sabrina brancato - Academia.edu (original) (raw)
Papers by sabrina brancato
Boydell and Brewer eBooks, Dec 31, 2009
... Binder, Wolfgang.An Interview with Lorna Goodison, Commonwealth: Essays & Studi... more ... Binder, Wolfgang.An Interview with Lorna Goodison, Commonwealth: Essays & Studies 13.2 (1991): 4959. Blake, William.The Little Black Boy(1798), in The Norton Anthology of English Litera-ture (1993), ed. Greenblatt, 30. Brathwaite, Edward Kamau. ...
Research in African Literatures, Sep 1, 2008
DOAJ (DOAJ: Directory of Open Access Journals), Jun 1, 2010
Expressions Maghrebines, 2012
Wasafiri, Dec 1, 2008
... View all notes. ironically replicating the phenomenon of the vu cumprà (literally 'wanna ... more ... View all notes. ironically replicating the phenomenon of the vu cumprà (literally 'wanna buy'), a derogatory term for African and South ... of migration literature in Italy with the publication of three autobiographies, all written by Africans: Moroccan Mohamed Bouchane's Chiamatemi ...
Matatu, 2009
ABSTRACT: This overview traces the relatively 'long' history of Spanish-African writing... more ABSTRACT: This overview traces the relatively 'long' history of Spanish-African writing while pointing to the multi-regional origin of some selected authors, who hail not only from the former Spanish colony of Equatorial Guinea but also from Cameroon and Benin. It is further ...
TDX (Tesis Doctorals en Xarxa), Jun 1, 2001
Publishes "When I Was Seventeen", a series of interviews in Dtrr magazine Freelance writer Change... more Publishes "When I Was Seventeen", a series of interviews in Dtrr magazine Freelance writer Changes her name to Jamaica Kincaid Meets William Shawn, editor of the IrÃ`xr Publishes "Talk of the Town", a series of unsigned pieces for the IrÃ`xr Becomes a staff writer on the IrÃ`xr Marries composer Allen Shawn, son of William Shawn Gvrhr, a secondary-source book on women's writing and feminist criticism. Apart from the contributions of already internationallyrecognised writers such as Jean Rhys, these publications served to uncover and establish a literary tradition for Caribbean women, bringing to the foreground the work of mostly unknown and unexplored writers such as Phyllis Shand Allfrey or non-canonical artists such as Jamaican folk poet Louise Bennett and activist poet Una Marson, also from Jamaica. But as well as leading to global interest in their work and fomenting its publication, the major outcome of these events was that already well-established writers such as Beryl Gilroy, Rosa Guy, Sylvia Wynter, Merle Hodge, and Michelle Cliff, among others, got to know each other, and younger writers such as Marlene Nourbese Philip, Claire Harris, Olive Senior, and Erna Brodber were first heard of. The comment made by Jamaica Kincaid, already an acknowledged writer at that time, during an interview previous to the Caribbean Women Writers First International Conference, is significant in this respect: "When you say you're having this conference on West Indian women writers I think, 'God-I didn't know there were more!' That's wonderful" (Cudjoe 1990, 221). Jamaica Kincaid had begun her writing career in the United States without having any awareness of a Caribbean literary Eu, for example, could be read alongside seminal works such as George Lamming's Dà urà 8hyrà sà Hà Txv (1953) in the light of a tradition of autobiographical novels of self-formation where a child protagonist comes to grip with an oppressive colonial environment. But while conforming to the Caribbean canonical agenda established by male writers, Jamaica Kincaid's work has more in common with Caribbean women writers, who have suffered and, up to a certain extent, still suffer an "alienation within alienation," as Kenneth Ramchand has remarked (1983, 231), because they are marginalised by sexual prejudice within a literature already marginalised by cultural or racial prejudice. The writers, therefore, delineate agendas alter/native to the androcentric canon, illuminating previously unexplored areas of Caribbean experience and bringing to the foreground the nexus of gender and cultural positioning. Although there are differences, Caribbean women writers share a concern for questions of personal identity and personal relationships, stressing the mother-daughter bond. Often reflecting their direct experience, they celebrate matrilineal links and create strong and self-supporting female characters, who, in the words of Laura Niesen de Abruna, "struggle and survive because of their basic respect for life [and] depend on a strong bonding Contemporary writers just didn't exist. [...] I never wanted to be a writer because I didn't know that any such thing existed" (Cudjoe 1990, 218).
La escalera sucia, coma siempre. La juventud no tiene respeto. Colillas y papeluchos par todos la... more La escalera sucia, coma siempre. La juventud no tiene respeto. Colillas y papeluchos par todos lados y balsas de basura en la entrada. No san ellos quienes tienen que Iimpiar, claro. Trogloditas. Manuel subfa lentamente, apoyandose con una mano en la barandilla y con la otra en su viejo baston de madera. Los hombros encorvados, las piernas tambaleantes. Un escal6n, dos, tees. Otro escal6n, dos, tees. Haee algunos afios, no muchos, aquel era el ritmo de las noches en la Paloma. Un, dos, tres, cha cha cha. Un, dos, tres, cha cha cha. As!, reina. Vas muy bien. El se 10 tomaba muy en serio. Pero Amelia se reia y le pisaba los pies a proposito. Si vuelves a llamanne reina me buseD otro viejecito con quien bailar. Anda, rey.
Transcultural English Studies, 2008
... Binder, Wolfgang.An Interview with Lorna Goodison, Commonwealth: Essays & Studi... more ... Binder, Wolfgang.An Interview with Lorna Goodison, Commonwealth: Essays & Studies 13.2 (1991): 4959. Blake, William.The Little Black Boy(1798), in The Norton Anthology of English Litera-ture (1993), ed. Greenblatt, 30. Brathwaite, Edward Kamau. ...
A Sea for Encounters, 2009
Transcultural Outlooks in The Buddha of Suburbia and Some Kind of Black SABRINA BRANCATO HE PROCE... more Transcultural Outlooks in The Buddha of Suburbia and Some Kind of Black SABRINA BRANCATO HE PROCESSES OF MASS MIGRATION, globalization, and trans-nationalization produce a multiplicity of cultural interconnections which cannot be reconciled with the traditional ...
Literature For Our Times, Aug 17, 2007
Dr Sabrina Brancato J. W. Goethe Universitat Frankfurt am Main Life Maps: Tricky Memory, Slippery... more Dr Sabrina Brancato J. W. Goethe Universitat Frankfurt am Main Life Maps: Tricky Memory, Slippery Tales and Divided Identities in Refugee Stories What is a refugee? How do refugees negotiate their identity in the host country? How do they cope with the ‘perpetual loss’ which constitutes their life in exile? Recent fictional and non-fictional works about refugees pose a number of questions which are crucial to the understanding of the kind of uprootedness characterising refugee experience. In this paper I am looking at two texts which, although very different in nature, touch upon common issues and offer similar views of the concerns haunting refugees and of the ways refugees articulate their past and present life. Abdulrazak Gurnah’s novel By the Sea (2001) is a voyage through the intimate recollections of two exiles from Zanzibar, whereas Nuruddin Farah’s Yesterday, Tomorrow (2000), where the author reports and reflects on a series of testimonies on the basis of interviews conducted with Somali refugees in Kenia and in different European countries, presents itself as a mosaic of perspectives giving voice to one of the largest world diasporas. Both texts are polivocal and contrapuntal, emphasising the uniqueness of each individual story and the impossibility to provide a coclusive definition of what being a refugee means. Both Gurnah and Farah lay the stress on the crucial role of memory in making sense of one’s disrupted past and show how memory can easily play tricks on the mind of a refugee, how tales are continuosly transformed by what is suppressed and what is ‘invented’ or reelaborated in the effort to justify or dignify one’s own condition. Finally, both works represent refugees as doubly divided: on the one hand, there is the sense of having one’s life split into two, with departure from the home country constituting the point of rupture between past and present; on the other hand, there is the sharp contrast between the self-perception of refugees, with all the complexities and facets of individual experience and subjectivity, and the crippling view from outside, tending to deprive them of a history and a past. Although Gurnah privileges the personal and the intimate whereas Farah’s interest lies more on the collective, both works function as tentative maps, seeking to uncover a structure out of an experience of disruption, and thus may eventually be read as a cartography of refugee life.
Nuevas Masculinidades 2000 Isbn 84 7426 485 5 Pags 103 120, 2000
Expressions Maghrebines, 2012
Matatu, 2009
ABSTRACT: This overview traces the relatively 'long' history of Spanish-African writing... more ABSTRACT: This overview traces the relatively 'long' history of Spanish-African writing while pointing to the multi-regional origin of some selected authors, who hail not only from the former Spanish colony of Equatorial Guinea but also from Cameroon and Benin. It is further ...
Boydell and Brewer eBooks, Dec 31, 2009
... Binder, Wolfgang.An Interview with Lorna Goodison, Commonwealth: Essays & Studi... more ... Binder, Wolfgang.An Interview with Lorna Goodison, Commonwealth: Essays & Studies 13.2 (1991): 4959. Blake, William.The Little Black Boy(1798), in The Norton Anthology of English Litera-ture (1993), ed. Greenblatt, 30. Brathwaite, Edward Kamau. ...
Research in African Literatures, Sep 1, 2008
DOAJ (DOAJ: Directory of Open Access Journals), Jun 1, 2010
Expressions Maghrebines, 2012
Wasafiri, Dec 1, 2008
... View all notes. ironically replicating the phenomenon of the vu cumprà (literally 'wanna ... more ... View all notes. ironically replicating the phenomenon of the vu cumprà (literally 'wanna buy'), a derogatory term for African and South ... of migration literature in Italy with the publication of three autobiographies, all written by Africans: Moroccan Mohamed Bouchane's Chiamatemi ...
Matatu, 2009
ABSTRACT: This overview traces the relatively 'long' history of Spanish-African writing... more ABSTRACT: This overview traces the relatively 'long' history of Spanish-African writing while pointing to the multi-regional origin of some selected authors, who hail not only from the former Spanish colony of Equatorial Guinea but also from Cameroon and Benin. It is further ...
TDX (Tesis Doctorals en Xarxa), Jun 1, 2001
Publishes "When I Was Seventeen", a series of interviews in Dtrr magazine Freelance writer Change... more Publishes "When I Was Seventeen", a series of interviews in Dtrr magazine Freelance writer Changes her name to Jamaica Kincaid Meets William Shawn, editor of the IrÃ`xr Publishes "Talk of the Town", a series of unsigned pieces for the IrÃ`xr Becomes a staff writer on the IrÃ`xr Marries composer Allen Shawn, son of William Shawn Gvrhr, a secondary-source book on women's writing and feminist criticism. Apart from the contributions of already internationallyrecognised writers such as Jean Rhys, these publications served to uncover and establish a literary tradition for Caribbean women, bringing to the foreground the work of mostly unknown and unexplored writers such as Phyllis Shand Allfrey or non-canonical artists such as Jamaican folk poet Louise Bennett and activist poet Una Marson, also from Jamaica. But as well as leading to global interest in their work and fomenting its publication, the major outcome of these events was that already well-established writers such as Beryl Gilroy, Rosa Guy, Sylvia Wynter, Merle Hodge, and Michelle Cliff, among others, got to know each other, and younger writers such as Marlene Nourbese Philip, Claire Harris, Olive Senior, and Erna Brodber were first heard of. The comment made by Jamaica Kincaid, already an acknowledged writer at that time, during an interview previous to the Caribbean Women Writers First International Conference, is significant in this respect: "When you say you're having this conference on West Indian women writers I think, 'God-I didn't know there were more!' That's wonderful" (Cudjoe 1990, 221). Jamaica Kincaid had begun her writing career in the United States without having any awareness of a Caribbean literary Eu, for example, could be read alongside seminal works such as George Lamming's Dà urà 8hyrà sà Hà Txv (1953) in the light of a tradition of autobiographical novels of self-formation where a child protagonist comes to grip with an oppressive colonial environment. But while conforming to the Caribbean canonical agenda established by male writers, Jamaica Kincaid's work has more in common with Caribbean women writers, who have suffered and, up to a certain extent, still suffer an "alienation within alienation," as Kenneth Ramchand has remarked (1983, 231), because they are marginalised by sexual prejudice within a literature already marginalised by cultural or racial prejudice. The writers, therefore, delineate agendas alter/native to the androcentric canon, illuminating previously unexplored areas of Caribbean experience and bringing to the foreground the nexus of gender and cultural positioning. Although there are differences, Caribbean women writers share a concern for questions of personal identity and personal relationships, stressing the mother-daughter bond. Often reflecting their direct experience, they celebrate matrilineal links and create strong and self-supporting female characters, who, in the words of Laura Niesen de Abruna, "struggle and survive because of their basic respect for life [and] depend on a strong bonding Contemporary writers just didn't exist. [...] I never wanted to be a writer because I didn't know that any such thing existed" (Cudjoe 1990, 218).
La escalera sucia, coma siempre. La juventud no tiene respeto. Colillas y papeluchos par todos la... more La escalera sucia, coma siempre. La juventud no tiene respeto. Colillas y papeluchos par todos lados y balsas de basura en la entrada. No san ellos quienes tienen que Iimpiar, claro. Trogloditas. Manuel subfa lentamente, apoyandose con una mano en la barandilla y con la otra en su viejo baston de madera. Los hombros encorvados, las piernas tambaleantes. Un escal6n, dos, tees. Otro escal6n, dos, tees. Haee algunos afios, no muchos, aquel era el ritmo de las noches en la Paloma. Un, dos, tres, cha cha cha. Un, dos, tres, cha cha cha. As!, reina. Vas muy bien. El se 10 tomaba muy en serio. Pero Amelia se reia y le pisaba los pies a proposito. Si vuelves a llamanne reina me buseD otro viejecito con quien bailar. Anda, rey.
Transcultural English Studies, 2008
... Binder, Wolfgang.An Interview with Lorna Goodison, Commonwealth: Essays & Studi... more ... Binder, Wolfgang.An Interview with Lorna Goodison, Commonwealth: Essays & Studies 13.2 (1991): 4959. Blake, William.The Little Black Boy(1798), in The Norton Anthology of English Litera-ture (1993), ed. Greenblatt, 30. Brathwaite, Edward Kamau. ...
A Sea for Encounters, 2009
Transcultural Outlooks in The Buddha of Suburbia and Some Kind of Black SABRINA BRANCATO HE PROCE... more Transcultural Outlooks in The Buddha of Suburbia and Some Kind of Black SABRINA BRANCATO HE PROCESSES OF MASS MIGRATION, globalization, and trans-nationalization produce a multiplicity of cultural interconnections which cannot be reconciled with the traditional ...
Literature For Our Times, Aug 17, 2007
Dr Sabrina Brancato J. W. Goethe Universitat Frankfurt am Main Life Maps: Tricky Memory, Slippery... more Dr Sabrina Brancato J. W. Goethe Universitat Frankfurt am Main Life Maps: Tricky Memory, Slippery Tales and Divided Identities in Refugee Stories What is a refugee? How do refugees negotiate their identity in the host country? How do they cope with the ‘perpetual loss’ which constitutes their life in exile? Recent fictional and non-fictional works about refugees pose a number of questions which are crucial to the understanding of the kind of uprootedness characterising refugee experience. In this paper I am looking at two texts which, although very different in nature, touch upon common issues and offer similar views of the concerns haunting refugees and of the ways refugees articulate their past and present life. Abdulrazak Gurnah’s novel By the Sea (2001) is a voyage through the intimate recollections of two exiles from Zanzibar, whereas Nuruddin Farah’s Yesterday, Tomorrow (2000), where the author reports and reflects on a series of testimonies on the basis of interviews conducted with Somali refugees in Kenia and in different European countries, presents itself as a mosaic of perspectives giving voice to one of the largest world diasporas. Both texts are polivocal and contrapuntal, emphasising the uniqueness of each individual story and the impossibility to provide a coclusive definition of what being a refugee means. Both Gurnah and Farah lay the stress on the crucial role of memory in making sense of one’s disrupted past and show how memory can easily play tricks on the mind of a refugee, how tales are continuosly transformed by what is suppressed and what is ‘invented’ or reelaborated in the effort to justify or dignify one’s own condition. Finally, both works represent refugees as doubly divided: on the one hand, there is the sense of having one’s life split into two, with departure from the home country constituting the point of rupture between past and present; on the other hand, there is the sharp contrast between the self-perception of refugees, with all the complexities and facets of individual experience and subjectivity, and the crippling view from outside, tending to deprive them of a history and a past. Although Gurnah privileges the personal and the intimate whereas Farah’s interest lies more on the collective, both works function as tentative maps, seeking to uncover a structure out of an experience of disruption, and thus may eventually be read as a cartography of refugee life.
Nuevas Masculinidades 2000 Isbn 84 7426 485 5 Pags 103 120, 2000
Expressions Maghrebines, 2012
Matatu, 2009
ABSTRACT: This overview traces the relatively 'long' history of Spanish-African writing... more ABSTRACT: This overview traces the relatively 'long' history of Spanish-African writing while pointing to the multi-regional origin of some selected authors, who hail not only from the former Spanish colony of Equatorial Guinea but also from Cameroon and Benin. It is further ...