{"title":"抵抗运动:海龟岛上的暴风雨、复兴和土著表演","authors":"Glenn Clark","doi":"10.1017/pli.2022.2","DOIUrl":null,"url":null,"abstract":"Inspired by the reinvigorating theory of Wai-Chee Dimok and Rita Felski, I argue that The Tempest resonates with current theory and performance of Indigenous resurgence in North America. With reference to the work of Indigenous performance theorist Floyd Favel, political thinkers Leanne Simpson and Glen Sean Coulthard, and to plays and performances by Yvette Nolan, Monique Mojica, Kevin Loring, and Spiderwoman Theatre, I describe resurgence as culturally recuperative practices of movement on the land that make it feel more comfortable, establish an Indigenous sense of sovereignty, and diminish shame. I emphasize the ways in which the physical and imaginative mobilities of Shakespeare’s Boatswain and Gonzalo anticipate the comforting—and insurgent—land-oriented movements of Caliban. I argue that Caliban’s sense of natural sovereignty is understood better in terms of free and secure mobility than in terms of rule or possession.","PeriodicalId":42913,"journal":{"name":"Cambridge Journal of Postcolonial Literary Inquiry","volume":"9 1","pages":"198 - 215"},"PeriodicalIF":0.3000,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Resistance Movements: The Tempest, Resurgence, and Indigenous Performance on Turtle Island\",\"authors\":\"Glenn Clark\",\"doi\":\"10.1017/pli.2022.2\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Inspired by the reinvigorating theory of Wai-Chee Dimok and Rita Felski, I argue that The Tempest resonates with current theory and performance of Indigenous resurgence in North America. With reference to the work of Indigenous performance theorist Floyd Favel, political thinkers Leanne Simpson and Glen Sean Coulthard, and to plays and performances by Yvette Nolan, Monique Mojica, Kevin Loring, and Spiderwoman Theatre, I describe resurgence as culturally recuperative practices of movement on the land that make it feel more comfortable, establish an Indigenous sense of sovereignty, and diminish shame. I emphasize the ways in which the physical and imaginative mobilities of Shakespeare’s Boatswain and Gonzalo anticipate the comforting—and insurgent—land-oriented movements of Caliban. I argue that Caliban’s sense of natural sovereignty is understood better in terms of free and secure mobility than in terms of rule or possession.\",\"PeriodicalId\":42913,\"journal\":{\"name\":\"Cambridge Journal of Postcolonial Literary Inquiry\",\"volume\":\"9 1\",\"pages\":\"198 - 215\"},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2022-04-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Cambridge Journal of Postcolonial Literary Inquiry\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1017/pli.2022.2\",\"RegionNum\":3,\"RegionCategory\":\"文学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"LITERARY THEORY & CRITICISM\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Cambridge Journal of Postcolonial Literary Inquiry","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1017/pli.2022.2","RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERARY THEORY & CRITICISM","Score":null,"Total":0}
Resistance Movements: The Tempest, Resurgence, and Indigenous Performance on Turtle Island
Inspired by the reinvigorating theory of Wai-Chee Dimok and Rita Felski, I argue that The Tempest resonates with current theory and performance of Indigenous resurgence in North America. With reference to the work of Indigenous performance theorist Floyd Favel, political thinkers Leanne Simpson and Glen Sean Coulthard, and to plays and performances by Yvette Nolan, Monique Mojica, Kevin Loring, and Spiderwoman Theatre, I describe resurgence as culturally recuperative practices of movement on the land that make it feel more comfortable, establish an Indigenous sense of sovereignty, and diminish shame. I emphasize the ways in which the physical and imaginative mobilities of Shakespeare’s Boatswain and Gonzalo anticipate the comforting—and insurgent—land-oriented movements of Caliban. I argue that Caliban’s sense of natural sovereignty is understood better in terms of free and secure mobility than in terms of rule or possession.