Voices that Matter: The Attic Echoes Through the House
Autor(a) principal: | |
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Data de Publicação: | 2018 |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Revista Estudos Feministas |
Texto Completo: | https://periodicos.ufsc.br/index.php/ref/article/view/58562 |
Resumo: | In The Buddha in the Attic, Julie Otsuka explores two main topics: the Picture Bride practice and the internment camps for Japanese Americans during World War II. An analysis of the development of both topics in the narrative reveals parallels with potential issues faced bywomen and diasporic subjects in contemporaneity, connecting with theoretical approaches onthese topics. It is interesting to note that the narrative is mainly developed in first person plural with occasional expansion to other subjects such as “I”, “she”, “he”, and even “you”. The effect of this game between singular and plural is a narrative that describes a collective experience but avoids essentialisms. Even though it focuses on Women’s voices, the novel also explores different subjectivities involved in the diasporic experience. Thus, Otsuka’s narrative gives voice to disempowered subjects long locked in the attic of history and makes their voices echo through the houses of contemporaneity |
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Voices that Matter: The Attic Echoes Through the HouseVozes que importam: o sótão ecoa pela casaIn The Buddha in the Attic, Julie Otsuka explores two main topics: the Picture Bride practice and the internment camps for Japanese Americans during World War II. An analysis of the development of both topics in the narrative reveals parallels with potential issues faced bywomen and diasporic subjects in contemporaneity, connecting with theoretical approaches onthese topics. It is interesting to note that the narrative is mainly developed in first person plural with occasional expansion to other subjects such as “I”, “she”, “he”, and even “you”. The effect of this game between singular and plural is a narrative that describes a collective experience but avoids essentialisms. Even though it focuses on Women’s voices, the novel also explores different subjectivities involved in the diasporic experience. Thus, Otsuka’s narrative gives voice to disempowered subjects long locked in the attic of history and makes their voices echo through the houses of contemporaneityEm The Buddha in the Attic, Julie Otsuka explora dois tópicos principais: a prática conhecida como Picture Bride (noivado por foto) e os campos de concentração para nipoamericanos durante a Segunda Guerra. Uma análise do desenvolvimento de ambos os tópicos na narrativa revela paralelos com questões em potencial enfrentadas por mulheres e sujeitos diaspóricos na contemporaneidade, conectando-as com abordagens teóricas sobre esses pontos. É interessante notar que a narrativa é basicamente desenvolvida em primeira pessoa do plural com expansões ocasionais para outros sujeitos como “eu”, “ela”, “ele” e até mesmo “você”. O efeito desse jogo entre singular e plural é uma narrativa que descreve uma experiência coletiva mas evita essencialismos. Mesmo focando em vozes de mulheres, o livro também explora diferentes subjetividades envolvidas na experiência diaspórica. Assim, a narrativa de Otsuka dá voz a sujeitos desempoderados que ficaram trancados no sótão da história por um longo tempo e faz com que essas vozes ecoem pelas casas da contemporaneidade.Universidade Federal de Santa Catarina2018-11-28info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://periodicos.ufsc.br/index.php/ref/article/view/5856210.1590/%xRevista Estudos Feministas; Vol. 26 No. 3 (2018)Revista Estudos Feministas; Vol. 26 Núm. 3 (2018)Revista Estudos Feministas; v. 26 n. 3 (2018)1806-95840104-026Xreponame:Revista Estudos Feministasinstname:Universidade Federal de Santa Catarina (UFSC)instacron:UFSCenghttps://periodicos.ufsc.br/index.php/ref/article/view/58562/37917Copyright (c) 2018 Revista Estudos Feministasinfo:eu-repo/semantics/openAccessMonteiro, Flávia Rodrigues2018-11-28T15:59:17Zoai:periodicos.ufsc.br:article/58562Revistahttps://periodicos.ufsc.br/index.php/ref/indexPUBhttps://periodicos.ufsc.br/index.php/ref/oai||ref@cfh.ufsc.br1806-95840104-026Xopendoar:2022-11-21T11:38:44.849810Revista Estudos Feministas - Universidade Federal de Santa Catarina (UFSC)true |
dc.title.none.fl_str_mv |
Voices that Matter: The Attic Echoes Through the House Vozes que importam: o sótão ecoa pela casa |
title |
Voices that Matter: The Attic Echoes Through the House |
spellingShingle |
Voices that Matter: The Attic Echoes Through the House Monteiro, Flávia Rodrigues |
title_short |
Voices that Matter: The Attic Echoes Through the House |
title_full |
Voices that Matter: The Attic Echoes Through the House |
title_fullStr |
Voices that Matter: The Attic Echoes Through the House |
title_full_unstemmed |
Voices that Matter: The Attic Echoes Through the House |
title_sort |
Voices that Matter: The Attic Echoes Through the House |
author |
Monteiro, Flávia Rodrigues |
author_facet |
Monteiro, Flávia Rodrigues |
author_role |
author |
dc.contributor.author.fl_str_mv |
Monteiro, Flávia Rodrigues |
description |
In The Buddha in the Attic, Julie Otsuka explores two main topics: the Picture Bride practice and the internment camps for Japanese Americans during World War II. An analysis of the development of both topics in the narrative reveals parallels with potential issues faced bywomen and diasporic subjects in contemporaneity, connecting with theoretical approaches onthese topics. It is interesting to note that the narrative is mainly developed in first person plural with occasional expansion to other subjects such as “I”, “she”, “he”, and even “you”. The effect of this game between singular and plural is a narrative that describes a collective experience but avoids essentialisms. Even though it focuses on Women’s voices, the novel also explores different subjectivities involved in the diasporic experience. Thus, Otsuka’s narrative gives voice to disempowered subjects long locked in the attic of history and makes their voices echo through the houses of contemporaneity |
publishDate |
2018 |
dc.date.none.fl_str_mv |
2018-11-28 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://periodicos.ufsc.br/index.php/ref/article/view/58562 10.1590/%x |
url |
https://periodicos.ufsc.br/index.php/ref/article/view/58562 |
identifier_str_mv |
10.1590/%x |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
https://periodicos.ufsc.br/index.php/ref/article/view/58562/37917 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2018 Revista Estudos Feministas info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2018 Revista Estudos Feministas |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Federal de Santa Catarina |
publisher.none.fl_str_mv |
Universidade Federal de Santa Catarina |
dc.source.none.fl_str_mv |
Revista Estudos Feministas; Vol. 26 No. 3 (2018) Revista Estudos Feministas; Vol. 26 Núm. 3 (2018) Revista Estudos Feministas; v. 26 n. 3 (2018) 1806-9584 0104-026X reponame:Revista Estudos Feministas instname:Universidade Federal de Santa Catarina (UFSC) instacron:UFSC |
instname_str |
Universidade Federal de Santa Catarina (UFSC) |
instacron_str |
UFSC |
institution |
UFSC |
reponame_str |
Revista Estudos Feministas |
collection |
Revista Estudos Feministas |
repository.name.fl_str_mv |
Revista Estudos Feministas - Universidade Federal de Santa Catarina (UFSC) |
repository.mail.fl_str_mv |
||ref@cfh.ufsc.br |
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1789435253077573632 |