scholarly journals Surrounded by Spirits: Hauntings of Identity in Waimea Summer by John Dominis Holt

2020 ◽  
Vol 2 (1) ◽  
pp. 78-91
Author(s):  
Alexander Casey
Keyword(s):  
Native Hawaiian ◽  
Coming Of Age ◽  
The Novel ◽  
Queer Identity ◽  
Kanaka Maoli ◽  
Sodomy Laws

In 1976, John Dominis Holt published what would be considered the first novel by a Kanaka Maoli [Native Hawaiian] author in English, Waimea Summer. This coming-of-age narrative set in 1930’s Hawai‘i follows fourteen-year-old Mark Hull, a half White, half Kanaka Maoli boy who experiences a series of hauntings on his uncle’s farm, all the while grappling with a burgeoning queer identity and conflicted cultural loyalties. In the post American-occupied Hawai‘i, the teachings of Christian missionaries and anti-sodomy laws have all but eradicated the aikāne [homosexual] relationships practiced by the ali‘i [royals] of Marks’ genealogy, and yet the boy’s queer desires refuse to die. In this paper, the novel is interpreted through Laura Westengard’s theory of the queer Gothic, in which concepts of the American nuclear heterosexual family are challenged by the burgeoning past, thus returning the narrative and agency to the queer Indigenous subject.

Patterns: Rosamond Lehmann

2018 ◽  
Author(s):  
Vike Martina Plock
Keyword(s):  
Coming Of Age ◽  
Public Image ◽  
Market Forces ◽  
The Novel ◽  
Fashion Industry ◽  
To The Lighthouse ◽  
Fashion Magazines ◽  
Female Authorship ◽  
Rosamond Lehmann

This chapter analyzes the role of fashion as a discursive force in Rosamond Lehmann’s 1932 coming-of-age novel Invitation to the Waltz. Reading the novel alongside such fashion magazines as Vogue, it demonstrates Lehmann’s awareness that 1920s fashion, in spite of its carefully stylized public image as harbinger of originality, emphasized the importance of following preconceived (dress) patterns in the successful construction of modern feminine types. Invitation to the Waltz, it argues, opposes the production of patterned types and celebrates difference and disobedience in its stead. At the same time, the novel’s formal appearance is nonetheless dependent on the very same tenets it criticizes. On closer scrutiny, it is seen to reveal its resemblance to Virginia Woolf’s To the Lighthouse (1927). A tension between imitation and originality determines sartorial fashion choices. This chapter shows that female authorship in the inter-war period was subjected to the same market forces that controlled and sustained the organization of the fashion industry.

The Right to Dream: Gender, Modernity, and the Problem of Class in Kate O'Brien's Bourgeois Bildungsromane

2019 ◽  
Vol 49 (2) ◽  
pp. 276-289
Author(s):  
Naoise Murphy
Keyword(s):  
Middle Class ◽  
Identity Formation ◽  
Coming Of Age ◽  
Female Identity ◽  
Gender And Sexuality ◽  
The Novel ◽  
Class Status ◽  
The Right ◽  
Aristocratic Culture ◽  
Modern Form

Feminist critics have celebrated Kate O'Brien's pioneering approach to gender and sexuality, yet there has been little exploration of her innovations of the coming-of-age narrative. Creating a modern Irish reworking of the Bildungsroman, O'Brien's heroines represent an idealized model of female identity-formation which stands in sharp contrast to the nationalist state's vision of Irish womanhood. Using Franco Moretti's theory of the Bildungsroman, a framing of the genre as a thoroughly ‘modern’ form of the novel, this article applies a critical Marxist lens to O'Brien's output. This reading brings to light the ways in which the limitations of the Bildungsroman work to constrain O'Brien's subversive politics. Their middle-class status remains an integral part of the identity of her heroines, informing the forms of liberation they seek. Fundamentally, O'Brien's idealization of aristocratic culture, elitist exceptionalism and ‘detachment of spirit’ restricts the emancipatory potential of her vision of Irish womanhood.

Papakū Makawalu and grounded theory: a combined and collective analysis for Hawai’i land stewardship—Honuaiākea

2021 ◽  
pp. 117718012110583
Author(s):  
Huihui Kanahele-Mossman ◽  
Marina Karides
Keyword(s):  
Land Use ◽  
Grounded Theory ◽  
Native Hawaiian ◽  
Land Ownership ◽  
Sacred Site ◽  
Kanaka Maoli ◽  
Land Stewardship

Kia’i (protectors) opposed to the building of a Thirty Meter Telescope on the summit of Mauna Kea, a profoundly sacred site and ecologically vital one, impeded its construction to date. The sanctity of Mauna Kea and its implications for Hawai’i’s sovereignty and land ownership are central to the struggle, yet what are the Indigenous ecological laws of Kanaka Maoli (Native Hawaiian) that ground opposition to the Thirty Meter Telescope? To construct a land stewardship policy, the Edith Kanaka’ole Foundation leadership bridged Papakū Makawalu, a Kanaka Maoli methodology, with grounded theory. Edith Kanaka’ole Foundation leaders organized a series of events where experts collectively and individually merged the two methods to analyse chants. Our article presents a discussion of (a) the struggles over land use on Mauna Kea, (b) the processes for merging methodological traditions, and (c) reflections on Kīho’iho Kānāwai (restoring Kānāwai for Island Stewardship), the final document of Honuaiākea (Earth in Expanse).

Productive narratologies of convergent sf

2020 ◽  
Vol 13 (3) ◽  
pp. 405-426
Author(s):  
Ida Yoshinaga
Keyword(s):  
Mass Media ◽  
Native Hawaiian ◽  
Pop Culture ◽  
Movement Analysis ◽  
Feature Film ◽  
Kanaka Maoli ◽  
Film And Television ◽  
Indigenous Media ◽  
Independence Movement ◽  
Media Interventions

This article examines how a Native Hawaiian activist’s inventive self-representational tactics, deployed within corporate mass media, have enriched North American pop-culture discourses on the Kanaka Maoli independence movement. Analysis focuses on the convergent (that is, transmedial or purposefully cross-medial) self-representational efforts of Dennis ‘Bumpy’ Pu‘uhonua Kanahele, who rose to fame as one of several notable organisers in the Hawaiian sovereignty movement during the 1990s. Several film and television texts became targets of Kanahele’s indigenous media interventions into commercial cinematic genre storytelling across different narrative platforms beginning in the 2010s. Applying a utopian reading that brings out Kanahele’s Indigenous Futurist interventions, this article offers readings of the theatrical feature film Aloha (2015) and a 2017 episode of Hawaii Five-o. Both texts visually focalise Pu‘uhonua o Waimānalo, the land base of Kanahele’s sovereignty movement known as the Nation of Hawai‘i, which gets positioned within these narratives as a Kanaka Maoli utopia providing refuge for indigenous Hawaiians away from the predation of both rampant capitalism and Western empire.

The story of Wānanalua: Stranded whales and contested marine sovereignties in Hawai‘i

2020 ◽  
pp. 251484862090143
Author(s):  
Max Ritts ◽  
Sarah M Wiebe
Keyword(s):  
Marine Mammal ◽  
Native Hawaiian ◽  
Social Groups ◽  
Political Authority ◽  
Kanaka Maoli ◽  
Case Files ◽  
Care Practices ◽  
Human Actors ◽  
Hawaiian Women ◽  
Interspecies Relations

This paper considers how systems of interspecies knowing and care in Hawai'i push against state-supported frameworks of liberal biopolitical governance. In 2015, the National Oceanic and Atmospheric Administration (NOAA) issued a citation suing two Kanaka Maoli (Native Hawaiian) women under the Marine Mammal Protection Act, for unlawfully “tak[ing] and/or or transporting” a stranded melon-headed whale (“Wānanalua”). In the lawsuit, prosecutors deliberated on the legality of the traditional sea burial situating it within a broader context of cultural accommodations granted by National Oceanic and Atmospheric Administration. From our examination of the lawsuit, we develop the argument that marine mammal care operates in Hawaiʻi as a regulatory device for ordering interspecies relations and for pacifying Indigenous demands for greater marine political authority. To combine these claims, we consider the relation between two governance logics: liberal “recognition,” wherein accommodations regarding culture are extended to previously disenfranchised social groups, and biopolitics, pertaining in the present case to care practices governing more-than-human actors and environments. Our arguments are supported by detailed case files and interviews with local informants, including the Kanaka women accused of mishandling Wānanalua. The “ruptures” marking the Wānanalua case suggest a liberal recognition framework whose failures are connected to the biopolitics it embraces, but with an added detail: The present story reflects on how an interspecies biopolitics—an attempted management of Kānaka-whale care practices—structures strategies of liberal recognition.

Untimely Developments: Genre Drag and Gish Jen’s Mona in the Promised Land

MELUS ◽  
2019 ◽  
Vol 44 (3) ◽  
pp. 41-62
Author(s):  
Wendy Allison Lee
Keyword(s):  
Asian American ◽  
Coming Of Age ◽  
Intergenerational Conflict ◽  
Family Values ◽  
The Novel ◽  
The Past ◽  
Promised Land ◽  
American Subject ◽  
The 1960S ◽  
Historical Past

Abstract Through a reinterpretation of Gish Jen’s novel Mona in the Promised Land (1996), this essay makes the case for the queer possibilities immanent to the most conservative “family values” Asian American genre—the bildungsroman organized around intergenerational conflict. In a decade obsessed with the question of what shifting racial and ethnic demographics meant for the national future, Mona’s content tempted 1990s readers to interpret its vision of the 1960s as a timely meditation on the present. Read in such a way, the novel resolves anxieties about demographic change by reproducing the “timeless” values of family and nation. However, Mona’s form tells a different story. Rather than using the historical past as a mere backdrop to tell a timely story about national progress, Mona is reflexive in its preoccupation with its relationship to the past. Jen’s novel shows us what a coming-of-age story looks like when it does not assimilate its subject into national time. Instead, Mona draws “untimely comparisons” between past US imperial formations that are the present’s condition of possibility. I examine how the novel disrupts the bildungroman’s formal and ideological relationship to national futurity by evoking the past as a drag on progress and the novel as enacting a formal corollary to queer drag performance. I read Mona as a novel of untimely development that reinvents the coming-of-age narrative so that the Asian American subject becomes not a figure that exemplifies a certain future subject or nation but instead one that generatively obstructs national fantasies of progress.

scholarly journals Moving Birds in Hawai'i: Assisted Colonisation in a Colonised Land

2019 ◽  
Vol 25 (1) ◽  
pp. 41-64
Author(s):  
Thom Van Dooren
Keyword(s):  
Climate Change ◽  
Endangered Species ◽  
Native Hawaiian ◽  
Avian Species ◽  
Kanaka Maoli ◽  
The World ◽  
The Face ◽  
History Of ◽  
The Subject ◽  
The Many

In September 2011, a delicate cargo of 24 Nihoa Millerbirds was carefully loaded by conservationists onto a ship for a three-day voyage to Laysan Island in the remote Northwest Hawaiian Islands. The goal of this effort was to establish a second population of this endangered species, an “insurance population” in the face of the mounting pressures of climate change and potential new biotic arrivals. But the millerbird, or ulūlu in Hawaiian, is just one of the many avian species to become the subject of this kind of “assisted colonisation.” In Hawai'i, and around the world, recent years have seen a broad range of efforts to safeguard species by finding them homes in new places. Thinking through the ulūlu project, this article explores the challenges and possibilities of assisted colonisation in this colonised land. What does it mean to move birds in the context of the long, and ongoing, history of dispossession of the Kānaka Maoli, the Native Hawaiian people? How are distinct but entangled process of colonisation, of unworlding, at work in the lives of both people and birds? Ultimately, this article explores how these diverse colonisations might be understood and told responsibly in an era of escalating loss and extinction.

scholarly journals CHILD ABUSE EXPERIENCED BY THE MAIN CHARACTER IN RAINBOW ROWELL’S ELEANOR AND PARK: A PSYCHOSOCIAL ANALYSIS

IdeBahasa ◽  
2020 ◽  
Vol 2 (2) ◽  
pp. 155-164
Author(s):  
Arani Lintang Kinanti ◽  
Resneri Daulay
Keyword(s):  
Child Abuse ◽  
Psychosocial Development ◽  
Child Neglect ◽  
Coming Of Age ◽  
Development Theory ◽  
The Novel ◽  
Main Character ◽  
Home Life ◽  
Development Stages ◽  
Different Types

This research entitled Child Abuse Experienced By The Main Character In Rainbow Rowell’s Eleanor And Park: A Psychosocial Analysis. Eleanor and Park was a coming-of-age novel written by Rainbow Rowell. Eleanor, one of the main characters, had a lot of things going on in her life, she lived in poverty and had to deal with child abuse everyday. This research was aimed to identify what kind of abuse Eleanor experienced and to analyze how the abuse affected Eleanor’s psychosocial development. This research was classified into a qualitative research. The data were taken from the novel Eleanor and Park written by Rainbow Rowell. In analyzing the data, the researcher applied four out of eight stages of psychosocial development theory by Erik H. Erikson while trying to classify different types of abuse that Eleanor experienced. The data were in descriptive form which was why the analysis is enlighten by the researcher in descriptive way. The result of this research showed that Eleanor had troubles passing psychosocial development stages due to what she had been through in her home life. She might succeed in Early Childhood stage but since living with her step-father, Richie, and receiving many types of child abuse from him such as physical abuse, sexual abuse, psychological abuse and child neglect, she failed to pass three later the stages. In consequence, she grew many unhealthy personalities and getting more distant with people in society. Nonetheless, ever since she met Park, she changed to be a better person, although it took her some time. The story ended without the researcher knowing if she passes the adolescence stage successfully. Therefore, there was still possibility for her to pass later stages well and be a healthy individual.  

scholarly journals Voice and Silence in Jacqueline Woodson’s Brown Girl Dreaming

2021 ◽  
Vol 10 ◽  
pp. BB102-BB118
Author(s):  
Helma Van Lierop-Debrauwer
Keyword(s):  
Young Adult ◽  
Civil Rights ◽  
Identity Formation ◽  
Civil Rights Movement ◽  
Young Adult Literature ◽  
Coming Of Age ◽  
The United States ◽  
The Novel ◽  
The 1960S ◽  
Voice And Silence

In 2014, the American writer Jacqueline Woodson published Brown Girl Dreaming, the story of her childhood in free verse, which was classified as young adult literature. Most US reviewers characterized and appreciated the book both as a human rights narrative of a young brown girl’s coming of age against the socio-political background of racism and the Civil Rights Movement in the United States of the 1960s, and as a personal history of her development as a writer. In this article the major focus will be on how Brown Girl Dreaming as both a political memoir and an autobiographical narrative of identity formation is fleshed out. On the basis of my analysis of these two plot lines, I will further argue that its categorization as young adult literature disguises that the novel addresses a dual audience of adult and young readers. In my argumentation related to the political and personal character of the novel, as well as in my discussion of the crossover potential of Brown Girl Dreaming, I will focus on the presence of voice and silence.

Defiant Indigeneity

2018 ◽  
Author(s):  
Stephanie Nohelani Teves
Keyword(s):  
Twentieth Century ◽  
Popular Culture ◽  
Indigenous Peoples ◽  
Native Hawaiian ◽  
Settler Colonialism ◽  
Indigenous Communities ◽  
Kanaka Maoli ◽  
The Face ◽  
Hawaiian Literature ◽  
The Way

"Aloha" is at once the most significant and the most misunderstood word in the Indigenous Hawaiian lexicon. For Kānaka Maoli people, the concept of "aloha" is a representation and articulation of their identity, despite its misappropriation and commandeering by non-Native audiences in the form of things like the "hula girl" of popular culture. Considering the way aloha is embodied, performed, and interpreted in Native Hawaiian literature, music, plays, dance, drag performance, and even ghost tours from the twentieth century to the present, Stephanie Nohelani Teves shows that misunderstanding of the concept by non-Native audiences has not prevented the Kānaka Maoli from using it to create and empower community and articulate its distinct Indigenous meaning. While Native Hawaiian artists, activists, scholars, and other performers have labored to educate diverse publics about the complexity of Indigenous Hawaiian identity, ongoing acts of violence against Indigenous communities have undermined these efforts. In this multidisciplinary work, Teves argues that Indigenous peoples must continue to embrace the performance of their identities in the face of this violence in order to challenge settler-colonialism and its efforts to contain and commodify Hawaiian Indigeneity.

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