Linguistic Aesthetics Research Articles

Interview: At Home on the Road: A Conversation between Ursula Deser Friedman and Ha Jin

Abstract In conversation with Ursula Deser Friedman, Ha Jin reflects upon the process of “rewriting” his poetry and prose, branching into philosophical reflections on the (un-) translatability of these respective genres, the Sisyphean quest for “home,” and literary multilingualism as an antidote to political censorship. Jin’s observations on carving out a hybrid linguistic niche paint (self-)translation as creative transmediation across mediums, languages, genres, and temporalities. Jin elaborates on his campaign to democratize English by writing against the grain, while reflecting upon multilingual literary creation and his immigrant identity at large. Jin’s foreignized linguistic aesthetics destabilizes the hegemony of English globalese by challenging the assumption that birthright automatically bestows a superior command over one’s “native” language. Jin’s reflections on writing, translation, wandering, exile, and immigration paint the Self as a cosmopolitan subject occupying an interstitial Transwriting Zone at the crossroads between multivalent linguistic and cultural identities.

Exploring the Artistic Features in Turgenev’s Fiction

Abstract This paper delves into the essence of the linguistic aesthetics employed in Turgenev’s fiction, with its finite intertextual implications and infinite extratextual connotation, to illuminate the beauty of implication and connotation in the art universe created by Turgenev. This paper introduces for the first time Turgenev as a master of the “halftones” technique. In his works, absolutes and extremes are absent while description of objects, scenes and emotions, character settings and even internal conflicts are all painted in “halftones”. Turgenev’s writing consistently reflects the beauty of opposition and contrast, versus collaboration and harmony. This paper uses intertextual implications and “halftones” to assess the artistic value of Turgenev’s fiction.

Artistic communication as an object of semiotics and linguistic aesthetics

The paper addresses the concept of artistic communication as a type of semiotic interaction in the discourses of art. Semiotic methodologies for modelling the sign and the communicative act, developed in the works of Gottlob Frege, Gustav Shpet, Jan Mukařovský, Roman Jakobson, Juri Lotman, Umberto Eco, Suren Zolyan, and some other semioticians, are discussed with a focus on the models of aesthetic sign and the corresponding models of semiosis in relation to artistic systems. The study focuses on the discourses of verbal art in its various manifestations (poetry, prose, drama, performance, spoken word, etc.) as material for a linguistic analysis of artistic communication. The paper specifically discusses the linguistic representations of artistic discourse within a model of aesthetic semiosis. The resulting model of artistic communication in verbal art is presented as a synthesis of Jakobson’s scheme of communicative act and its important specification in Lotman’s model of “literary communication”. Based on the existing models of sign, semiosis, and communication (taking Jakobson’s scheme as the main framework), a synthetic, linguo-aesthetic model of artistic communication is outlined, considering together the linguistic, semiotic, and aesthetic parameters of the artistic act.

대중가요 노랫말에 나타난 수사와 서사

This study examined the lyrics of popular songs, focusing on rhetoric and narrative. Through the metaphors and symbols used in the lyrics of the popular song ‘The Watermill Turns’, we revealed the method and image embodied in the lyrics. We examined the history and contemporary emotions implied by the repeated words in the lyrics. I discovered the power of narrative to bring out universal emotions through the linguistic aesthetics of song lyrics and the emotions of the time. I discovered that when narrative and symbolism combine to unite the public's emotions, popular art creates a great resonance and is furthermore recorded in an immortal language that forms a consensus that transcends time. Considering that the value of popular songs is achieved at the point where the emotional needs of the public and the aesthetic level of art coincide, it was an appropriate attempt to select the lyrics of ‘The Watermill Turns’ as the subject of research.

Manifestation of linguistic aesthetics and characters in Javanese wedding ceremonial discourse

Manifestation of linguistic aesthetics and characters in Javanese wedding ceremonial discourse

Principles to be Considered in Terms of Meaning and Linguistic Aesthetics in the Translation and Interpretation of Sūra al-Alaq

Bu çalışmada Alak sûresi, meâlde ve yorumda anlam ve dil estetiğinin gözetilmesi açısından ele alınmaktadır. Çalışma boyunca tefsir kaynaklarındaki görüşlerden mümkün olduğu kadar faydalanılmaktadır. Sûre, yöntem açısından iki bölümde incelenmektedir: 1. Meâlde ve yorumda gözetilmesi gereken ilkeler. 2. Bu ilkelerin çeviride ve yorumda uygulanması. Uygulama bölümünde sûre; metin, meâl, analiz ve yorum sistematiğiyle şekillenmektedir. Alak sûresinin âyet sonlarındaki ses uyumları, meâle yaklaşık bir âhenkle aktarılmaya çalışılmaktadır. Sûrenin, kısa ve bütüncül yorumlarla daha iyi anlaşılması amaçlanmaktadır.

Global digitalization and linguistic aesthetics

The digital civilization dictates new formats of aesthetic parameters of narrative and communication. In a publicistic way, the article discusses the problem of correlations between digitalization and linguistic aesthetics. Emphasis is placed on the negative consequences of current global trends in the field of artificial intelligence. The paper offers one of the ways to solve the problem in question considering the philological and aesthetic impact on the language thinking of the individual in order to form a harmoniously developed linguistic personality. In this case, the linguo-aesthetic parameters of texts are inexhaustible material for innovative research. Linguistic aesthetics is an integral part of national culture, in particular, linguistic culture. In the collective consciousness of speakers of the national language, the aesthetic aspect of the text generates a linguo-aesthetic image of the world peculiar to each linguistic community. The article considers some aspects of aesthetic communication and the literary image of the world with regard to the discursive factors of artistic texts. The working hypothesis is that the linguo-aesthetics of the French language have a high degree of linguocultural activity in the modern French national discourse and, accordingly, in the linguistic image of the world. The prospects of the research on the linguo-aesthetics of creativity and conceptual image of the world are outlined.

Explanation of Womens’ Ideological Linguistic Aesthetics in Poetry by Indonesian and Malaysia Women Poets

Linguistic aesthetics is seen from the linguistic side with a critical view. The text is built from several linguistic tools in which there are ideology and power. This study aims to find and describe (1) vocabulary, (2) the beauty of metaphor, (3) grammar in Indonesian and Malaysian poetry. The literary approach used is a comparative literature approach. This research data is in the form of a poetry text consisting of vocabulary, phrases, and lines with certain ideological values. Data collection activities were carried out using documentation techniques with knowledge and insight into the intrinsic and extrinsic elements of poetry, and critical discourse analysis of poetry, particularly concerning the ideological insights of women in Indonesian and Malaysian poetry, and interviews were conducted with the poets. Data analysis procedure using diagrams of the stages of understanding women’s ideology based on the elaboration of Ricoeur’s hermeneutics: explanation-analysis and interpretation. Triangulation was carried out to test theories, data, and research methods to avoid research bias. The findings of this study are the linguistic aesthetics of the poems by the Indonesian and Malaysian female poets in the form of (1) vocabulary, (2) the beauty of metaphor, and (3) grammatical. This study strengthens the theory of critical discourse analysis because the findings of this study indicate that linguistic aesthetics describes three stages: description, interpretation, and explanation. Practically, these findings are useful for language and literature researchers to enrich the application of critical poetry to poetry.

Explanation of Womens' Ideological Linguistic Aesthetics in Poetry by Indonesian and Malaysia Women Poets

Explanation of Womens' Ideological Linguistic Aesthetics in Poetry by Indonesian and Malaysia Women Poets

Semiotics of the Mask in Abdullah Thabet’s The Sleeping Face

This paper, entitled (Semiotics of the Mask in Abdullah Thabet’s The Slpeeing Face), sheds light on an artistic technique and means of expression that the novelist relies on in the weaving of his narrative imagination, which is the mask technique. The paper aims to expose the implications and manifestations of the mask and its asethetic formulation in the text. This creative technique leads to a number of questions: How did the writer use the mask in creating his narrative world? What are the indications and signs that he is suggesting in the text? Then what is the aesthetic and artistic impact that is formed on the construction of the text? The paper uses the semiotic methodology based on theories of Pierce and Germas to address these questions. Considering that these theories are closer to what my study aims at in tracing the signification and linking it together through a group of minor structures that have nodded their signs at the superficial level of the narrative structure, and then linked to deep relations within the text at the deep level, the researcher feels it is necessary to divide the paper into two sections represented in the formations of the mask and its connotations and the structure of the mask according to the surface structure and the deep structure. The paper exposes linguistic aesthetics of the mask represented in linguistic intensification, which grants the novel a poetic dimension that transforms the text into more aesthetic depth. Moreover, the writer uses the mask grants the text ambiguity and controls the harmony between the mask and othre structural elements, so the text comes up with a major theme that all narrative construction elements help to achieve. Keywords: The novel, semiotics, Saudi Arabia, the mask, literature, Arabic.

Acting Styles, Nuances and Linguistic Aesthetics: A Case Study of Ibrahim Chatta in Yoruba Films

Acting style is the artistic feature and ingenuity of the actor exhibited over a long period of time acting in films. It is the attainment and acquisition of skills, ingenious and professional creativity, exhibited by the actor in the process of carrying out a role in film or play production. Acting style can be inferred to be individualistic. In Yoruba films, there is a crop of non-native actors who are fluent in the language of their nativity as well as being conversational in the Yoruba language movies which aid their celebrity status. The inability to acculturate to the expected character through diction, gesticulation and socio-linguistic nuances create disorientation between the actors and the audience. This study is hinged on Whorpian Theory on language which posits that the individual perceives his or her environment through the process of thought which is influenced by the language he uses. The method of research is content analytical. Film content is analyzed to raise awareness on the style, nuances linguistic aesthetics of Ibrahim Chattah in selected films. Our findings show that producers and casting directors are the culprit of this deficiency, due to their sense of profit making by using casts with celebrity status in order to increase their profit margin at the show room. This study thereby concludes that directors, producers and casting directors should be more creative by developing a sense of professionalism, making preference for quality over quantity in the Yoruba films. This research recommends adequate training for all actors, especially multilingual ones to increase their versatility, develop skill and technique in order to sustain them and increase their market value in the industry.

A „nyugati modell” és a „szép idegen” problematikája Kazinczy és a Debrecen kapcsolatában

The sharp debates of the language reform era were preceded by the Debrecen conflicts of Kazinczy Ferenc (1759–1831), who saw the Debrecen Grammar as an attack on his literary language reform programme. His literary and stylistic efforts were aimed not only at the adoption of Western cultural models, but also at the Western modelling of the Hungarian language. Foreign phonetics became fashionable, and one of the main tools in the search for novelty. The deliberate use of foreignisms and mirror translations led the authors of the Grammatika to criticise the Hungarian language; in line with the great European linguistic turn of the time, they undertook to defend the ‘genius’ of the Hungarian language. Although the attempts to introduce grammatical gender and similarly bold solutions were accompanied by problems of linguistic aesthetics, the foreignness of ‘invented languages’ and the freedom of literary language creation sometimes served as a means of value-bearing experimentation. Although Kazinczy declared the superiority of his own views, time has proved that the ‘Debrecenicism’, based on the principle of ‘collective anticipation’, has also done its indispensable work, both in terms of the appreciation of linguistic peculiarities and of popular appropriation.

Word and memory of Ivan Drobnyi

The author of the article explores the individual linguistic style of Ivan Semenovych Drobnyi, a writer of the Sixties from Cherkasy region, in particular the language of his poetic texts. It is determined that the poet’s style represents the linguistic aesthetics of Ukrainian literature of the second half of the twentieth century, and the stylistic feature of I. Drobnyi’s language thinking reveals the connection of verbal associative images with realities, phenomena of Ukrainian nature, history of the native land, environmental problems and the inner world of a person in love with his land. There is a renewal of traditional poetic metaphors (the book of nature). The poet reads the book of the farmer, and compares the grains of poetry to the golden grains of the field. A conversation with nature always ends with a clear aphoristic thought that reveals broader, sometimes unexpected connections between words and concepts that acquire symbolic meaning. The contexts of aestheticization and symbolization of such individual linguistic images as rainbow, rain, willow, path are highlighted, the associative field of which is expanded by the author with the concepts of modern reality. The author interprets the meaning of the original poeticized image of winter crops as a symbol of the dying and resurrection of nature. The tradition of the Ukrainian poetic word combines the concepts of the rainbow and the Dnipro, but only in the poetry of Ivan Drobnyi the entire rainbow is «according to Vasyl Symonenko». The author emphasizes the simple, uncomplicated rhythmic and intonational structure of the poem, the song folk rhythms in the poetry of I. Drobnyi and at the same time records the transitions in it from the high poetic word to the lyrical confession, from philosophical reflections to evaluative, witty statements filled with colloquial phrases. The article concludes that the poetic language of the Cherkasy region writer Ivan Drobnyi is a grateful source of research on the problem of STYLE AND MEMORY. With his lyrical texts, the poet draws attention to the richness of the Ukrainian literary language, makes us think about the historical variability of the lexicon of human civilization and about eternity, the value of the fundamental connection between man and the «eternal writings» of nature. His philosophical reflections on the agricultural culture of Ukrainians, the history and nature of his native land, often embodied in a perfect aphoristic form, enrich the vocabulary of linguistic and aesthetic signs of Ukrainian culture, and actualize precedent names and precedent lexemes, phrases of the Ukrainian language. Ivan Drobnyi’s individual style preserves the memory of the folk style of Ukrainian poetic language, which organically combines the linguistic aesthetics of folk songs and the philosophy of folk conversation.

Linguistic Aesthetics in the Market: Evidence from Oral Business Nepali

Communication in business is usually supposed to be precisely and directly targeted at the message. The present study was instigated to answer whether, as generally assumed, communication in business excludes the artistic or poetic use of language meant for entertainment. Using observation, recording and field notes as the study techniques, a corpus of 24000 words was collected in Nepali from the major open market sites and business hubs located within Nepal. The corpus was then translated into English. As a delimitation of the study, the aesthetic aspect of language use and usage was particularly focused and analyzed. The exploration suggests that the users of oral business Nepali (OBN) commonly entertain themselves and others side by side as they speak while conducting business transactions. They commonly achieve this end by creating art and imagination, expressing and creating humor, and making associations. A future direction would be to extend the study in terms of its scope and methodology.

Ідіолект Лесі Українки в історії української літературної мови

The article highlights the role of Lesya Ukrainka's idiolect in the history of the Ukrainian literary language. The writer enriched her artistic, scientific and journalistic styles, supplemented her epistolary and translated literature. Lesia Ukrainka's idiolect significantly expanded the expressive possibilities of literary language, took it beyond Ukrainian realities, and brought the Ukrainian reader closer to classical and European literature: translations of works by Homer, Dante, Byron, Shakespeare, and others. The linguistic aesthetics of Lesya Ukrainka's poetry was formed on the basis of vernacular and folk poetic language in combination with the literary and written traditions of the Ukrainian classics. The vocabulary of Lesya Ukrainka's poems demonstrates a high level of the Ukrainian literary language development. Lesya Ukrainka's poetry conveys complex concepts of art, aesthetics, science, including philosophy, psychology, history, art, and aesthetics. We can find verbal incarnations of the image of the Word in the idiolect of the writer. Most of the events in Lesya Ukrainka's plays take place in Ancient Greece, Ancient Rome, Spain, Egypt, Germany, North America and other countries. Lesya Ukrainka's dramas are rich in aphorisms - individual-author maxims. Most of the aphorisms concern the artistic theme of slavery, slavery - freedom, liberty. Various socio-political topics are among the civic interests of the writer, which are reflected in her journalistic works. Lesya Ukrainka is the author of literary-critical and scientific works. The idiolect of the writer significantly complements her epistolary legacy. She adhered to Eastern Ukrainian language traditions and consistently used lexical and grammatical language forms of Western Ukraine.

Characteristics of Artistic Prose at the Massoud Mohamed Jalizada Kurdish (His message in the lament of Alaeddin Sajadi model)

The features of the technical prose of the Kurdish Author Masoud Mohammad Jalizadah (A Case Study of his letter in lamenting Alaaddin Sajjadi) Hadi Rezvan Associate professor of Arabic language and literature/ University of Kurdistan In the late nineteenth and early twentieth centuries, various Arabic prose schools were formed. These schools includes the imitators, the inventors, and the moderates and extremists in modernism, which intense scientific and literary conflicts could be seen between them. The Non-Arabic Arabic writers have each been influenced by some of the Arabic literary schools. Massoud Muhammed Jalizadah is one of the great figures who lived until the end of the 20th century and died in 2002. Massoud Muhammed is considered among the Kurdish thinkers, intellectuals and literates who have left valuable works in both Kurdish and Arabic. Among these are a letter in lamenting Alaaddin Sajjadi, which indicates the author's exemplary literary taste. In this letter, he is sometimes nearly a conservative imitator showing signs of mannerism and ambiguity in his prose; however, it does not lose its vitality and beauty. The author in this article examines the technical elements contained in this letter and talks about the thoughts, the style of linguistic aesthetics and the emotions in it, and examines the various figures of speech used in it. Being influenced by both the old-fashioned and the contemporary, the boisterous and honest emotions and the signs of Kurdish culture are among the characteristics of Massoud Muhammed's prose in this letter. Keywords: Arabic prose, stylistics, lamentation, Massoud Mohammad

СИНЕРГЕТИКА ДИСКУРСУ У МІЖКУЛЬТУРНОМУ КОНТЕКСТІ

The development of linguistic research in the conditions of globalization acquires a new understanding, since it correlates with culturology, ethnology, and explicates the linguistic and cultural heritage. Modern linguistic intelligence is extrapolated to the problems of intercultural communication, linguistic aesthetics, and the study of national and cultural realities. The consideration of languages, in particular Germanic, in intercultural interaction appears to be actualized, because the knowledge of national values and communication peculiarities of Germanic native speakers contributes to the comprehension of the specific cognition nature of their cultural environment.

Linguistic Aesthetics from the Nineteenth to the Twentieth Century: The Case of Otto Jespersen’s “Progress in Language”

AbstractFrom the early nineteenth century up until the first half of the twentieth century, many leading scholars in the emerging field of linguistics were occupied with what would today be considered a kind of linguistic typology. The various classifications of languages they proposed were generally intertwined with speculation about the “racial” traits or national mentalities that different language types might represent and their putative value relative to one another. This article investigates these schemes from the perspective of Otto Jespersen’s (1860–1943) theory of “progress in language.” It first shows how Jespersen, inspired by theoretical developments in linguistics and neighboring sciences, inverted the traditional rankings and praised the modern “analytic” European languages over their classical “synthetic” ancestors. It then explores contemporary reactions to Jespersen’s theory and traces the gradual disappearance of language evaluation and related questions from the discipline. Charles Ball...

Elsewhere: Translingual Kundera

While other translingual writers have seemed to blossom into a new, and often revelatory, aesthetic connected to their embrace of a second language, Milan novels have become shorter, more circumspect, and less obviously new in their form and aesthetic as he has moved into a second language. The urgency of his middle period--with the critically acclaimed and bestselling novels Kniha smichu a zapomneni / The Book of Laughter and Forgetting, Nesnesitelnd lehkost byti/ The Unbearable Lightness of Being, and Nesmrtelnost/Immortality--seems to have petered out into small, novella-like diversions seem to display an unremarkable encounter with the second language he has embraced: no obvious shaving of words down to their core like Beckett, or capacious playfulness like Nabokov. Has the translingual Kundera been disappointing, or is there more to his embrace of the French language than meets the eye? Kundera went into exile in France in 1975, and for the first twenty years wrote his novels in Czech knowing the vast majority of his readers would only read him, because of Czechoslovak censorship of his work, in translation; translation, he wrote, was everything. According to one of his translators, Peter Kussi, his awareness of a non-Czech readership made self-conscious about his Czech language. Kundera worried he was overly clarifying his language, that he washed out his [Czech] tongue to be absolutely crystal clear (Kussi 1999). Yet Kussi also pointed out Czech was already clear, formal, what you might call normal Czech, unlike the great Czech stylists he admired such as Vladislav VanCura, Bohumil Hrabal, even (in his use of street Czech) Jaroslav Hasek--a clarity possibly connected to love of French literature (Kussi 1999). That love is apparent; from his first prose piece, Ja, truchlivy buh (1958), Kundera has kept returning, for instance, to Rostand's Cyrano in order to underline a central trope in his own work of misunderstanding and our tragicomic belief in language and symbols to overcome it. Have French novels been misunderstood, too? Or, more precisely, have linguistic aesthetics been misunderstood paradoxically because of the apparent clarity, or straightforwardness, of his prose? French critics, such as Francois Ricard, have characterized language as being solely instrumental: simple, classic, and only entirely dedicated to the meaning it must transmit (Ricard 165). In attributing a classic prose to work, critics like Ricard imply Kundera was always, in spirit, a French writer; his translingualism is normalized into a certain tradition of French After work received one of the ultimate French literary accolades by being published as a two-volume Pleiade edition in 2011, Mohammed Aissaoui marveled at the stylistic unity of Czech and French work. Aissaoui noted Kundera's translated French has the same traits of economy, precision and clarity as the French written directly by him because Kundera's natural diction, in Czech and in French, has always been in harmony with our prose. In this article, however, 1 want to suggest French novels are in fact linguistically and thematically disruptive (in terms of French norms in language, national culture, and tradition). As a Czech writer in exile, intimately attuned to discrepancies in language and its untranslatability, Kundera became interested in what language does and how it works (and does not work). While retranslating the French translations of his Czech novels, he became cognizant of the trajectory of his aesthetics, and particularly how he used language. He articulates this discovery in his first French essays, published as L'art du roman (1986) and Les testaments trahis (1993), arguing great writers have their own personnel de l'auteur / author's personal style transgresses the norms of their own language whether or not their personal is obviously disruptive (Testaments trahis 134; Testaments 110). …

Trans-Indigenous: Methodologies for global Native literary studies by Chadwick Allen (review)

Reviewed by: Trans-Indigenous: Methodologies for global Native literary studies by Chadwick Allen Jodi A. Byrd Trans-Indigenous: Methodologies for global Native literary studies By Chadwick Allen. Minneapolis: University of Minnesota Press, 2012. One of the more gratifying aspects of studying Indigenous issues at the moment, especially given that the scholarship seems poised to offer a sustained transformation of the conversations pursued at the interstices of postcolonial studies, global studies and critical ethnic studies, is the acumen with which scholars within the field are offering new avenues and innovative ethics for engaging in what are, by necessity, often comparative projects across diverse historical and colonial contexts. As local and global iterations of Indigenous studies articulate the stakes for decolonial analyses of Indigenous governance, resistance and sovereignty, the related fields of literary and cultural studies have followed suit by taking up questions of intellectual, aesthetic and literary sovereignty within and beyond the injunctions of nationalism, cultural patrimony, and rights and responsibilities. In articulating the vitality of Indigenous epistemologies and ontologies as philosophically and theoretically sophisticated reading practices, Indigenous studies scholars have called for Indigenous peoples to understand themselves within a global network of other Indigenous societies. Rather than wait in the dustbins of history for that moment in which our own communities might arrive at the table as fully recognized nations within the West, such scholars suggest we might gain more by shifting our attention from such neoliberal traps of recognition and statehood and turn instead to the production of our own modes of intelligibility within and through Indigeneity as a resistant and sustainable alternative to the culture and politics of imperial global capitalism underwriting international state norms. Toward that end, Chadwick Allen’s most recent book from the Indigenous Americas series with the University of Minnesota Press seeks to intervene in some of the extant pitfalls that have emerged when undertaking comparative projects in Indigenous studies. The introduction to the book declares a new method for working across global Native literary studies, and even if read on its own without the chapters that follow, it is a provocative reimagining of the possibilities that might emerge if scholars were to take seriously the notion that discrete Indigenous cultures warrant centrality as world-builders in and of themselves. Beginning with the observation that what is presented as comparative within the academy can, more often than we might like to acknowledge, rely upon such perennially fuzzy notions of like and unlike, between and among, and compare and contrast, Allen’s introduction suggests a sea change in how scholars committed to thinking through the stakes of comparative approaches might reframe and transform their work. To shift the terrain from like and between, Allen persuasively argues against such modes of “‘together (yet) distinct’” (xiii). What he offers instead is the concept of trans- repositioned as across and through, and altered by its relation to Indigeneity. Certainly within the fields of transnational and global literary studies, the trans- is already operationalized as a critical analytic, and yet Allen returns us to this prefix as a force of recovery that repositions interpretative authority within the cultural and literary contexts through which Maori, American Indian, Hawaiian and Australian Aboriginal writers articulate their own linguistic aesthetics and political revolutions. Seeking juxtapositions rather than comparisons, relationalities rather than causalities, and genealogies rather than heritages, the trans- confronts and recenters Indigeneity rather than nation as the site for any comparative undertaking. Within the deep settler colonial histories of the geopolitical spaces his ambitious book charts, including Australia, the United States and Aotearoa New Zealand, Allen makes claims for a locally situated Indigenous global that could transform a field. “Trans- could be the next post-,” he writes (xv). In the chapters that follow, Allen seeks, with archival and textual analysis, to demonstrate how such juxtapositions can serve as decolonial methodologies of interpretation and recovery on the one hand and of aesthetic and artistic sovereignty on the other. Divided into two sections with two chapters in Part I, and three chapters in Part II, the book begins by locating Indigenous literary aesthetics within the political and intellectual struggles that emerged in the mid-twentieth century. Part I takes an expansive approach to the...