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From Post-Feminism to Post-Colonialism: The Voice of the Other in Narrative

From Post-Feminism to Post-Colonialism: The Voice of the Other in Narrative English 3990 T01 – CRN 54635 Prof. Fernando de Toro Academic Term: Winter 2017 Office: Fletcher Argue Building Room 628 e-mail: fernando.detoro@umanitoba.ca Telephone: 204-474-8141

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From Post-Feminism to Post-Colonialism: The Voice of the Other in Narrative

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  1. From Post-Feminism to Post-Colonialism: The Voice of the Other in Narrative • English 3990 T01 – CRN 54635 • Prof. Fernando de Toro • Academic Term: Winter 2017 • Office: Fletcher Argue Building Room 628 • e-mail: fernando.detoro@umanitoba.ca • Telephone: 204-474-8141 • Day, Time, Location: MWF 14:30-15:20 ISBISTER  Rm: 136 • Office Hours: MWF: 13:30-14:20 • Class Notes: http://home.cc.umanitoba.ca/~fdetoro/E3990/

  2. I. Introduction • New forms to produce literature and cultural objects emerged in Western culture towards the beginning of the 1960s. In particular, the cultures of the United States of America and Latin American experienced radical changes, specifically in cultural and social manifestations such as theatre, architecture, photography, literature, sculpture, politics, philosophy, music as well as feminist, post-feminist and post-colonial practices. • Writing becomes political, controversial and polemic: the Other is finally writing back, and they take over the whole of the artistic, cultural fields, and also, I dare to say, the social field.

  3. This phenomenon has been labelled, since the early 1970s, the post-modern condition. • Both the theoretical and artistic corpus selected are inscribed within Postmodernity and produced in diverse cultures. • The theoretical texts present many different problems and issues since their discourses proceed from heterogeneous fields of knowledge.

  4. The central objective of this course is to offer an overview regarding when, why and how postmodern cultural practices emerge as new epistemic and theoretical paradigms under a variety of labels, such as post-structuralism, post-modernism, post-colonialism, deconstruction, feminism, post-feminism, etc. • Here, we will concentrate on post-colonial and post-feminist writings from the 1960s to date and explore what these new voices provide as a worldview and examine what the insertion of other cultures offers in the era of globalization.

  5. II. Method of Evaluation • Number of Assignments: 3 • Dates, length and value: • 1) February 17: 800-word essay – 20% • 2) March 27: 1100-word essay – 40% • 3) April 21: 1100-word essay – 40%

  6. III.Required Readings: Fiction • Acker, Kathy. (1989). Don Quixote. New York: Grove Press. • Coetzee, J.M. (1986). The Barbarians. London: Vintage Books • Malouf, David. (1999). An Imaginary Life. London: Vintage Books. • Morrison, Tony. (2008). A Mercy. New York: Knopf Canada. • Vassanji, M.G. (2007). The Assassin’s Song. Toton: Doubleday Canada. • Walker, Alice. (1982). The Color Purple. New York: Washington Square Press.

  7. Winterson, Jeanette. (1989). The Passion. New York: Vintage Books. • IV. Reference: Required • Hacker, Diana and Nancy Sommers. (2016). A Canadian Writer’s Reference. Sixth Edition. Boston – New York: Bedford/St. Martin’s.

  8. V. Reference Readings: Theory • Ashcroft, Bill, Gareth Griffiths, Helen Tiffin. (1989). The Empire Writes Back: Theory and Practice in Post-Colonial Literatures.London and New: Routledge. • Bertens, Hans. (1986). “The Postmodern Weltanschauung and its Relation to Modernism: An Introductory Survey”. In A Postmodern Reader. Edited by Joseph Natoli and Linda Hutcheon. New York: State University of New York Press, pp. 25-70. • Bhabha, Homi. (1990). “Introduction. Location of Culture”. In The Location of Culture. London: Routledge, pp. 1-18.

  9. Bhabha, Homi. (1990). “How newness enters the world: Postmodern space, postcolonial times and the trials of cultural translation”. In The Location of Culture. London: Routledge, pp. 212-235. • Bhabha, Homi. (1990). “The postcolonial and the postmodern: The question of agency”. In The Location of Culture. London: Routledge, pp. 171-197. • Butler, Judith. (1990). “Subjects of Sex/Gender/Desire”. In Gender Trouble. Feminism and the Subversion of Identity. New York: Routledge, pp. 1-34. • Chambers, Iain. (1994). “The Broken World: Whose Centre, Whose Periphery?” In Migrancy, Culture, Identity. London and New York: Routledge, pp. 67-91.

  10. Chambers, Iain. (1994). “An Impossible Homecoming” In Migrancy, Culture, Identity. London and New York: Routledge, pp. 1-8. • Cixous, Hélène. (1981 [1980]). “The Laugh of the Medusa”. In New French Feminisms. Edited with an Introduction by Elaine Marks and Isabelle de Courtivron. New York: Schocken, pp. 245-264: • Deleuze, Gilles and Félix Guattari. (1987). “Rhizome.” In A Thousand Plateaus. Translation and Foreword by Brian Massumi. Minneapolis: University of Minnesota Press, pp. 3-25. • Derrida, Jacques. (1981). “Platos’s Pharmacy”. In Dissemination. Translated, with and Introduction and additional notes, by Barbara Johnson. Chicago: The University of Chicago Press, pp. 65-119.

  11. Derrida, Jacques. (1974). “Part I: Writing Before the Letter”. In Of Grammatology. Translated by Gayatri Spivak. Baltimore: The Johns Hopkins University Press, pp. 6-73. • De Toro, Fernando. (1999). “Borges/Derrida and Writing”. In Jorge Luis Borges: Thought and Knowledge in the XXth Century. Frankfurt am Main: Vervuert Verlag, pp. 115-128. • De Toro, Fernando. (1994). “From Where to Speak? Post-Modern/Post-Colonial Positionalities”. In Borders and Margins: Post-Colonialism and Post-Modernism. Alfonso de Toro and Fernando de Toro, Editors. Frankfurt am Main: Vervuert Verlag, pp. 131-148 • Hall, Stuart. (1996). “When was ‘the post-colonial’? Thinking at the limit”. In The Post-Colonial Question: Common Skies, Divided Horizons. London and New York: Routledge, pp. 242-260.

  12. Hall, Stuart. (1996). “Who Needs ‘Identity’?” In Questions of Cultural Identity. Stuart Hall and Paul Du Gay, Editors. London, Thousand Oaks, New Delhi: SAGE Publications, pp. 1-18. • Huyssen, Andreas. (1984). “Mapping the Postmodern”. In A Postmodern Reader. Edited by Joseph Natoli and Linda Hutcheon. New York: State University of New York Press, pp. 105-156. • Hutcheon, Linda. (1989). The Politics of Postmodernism. London and New York: Routledge. • Irigaray, Luce. (1981 [1980]). “The Sex Which Is Not One”. In New French Feminisms. Edited with an Introduction by Elaine Marks and Isabelle de Courtivron. New York: Schocken, pp. 90-106.

  13. Jencks, Charles. (1989). What is Post-Modernism? Third Edition. New York: St. Martin’s Press. • Karl, Frederick R. (1988). “Getting to Be Modern: An Overview”. In Modern and Modernism: The Sovereignty of the Artist 1885-1925. New York: Atheneum. • Karl, Frederick R. (1988). “Modern and Postmodern, Modernism and Postmodernism”. In Modern and Modernism: The Sovereignty of the Artist 1885-1925. New York: Atheneum • Moi, Toril. (1989). “Feminist, Female, Feminine”. In The Feminist Reader. Essays in Gender and the Politics of Literary Criticism. Edited by Catherine Belsey and Jane Moore. Cambridge, Massachusetts and Oxford, United Kingdom. pp. 117-132.

  14. Rutherford, Jonathan. (1990). “A Place Called Home: Identity and the Cultural Politics of Difference”. In Identity, Community, Culture, Difference. London: Lawrence and Wishart, pp. 9-27. • Said, W. Edward. (1978). “Introduction” to Orientalism. New York: Vintage Books. • Smith, Barbara (2007). “Toward a Black Feminist Criticism”. In David H. Richter, David H. Ed. The Critical Tradition. Classic Texts and Contemporary Trends. Third Edition. Boston – New York: Bedford/St. Martin’s, pp. 1600-1616. • Weedon, Chris. (1987). Feminist Practice and Poststructuralist Theory. Cambridge, Massachusetts and Oxford, United Kingdom: Blackwell.

  15. Weeks, Jeffrey. (1990). “The Value of Difference”. In Identity, Community, Culture, Difference. London: Lawrence and Wishart, pp. 88-99. • Waugh, Patricia. (1984). “Introduction to Metafiction”. In Metafiction: The Theory and Practice of Self-Conscious Fiction. London and New York: Routledge. • Worton, Michael and Judith Still. “Introduction”. (1990) In Intertextuality: theories and practices. Manchester and New York: Manchester University Press, pp. 1-44.

  16. VI: Reading Schedule • January 18: An Introduction to Modernity • January 20: An Introduction to Modernity • January 23:Karl: “Modern and Postmodern”. • January 25: Hans Bertnes: “The Postmodern Weltanschauung”. • January 27: Hans Bertnes: “The Postmodern Weltanschauung”. • January 30: Andreas Huyssen: “Mapping the Post-Modern”. • February 1: Andreas Huyssen: “Mapping the Post-Modern”. • February 3: An Introduction to Post-Modernity • February 6: An Introduction to Post-Modernity

  17. February 8: Introduction to Feminism/Post-Feminism. • February 10: Introduction to Feminism/Post-Feminism. • February 13: Judith Butler: “Subjects of Sex/Gender/Desire”. • February 15: Judith Butler: “Subjects of Sex/Gender/Desire”. • February 17: Hélène Cixous: “The Laugh of the Medusa”. • February 20: Louis Riel Day • February 21-24: Mid-Term Break • February 27:LuceIrigaray. “The Sex Which Is Not One”. • February 27: FIRST PAPER • March 1: Gilles Deleuze and Félix Guattari: Rhizome. • March 3: Kathy Acker: Don Quixote. • March 6: Kathy Acker: Don Quixote.

  18. February 27: FIRST PAPER • March 8: Jeanette Winterson: The Passion. • March 10: Jeanette Winterson: The Passion. •  March 13: Bill Ashcroft, Gareth Griffiths, Helen Tiffin: The Empire Writes Back: Theory and Practice in Post-Colonial Literatures. • March 13: An Introduction to Post-Coloniality: Homi Bhabha: “How newness enters the world: Postmodern space, postcolonial times and the trials of cultural translation”. • March 15: An Introduction to Post-Coloniality: Homi Bhabha: “The postcolonial and the postmodern: The question of agency”. • March 17: An Introduction to Post-Coloniality: Edward Said: Introduction to Orientalism.

  19. March 20: J. M. Coetzee: The Barbarians. • March 22: J. M. Coetzee: The Barbarians. • March 24: David Malouf: An Imaginary Life. • March 27: David Malouf: An Imaginary Life. • March 27: SECOND PAPER • March 29: M.G. Vanssanji. The Assassin’s Song • March 31: M.G. Vanssanji. The Assassin’s Song. • March 31: Voluntary Withdrawal (VW) deadline • April 3: bell hooks: “Postmodern Blackness”. • April 5: bell hooks: “Postmodern Blackness”. • April 7: “Barbara Smith: “Toward a Black Feminist Criticism”. • April 10: “Barbara Smith: “Toward a Black Feminist Criticism”.

  20. April 12: Tony Morrison: A Mercy. • April 14: GOOD FRIDAY • April 17: Tony Morrison: A Mercy. • April 19: Alice Walker: The Color Purple. • April 21: Alice Walker: The Color Purple. • April 28: THIRD PAPER

  21. THE UNIVERSITY OF MANITOBA • THE UNIVERSITY OF MANITOBA • DEPARTMENT OF ENGLISH,FILM, and THEATRE • Standard Course Policies • For further information or clarification of these policies, please consult the General Academic Regulations page on the Online Academic Calendar— Undergraduate (http://crscalprod1.cc.umanitoba.ca/Catalog/ViewCatalog.aspx?pageid=viewcatalog&catalogid=280&chapterid=3051&loaduseredits=False) • VW Date: Last day for withdrawal from Fall courses: March 31.

  22. Attendance Regular attendance and participation are critical to student success. An instructor may initiate procedures to debar a student from attending classes and from final examinations and/or from receiving credit where unexcused absences exceed those permitted by the faculty or school regulations. A student may be debarred from class and examinations by action of the dean/director for persistent non-attendance or for failure to produce assignments to the satisfaction of the instructor. Students so debarred will have failed that course.

  23. Plagiarism:To plagiarize is to take ideas or words of another person and pass them off as one’s own. Plagiarism applies to any written work, in traditional or electronic format, as well as orally or verbally presented work. Students are expected to appropriately acknowledge the sources of ideas and expressions they use in their written work, whether quoted directly or paraphrased. This applies to diagrams, statistical tables and the like, as well as to written material, and materials or information from Internet sources. Plagiarism or any other form of cheating in examinations, term tests or academic work is subject to serious academic penalty.

  24. The common penalty in Arts for plagiarism in a written assignment, test, or examination is F on the paper and F for the course. For the most serious acts of plagiarism, such as the purchase of an essay or cheating on a test or examination, the penalty can also include suspension for a period of up to five years from registration in courses taught in a particular department in Arts or from all courses taught in this Faculty. The Faculty also reserves the right to submit student work that is suspected of being plagiarized, to Internet sites designed to detect plagiarism. If you are unsure of what constitutes plagiarized work please consult your instructor and the “Academic Integrity” section found in the General Academic Regulations of the Online Academic Calendar.

  25. Grade Appeals: Students are responsible for ensuring that they are familiar with the University's policy on grade appeals. The appeal of term work returned or made available to students before the last day of classes shall be subject to the policies and procedures established by faculty or school councils. If a student has good reason to believe a mistake has been made in the assessment of the original grade, an appeal of the assigned grade may be made. A student may enter an appeal, through the Registrar’s Office, for assessment of one or more grades following the posting of grades by the faculty/school/department.

  26. Unclaimed Term Work: Any term work that has not been claimed by students will be held for four (4) months from the end of the final examination period for the term in which the work was assigned. At the conclusion of this time, all unclaimed term work will be destroyed confidentially.

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