2,951 research outputs found
Perceptual Expressions of the Known: Hoa Nguyen on Fred Wah
No full textOn reading and teaching with the work of former Parliamantery Poet Laureate of Canada Fred Wah.</p
Chronotope, Memory, and Identity in Fred Wah\ue2s Diamond Grill
No full textWith essays and anecdotes, Fred Wah\ue2s biotext Diamond Grill delineates and adds a few fictional elements to the life of Fred Wah, a hybrid with Chinese ethnicity. While its content resembles that of an autobiography, its form is innovative for its nonlinear timeline. Presenting stories of different time-spaces, Wah reveals that there are different aspects of self and that identity can never be sure. From this perspective, this thesis explores the significant relation between form and content, discussing the connection between time-spaces, memory and identity in the text. In Chapter One, I use Bakhtin\ue2s concept of chronotope to analyze the form and the different time-spaces. Also, I will show that through these chronotopes Wah exhibits the relation between self and society as well as how the diasporic subjects waver between chronotopes of their homelands and that of their host country. Despite having a gap between different chronotopes, diasporic communities maintain continuity and solidarity by keeping their practices and memories. Chapter Two examines how memory is presented in the work and analyzes the way it strengthens the connection between individual and the community. With Halbwach\ue2s theory of collective memory, I will demonstrate that memory in Diamond Grill is more social than personal and that through (re)collecting familial stories of the past, Wah assures himself of his sense of belongingness in the community as well as to explore his identity. In Chapter Three, I will discuss the fluidity of identity. I will first discuss Wah\ue2s \ue2chinessness\ue2 with Shih Shu-mei\ue2s concept of Sinophone. Questioning his in/visible chineseness, I will then analyze Wah\ue2s changing identity with Bhabha\ue2s notion of cultural choice. Feeling connected with Chinese diaspora community, with the appearance of a westerner, Wah has the privilege to choose, at different times, of being white or not. His chameleon identity is a result of constant negotiation for survival
Fred Krebs as L. Frank Baum, author of The Wizard of Oz
No full textFred Krebs performs an historical impersonation of L. Frank Braun (1856-1919), author of the book, The Wonderful Wizard of Oz. This event was sponsored by the Kansas Humanities Council
Wah Hoi Industrial Company
No full text The changing environment faced by Hong Kong-based entrepreneurs undertaking production in southern China provides the broad context for the Wah Hoi case. Since starting production in Guangdong province in 1988, Wah Hoi has grown rapidly. However, in the mid-1990s, the founder and owner of Wah Hoi, Mr. Fred Mok, has to address a number of problems. These include a need to re-evaluate several joint venture agreements; pressures from cost inflation and regulatory changes in China; a tough competitive environment in overseas markets; and policy issues relating to Wah Hoi's international marketing strategy. </jats:p
The portrayals of fathers and daughters in Mary di Michele's poetry
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2010Esta dissertação analisa a poesia da escritora ítalo-canadense Mary di Michele focando nos retratos de pais e filhas. O relacionamento entre pai e filhas revela dois dilemas. O primeiro dilema é caracterizado pela aceitação ou rebelião por parte das filhas em relação ao tradicional papel patriarcal do pai. O segundo dilema é caracterizado pela sustentação ou abandono das tradições italianas numa nova terra. O objetivo desta dissertação é analisar os poemas de di Michele que retratam o papel do pai e das filhas em famílias italianas de tradição patriarcal observando como o deslocamento cultural causa um choque em tradições sócio-culturais, como o patriarcado. Para atingir esse objetivo, os conceitos de patriarcado e entre-cultura são discutidos no primeiro capítulo desta dissertação juntamente com uma revisão crítica da relevante literatura sobre o trabalho de di Michele. Nesta seção alguns autores cujos trabalhos eu discuto são: Adrienne Rich, Angelika Bammer, Fred Wah, Gloria Anzaldúa, James Clifford, Judith Bennet, Simone de Beauvoir, Sylvia Walby e Smaro Kamboureli. O segundo capítulo analisa como o retrato do pai e sua conduta patriarcal irão influenciar na criação das filhas. O terceiro capítulo analisa como as filhas são retratadas para compreender a posição delas de manter ou abandonar as tradições de seu pai como conseqüência do deslocamento. O quarto capítulo analisa como questões de gênero e de cultura da criação das filhas influencia as escolhas de vida delas, especialmente as escolhas de parceiros. Essa dissertação conclui que o pai é retratado de forma opressiva e autoritária caracterizando uma sociedade patriarcal de opressão emocional. O comportamento dele não o leva a felicidade, alívio do cansaço, ou satisfação em relação às escolhas das filhas. As escolhas de vida das filhas refletem uma crítica sobre família e condições de casamento por causa delas sentirem-se desconfortáveis com os parceiros que elas escolheram; o que as leva a viver submissivamente infelizes como escravas dos maridos ou a subverter as normas patriarcais revoltando-se contra elas
Reading for queer openings: moving. archives of the self. Fred Wah
No full textFred Wah is a writer of the contemporary, not the archive. He writes poetry
“as a way of reading and thinking” (Faking It 1). I read his poetry as a way
of thinking and writing. My focus therefore is on “the archive effect” as
an act of reading, “an experience of reception rather than an indication of
official sanction or storage location” (Baron 7). Many affect theorists assume that “a vital re-centring of the body” necessitates a shift away from “the text and discourse” (Gregg and Siegworth 1). But, as I will argue, if bodies are at the centre of “the affective turn” (Clough and Halley; Pedwell and Whitehead), readers, texts, and language remain key theoretical touchstones. In Denise Riley’s words, there is a “forcible affect of language,” which courses through us “like blood” (Impersonal Passion 1). In Faking It (2000), Wah’s millennial collection of essays on poetics and hybridity, he speaks of the poet as archivist and of poetry being written out
of “archives of the self ” (237). For Wah, writing involves rereading such
archives, not to confirm what is known, but to “get through” (232) to someplace else. From the vantage point of some new place, we see the “openings” that enabled the transformation. The experience of reading the work of Fred Wah is similarly transformative and requires active, embodied readers. In Wah’s investigative writing practice, he explores his mixed Chinese/English/Swedish identity. I found in it queer openings where I could examine the experience of being a white, supposedly heterosexual, woman who felt like and eventually came out as a lesbian. Although scholars across the social sciences and humanities agree that
there is no “singular crosscutting definition of affect” (Cifor and Gilliland),
affect is, as Marika Cifor argues, “a force that creates a relation between a
body and the world” (8).1 As Ann Cvetkovich says in the interview cited
as an epigraph to this chapter, “the archive of feelings” gives us permission
“to turn down the volume on the voice of critique and pay attention to the
strong feelings that get attached to things” (Carland and Cvetkovich 73).
My strong feelings have always been attached to the things we call poems.
This chapter explores therefore what it means to access archives of the self
through reading. I consider the reasons why and how I read, and reread, the work of Fred Wah in my early essays on his work (Rudy Dorscht, “mother/ father things”; Rudy, “& how else”), during our collaboration on the Fred Wah Digital Archive (S–2010), and since I began writing this essay in 2016. Along the way, I say something of what I’ve learned about archives, queer openings, affect, and my body
Standing in the Doorway - the Hyphen in Chinese-Canadian Poetry
No full textWebcast sponsored by the Irving K. Barber Learning Centre and hosted by Richmond Public Library as part of the "The Joy Of Reading: Chinese Literature Appreciation" lecture series. This talk focuses on living and writing between two cultures, Chinese and Canadian. Racial hybridity has informed most of Prof. Wah’s writing and that of many Chinese-Canadian writers. Wah will read and discuss his own book Diamond Grill (about growing up in a small town Chinese-Canadian restaurant), as well as writings by poets Rita Wong, Larissa Lai, Weyman Chan, and others. He will situate this writing within the recent historical context in North America of “writing through race.” Presented by Canadian Parliamentary Poet Laureate, Professor Emeritus Fred Wah.Non UBCUnreviewedFacult
Letter from Fred Korematsu to Ernest Besig, Director, American Civil Liberties Union of Northern California, 1942
No full textLetter from Fred Korematsu to Ernest Besig, written from Tanforan Assembly Center, asking about the status of his case, which he has not heard news about. Stamped "confidential."The ACLU-Northern California case file records contain legal documents and correspondence pertaining to the case argued before the Supreme Court in Korematsu v. United States (1944), challenging the constitutionality of Executive Order 9066
beholden: poem as long as the river
No full textComprising two lines of poetic text flowing along a 114-foot-long map of the Columbia River, this powerful image-poem by acclaimed poets Fred Wah and Rita Wong presents language yearning to understand the consequences of our hydroelectric manipulation of one of North America’s largest river systems. beholden: a poem as long as the river stems from the interdisciplinary artistic research project “River Relations: A Beholder’s Share of the Columbia River,” undertaken as a response to the damming and development of the Columbia River in British Columbia, Washington, and Oregon, as well as to the upcoming renegotiation of the Columbia River Treaty. Authors Fred Wah and Rita Wong spent time exploring various stretches of the river, all the way to its mouth near Astoria, Oregon. They then spent several months creating long poems along the Columbia, each searching for a language that evoked the complexities of our colonial appropriation of it. beholden was then assembled as a page-turning book that reproduces the two long poems as they respond to the meanderings of the river flowing two thousand kilometres through Canada, the United States, and the territories and reserves of Indigenous Peoples. Visual artist Nick Conbere then transferred this winding footprint into a monumental, 114-foot horizontal banner. beholden: a poem as long as the river “reads” the geographic, historical, political, and social dimensions of the Columbia River, literally and figuratively, proposing two contrasting kinds of attention. As both a stand-alone poem and an accompanying piece to the visual installation exhibited at various galleries, beholden represents a vital contribution to a larger dialogue around the river through visual art, writing, and public engagement.
https://talonbooks.com/books/beholden
 
mcbooki401p305: Wah Wah Springs (cont.), How They Brought the Doctor
No full textand Mrs. Squires. They were married January 9, 1895, at Wah Wah. Owen Grover never owned the springs, his daughter, Mrs. Irene Green says. Mrs. Green says that her uncle, Joseph DeMeulle, owned a small place east of the main farm at Wah Wah and he sold out the same time that her grandmother, Mrs. Squires, sold. Mrs. Green says that in the eighties there was an iron smelter operating a couple of miles from the ranch and her grandfather, Edwin Squires, ran a store at the ranch for a couple of years from about 1884 to 1885 for the benefit of the people who worked at the smelter. The smelter was moved away later but while it was in operation they used the water from the springs. The ore was brought to the smelter from Frisco. Mrs. Green says that none of her people had anything to do with the smelter. She says that her grandparents came from the East to Wah Wah Valley and they came just like the pioneers all came. Mrs. Bell James says a man by the name of DeMeulle owned another big spring near Wah Wah and it was sold along with the Wah Wah Springs to Samuel Newhouse. Both springs were dug out. The water from them was piped down and carried in one pipe to Newhouse. There was lots of water from the two springs, she says. Parley Madsen and Wilford Winch own Wah Wah Springs now. A man by the name of Fred Jensen is the foreman. He farms there and raises stock.
HOW THEY BROUGHT THE DOCTOR There was a time in the history of Snake Valley when if sickness came to any of its inhabitants they were faced with the very difficult problem of getting the much-needed medical assistance. It is said that they have had to send as far away as Payson for a doctor. Many times they would have to go and bring a doctor from Fillmore. When Frisco became a flourishing mining settlement justifying a doctor's residence there, their problems wer
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