Introduction Native American stories are a critical component of the American society. The stories and particularly those that involve animal characters have enriched not only the American literature but also the entertainment space. Animal characters are an integral component of these kinds of stories. The characters play a specific role in the stories one of which is to characterize the behavior of human beings from which the readers can then draw important life lessons. The purpose of this paper is to help interrogate the nexus between the native stories in America and the entertainment and literal space.
African American Literature has imagery, themes, and vocabulary that are distinctive to its race. This form of literary expression was created by racism. The main reason why I don’t think that Caucasian can write about our experiences is neither because their debated writing presumes a perspective that they have not nor could they ever experience. If not handled properly, the work could come off as offensive. For those Caucasians who chose to write about African American Literature risk the misrepresentation; will the work be truthful?
Leonard discusses that the Punjabi immigrants that married the Mexican immigrants in their community had to balance their faith and their spouse’s Catholicism when raising children in a new country that had a mainly Protestant identity. Most interesting is the entire idea of identifying as South Asian at all, it provided clarification to the Asian identity which was most often used for the Chinese and Japanese but provided no clarification to the common reader. Moreover, the standards for being South Asian can vary from nation to nation with Menon noting “South Asians in Britain have been and continue to be included in the designation black, the racial identity of South Asians in the United States is more flexible…South Asians have the dubious distinction of being Caucasian, and not yet white…” Sridevi Menon focused on how their identity as American rather than Asian, Asian-American, or South Asian shaped their adaptation as well as the adaptation of their children born in the United States. Leonard has been the only other source to delve so deep into the historiography of the second-generation and was briefly acknowledged by Menon. She acknowledged that there was a change of identity because anything separate from their home country
I as a student has poor acknowledge, but I like reading the "A Dream Of Red Mansions", and I also saw the 87 version of the TV series. This time, I select part of Mr. Yang’s English translation to do a simple appreciation. Seen from the chapter titles The title of each chapter in the traditional Chinese chapter novels is the key that readers reads the whole language of that chapter, which is a form of the sentence between the poem and the prose. This kind of title overview concentrated the whole story, point out the hero and the story and arouse the reader 's interest. This literary form is unique in the novels of the world.
His fourth chapter, – The Cultural context of Black African Cinema –, which had the potential to be a thematic presentation of the cultural context, turned out to be a marathon of précis comments of over thirty films with no arguable scale of preference or convincing arguments for the choices made. Thirty or more films analyzed in that manner offer nothing more than poster clippings for whetting the appetites of those who would like to watch these films. What was needed was a judicious sampling of some films that could demonstrate tendencies, themes and forms that delineate emerging patterns in African
All of Tan’s novels have parallel narratives, one related to the past which is retold by mothers, and in one case a step sister who has come back from China; and the other is associated with the present stories of daughters about the cultural conflicts and alienation, they feel regarding the ancestral heritage of their home which has been transmitted to them by means of past memories. Hence, storytelling is the only possible means of communication for alienated mothers and daughters. Surprisingly, in the exchange of secrets, located at the end of the novels, characters obtain an impeccable insight about themselves and their Chinese identity. Sharing memories, in the form of oral histories, has been always considered a feminine act of breaking the silence and marginalization. The structure of the narratives demonstrates the individual tragedies of mother’s life in China, as well as, the obscurities of cultural transformation.
The cultural studies have made an impact on the translation process as a social and cultural practice, but also as a practice of diffusion and relocation of cultural goods that “allows us to situate linguistic transfer within the multiple ‘post’ realities of today: poststructuralism, postcolonialism and postmodernism.” (Simon, 1996 cited in Munday 2008: 131) Moreover, postcolonialism, as generally defined by Munday (2008: 131), is the term utilised to describe the studies of the history and culture of the former colonies and their conquerors, the opposition towards the European imperialists and the power relationships among them. Translation is closely linked to postcolonialism as both postcolonial writing and translation are influenced by
Much before the spread of literary in the 20th century, texts were preserved by memory and recollected or recited portions from them when the occasion arose. Africa’s oral literature takes the form of prose, verse and proverbs and the texts vary in length from the ‘epic’ which might be performed over the course of several days to single sentence formulations such as a ‘proverb’. Keywords: Myth, folklore, proverbs, language, culture and tradition Gabriel Immomatimi Gbaingbain Okara’s novel The Voice is set in the immediate post-independence period. Okara depicts the early years of Independence when the politicians simply take over the methods of the colonial administration with improving the lot of the people as a whole. Gabriel Okra presents
The patriarchal and imperialist undercurrents of travel writing—analyzed by critics like Mary Louise Pratt, Sara Mills, David Spurr, Tim Youngs, and, most recently, Inderpal Grewal— suggest that an unsuspecting view of travel writing as a mode to celebrate human freedom needs to be allied to the modern realities of class, race, and gender privilege (Holland 1943: 3). In his recent study of modern British travel writing, Mark Cocker
Writing, historical documents, newspaper clippings, interviews, found testimonies, letters, email correspondence, and running jokes which were mixed that adds credibility and illusory on the novel. They were exhibited by the stylistic narrative techniques, setting, and themes that were intellectually hand-eyed. No doubt, it won awards and became word of the mouth by its readers and literary writers. Lastly, adding the ideological context about the values being depicted and how these were exhibited, the novel talked various themes bearing various Filipino values as what I had said earlier. This was successfully exhibited due to its artistic way of designs and techniques that a literary writer could