Rey Chow is Anne Firor Scott Professor of Literature at Duke University and the author of numerous influential books, including several published by Columbia University Press: Primitive Passions; The Protestant Ethnic and the Spirit of Capitalism; and Sentimental Fabulations, Contemporary Chinese Films. A book about her writings, The Rey Chow Reader, was edited by Paul Bowman. Her work has appeared in more than ten languages.
Although the era of European colonialism has long passed, misgivings about the inequality of the encounters between European and non-European languages persist in many parts of the postcolonial world. This unfinished state of affairs, this lingering historical experience of being caught among unequal languages, is the subject of Rey Chow's book. A diverse group of personae, never before assembled in a similar manner, make their appearances in the various chapters: the young mulatto happening upon a photograph about skin color in a popular magazine; the man from Martinique hearing himself named "Negro" in public in France; call center agents in India trained to Americanize their accents while speaking with customers; the Algerian Jewish philosopher reflecting on his relation to the French language; African intellectuals debating the pros and cons of using English for purposes of creative writing; the translator acting by turns as a traitor and as a mourner in the course of cross-cultural exchange; Cantonese-speaking writers of Chinese contemplating the politics of food consumption; radio drama workers straddling the forms of traditional storytelling and mediatized sound broadcast.
In these riveting scenes of speaking and writing imbricated with race, pigmentation, and class demarcations, Chow suggests, postcolonial languaging becomes, de facto, an order of biopolitics. The native speaker, the fulcrum figure often accorded a transcendent status, is realigned here as the repository of illusory linguistic origins and unities. By inserting British and post-British Hong Kong (the city where she grew up) into the languaging controversies that tend to be pursued in Francophone (and occasionally Anglophone) deliberations, and by sketching the fraught situations faced by those coping with the specifics of using Chinese while negotiating with English, Chow not only redefines the geopolitical boundaries of postcolonial inquiry but also demonstrates how such inquiry must articulate historical experience to the habits, practices, affects, and imaginaries based in sounds and scripts.
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前三章理论基础梳理通达晓畅,后两章personal有点混乱。Analyze postcolonial language in a thriving and optimistic perspective。以及最后,非常让人舒服的阅读体验,感受到一个学者静默且温柔的坚守。
评分与德里达Monolingualism of the Other处理的问题有共通之处(第一章直接对话了这本书),也在不同的种族语境中玩出了tone在视觉(skin tone)与听觉(sound effect)上的双关。一个疑问是xenophone以及一切linguaphone模型对语音的强调,是否要把书面文字囊括其中。在周蕾对Ngugi和Achebe的讨论中,写作似乎也被包含在xenophone的考量范围内,那么她又如何看待自己经常被奉为英文写作的范本,以一种无差别的(因而是反xenophonic的)方式被纳入某种风格教学?
评分与德里达Monolingualism of the Other处理的问题有共通之处(第一章直接对话了这本书),也在不同的种族语境中玩出了tone在视觉(skin tone)与听觉(sound effect)上的双关。一个疑问是xenophone以及一切linguaphone模型对语音的强调,是否要把书面文字囊括其中。在周蕾对Ngugi和Achebe的讨论中,写作似乎也被包含在xenophone的考量范围内,那么她又如何看待自己经常被奉为英文写作的范本,以一种无差别的(因而是反xenophonic的)方式被纳入某种风格教学?
评分前三章理论基础梳理通达晓畅,后两章personal有点混乱。Analyze postcolonial language in a thriving and optimistic perspective。以及最后,非常让人舒服的阅读体验,感受到一个学者静默且温柔的坚守。
评分与德里达Monolingualism of the Other处理的问题有共通之处(第一章直接对话了这本书),也在不同的种族语境中玩出了tone在视觉(skin tone)与听觉(sound effect)上的双关。一个疑问是xenophone以及一切linguaphone模型对语音的强调,是否要把书面文字囊括其中。在周蕾对Ngugi和Achebe的讨论中,写作似乎也被包含在xenophone的考量范围内,那么她又如何看待自己经常被奉为英文写作的范本,以一种无差别的(因而是反xenophonic的)方式被纳入某种风格教学?
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