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Woman, Native, Other

Writing Postcoloniality and Feminism

23,50 incl.btw

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Auteur: Trinh T. Minh-ha Categorie: Tags: , ,


Woman, Native, Other is located at the juncture of a number of different fields and disciplines, and it genuinely succeeds in pushing the boundaries of these disciplines further. It is one of the very few theoretical attempts to grapple with the writings of women of color.

In this first full-length study of Post-Feminism, Trinh Minh-ha examines post-colonial processes of displacement- cultural hybridization and decentered realities, fragmented selves and multiple identities, marginal voices and languages of rupture. Working at the intersection of several fields.

Trinh T. Minh-ha (born 1952 in Hanoi) is a Vietnamese filmmaker, writer, literary theorist, composer, and professor. She has been making films for over thirty years and may be best known for her films Reassemblage, made in 1982, and Surname Viet Given Name Nam, made in 1985. She has received several awards and grants, including the American Film Institute’s National Independent Filmmaker Maya Deren Award, and Fellowships from the John Simon Guggenheim Foundation, the National Endowment for the Arts and the California Arts Council. Her films have been the subject of twenty retrospectives.

She is currently Professor of Gender & Women’s Studies and Rhetoric at the University of California, Berkeley. She teaches courses that focus on gender politics as related to cultural politics, post-coloniality, contemporary critical theory and the arts. The seminars she offers focus on critical theory and research, cultural politics, feminist theory, Third cinema, film theory and aesthetics, the Voice in social and creative contexts, and the autobiographical.

Trinh’s work in literary theory is one that defies national borders and resists singular definitions. She focuses on the themes of transcultural interactions, transitions, the production and perception of difference, and the intersection of technology and colonization. The influence that technology and cyberspace have had on the “making and unmaking of identity” has been the focus of her more recent works. For Trinh, the concept of “elsewhere” (the subject for her 2010 book) intersects with the idea of the “inappropriate/d other.” Although she coined this term in the eighties, the “inappropriate/d other” continues to factor in her work, as both a filmmaker and critic due to its focus on liminal subjecthood.

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Indiana University Press