Toward a Sinophone Global South Paradigm: Chang Kuei-hsing’s Monkey Cup as Example

IF 0.1 0 ASIAN STUDIES
K. Tan
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It contends that a Global South approach to Sinophone Malaysian literature, in the case of Chang’s writing, allows us to engage in a process of unlearning/unworlding and relearning/reworlding to unearth a decolonial meaning making process of minor literatures and marginal cultures. AcknowledgmentAn earlier and longer version of this article was published in the Sun Yat-Sen Journal of Humanities, special issue on Global South and Sinophone Literature, 51 (September 2021): 129–54.Notes1 Sparke, “Everywhere but Always Somewhere,” 117.2 López, “Introduction: The (Post)global South,” 3–6.3 Sparke, “Everywhere but Always Somewhere,” 119.4 Levander and Mignolo, “The Global South and World Dis/Order,” 1–2.5 Figueira, “‘The Global South,’” 144.6 Tee, “Sinophone Malaysian Literature,” 304.7 I use the common transcription of the term “Mahua wenxue” instead of “Ma Hua wenxue” used in Tee’s essay.8 Tee, “Sinophone Malaysian Literature,” 307–308.9 Ibid., 309.10 Brian Bernards attributes this development of Postcolonial Sinophone Malaysian literature as an attempt to go “transnational” via Taiwan, and an outcome of the Malay state’s minoritization of Sinophone communities and cultures. Bernards cites events such as the 1969 ethnic riots in Kuala Lumpur and the implementation of the National Cultural Policy (Dasar Kebudayaan Kebangsaan) as reasons for the influx of Sinophone Malaysians pursuing tertiary education in Taiwan. The policy declares Malay literature and Sinophone literature as ethnic literature. See “Creolizing the Sinophone from Malaysian to Taiwan” in Writing the South Seas: Imagining the Nanyang in Chinese and Southeast Asian Postcolonial Literature, 82–83, 87–88. In a sense, Taiwan functions as a site of recuperation for Sinophone Malaysian writers’ who continue to search for the myth of “cultural return” with the loss of mainland China to communism and the anti-communism rhetoric in Asia.11 Tee, “(Re)Mapping Sinophone Literature,” 89.12 Groppe, Sinophone Malaysian Literature, 19.13 Shih, Visuality and Identity, 4.14 Ibid., 5.15 Bernards, Writing the South Seas, 111.16 Chang’s Rain Forest Trilogy (Yulin sanbuqu 雨林三部曲) includes The Elephant Herd (Qunxiang 群象, 1998), Monkey Cup (Houbei 猴杯, 2000) and My South Sea Sleeping Beauty (Wo sinian de changmian zhong de nanguo gongzhu 我思念的長眠中的南國公主 2001).17 Chang, Monkey Cup, 130. Translation of the novel is mine.18 Ibid., 135.19 López, “Introduction: The (Post)global South,” 2.20 Chang, Monkey Cup, 113.21 Ibid., 114.22 In her specific study on indigenous tourism, Martinez claims that for indigenous “artists, performers, and entrepreneurs… the intelligence of participation demonstrates a sophistication, adaptability, and consciousness of multiple worldviews and the commercial negotiation these active participants complete.” See “Wrong Directions and New Maps of Voice, Representation, and Engagement,” 555, 563.23 For more on Bruyneel’s work, see The Third Space of Sovereignty: The Post-colonial Politics of U.S.-Indigenous Relations (Minneapolis: University of Minnesota Press, 2007).24 Martinez, “Wrong Directions and New Maps,” 563.25 Alexis Celeste Bunten claims in “More Like Ourselves: Indigenous Capitalism through Tourism” that “Most Indigenous tourism venues are … made possible largely through increased communications technology, the rapid expansion of the international tourism industry, and neoliberal government policies aimed to boost national economies through international visitorship and to rectify multigenerational trauma resulting from past colonial engagements, assimilationist policies, genocide, and slavery” (285–86). It is the nation state’s recognition of the importance of tourism to nation economies that opens up the potential for indigenous communities to negotiate for indigenous sovereignty.26 Clifford, “Indigenous Articulations,” 482.27 United Nations Development Program, Forging a Global South: United Nation Days for South-South Cooperation, December 19, 2004.28 Ibid., 476.","PeriodicalId":29655,"journal":{"name":"Chinese Literature and Thought Today","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Chinese Literature and Thought Today","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/27683524.2023.2205784","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ASIAN STUDIES","Score":null,"Total":0}
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Abstract

AbstractThis article explores the potential of a Sinophone Global South paradigm by examining how marginal literature or literature from the periphery negotiates its status within a system of recognition in the production and circulation of knowledge. Using Sinophone Malaysian writer Chang Kuei-hsing’s novel, Monkey Cup, the article considers two thematic focuses under the larger paradigm of the Global South as methodology: 1) the critique of global capitalism in the form of colonial practices; and 2) the response of indigenous, marginal, and under-represented communities to the failure of globalization and its promise to support and elevate them beyond the confines of the nation states. It contends that a Global South approach to Sinophone Malaysian literature, in the case of Chang’s writing, allows us to engage in a process of unlearning/unworlding and relearning/reworlding to unearth a decolonial meaning making process of minor literatures and marginal cultures. AcknowledgmentAn earlier and longer version of this article was published in the Sun Yat-Sen Journal of Humanities, special issue on Global South and Sinophone Literature, 51 (September 2021): 129–54.Notes1 Sparke, “Everywhere but Always Somewhere,” 117.2 López, “Introduction: The (Post)global South,” 3–6.3 Sparke, “Everywhere but Always Somewhere,” 119.4 Levander and Mignolo, “The Global South and World Dis/Order,” 1–2.5 Figueira, “‘The Global South,’” 144.6 Tee, “Sinophone Malaysian Literature,” 304.7 I use the common transcription of the term “Mahua wenxue” instead of “Ma Hua wenxue” used in Tee’s essay.8 Tee, “Sinophone Malaysian Literature,” 307–308.9 Ibid., 309.10 Brian Bernards attributes this development of Postcolonial Sinophone Malaysian literature as an attempt to go “transnational” via Taiwan, and an outcome of the Malay state’s minoritization of Sinophone communities and cultures. Bernards cites events such as the 1969 ethnic riots in Kuala Lumpur and the implementation of the National Cultural Policy (Dasar Kebudayaan Kebangsaan) as reasons for the influx of Sinophone Malaysians pursuing tertiary education in Taiwan. The policy declares Malay literature and Sinophone literature as ethnic literature. See “Creolizing the Sinophone from Malaysian to Taiwan” in Writing the South Seas: Imagining the Nanyang in Chinese and Southeast Asian Postcolonial Literature, 82–83, 87–88. In a sense, Taiwan functions as a site of recuperation for Sinophone Malaysian writers’ who continue to search for the myth of “cultural return” with the loss of mainland China to communism and the anti-communism rhetoric in Asia.11 Tee, “(Re)Mapping Sinophone Literature,” 89.12 Groppe, Sinophone Malaysian Literature, 19.13 Shih, Visuality and Identity, 4.14 Ibid., 5.15 Bernards, Writing the South Seas, 111.16 Chang’s Rain Forest Trilogy (Yulin sanbuqu 雨林三部曲) includes The Elephant Herd (Qunxiang 群象, 1998), Monkey Cup (Houbei 猴杯, 2000) and My South Sea Sleeping Beauty (Wo sinian de changmian zhong de nanguo gongzhu 我思念的長眠中的南國公主 2001).17 Chang, Monkey Cup, 130. Translation of the novel is mine.18 Ibid., 135.19 López, “Introduction: The (Post)global South,” 2.20 Chang, Monkey Cup, 113.21 Ibid., 114.22 In her specific study on indigenous tourism, Martinez claims that for indigenous “artists, performers, and entrepreneurs… the intelligence of participation demonstrates a sophistication, adaptability, and consciousness of multiple worldviews and the commercial negotiation these active participants complete.” See “Wrong Directions and New Maps of Voice, Representation, and Engagement,” 555, 563.23 For more on Bruyneel’s work, see The Third Space of Sovereignty: The Post-colonial Politics of U.S.-Indigenous Relations (Minneapolis: University of Minnesota Press, 2007).24 Martinez, “Wrong Directions and New Maps,” 563.25 Alexis Celeste Bunten claims in “More Like Ourselves: Indigenous Capitalism through Tourism” that “Most Indigenous tourism venues are … made possible largely through increased communications technology, the rapid expansion of the international tourism industry, and neoliberal government policies aimed to boost national economies through international visitorship and to rectify multigenerational trauma resulting from past colonial engagements, assimilationist policies, genocide, and slavery” (285–86). It is the nation state’s recognition of the importance of tourism to nation economies that opens up the potential for indigenous communities to negotiate for indigenous sovereignty.26 Clifford, “Indigenous Articulations,” 482.27 United Nations Development Program, Forging a Global South: United Nation Days for South-South Cooperation, December 19, 2004.28 Ibid., 476.
走向华语全球南方范式:以张桂兴的猴杯为例
摘要本文通过考察边缘文学或边缘文学如何在知识生产和流通的认知体系中谈判自己的地位,探讨了华语全球南方范式的潜力。本文以马来西亚华语作家张桂兴的小说《猴子杯》为研究对象,在全球南方的大范式下,探讨了两个主题:1)以殖民实践的形式批判全球资本主义;2)土著、边缘和代表性不足的社区对全球化失败的反应,以及全球化支持和提升他们超越民族国家界限的承诺。本文认为,以张戎的作品为例,对马来西亚华语文学的全球南方研究方法,使我们能够参与一个遗忘/非世界化和再学习/再世界化的过程,从而发掘次要文学和边缘文化的非殖民化意义创造过程。本文的早期和较长的版本发表在《孙中山人文学报》全球南方与华语文学专刊,51(2021年9月):129-54。注1斯帕克,“无处不在,但总是在某个地方”,117.2 López,“引言:全球南方”,3-6.3斯帕克,“无处不在,但总是在某个地方”,119.4莱凡德和米格诺洛,“全球南方和世界混乱/秩序”,1-2.5 Figueira,“全球南方”,144.6 Tee,“华语马来西亚文学”,304.7我使用了“麻花文学”一词的通用译法,而不是Tee文章中使用的“麻花文学”Brian Bernards将后殖民时期马来西亚华语文学的发展归因于通过台湾走向“跨国”的尝试,以及马来国家对华语社区和文化的少数化的结果。伯纳德列举了1969年吉隆坡种族骚乱和国家文化政策(Dasar Kebudayaan Kebangsaan)的实施等事件,作为华语马来西亚人涌入台湾接受高等教育的原因。该政策宣布马来文学和华语文学为民族文学。见《书写南海:想象中国与东南亚后殖民文学中的南洋》,第82-83页,第87-88页。从某种意义上说,台湾是马来西亚华语作家的休养地,他们在中国大陆被共产主义和亚洲的反共言论所取代的情况下,继续寻找“文化回归”的神话。11 Tee,“(再)华语文学,”89.12 Groppe,国语马来西亚文学,19.13 Shih,视觉与身份,4.14同上,5.15 berards, Writing the South Seas, 111.16 Chang的雨林三部曲(榆林三不曲,1998),猴子杯(后北,2000)和我的南海睡美人(我的南海睡美人)《猴子杯》,130页。这部小说是我翻译的同上,135.19 López,“Introduction: The (Post)global South,”2.20 Chang, Monkey Cup, 113.21同上,114.22在她对土著旅游的具体研究中,马丁内斯声称,对于土著“艺术家、表演者和企业家……参与的智慧表现出一种成熟、适应性和多元世界观的意识,以及这些积极参与者完成的商业谈判。”见“错误的方向和声音、代表和参与的新地图”,555,563.23更多关于布鲁尼尔的工作,见《主权的第三空间:美国-土著关系的后殖民政治》(明尼阿波利斯:明尼苏达大学出版社,2007年)马丁内斯,《错误的方向和新的地图》,563.25亚历克西斯·塞莱斯特·邦滕在《更像我们自己》中说:通过旅游业的土著资本主义”,“大多数土著旅游场所……在很大程度上是通过通信技术的发展、国际旅游业的迅速扩张以及新自由主义政府旨在通过国际游客促进国家经济和纠正过去殖民活动、同化政策、种族灭绝和奴隶制造成的多代创伤的政策而成为可能的”(285-86)。26 .正是民族国家认识到旅游业对民族经济的重要性,才为土著社区争取土著主权开辟了可能性Clifford,“本土表达”,482.27联合国开发计划署,锻造全球南方:联合国南南合作日,2004.12月19日,同上,第476页。
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