Please use this identifier to cite or link to this item:
Global Native Literary Studies Panel Q&A
Global Native Literary Studies Q&A.mp4
Not all videos support streaming previews. You will not be able to jump to portions of the video that have not been downloaded (progress shown as a yellow bar).
In cases where streaming is not supported, the full video will be loaded before playing. If your computer is capable of playing the video files, it may be advisable to download using the link below instead of trying to view it in your browser.
|Global Native Literary Studies Q&A.mp4||Global Native Literary Studies Q&A||1.04 GB||MPEG-4||View/Open|
|Title:||Global Native Literary Studies Panel Q&A|
|Authors:||Somerville, Alice Te Punga|
|Keywords:||Alice Te Punga Somerville|
Ngugi wa Thiong'o
show 22 moreNgũgĩ wa Thiong'o
"What do you think about Samoan and Tahitian languages?"
the status of the Tahitian language
being forbidden to speak Tahitian in school
English as a foreign language
English taught as a foreign language in Samoa
creative writing in Samoa
writing in minority languages
Cherokee immersion courses
Cherokee as a minority language
Cherokee texts from the 20th century
Cherokee texts from the late 19th century
Cherokee language resurgence
the challenge of publishing in indigenous languages
self-publishing to preserve indigenous writing
idea to self-publish indigenous writing
"When the old net wears out, the new net goes fishing"
"Ka pū te ruha, ka hao te rangatahi"
"But the new nets have to ask the old nets where the fish are"
|Issue Date:||19 Jul 2013|
|Abstract:||The Global Native Literary Studies Panel concludes with questions from the audience.
The Global Native Literary Studies Panel provides an opportunity to reflect on Indigenous worlds and Indigenous literary worlds.
Through their fiction as well as their political, institutional, scholarly and cultural work, each of the panelists explores the range of ways and reasons for Indigenous engagement with literary arts. Chantal Spitz’s character Tetiare (in English translation) “washes away… dirt by writing.” Albert Wendt’s character Alapati is encouraged for his ability “to story our lives history and refusal to become nothing.” Daniel Justice’s character Tobhi recalls Strivix counseling a Dragonfly who claims “I don’t know how to be a Dragonfly” with the suggestion “All ye got to do it tell yer people’s story, and ye’ll figure it out.”
This panel also asks, What questions, aspirations and political "lines in the sand" have underpinned "Global Native Literary Studies"? What lessons have been learned in Indigenous and Pacific worlds about writing, regionalism, and "the global"? What strengths and dimensions of Indigenous Studies and Pacific Studies could contribute to scholars and students grappling with the notion of "World Literature"? What Samoan, Tahitian and Cherokee concepts could contribute to scholars and students grappling with the notion of "World Literature"?
Rather than proposing how or why Indigenous and Pacific texts might be included in a concept of (and classes about) "World Literature" on the basis of the fact these too are "part of the world," the panelists suggest how "World Literature," Pacific, and Indigenous Literary worlds might mutually engage.
Moderator: Alice Te Punga Somerville
Panelists: Chantal Spitz, Daniel Justice, Albert Wendt
|Rights:||CC0 1.0 Universal|
|Appears in Collections:||Words in the World Panel Discussions|
Please email firstname.lastname@example.org if you need this content in an ADA-compliant format.
Items in ScholarSpace are protected by copyright, with all rights reserved, unless otherwise indicated.