Birth Coats and Other Coverings

IF 0.2 0 ARCHITECTURE
Thresholds Pub Date : 2020-04-01 DOI:10.1162/thld_e_00707
S. Coffman, Dalma Földesi, S. Wagner
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引用次数: 0

Abstract

1 Mai Der Vang, “To the Placenta of Return” from Afterland. Copyright ©️ 2017 by Mai Der Vang. Reprinted with the permission of The Permissions Company, LLC on behalf of Graywolf Press, Minneapolis, Minnesota, graywolfpress.org. 2 In her ethnographic work on the birthing practices of the people of the Meratus Mountains of South Kalimantan, Indonesia, Anna Tsing draws on French feminist Julia Kristeva’s writing on the limits that constitute the subject. Tsing writes, “For Kristeva, clean and proper body bound aries are necessary in constituting a human subject who can participate in the symbolic order of language. Boundary transgressions— corpses, menstrual blood, and so forth—are sites of power and danger for the sym bolic, the paternal law.” Anna Tsing, In the Realm of the Diamond Queen: Marginality in an Out-Of-The-Way Place (Princeton, NJ: Princeton University Press, 1993), 179. 3 There are several accounts of the Hmong practice to bury placentae once attached to baby boys near the central pillar of the house, and those once attached to baby girls by the bed. See Anne Fadiman, The Spirit Catches You and You Fall Down: A Hmong Child, Her American Doctors, and the Collision of Two Cultures (New York: Farrar, Straus, and Giroux, 1997), 5. 4 The poet Sarah Howe provides more historical context for Mai Der Vang’s work. She writes, “In 1962, seven years into the Vietnam War, the US signed an international treaty to respect the neutrality of Laos, then proceeded to launch a covert war there while preserving the fiction of compliance. The so called Secret War comprised over a decade of clandestine operations in which the CIA armed Hmong fighters against the North Vietnamese.” Sarah Howe, “‘Library of Opaque Memory’: Spectral Archives in Brandon Som, Mai Der Vang and Bhanu Kapil,” in The Contemporary Poetry Archive: Essays and Interventions, eds. Linda Anderson, Mark Byers, and Ahren Warner (Edinburgh: Edinburgh University Press, 2019), 132. 5 See Alfred McCoy, “America’s Secret War in Laos: 1955-75,” in A Companion to the Vietnam War, eds. Marilyn B. Young and Robert Buzzanco (Malden: Blackwell Publishing, 1988), 284. 6 Ma Vang, “Writing on the Run: Hmong American Literary Formations and the Deterritorialized Subject,” Melus 41, no. 3 (2016): 89-111. I buried you after your birth.
产毛衣及其他覆盖物
1麦德扬,《回归的胎盘》,选自《来世》。版权所有©️由麦德旺2017。转载与许可公司,有限责任公司代表Graywolf出版社,明尼阿波利斯,明尼苏达州,graywolfpress.org。安娜·青在她关于印度尼西亚南加里曼丹梅拉图斯山脉人民生育实践的民族志作品中,借鉴了法国女权主义者朱莉娅·克里斯蒂娃(Julia Kristeva)关于构成这一主题的限制的著作。青写道:“对于Kristeva来说,干净而恰当的身体界限对于构成一个能够参与语言符号秩序的人类主体是必要的。越界——尸体、经血等等——是象征父权的法律的权力和危险的场所。”青安娜:《在钻石皇后的王国里:偏僻之地的边缘化》(普林斯顿,新泽西州:普林斯顿大学出版社,1993年),179页。关于苗族习俗,有几种说法是把曾经附着在男婴身上的胎盘埋在房子中央柱子附近,把曾经附着在女婴身上的胎盘埋在床边。参见安妮·法迪曼,《精神抓住了你,你跌倒了:一个苗族孩子,她的美国医生,以及两种文化的碰撞》(纽约:Farrar, Straus, and Giroux出版社,1997),5。诗人莎拉·豪(Sarah Howe)为麦德旺的作品提供了更多的历史背景。她写道:“1962年,越南战争进入第七年,美国签署了一项尊重老挝中立性的国际条约,然后继续在那里发动一场秘密战争,同时保留了遵守条约的假象。所谓的秘密战争包括十多年来中央情报局武装苗族战士对抗北越的秘密行动。萨拉·豪,““不透明的记忆图书馆”:光谱档案在布兰登·索姆,迈德·杨和巴努·卡皮尔,”在当代诗歌档案:散文和干预,编辑。琳达·安德森、马克·拜尔斯和阿伦·华纳(爱丁堡:爱丁堡大学出版社,2019年),第132页。5见阿尔弗雷德·麦考伊:《美国在老挝的秘密战争:1955- 1975》,《越南战争论文集》编。玛丽莲·杨和罗伯特·布兰科(莫尔登:布莱克威尔出版社,1988),284页。6马旺,“逃亡中的写作:苗族美国文学形态与去地域化的主体”,《中国文学》第41期,第2期。3(2016): 89-111。你出生后我就把你埋了。
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Thresholds
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