited that Western thought's very structure stems from such binary distinctions, defining things largely by what they are not. Post-structuralists contend that these binaries permeate political life at its core. In the realm of International Relations, Connolly asserts that our understanding of 'international relations' today was shaped by the interplay between old and new worldviews. He traces this to historical contexts, particularly the influence of Christianity, which often employed processes of 'othering' when encountering deviance from faith. Post-structuralists suggest that these binaries persist in the modern political landscape, operating under the banner of the sovereign state.

 

Post-structuralists employ the genealogical method to scrutinize pieces of knowledge, interrogating their origins and beneficiaries. This approach challenges conventional narratives on sovereignty, revealing vested interests tied to historic political structures. Foucault contends that this critique plays an ethical role, shedding light on phenomena in twentieth-century political history, such as state-organized mass atrocities. Post-structural critique, in this view, holds those in power accountable. The double reading is another method employed by post-structuralists, involving an analysis of discourse or theory from two perspectives. The first reading interprets the subject matter as intended by the author, while the second scrutinizes its benefits, omissions, and potential biases. This method aims to expose how stories rely on suppressing internal tensions to maintain a sense of homogeneity and continuity.

 

Richard Ashley uses the double reading technique to critique the sovereign state and the realist paradigm. His first reading treats the paradigm as a monologue, granting unquestioned dominance to the controlling sovereign presence. Ashley's second reading transforms the discourse into a dialogue, exploring how practices in discourse production interact with various external texts. Through this approach, Ashley aims not to destroy but to deconstruct the discourse, opening up new possibilities. This deconstructive process destabilizes the locus of sovereign power, challenging the seemingly secure foundations of the discourse.

 Post-structuralists, in contrast to mainstream positivist approaches in International Relations, view the production of knowledge as a multifaceted process with aesthetic, normative, and political dimensions. Language, for them, is not a neutral medium of communication, but a complex system of habits, conventions, values, and biases that shape our understanding of the world. This perspective leads to an intertwining of knowledge and power, forming a "nexus of knowledge-power," as articulated by Foocau. In this framework, knowledge and power mutually reinforce and imply each other, underlining that the production of knowledge is inherently political.

 

Derrida's concept of deconstruction serves as a pivotal tool in unraveling the perceived intimate connection between power and knowledge. Deconstruction identifies elements of instability that challenge the cohesion of conceptual oppositions. Derrida notably focused on the binary of 'speech/writing', contending that speech is often considered primary and authentic, while writing is relegated to a derivative status. By advocating for a generalized understanding of writing, Derrida disrupts the established hierarchy between speech and writing.

 

Edkins and Zehfuss extend this notion to the realm of global politics, particularly the binary of 'sovereign domestic/anarchic international'. They argue that this dichotomy sets up the international system for failure when measured against the criteria of a 'sovereign' domestic order. They envision an alternative interpretation of world politics that transcends these divisions, fundamentally altering the dynamics of power and challenging assumptions about shared values and cultures.

 

Post-structuralists, like Campbell, contend that the sovereign state relies on discourses of danger to reinforce its power. They reject the notion that sovereign states have an originary existence prior to political practice, asserting that they are instead performatively constituted. This challenges the idea of an inherent and static reality, prompting a reevaluation of existing theories and discourses in IR.

 

While Frost suggests that post-structuralists could be considered "super-realists" due to their concern with power dynamics, it's essential to note that they fundamentally question the realities presented by mainstream discourses and theories. Rather than offering concrete ethical guidelines, post-structuralism introduces the possibility of viewing international politics from alternative starting points, encouraging critical thinking beyond traditional paradigms.

 

In this context of unforeseen political shifts, the open-mindedness advocated by post-structuralism remains pertinent. While it may not present explicit theoretical innovations, its methods prompt a reexamination of established frameworks, offering a valuable perspective in navigating a rapidly changing global landscape.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Sowmya Gopinath's "What is Literature" (Summary)

 

Literature encompasses a substantial collection of written and spoken works that have captivated communities worldwide. It comprises written and spoken texts, including folk and epic tales, exploring experiences of individual existence, delving into the depths of the human psyche, examining interactions with others and the world, and considering social engagement within human and non-human communities globally.

 

From beloved fairy tales that engage children globally to profound philosophical poems, from succinct verses to extensive novels, and from inventive writings in modern media to ancient epic narratives, humanity has relished engaging with, creating, narrating, and listening to emotionally and intellectually rich expressions in various languages and forms. In essence, literature can be broadly defined as anything born of imaginative thought, exhibiting creativity and language use that is inventive and captivating.

 

The term 'literature' has been defined diversely over time by writers and critics alike. A standard dictionary describes it as a collection of written works, while a Wikipedia entry suggests it comprises written works of artistic or intellectual value. What stands out here is the varied nature of these definitions, reflecting the diverse range of categories that fall under the umbrella of 'literature'. Engaging in academic exploration reveals that fixed definitions in this context are elusive. The scope and significance of literature expand based on the reader's individual perceptions, worldview, and life philosophy.

 

Yuval Harari, in his acclaimed work "Sapiens," emphatically asserts that humans evolved not only as beings capable of complex communication through shared language but also as communities capable of creating fiction and envisioning events from imagination. This aspect of human evolution strongly underscores the paramount importance attributed to literature by communities and peoples, both across time and space.

 

Understanding literature requires employing various tools and methodologies to delve deeply into the realm of written works. Both the content and form of literary creations hold equal weight, and a discerning reader hones their aesthetic sensibility to interpret not only the explicit layers of meaning but also the subtle nuances and unspoken elements within the text. Engaging with literature can be an enriching and captivating experience. The reader is an active participant, approaching the text with a curious eye, making literature anything that elicits a creative response from its audience.

Focusing on both the content and form is crucial for literature students to gain a deeper understanding of texts. The form, or structure, provides aesthetic enjoyment, while the content evokes emotions and passions in the reader or listener. The use of flexible sentence structures that allow for vivid imagery and metaphors, carefully chosen vocabulary, and passages that vividly depict life all work together to create exceptional literary works. Debates surrounding literature and its appeal, particularly discussions about the 'universality' of art once considered a measure of 'good' literature, are integral to theoretical and critical discussions worldwide.

 

With the growing significance of Cultural Studies, a new perspective emerged in the approach to Literature. It is now seen as a cultural text, a form of cultural practice, with social hierarchies and power dynamics ingrained in the narratives that shape them. Examining, understanding, and critically analyzing these texts unveils the complexities of social relationships that influence them in a specific time and place. This approach doesn't limit critical study to only the literature acclaimed and recognized by critics, but also recognizes all forms of literature and considers every cultural practice as important and noteworthy.

 

Delving into the realm of literature introduces fresh viewpoints, allowing students to define literature based on how they have developed their aesthetic sensibilities. Engaging with literature as a dedicated student not only aids in personal growth but also helps in forming one's sense of self and shaping their social identity. This, in turn, empowers them to define and grasp the vast potential of literature in the contemporary world.

 

 

 

 

 

 

 

 

 

 

 

Eagleton, Jameson and Said's "Nationalism, Colonialism and Literature" (Book Note)

 

In the postmodern era, socially engaged literary scholars grapple with a series of paradoxes. Taking action in the world presupposes a belief in the truth of one's own ideas. However, if truth is deemed unknowable, as contemporary theory often suggests, what justifies one's commitment? False universal principles have historically been used to justify exploitation. But if the oppressed are to break free from oppression, must they adhere to equally false universal principles? What sets their pursuit apart from that of their oppressors? If competing claims for justice stem from fundamentally different interpretations of reality, how can conflicts be resolved without resorting to violence? And how do these questions pertain to the study of literature?

 

Eagleton, Jameson, and Said, address these issues by examining them through the lens of writings from formerly colonized regions. While their insights apply to literary production in Africa, Asia, Latin America, and the Middle East, they specifically focus on the Irish context.  Eagleton, Jameson, and Said contribute to this endeavor by applying their theoretical perspectives to the question of nationalism and the role of cultural production in postcolonial societies, with Ireland as a key example.

 

In his introductory essay, Seamus Deane illustrates the fruitful application of these perspectives to the interpretation of Irish history, literature, and politics. He demonstrates how Irish nationalism absorbed various British stereotypes, despite primarily serving as a reaction against British imperialism. Deane argues that neither the resulting myth of Irish national identity nor recent debunkings of it provide adequate tools for addressing the present conflict. He emphasizes the need to read writers like Joyce, Yeats, and Synge within the specific historical context that produced them, viewing them as enduring "presences" within this context. Deane's ultimate goal is to present Irish literature and culture as a unified tradition that can function as an empowering system, allowing people to act in certain ways while recognizing that their "universal" principles, national origins, and stable identity concepts are all constructs. By placing these constructs within a concrete historical context and adopting an attitude of "ironic self-consciousness" towards them, Deane aims to transcend sectarian conflicts and exploitative tendencies without relinquishing allegiance to specific places, communities, and cultural practices.

Eagleton's essay, "Nationalism: Irony and Commitment," arrives at a similar conclusion through a slightly different route. He highlights the inherent contradictions in the nationalist aspirations of a colonized people, as they remain conceptually tied to the colonizer's view of reality, which they aim to reject, and to a pre-existing project that already encompasses the reality they seek to create. Eagleton argues that those who voice such aspirations are never fully congruent with themselves as actors in a specific historical context; there is always a divide between what they are and what they profess to be. To navigate this dilemma, Eagleton suggests interrogating the present with all its contradictions and alienations to identify a space from which a "feasible future" might emerge. This concrete and specific space must be embraced before it can be transcended through an awareness of more abstract general principles. In essence, Eagleton contends that individuals can only free themselves by recognizing and wholeheartedly living out their unique differences in an ongoing dialectic between the specific and the general. This dialectical process, he posits, will eventually lead them to inquire about the universal conditions that must be met before their individual needs can be fulfilled. This inquiry, Eagleton asserts, will culminate in the realization that others (of different races, genders, or nations) must also be liberated for true freedom to be achieved. Like Deane, Eagleton advocates for an "ironic self-consciousness" that, akin to Joyce's, can view its own totalizations skeptically and perceive its specific "someplace" as a universal "anyplace."

 

Jameson's essay, "Modernism and Imperialism," primarily focuses on the consciousness of the colonizer, but also acknowledges Joyce's use of irony in a positive light. He contrasts Joyce's Ulysses with E. M. Forster's Howard's End to demonstrate how Joyce's irony and stylistic innovations acted as surrogates for the new form of verbal discourse required to define the realities of the modern world. Although Joyce did not explicitly identify the exploitative relationships governing this world, he recognized the need to transcend conventional uses of language—an imperative Forster did not share. Jameson views modernism as a compensatory mechanism allowing Westerners to enjoy the benefits of global imperialism while turning a blind eye to the suffering it inflicted on third-world populations. Nevertheless, Joyce and other Irish writers' modernist works were distinct in that they were rooted in a third-world reality overlapping with a first-world socio-economic environment. This awareness, Jameson argues, altered the nature of the modernist project and endowed it with a new potential for liberation.

 

In "Yeats and Decolonization," Said advances a similar thesis regarding the Irish poet. He contends that culture had buttressed Euro-American political and economic hegemony in the 19th and early 20th centuries. Western concepts of human nature, civilization, and commodity value had contributed to the subjugation of third-world peoples and the usurpation of their lands. Faced with their own disenfranchisement, these peoples crafted nationalist myths to justify their anti-imperialist struggle. However, these nationalist causes were often co-opted by reactionary forces, and even socially committed writers found themselves compelled to adopt the language of the colonizer, laden with its associations of oppression and domination. Said maintains that nationalism, under these conditions, represents the initial step towards liberation. Writers like Yeats, Césaire, Neruda, Faiz, and Darwish, by reimagining new worldviews to supplant those promoted by colonial powers, propel this movement forward. Consequently, Said asserts that Yeats is best understood not as a modernist or representative of British high culture, but as the national poet of a third-world people. Even his mystical imagery, such as "pernes" and "gyres," reflects an understanding that the moment was unfavorable for his revolutionary aspirations and that the acquisition of power alone is insufficient to bring about the liberation he envisioned.

 

Said’s essay underscores an intricate interplay between literature and a contemporary reality deeply shaped by the enduring impact of colonialism and the corresponding rise of nationalist movements in opposition. While not everyone may be swayed by their use of Ireland as a model for the broader global situation, it is hard not to appreciate the intellectual acumen with which they probe the potential for forging new modes of discourse to grapple with seemingly insurmountable conflicts, such as the one in Northern Ireland. Without compromising their social dedication or sidestepping the complexities of postmodern theory, they all affirm the imperative of anchoring literary analysis in an understanding of the specific historical circumstances that underlie all cultural productions, infusing them with significance. They also concur in advocating for the cultivation of an "ironic self-consciousness" that might empower individuals to persevere in the arduous and potentially unending struggle for liberation. While their solutions may not offer conclusive answers, they merit serious consideration for anyone seeking to harmonize the imperatives of social engagement with the complexities of contemporary critical theory.

 

 

 

 

 

 

 

 

 

 

 

Duara's "Decolonization: Perspectives Now and Then" (Book Note)

 

Decolonization: Perspectives Now and Then delves into the complex social phenomenon of decolonization, examining it from two distinct vantage points: the perspective of the colonized and that of scholars and theorists. The editor has curated the essays thoughtfully; Duara provides a lens through which readers can witness the profound impact of Western European empire-building on the peoples subjected to colonial rule, both historically and in contemporary contexts. The book delves into the intricacies of cultures, worldviews, and the potential for leadership within communities navigating the process of decolonization.

 

Duara's exploration encompasses a wide geographical scope, encompassing Western European colonial endeavors in both Africa and Asia. The writings of influential leaders from diverse backgrounds and ideological standpoints are featured, ranging from figures like Sun Yat-Sen and Ho Chi Minh to Jawaharlal Nehru and Frantz Fanon. The essays cover a spectrum of topics, including the role of women, the transformation of traditional village life, the influence of religion, the imperative for modernization, and the role of economic development. Themes of sovereignty and revolution recur throughout the essays penned by those who have experienced colonization. Additionally, the role of religion, particularly as a tool of colonial influence, is a pervasive undercurrent in many of the essays.

 

The Western authors featured in this volume provide insights into the impact of colonization from the perspective of the colonizers. Their essays do not seek to justify or condemn, but rather to examine both the positive and negative repercussions of empire-building on both the colonized and the colonizers. The Western essayists adeptly elucidate how colonization shaped the course of twentieth-century history, especially in the wake of World War II, and its aftermath on formerly colonized populations.

 

Duara leverages the selection of essays in this volume to articulate several pivotal points about community structure, social transformation, and human justice. First, he asserts that any effective system of governance must honor cultural traditions and the historical heritage of those being governed. Second, successful modernization should not entail a mere substitution of one culture for another; rather, it should be an internal process wherein the community embraces desired changes while preserving the traditions that define its identity. Third, genuine sovereignty necessitates the promotion of intellectual freedom. Fourth, meaningful community evolution fosters inclusivity in thought and social practices. Fifth, transformative change within communities requires an embrace of science and a reduction in religious dogma, while still cherishing spirituality. Finally, Duara contends that the increasing emphasis on capitalization and the encroachment of "foreign" cultures erode existing communities, resulting in dualistic societies with developed urban centers and predominantly underdeveloped rural areas. This dynamic ultimately leads to the normative exploitation of rural communities to sustain urban lifestyles.

 

These hypotheses find strong support in the essays featured in this anthology. The selection of essays forms a comprehensive historiography, offering readers a glimpse into various schools of thought regarding nationalism, imperialism, and post-World War II history. The voices presented in this book are compelling, providing readers with a nuanced understanding of diverse perspectives and ideological orientations. This collection would serve as an excellent supplementary text for courses in ethnic studies, history, global human resource management, or diplomacy and peace studies. Despite its substantive content, this anthology offers an engaging and enlightening read.

Jonathan Culler's "In Pursuit of Signs" (Book Note)

 

In "The Pursuit of Signs," Culler undertakes the challenging task of rendering modern critical trends accessible to scholars and students who may not have Todorov, Barthes, and Derrida as their bedtime reading. Comprising eleven chapters, some of which are adapted or derived from earlier versions published in various journals and essay collections dating back to 1976, the book offers a selection of interrelated topics within a broader semiotic framework of literature, rather than a linear exposition of a singular theoretical concern. Culler's central contention revolves around the idea that contemporary literary criticism should shift its primary focus from the interpretation and reinterpretation of significant literary works to the analysis of how readers perceive and construct meaning from literary texts.

 

The first chapter, "Beyond Interpretation," introduces this thesis and contends that the New Criticism and prominent theorists like Northrop Frye, Stanley Fish, and Harold Bloom are inadvertently ensnared in an ultimate concern with the interpretative function of critical discourse. In the ensuing chapter, "In Pursuit of Signs," Culler provides a clear and engaging overview of how seminal figures such as Saussure, Peirce, Levi-Strauss, Derrida, and others have grappled with the complexities of meaning and the logic of signification.

 

Moving into Part Two (Chapters 3-6), Culler delves into literary semiotics as a theory of reading. He delves into various subjects, including literary competence, Normal Holland's investigations into reader response, Hans Robert Jauss's examinations of the horizons of expectations influencing the reception of literary works in different epochs, the foundation for genre distinctions, Riffaterre's interpretation-oriented Semiotics of Poetry, presupposition, intertextuality, and Stanley Fish's purportedly ambivalent stance on elucidating the procedures and conventions of reading. Culler underscores the significance of semiotics not as a means of interpreting individual works, but as a framework for elucidating the "operations and conventions which constitute the institutions of literature" (p. 127).

 

The third section of "The Pursuit of Signs" delves into the deconstructive implications of semiotic theory. In a chapter focused on apostrophe, Culler argues that this ostensibly "awkward" rhetorical device, by overtly proclaiming its artificiality, becomes an indication of "the incalculable force of a poetic event" (p. 152). Rhetorical figures constitute the subject of another chapter, which examines, among other aspects, the figurative significance of metonymy and metaphor, highlighting the privileged status of the latter. In Chapter 8, the issue of mimesis is scrutinized from a deconstructive perspective, particularly in relation to Abrams' work "The Mirror and the Lamp." Another essay addresses the intricate relationship between story and discourse, event and meaning within narrative works.

Much like many contemporary theorists, Culler displays a keen awareness of ambiguity, the inherent indeterminacy of meaning, and the boundaries of expressive systems. Notably, he refrains from exploiting this indeterminacy in his expository writing, showcasing his enduring belief in the language's capacity for denotation. In "The Pursuit of Signs," Culler is primarily occupied with posing questions and pinpointing challenges, rather than offering definitive answers. His focus lies in delineating the objectives and scope of literary semiotics, rather than delineating its methodologies.

 

Culler's work is invaluable precisely because it illuminates a somewhat nebulous domain. Demonstrating a superb command of the subject matter, he adeptly synthesizes diverse viewpoints, identifies disparities among major theoretical frameworks, elucidates his own critical preferences, suggests refinements to existing models, and provides valuable bibliographic insights (though a comprehensive bibliography akin to that found in "Structuralist Poetics" would have been a notable addition). His writing maintains a consistent level of clarity throughout.

 

If any critique may be leveled, it might be for Culler's fervent critique of critics, even modernist ones, who do not dismiss "the assumption that interpretation is the purpose of criticism" (p. 14). For instance, is it truly productive to lament Northrop Frye's "failure to question interpretation as a goal" (p. 8) in the "Anatomy of Criticism"? By so emphatically asserting that the primary function of literary criticism lies in describing the processes that afford literary works their meaning, Culler may inadvertently overlook the merits of interpretative criticism that engages with questions of significance, not merely meaning, in literary works. Nonetheless, even if one disagrees with Culler on this matter, his thorough and insightful analysis of contemporary critical issues remains highly beneficial.

 

 

 

 

 

 

 

 

 

 

 

Tobias Doring's "Caribbean-English Passages: Intertextuality in a Postcolonial Tradition" (Book Note)

 

Tobias Döring's book "Caribbean-English Passages: Intertextuality in a Postcolonial Tradition" is a work of great merit, notably for its continual emphasis on the profound interconnectedness that defines the Caribbean, as succinctly articulated by the Haitian scholar Michel-Rolph Trouillot. Trouillot aptly states that "the Caribbean is nothing but contact". Additionally, Döring's book stands out for its meticulous examination of genre politics, effectively dismantling the notion of a singular imperial/colonial discourse. Instead, it redirects postcolonial discourse towards the rich history of cultural and textual resistance in the Caribbean. Döring takes readers on an extensive exploration of Caribbean and English literature. Through careful close readings and rigorous theoretical analysis, he transcends the initial encounter with the text, echoing Antonio Benitez-Rojo's assertion that the reader inevitably reflects themselves in the act of reading. What Döring excels at is a form of reading where each text, at times unexpectedly but always enrichingly, begins to reveal its own textured layers—a concept aptly described by Benitez-Rojo.

"Caribbean-English Passages" is organized into six chapters, each focusing on a specific genre: travel writing, nature poetry, adventure novels, autobiography, picture poetry, and the epic. The first chapter places particular emphasis on travel writing, as it embodies the idea of passage most tangibly. It offers an interrelated reading of texts such as Naipaul's "The Middle Passage", J.A Froude's "The English in the West Indies", Edgar Mittelholzer's "With a Carib Eye", and Amr Johnson's "Sequins for a Ragged Hem". Chapter 2 delves into plantation writing and nature poetry, with James Grainger's "The Sugar Cane" serving as a pivotal text—the first West Indian georgic. This genre aims to reconcile the pressures of experience with prevailing cultural norms, presenting itself as a noteworthy precursor to postcolonial Caribbean writing exemplified by works like Grace Nichols's 1990 poem, "Sugar Cane," and David Dabydeen's 1984 collection, "Slave Song." Chapter 3 juxtaposes Wilson Harris's novel "The Secret Ladder" with Joseph Conrad's "Heart of Darkness" and, somewhat unexpectedly, Arthur Conan Doyle's "The Lost World". Chapter 4 centers on V.S. Naipaul's "The Enigma of Arrival" and David Dabydeen's "The Intended", examining their engagement with English and Caribbean pre-texts. Notably, both Caribbean texts grapple with Conrad's fin-de-siècle novel. In Chapter 5, Dabydeen's extended poem "Turner" is studied alongside J.M.W. Turner's painting "Slavers Throwing Overboard the Dead and Dying - Typhoon Coming on" and John Ruskin's renowned review of it. Döring illustrates how postcolonial ekphrasis can be a powerful strategy for dismantling the colonial past. Chapter 6 analyzes Derek Walcott's "Omeros" as an act of poetic ekphrasis and a challenge to the canon. Among other things, Döring addresses the appropriation of a Caribbean epic. Each chapter is complemented by a thought-provoking illustration, such as Nicolas Vleughels's "The Shield of Achilles" in Chapter 6 and "Waiting for the Races," an engraving from Charles Kingsley's travelogue "At Last: A Christmas in the West Indies" in Chapter 1. This Victorian portrayal of different racial groups in Trinidad is discussed in the context of Naipaul's reinterpretation of the image in his own travelogue.

 

 

 

 

Jacqueline Bobo's "Black Women as Cultural Readers" (Book Note)

 

In "Black Women as Cultural Readers," Jacqueline Bobo contends that black women have historically played crucial roles as "cultural producers, critics, and members of an audience." These roles have empowered them to strategically shape the imaginative portrayal, critical interpretation, and societal status of black women (27). Bobo eschews the typical approach of relying solely on academic scholars to analyze literary texts. Instead, she turns to black women who form the natural readership for her research. Through this analysis, Bobo articulates how black women challenge conventional depictions of themselves, pushing back against stereotypes that pigeonhole them as either dependent single mothers or domineering matriarchs.

 

The book is organized into five interconnected chapters: "Black Women as Interpretive Community," "Text and Subtext: The Color Purple," "Watching The Color Purple: Two Interviews," "Daughters of the Dust," and "Black Women Reading Daughters of the Dust," followed by a conclusion. Bobo's insightful analysis is influenced by cultural and film critics such as John Fiske, Donald Bogle, Hazel Carby, and Barbara Christian. She incorporates a "hybrid" scholarship, blending academic analysis with community perspectives. Moreover, Bobo situates her cultural criticism within a vernacular critical tradition that seeks to reclaim the collective past for strength and inspiration.

 

The second chapter, "Text and Subtext: The Color Purple," provides a glimpse into Bobo's stance. Here, she argues that Alice Walker's novel and Steven Spielberg's film convey conflicting cultural values. One of Bobo's primary contentions is that Spielberg's cinematic adaptation not only diminishes the female characters but also sidelines them from the central narrative.

 

In the third chapter, "Watching The Color Purple: Two Interviews," Bobo effectively demonstrates her methodology. She examines the insights gained from two separate group interviews conducted as part of her research on the novel and film. Bobo finds that the women's interpretations of the film were deeply influenced by their own backgrounds, histories, and social and cultural experiences. This underscores that the observations of these women viewers were as diverse, astute, and well-informed as those of professional critics.

 

Bobo poses sharp and incisive questions, many of which stem from her personal investment in "bringing black women's cultural texts into the public discourse." However, she maintains a balance between critical scholarship and the authentic voices of women who prove themselves to be adept cultural interpreters. As Coco Fusco aptly notes, "cultural identity and values are politically and historically charged issues for communities in this country whose ability to wield power and control their symbolic representations has been limited within mainstream culture."