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• W267914712 abstract "This article is about realigning geopolitical identities, about transformation of languages and bodies, about inventing real, in this case Literature(s). At stake is concept of a literature in context of a multilingual, multiracial state. This consideration of so-called national literatures as comparative literatures challenges paradigms of discipline of Comparative Literature, founded on literary nationalism where language is mark of nationality, and Literature, it is understood, must be territorialized. Deterritorialization, however, is condition of literatures in Canada.The paradox of living between cultures, of writing between languages, is forced on Marlene Nourbese Philip as that contemporary figure of alterity so ubiquitous in Canadian culture, immigrant. The dis/placement of language she encounters in competing fields of polyglossia produces a disjunction between apprehension of, and communication about, world around. In a new culture, signifiers have lost their habitual referent, are deterritorialized. She is caught in a border dialogue between mimicry, alterity and silence. Not part of continuing migration from Europe which established settler colony of Canada as an extension of French, then British, imperialism--with and French as its official languages--she is a descendant of African slaves, over whom British imperialist rule was exercised as self-conscious disruption: she comes from another marginal place, Trinidad-Tobago, a colony of invasion and exploitation. An exile twice over through enslavement and emigration, Nourbese Philip has made of language a place, and has taken up the challenge of anguish that is English for all African people.(f.1) In this obsession that...is language, Nourbese Philip constructs a demotic, drawing on theorizing of decentring of imperial through a polydialectical jamming of its codes, or what has been called Caribbean continuum.(f.2)Writing within tension of centre and margin-between margin and margin in Canada--she represents from position of those already t/here, a boundary-crosser, a marginal voice bordering on known, themselves hybrids comprising both known and unknown. In between, she shuttles back and forth displacing, yet simultaneously exposing, irreducibility of margin. The official explanation of her difference in Canada is cultural, yet she poses it as linguistic. She explores creative potentialities of interface of languages, strategies of code-switching and recontextualization, in production of an interlanguage or counterdiscourse, that is a centrifugal system of sign manipulation. Pursuing a politics of signifier, she invites us to read this difference in language as metonym of social and cultural forces traversing text. In She Tries Her Tongue, Her Silence Softly Breaks, continuum is remarked as vari-directional system not binary opposition. The multiple combinatorial potentials of sign are site of struggles to fix meaning in discursive signifying practices. This problem in discourse is a clash of cultures over claims to real, that is, to authentic Canadian Literature.For African-Caribbean-Canadian who would be a writer, oppressed by pernicious effects of sexism and racism, only too aware of politics of choice of language in construction of representations of identity (create new i-mages, She Tries Her Tongue, p. 12), this paradox of de/con/struction poses an additional challenge that makes her language strategies self-reflexive. The continuum is a reworking of English: in Canada, this demotic is a foreign tongue. The symbolic order instituting categories of sayable (or writable) exerts its authority in conflict of languages: We grow up speaking English, so it is comforting, but it is also something forced on us. …" @default.
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• W267914712 date "1994-04-01" @default.
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• W267914712 title "The Media and the Royal Commisssion on the Status of Women in Canada, 1966-1972: Research in Progress" @default.
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