Remediating Stevenson: Decolonising Robert Louis Stevenson's Pacific Fiction through Graphic Adaptation, Arts Education and Community Engagement

这个跨学科项目探索了罗伯特·路易斯·史蒂文森的太平洋写作遗产，调查了他的作品与萨摩亚、苏格兰和夏威夷当代读者的相关性，并从史蒂文森1893年出版的三篇短篇小说《岛屿之夜的娱乐》中获得了新的艺术和诗歌灵感。其中包括以夏威夷为背景的《瓶子妖怪》和《声音之岛》，以及以史蒂文森对萨摩亚文化的体验为基础的《法尔斯海滩<e:1>》。考虑到世界各地的教育机构都在积极地致力于他们的课程去殖民化，史蒂文森的工作和遗产提供了一个特别有价值的探究焦点。史蒂文森在萨摩亚和夏威夷原住民被美国和德国吞并之前的一个关键时期积极参与支持这些岛屿的主权运动，然而，他的太平洋小说，虽然在塑造具有相当机构和尊严的土著主角方面具有打破传统的特点，并对西方帝国主义提供了批判性的原始现代主义观点，仍然坚持许多典型的殖民刻板印象，在世纪末的西方文学中。这个项目的独特之处在于：(a)开发了一套创造性产出和教学资源，强调史蒂文森的太平洋语料库与探索紧迫的当代问题（如全球化、跨国、气候变化和可持续性）的相关性；(b)探索史蒂文森的太平洋写作以及他在夏威夷和萨摩亚的历史存在为当代太平洋社区留下的丰富而复杂的遗产。(c)首次将《岛屿之夜娱乐》的三个故事进行图文改编，翻译成萨摩亚语和夏威夷语。其他产出包括土著作家的新诗；记录片；一个展览;一个网站;以及各种学术出版物。该项目包含三个主要学科，重点围绕视觉艺术的实践和研究；文学/适应性研究;以及艺术教育/教育学。这些信息为各种项目活动和方法提供了信息，包括：1)对史蒂文森太平洋小说中描绘的环境、文化和历史进行实地和档案研究，以及他的作品最初出版和插图的背景；所以改编的过程要考虑到史蒂文森的太平洋写作受到一种愿望的影响，那就是发展一种文学现实主义，这种愿望与对太平洋文化和地方的细致观察相协调，也记录在他的太平洋旅行写作中，2)鉴于史蒂文森本人对太平洋跨文化互惠传统的尊重（体现了他分享苏格兰/欧洲民间故事的实践，以交换太平洋土著对话者的叙述，并在他的写作中融合了欧洲和太平洋的叙事传统），太平洋土著社区将参与我们创作和研究过程的每一个阶段，使用基于社区的参与式研究（CBPR）方法。包括:(i)半结构化访谈，探讨史蒂文森对当代太平洋社区的意义，以及项目艺术家/诗人；（ii）参与式艺术讲习班（由萨摩亚的项目艺术家/诗人经营）；（夏威夷和苏格兰）使参与者能够制作一篇与史蒂文森的文学遗产和/或其小说中描绘的太平洋地区/文化相结合的创意写作插图；（iii）让萨摩亚实习生参与制作一部纪录片，该片将采用土著方法；(3)与萨摩亚、夏威夷和苏格兰的教育工作者协商，为制作符合当地教学需要和适合年龄群体的教学资源包提供信息；来配合我们的漫画小说。与当地教育机构的合作伙伴关系将使我们能够寻求将我们的资源用于国家课程水平的选择。

This interdisciplinary project explores the legacies of Robert Louis Stevenson's Pacific writing, investigating the relevance of his work to contemporary readers in Samoa, Scotland and Hawai'i, and producing new art and poetry inspired by the three short stories published in Stevenson's 1893 collection Island Nights' Entertainments. These include 'The Bottle Imp' and 'The Isle of Voices' - set in Hawai'i - and 'The Beach of Falesá', rooted in Stevenson's experience of Samoan culture.Given that educational institutions throughout the world are actively engaged in decolonising their curricula, Stevenson's work and legacy present a particularly valuable focus of inquiry. Stevenson became actively involved in supporting Samoan and Hawaiian indigenous sovereignty movements at a crucial period just before these islands were annexed by the US and Germany, and yet his Pacific fiction, while iconoclastic in featuring indigenous protagonists with considerable agency and dignity, and offering a critical proto-modernist perspective on western imperialism, still upholds many of the colonial stereotypes typical of fin-de-siecle western literature. This project is unique, in terms of:(a) developing a set of creative outputs and teaching resources emphasising the relevance of Stevenson's Pacific corpus to explorations of pressing contemporary issues such as globalisation, the transnational, climate change and sustainability,(b) exploring the rich and complex legacies that Stevenson's Pacific writing, and his historic presence in Hawai'i and Samoa, has left for contemporary Pacific communities, and (c) producing the first ever graphic adaptation of the three Island Nights' Entertainments stories, translated into Samoan and Hawaiian. Other outputs include new poetry by indigenous authors; a documentary film; an exhibition; a website; and various scholarly publications. The project contains three major disciplinary strands, focused around visual arts-based practice and research; literary/adaptation studies; and arts education/pedagogy. These inform various project activities and methods, including:1) On-location and archival research into the environments, cultures and histories depicted in Stevenson's Pacific fiction, and the contexts in which his work was originally published and illustrated, so that the adaptation process takes due account of the fact that Stevenson's Pacific writing was inflected by a desire to develop a literary realism attuned to meticulous observations of Pacific cultures and places also documented in his Pacific travel writing, photography and painting2) In recognition of Stevenson's own respect for Pacific traditions of cross-cultural reciprocity (informing his practice of sharing Scottish/European folk tales in exchange for narratives from indigenous Pacific interlocutors, and blending European and Pacific storytelling traditions in his writing), indigenous Pacific communities will be involved in every stage of our creative and research processes, using Community-Based Participatory Research (CBPR) methodologies, including: (i) semi-structured interviews exploring what Stevenson means to contemporary Pacific communities, as well as project artists/poets (ii) participatory arts workshops (run by project artists/poets in Samoa, Hawai'i and Scotland) enabling participants to produce an illustrated piece of creative writing engaging with Stevenson's literary legacy and/or the Pacific places/cultures depicted in his fiction (iii) involving Samoan interns in the making of a documentary film which will draw upon indigenous methodologies3) Consultations with educators in Samoa, Hawai'i and Scotland that will inform the production of teaching resource packs, attuned to local pedagogical needs and appropriate age groups, to accompany our graphic novel. Partnerships with local educational organisations will enable us to pursue options for our resources to be adopted at national curricular level.