If I were to have to talk personally of what drives my own writing I would quite naturally have to step outside the framework of national literature. In fact, all of the world’s writers are actually stateless. Like many of them, I too have a feeling of separation that cannot be alleviated, a deep feeling of exile and disquietude within stemming from feeling cut off from nature. I too feel the discord of not being able to conform to hierarchical time and the resulting sensation of innate fragmentation that comes from this. On the other hand, when, as a being endowed with memory, I try to create for myself an intellectual framework I find myself experiencing a narcissistically comforting feeling that comes from being an inhabitant of a geography that has deep historical roots spread from the Mediterranean basin to Mesopotamia and from the Middle East to Anatolia. In other words, thanks to something primeval I am able to confront the feeling of statelessness. This intellectual geography is, for me, made up of all the celestial religions, the Greek gods, the myths of Sumeria, the Persian poets and Arab philosophers, Jewish cabalists, Armenian legends, Kurdish dengbejs, Hellenic architecture, the horticultural skill of the early farmers of Rum who domesticated the vine, the traditional Shamanistic practices of the Turkmen tribes, Gypsy songs and the crafts and narratives of numerous peoples. But then the minute that I leave Turkey I am labelled absolutely and exclusively as a female writer who is Turkish and Muslim and I am only accepted by some literary circles if I bear these tags. The emphasis is always on these aspects.Display Comments Add a Comment
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Blog: The Mumpsimus (Login to Add to MyJacketFlap)
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Blog: La Bloga (Login to Add to MyJacketFlap)
JacketFlap tags: Nuyorican, Latino Poetry, Puerto Rican, Bilingual Poetry, academia, poets, Latina authors, nationalism, LGBT, Latina, Add a tag
Lisa Alvarado - Interview with Luz Maria Umpierre
Luz Maria Umpierre has wrought a legacy, a challenge, a history, a love letter, a sinuous and sentient record of personal identity, revealing the crosshatched scars and singing victories of a warrior, the yielding body and the body politic in
"I'm still standing- 30 Years of Poetry -available through her website http://luzmaumpierre.com
"Luz Maria Umpierre is, quite simply, one of my heroes in a postmodern world that insists on ridding us of icons and pedestals in an attempt to level all people and institutions. Paradoxically, some institutions seem to merit such debasement when they never miss an opportunity to hound the historically marginalized and alternative voices out of the academy." Dr.Eric Pennington (Seton Hall)
She is an established scholar in the fields of Puerto Rican, Caribbean, Latina/o Studies, Poetry, and Gender Studies, with multiple publications in leading journals, including Hispania, Latin American Theatre Review, Revista do Estudios Hispánicos, Bilingual Review, Chasqui, Explicación do Textos Literarios, Chicana/Latina Studies and The Americas Review. Co-founder of the journal, Third Woman. Also published in internet journals, including La Acera, Diálogo Digital, Cruce and La Bloga.
Author of two books of literary criticism, ten collections of bilingual poetry, numerous book chapters and over 50 articles of literary criticism on Latin American scholars and writers from several generations, including a seminal article on writers and migration published in MELUS in 2002 and currently included in an anthology of essays in honor of Isabel Allende.
Her collected works and personal papers currently housed at De Paul University, Latina rare book collection housed at Bryn Mawr College.
She is recognized internationally as an authority on the interdisciplinary study of Literature, the Social Sciences, History and Language, especially regarding race, culture, gender identity and ethnicity. Complete list of publications available on request.
What do you believe is the purpose of poetry?
The purpose of poetry is to liberate the spirit, our soul, so that it has a concrete expression that is palpable. And as Julia Alvarez said in one of my favorite poems of all times, to be able to say "Whoever reads this poem, touches a woman." I am hoping that I am quoting her correctly because my copy of her book is at my rare book collection at Bryn Mawr. I can and will accept to be corrected in my quote but not in my idea. LOL
What do you consider to be "Latino/a" themes?
All themes are Latina themes. It is the vision or the approach we take as Latinas what gives them a sabor or authenticity that is ours. For example, many years ago I took Vanguardista poetry which was highly non-politicized and turned it into political poetry. From there, for example, emerged my Poemas Concretistas.
To say that there are Latina themes is to reduce us. Granted there are subject matters such as identity that we explore more than other groups of writers but I would not say that there are Latina themes and non Latina themes. All themes are human themes and that is overall the most important theme to me.
Describe the intersection of sexual identity and culture as it lives in your writing?
I learned from Audre Lorde years and years ago that I cannot be asked to divide my Self into separate pieces of identity and ignore some in favor of others. That to me would be mutilation. I refuse to mutilate my rich identity for the sake of pleasing the eye of a beholder or for an aesthetics of a political correctdness of beauty. Thus all aspects of my identity and culture live in harmony in my works.
What would you say to critics of your lesbian-identified work?
That they get a life and start living in the 21st. century. I never forced them to leave their heterosexist and nationalist macho agenda views through meanness, non inclusion or actual shuning. On the contrary, I questioned them publicly and made my dissenting opinions known to them. I did not go back stabbing them, making calls to bad mouth them into being denied jobs, I did not refuse to teach them in my classes. To the contrary, I included them because I wanted to have an open dialogue about difference. But "I'm Still Standing" as the only dancer on that inclusion floor because some of these people are so petty that they refuse to engage me in public and face to face or, as Lorraine Sutton marvelously said in one of her poems: "to cunt-front" me.
How has academia enhanced/impinged upon your creative process?
They have always wanted to deny me a claim to my poetry as an academic achievement. However, I have not allowed them to infringe on my freedom to write. I have used my academic struggles precisely to question antics and tactics in academia and make fun, mock and criticize their elitism and snobbery.
Who are some authors who move you and why?
Adrienne Rich, her book The Dream of A Common Language has been my Bible since the 1980s. Nemir Matos Cintron has poems in her collections A través del aire y del fuego pero no del cristal and in Aliens in NYC that have made me cry time and time again because of her portrayal of genuine human identity angst. I recently re/read a poem by Ana Castillo entitled: "I Ask The Impossible" and I am afraid that I ruined the Thai Lemon Tilapia dish that I was eating while reading it because I began to cry uncontrollably. I feel that we have all have wanted to be loved that way and her poem is a voicing of a human need that I had never read exposed in poetry. Lorde also moved me with some of her poems on women. Marge Piercy's book The Moon is Always Female has some of my favorite poems of all times because of her delving into what constitutes to be a strong woman. Julia de Burgos, of course she is part of our collective unconscious as Puerto Ricans. The theme of the river in her poetry and the sea attracts me.
What are some thoughts you would share with newer poetas/poetisas/Nuyorican poets?
To remember that many people paved a path for them and they should be honored, not bullied, harassed, shunned and most importantly, not disrespected.
I think Puerto Rican poets of the younger generation have no respect towards their elders, their sages, those who broke a path for them now to enjoy. They are not like other Latina groups. I am marveled by the respect of Mexican Americans towards their wiser older Latinas/Latinos something that is totally lacking among young poets be they Puerto Rican or Nuyorican.
I would like to let them know that one day they will inevitably be older and if they do not change their ways and attitudes, they too will be the subject of disrespect.
What sustains your creative and spiritual longevity?
The power to love, to find love, to see everything with fresh eyes, to be able to marvel at beauty and to be passionate about living. But also, as the poem says: "To be of use." Display Comments Add a Comment
Blog: Amsco Extra! (Login to Add to MyJacketFlap)
JacketFlap tags: AP World History, World History, War, Social Studies, Nationalism, Add a tag
|Casablanca: Victor Laszlo leads the café in singing "La Marseillaise."|
Another 20th-century axiom was the belief that “the sun never sets on the British Empire.” British schoolchildren were taught geography by looking at maps on which much of the world was colored red, indicating the many colonies, protectorates, and spheres of influence of the empire in which they were taught to take such pride. Eventually, of course, the sun did set on the British Empire. After World War II, Britain no longer had the resources to control or police their far-flung possessions and were forced to grant independence to their African, Asian, and West Indian subjects. Some elected to join the Commonwealth of Nations, which some contemporary scholars regard as little more than a social club, rather than the remnant of a once-mighty empire. In contemporary Britain, or the United Kingdom of England, Scotland, Wales, and Northern Ireland, nationalism is no longer the force it once was. This downward trend was given impetus during the administration of Prime Minister Tony Blair (1997–2007), which implemented a policy of devolution–the transfer of political power and control of domestic affairs from Parliament to elected law-making bodies in Scotland, Wales, and Northern Ireland. In these countries, people have increasingly come to think of themselves as Scots, Welsh, and Ul Display Comments Add a Comment
Blog: Amsco Extra! (Login to Add to MyJacketFlap)
JacketFlap tags: Nationalism, American History, War, Art, Culture, History, Add a tag
Flag Day! What's that? On this day in 1777, the Second Continental Congress adopted the stars and stripes as the nation's flag. In 1916, President Wilson officially proclaimed June 14 to be Flag Day. Since then, it has been a day to commemorate the American flag. Consider it a warm up for Independence Day.
Like apple pie, the bald eagle, and Lady Liberty, the flag symbolizes our nation: it is a visible sign of invisible things. Look at the pictures in the collection that follows and for each ask yourself the question, "What does the flag represent here?" Share your answers by writing a comment below.
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Blog: OUPblog (Login to Add to MyJacketFlap)
JacketFlap tags: *Featured, Business & Economics, Current Affairs, EU, europe, europeanism, eurozone, financial crisis, john mccormick, multilateralism, nationalism, patriotism, positivity, sustainable development, welfarism, westphalian, euro, mccormick, europeans, secularism, integration, Add a tag
By John McCormick
And yet this is the very time to remind ourselves of the achievements of the EU, because if we are to make sensible choices about where we go from here, we will need to have a clear idea of both its successes and its failures. Whatever happens to the euro, the EU is obviously on the brink of some major changes, generated not just by its immediate problems but also by some broader political and philosophical questions about the meaning and purposes of the European project.
Critics have focused on numerous themes in their recent attacks on the EU, among which is the recurring question of just what it means to be European. The EU is regularly accused of lacking clear purpose, and conventional wisdom suggests that Europeans have too little in common to weather the crises. After decades of convergence, we are now often told that Europeans are moving apart, with a growing backlash against European integration and – more specifically – a right-wing reaction against immigration, and talk of the failure of multiculturalism.
In truth, however, Europeans have a great deal in common , but they are often the last to realize this because they are repeatedly told about their differences, and the EU is repeatedly castigated for its lack of leadership and its failure to make a mark as an actor in the international system. The result is that many can no longer see the wood for the trees. It is only when we compare the European experience with that of other parts of the world that the patterns begin to emerge.
One of the clearest examples of Europeanism (if we understand this term as meaning the distinctive set of values and preferences that drive choices and preferences in Europe) is its secularism. Where support for organized religion is growing in almost every other part of the world, in Europe it is declining, and this is impacting the way Europeans think about politics, science, social relations, and moral questions.
Another example is offered by the redefinition of the role of states. It was in Europe that the Westphalian state system was born, and yet Europeans since the end of the Second World War have been reviewing their association with states: more are thinking of themselves as Europeans, while identity with nations has been growing. Meanwhile, Europeans have been rejecting traditional notions of patriotism, which – thanks to its long association with nationalism – has a bad reputation in Europe.
On the international front, the Europeanist model is notable for its support of civilian over military means for dealing with threats to security, its support for multilateralism over unilateralism, aAdd a Comment