Carnivalizing Imoinda's Silence.
In this essay, I analyze Joan Anim-Addo's libretto Imoinda, or She Who Will Lose Her Name (2008) and illustrate how its narrative poetry generates a speculative, gendered history around the slave past. Informed by Srinivas Aravamudan's observation of parodic subversion in the afterlives of Aphra Beh...
| Publicado en: | Eighteenth Century Fiction Vol. 34; no. 1; pp. 61 - 87 |
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| Formato: | Artículo |
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University of Toronto Press
Fall2021
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=152477894&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 152477894 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 08406286 7SD jtl: Eighteenth Century Fiction issn: 08406286 maglogo: N pubinfo: dt: Fall2021 vid: 34 iid: 1 pid: 678 pub: University of Toronto Press artinfo: ui: 152477894 10.3138/ecf.34.1.61 ppf: 61 ppct: 26 formats: fmt: @attributes: type: P size: 1MB tig: atl: Carnivalizing Imoinda's Silence. aug: au: Huang, Kristina affil: Assistant Professor of English at the University of Wisconsin-Madison su: Oroonoko: Or, the Royal Slave: A True History (Book : Behn) Behn, Aphra, 1640-1689 Anim-Addo, Joan, 1948- Narrative poetry Caribbean women authors sug: subj: Oroonoko: Or, the Royal Slave: A True History (Book : Behn) Behn, Aphra, 1640-1689 Anim-Addo, Joan, 1948- Narrative poetry Caribbean women authors ab: In this essay, I analyze Joan Anim-Addo's libretto Imoinda, or She Who Will Lose Her Name (2008) and illustrate how its narrative poetry generates a speculative, gendered history around the slave past. Informed by Srinivas Aravamudan's observation of parodic subversion in the afterlives of Aphra Behn's Oroonoko (1688), I return to Anim-Addo's oeuvre in order to read Imoinda as a work that counter-writes the colonial gaze of "Western" knowledge. By centering on Caribbean carnival as the performance context for the libretto, I examine how histories of rebellion and survival carried out by enslaved Africans and their descendants unfold through the libretto's narrative poetry. I argue that Imoinda, under the guise of artistic forms associated with "the West," breaks from Eurocentric perspectives that misrepresented subaltern struggles while ushering forth the question of "who speaks?" in critical discourses. I conclude by aligning Anim-Addo's Imoinda in relation to Sylvia Wynter's conceptualization of "demonic grounds" to highlight a transformative epistemic space of Caribbean women's literature. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Eighteenth Century Fiction is the property of University of Toronto Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Eighteenth Century Fiction holder: University of Toronto Press dt: @attributes: year: 2021 holdings: @attributes: islocal: N |
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