This book examines how testimonialists Elvia Alvarado, Medea Benjamin, Peter Dickinson, Benjamin Alire Sáenz, Clea Koff, Delia Jarrett-Macauley, Valentino Achak Deng, Dave Eggers, Uwem Akpan, and Alicia Partnoy employ innovative socioliterary techniques to reactivate the discourse of human rights.
This book examines how testimonialists Elvia Alvarado, Medea Benjamin, Peter Dickinson, Benjamin Alire Sáenz, Clea Koff, Delia Jarrett-Macauley, Valentino Achak Deng, Dave Eggers, Uwem Akpan, and Alicia Partnoy employ innovative socioliterary techniques to reactivate the discourse of human rights.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Kimberly A. Nance is professor of languages, literatures, and cultures at Illinois State University.
Inhaltsangabe
Introduction Chapter 1: Better Off Going Out on the Town? Addressing the Witness in Elvia Alvarado's Don't Be Afraid, Gringo Chapter 2: Choose Your Own Testimonial Adventure? Witnessing Alternative Futures in Peter Dickinson's AK Chapter 3: Border Testimonies, Restricted Crossings: Questioning the Act of Witness in Benjamin Alire Sáenz's "Exile: El Paso, Texas" and "Alligator Park" Chapter 4: Hundreds of Bodies on Two Continents, Telling a Single Story: Witnessing the Testimonial Uncanny in Clea Koff's The Bone Woman: A Forensic Anthropologist's Search for Truth in the Mass Graves of Rwanda, Bosnia, Croatia, and Kosovo Chapter 5: Use Beginning, Middle, and End: Witness and the Work of Reintegration in Delia Jarrett-Macauley's Moses, Citizen & Me Chapter 6: Survivors Tell the Stories that the Sympathizers Want: Countering the Comfort of Lost Boy Narratives in What Is the What: The Autobiography of Valentino Achak Deng Chapter 7: You've Got to Be Carefully Taught: Ethics Lessons for Beginners in Uwem Akpan's "What Language Is That?" Chapter 8: My Life Is Based on a Real Story: Recursive Witness in Alicia Partnoy's "Rosa, I Disowned You" and "Disclaimer Intraducible: My Life / Is Based / on a Real Story" Conclusion: Deliberative Testimonio and the Reactivation of Human Rights Discourse
Introduction Chapter 1: Better Off Going Out on the Town? Addressing the Witness in Elvia Alvarado's Don't Be Afraid, Gringo Chapter 2: Choose Your Own Testimonial Adventure? Witnessing Alternative Futures in Peter Dickinson's AK Chapter 3: Border Testimonies, Restricted Crossings: Questioning the Act of Witness in Benjamin Alire Sáenz's "Exile: El Paso, Texas" and "Alligator Park" Chapter 4: Hundreds of Bodies on Two Continents, Telling a Single Story: Witnessing the Testimonial Uncanny in Clea Koff's The Bone Woman: A Forensic Anthropologist's Search for Truth in the Mass Graves of Rwanda, Bosnia, Croatia, and Kosovo Chapter 5: Use Beginning, Middle, and End: Witness and the Work of Reintegration in Delia Jarrett-Macauley's Moses, Citizen & Me Chapter 6: Survivors Tell the Stories that the Sympathizers Want: Countering the Comfort of Lost Boy Narratives in What Is the What: The Autobiography of Valentino Achak Deng Chapter 7: You've Got to Be Carefully Taught: Ethics Lessons for Beginners in Uwem Akpan's "What Language Is That?" Chapter 8: My Life Is Based on a Real Story: Recursive Witness in Alicia Partnoy's "Rosa, I Disowned You" and "Disclaimer Intraducible: My Life / Is Based / on a Real Story" Conclusion: Deliberative Testimonio and the Reactivation of Human Rights Discourse
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