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Adoptees and Americans: Exporting Hans Christian Andersen and Karen Blixen (Isak Dinesen)
No full textHans Christian Andersen and Karen Blixen (aka.) Isak Dinesen have been widely read in America, with Hollywood’s Out of Africa adaptation adding to the attention. Both writers dramatized their alienation with adoption stories reaching across national and racial boundaries. They became iconic writers in the US for many reasons, but their preoccupation with adoption has been insufficiently explored. In fact, their transnational, transracial, transsexual, and cross-species adoption tales have entered US conversations about the Other, since the adoptee arrives in familial structures from “other” ideological, economic, or racial locations. Their adoption tales further fit American rights discourses, by insisting on the rights of belonging and conditions of freedom laid down by reason and law. They also subscribe to emotional discourses that evoke in the audience empathy and emotions related to dignity and humanity. Fairy tale adoptions fit the classic American quest narrative—Huck Finn-style—in which a heroic protagonist takes off into the unknown to find an identity, rooted in liberty, independence, and freedom. In a 21st-century world populated by migrants, refugees, orphans, adoptees, adoptive parents, and adopted or adoptive nations, Andersen and Blixen communicate with global adoption narratives the need for new ideological constellations of family, community, and nation
Mona Chettri and Michael Eilenberg (eds.), Development Zones in Asian Borderlands, Amsterdam: Amsterdam University Press, 2021. 284 pp, with illustrations. ISBN 9789463726238
Get PDFThe Making of Pieces of the Puzzle: Reflections on a Collaborative Ethnographic Filmmaking Process
Get PDFThis is a companion piece to the “Pieces of the Puzzle” film.
 
Gesturing Beyond Modernism: Frank O’Hara, Metonymy, and the Performing Self
No full textThis article studies the changing role of metonymy in Frank O’Hara’s poetry. In his early work, O’Hara often uses metonymy for the referential assortment of various modernist fields of influence. The origins of O’Hara’s signature ‘I do this, I do that’ style can be traced back to the problems of self-consciousness which emerge in these early homages to modernism. Though he is often celebrated for the swift responsiveness and spontaneity of his urban poetry, these metonymic homages reveal a poet with deeper and longer attachments in the object-world. Such attachments alert O’Hara to the risk of turning the self into one of the concrete or objectual signifiers of his metonymic assemblages. O’Hara’s early negotiation with the descriptive legacies of modernism and the resulting anxiety about self-consciousness will be demonstrated through an analysis of his sestina, “Green Words.” O’Hara’s solution will entail changing the logic of metonymy from contextual assemblage, where the body often finds representation as a conceptual object, to a foregrounding of the inherently metonymic character of bodily and gestural expression, where the body emerges as a dynamic and responsive presence. Thus, this article investigates how O’Hara’s ekphrastic accounts of contemporary art allowed him to break away from modernism to embrace a poetics of embodied responsiveness
