Aphasia, Reassembly and Resemblance in the Black British poetry of the 21st Century

21世纪英国黑人诗歌中的失语、重组与相似

• 批准号: 2289525
• 金额: --
• 依托单位: Royal Holloway University of London
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2289525
• 关键词: Aphasia; Reassembly; Resemblance; Black; British

The purpose of this research is to establish how contemporary Black British poets utilise a poetics of 'aphasia'. Medically understood as the 'acquired loss of language due to cerebral damage' (Benson and Ardila 1996, 6), aphasia has also been used metaphorically as a lens for the decline of indigenous languages worldwide (Devy 2016, 1), and the reading of decolonial poetic techniques (Guttman 1996, 57). Through these metaphorical usages, I will develop the concept of aphasia as a lens through which the poetics of Black British poets can be read.The concept of aphasia lends itself organically to critical discussions of race, empire, diaspora, translation and literature wherein experiences of language loss, wordlessness and erasure are seen as reverberations of historic colonial trauma. In addition to functioning as a metaphor, it is also visible as a poetic device employed by poets who intend for their work to address such legacies.A focus upon 'reassembly' approaches a critical observation of what reparative acts Black British poets make to reclaim subjectivity of voice. Whereas a discourse of aphasia signifies communicative loss - and how such loss is rendered in praxis - this research also seeks to outline what the praxis of rebuilding looks like in the wake of aphasia.Lastly, to contribute to understandings of a still-forming Black British canon post-1948, I offer the term 'resemblance' as a model for critique that is not predicated upon 'poetic sameness' (Parmar 2015). The Black British community comprises African and Caribbean peoples with histories that sometimes converge and elsewhere do not. In this light, I want to map the intersections at which we 'know ourselves as part and as crowd' (Glissant 1994, 9). In seeking resemblances, I intend to define in what ways we are, as Claudia Rankine writes, 'travelling as family' (Rankine 2014).

本研究的目的是建立当代英国黑人诗人如何利用“失语症”的诗学。失语症在医学上被理解为“由于大脑损伤而获得性丧失语言”（Benson and Ardila 1996，6），也被隐喻地用作全球土著语言衰落的透镜（Devy 2016，1），以及非殖民地诗歌技巧的阅读（Guttman 1996，57）。通过这些隐喻性的用法，我将把失语症的概念发展为一个透镜，通过它可以阅读英国黑人诗人的诗学。失语症的概念有机地适用于种族，帝国，流散，翻译和文学的批判性讨论，其中语言的丧失，无言和擦除的经验被视为历史殖民创伤的回响。除了作为一个隐喻，它也是一种诗歌的手段，诗人们希望通过自己的作品来解决这些遗产。“重组”的关注是对英国黑人诗人为收回声音的主观性而采取的修复行为的批判性观察。而失语症的话语意味着沟通的损失-以及这种损失是如何在实践中呈现的-这项研究还试图勾勒出失语症之后重建的实践是什么样子的。最后，为了有助于理解1948年后仍在形成的英国黑人经典，我提出“相似性”一词作为批评的模型，而不是基于“诗意的同一性”（Parmar 2015）。英国黑人社区由非洲和加勒比人民组成，他们的历史有时会趋同，而其他地方则不会。在这种情况下，我想画出我们“知道自己是一部分，也是一群人”的交叉点（Glissant，1994，9）。在寻求平衡的过程中，我打算定义我们是以什么方式，正如克劳迪娅·兰金所写的那样，“像家人一样旅行”（兰金2014）。