The volume addresses this theme most constructively in the Introduction, in which the editors draw rather heavily on the Duna and Hagen people of highland Papua New Guinea, where Strathern and Stewart have done most of their fieldwork. This is the result of a longer project of Andrew Strathern and Pamela Stewart in which they attempt to explore similarities and differences in and between Austronesia and non-Austronesian worlds. What I found most exciting about this volume is that it brings together studies on religious and ritual change by scholars doing research in Taiwan, and scholars working in Melanesia. This article aims at showing how the conventions of various genres of Urdu Literature can be utilized in advanced level L2 Creative Writing classrooms. Keeping these trends in view, certain activities can be designed in an advanced class of second language Creative Writers, especially in a Pakistani context, since the variety of the local literary paradigms can allow an easeful substitution of stylistic patterns and lexical items. Therefore, in the case of second language creative writers, Creative Writing allows a synergy between the target language and the local literary paradigms. While Harper views Creative Writing as a ‘form of face-making’ (Harper 2010), we can further imply that it is an interaction with faces that act and react within their own cultures. This ‘hybridization’ (Bhabha 1994, 5) of literature has indeed generated ‘various and complex results’ (Eliot). With literatures in English asserting their legitimacy all across the globe in the post-colonial backdrop, what came to the fore was the predilection of various ‘Native’ writers in the former colonies to play with various indigenous literary genres while writing in English.
0 Comments
Leave a Reply.AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |