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• W914042419 abstract "Sinophone Malaysia Literature: Not Made in by Alison M. Groppe. Amherst, New York: Cambria, 2013. Pp. 340. $114.99 (hardcover).... if I am inescapably by descent, I am only sometimes by consent.When and how is a matter of politics.-Ien Ang1The political dialectic between descent and consent sums up complexity of being today, when has become more of a debate than a statement. More importantly, although it is true that there are diverse ways of being consent to homogeneous Chineseness remains a cultural and political spell in diaspora. How to be differently, to express diverse views of Chineseness, and to live with yearning for and/or in tension with cultural and political are key questions for both China studies as well Sinophone studies. Sinophone Literature: Not Made in China critically engages this dialectic of descent and consent by offering a so do-historical study of Mahua literature. Though Mahua may be translated as Malaysian or Chinese Groppe instead renders it as Sinophone Malaysian, to signify its distance from and entanglement with language, and modern literature. As suggested in book's subtitle, this literature is made in China, though need for such a denial acknowledges spectre that informs this emerging community of writers. The consent to Chineseness-however reluctant-is implied in its very dissent. In other words, while writers discussed in book are by dtizenship not Chinese, use of and immersion in language, as well as critical recognition bestowed on works have compelled them to engage with Chineseness from peripheral sites. And here lies significance of Groppe's choice of Sinophone: as theoretical lens attending to meanings of alterity and experience of hybridity to translate Mahua literature as strategies and modes that Malaysia-born Chinese-language writers have used to articulate their multifaceted identities and multiple complicated attachments (4).Consisting of seven chapters and a conclusion, this book offers both a historical and theoretical view into formation of Mahua literature as well as thematic studies of selected authors-Ng Kim Chew, Li Yongping, Zhang Guixing, and Li Zishu-to analyze complex negotiations with and reinventions of languages, identities, histories, and geo-cultural imaginations between Malaysia and China. Chapter 1 presents a theoretical exposition of Sinophone literature as a category emerging out of complex relations between Malaysia and migration reflected specifically in difficulty of naming this literature. It is as much a literary as a political project of identity formation defined by its own struggle to come into being, namely, the right to be both and differently (14).Chapter 2 commences a historical exploration of Sinophone literature's coming into being: from British colonial times (represented by Straits Magazine, 1897-1907), through 1920s and 1930s as impact of modern literature waxed and waned in relation to drive for local color and Japanese aggression, and followed by period of struggle between realism and modernism in 1950s and 1960s, until a group of overseas-educated authors (mostly residing in Taiwan) emerged in 1980s and 1990s. The ups and downs of Sinophone literature reflect political oppression of in Malaysia on one hand - marked especially by 513 Incident of 1969 where a number of anti-government Malaysians were killed, non-recognition of Malaysians as bumiputra (native soil) population, and state's hostility to Communists-and influence of Chinese-language education which survived and thrived in diasporic links between Malaysia and Taiwan on other. …" @default.
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• W914042419 date "2014-12-01" @default.
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• W914042419 title "Sinaphone Malaysia Literature: Not Made in China" @default.
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