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Journal articles on the topic 'Phillips, Caryl. Phillips, Caryl'

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Published: 4 June 2021
Last updated: 5 February 2022

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1

King, Bruce, and Bénédicte Ledent. "Caryl Phillips." World Literature Today 77, no. 1 (2003): 87. http://dx.doi.org/10.2307/40157816.

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2

Birat, Kathie. "Caryl Phillips." Commonwealth Essays and Studies 40, no. 1 (September 1, 2017): 5–10. http://dx.doi.org/10.4000/ces.4433.

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3

Birbalsingh, F. "Interview with Caryl Phillips." Caribbean Quarterly 37, no. 4 (December 1991): 40–46. http://dx.doi.org/10.1080/00086495.1991.11671739.

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4

Čatić, Emina, and I. Murat Öner. "Lives Fractured: Re/Naming and Identity in the Writing of Caryl Phillips." Romanian Journal of English Studies 16, no. 1 (November 1, 2019): 32–41. http://dx.doi.org/10.1515/rjes-2019-0005.

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AbstractThe novels of Caryl Phillips often deal with the experiences and identities of those displaced and marginalized by society. Caryl Phillips is well known for employing different textual strategies such as spatiotemporal fragmentation, intertextuality, naming, and point of view shifts in order to portray the struggles and suffering of his characters. The aim of this article is to examine how Phillips uses naming of his characters to depict the effects exile, slavery and other forms of oppression may have on their lives and identities. In order to accomplish this, different characters from Phillips’s novels Cambridge (1991), The Nature of Blood (1997), Crossing the River (1993) and Higher Ground (1989) will be discussed. The analysis of the characters will draw upon three concepts of naming first proposed by Bénédicte Ledent (2002): anonymity, (re)naming and name alteration.
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5

Rahbek, Ulla. "Caryl Phillips and the Heroic." ariel: A Review of International English Literature 48, no. 3-4 (2017): 77–101. http://dx.doi.org/10.1353/ari.2017.0027.

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6

Ward, Abigail. "An Interview with Caryl Phillips." Contemporary Literature 53, no. 4 (2012): 628–45. http://dx.doi.org/10.1353/cli.2012.0034.

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7

Mardorossian, Carine. "Nature-Function in Caryl Phillips' Cambridge." ariel: A Review of International English Literature 48, no. 3-4 (2017): 187–207. http://dx.doi.org/10.1353/ari.2017.0030.

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8

Pitts, Johny. "Daffodils: A Meeting with Caryl Phillips." ariel: A Review of International English Literature 48, no. 3-4 (2017): 37–47. http://dx.doi.org/10.1353/ari.2017.0033.

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9

Phillips, Caryl, Kathie Birat, and Bénédicte Alliot. "Pitt à pawol de Caryl Phillips. Entretien." Cahiers Charles V 31, no. 1 (2001): 129–40. http://dx.doi.org/10.3406/cchav.2001.1320.

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10

Bell, C. Rosalind. "Worlds Within: An Interview With Caryl Phillips." Callaloo 14, no. 3 (1991): 578. http://dx.doi.org/10.2307/2931461.

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11

Phillips, Caryl. "Interview: George Lamming talks to Caryl Phillips." Wasafiri 13, no. 26 (September 1997): 10–17. http://dx.doi.org/10.1080/02690059708589555.

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12

Pulitano, Elvira. "Migrant journeys: A conversation with Caryl Phillips." Atlantic Studies 6, no. 3 (November 30, 2009): 371–87. http://dx.doi.org/10.1080/14788810903264829.

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13

Della Valle, Paola. "Migration and Multiplicity of Belonging in Caryl Phillips." Le Simplegadi, no. 18 (November 2018): 65–74. http://dx.doi.org/10.17456/simple-96.

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14

Guignery, Vanessa. "Crossing the River: A Conversation with Caryl Phillips." Études anglaises 69, no. 3 (2016): 321. http://dx.doi.org/10.3917/etan.693.0321.

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15

Sarvan, Charles P., and Hasan Marhama. "The Fictional Works of Caryl Phillips: An Introduction." World Literature Today 65, no. 1 (1991): 35. http://dx.doi.org/10.2307/40146116.

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16

FOKKEMA, ALEID. "Identity, trauma and exile: Caryl Phillips on surviving." European Review 13, no. 2 (May 2005): 283–92. http://dx.doi.org/10.1017/s1062798705000414.

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17

Ledent, Bénédicte. "Introduction: Thinking Caryl Phillips Out of the Box." ariel: A Review of International English Literature 48, no. 3-4 (2017): 1–11. http://dx.doi.org/10.1353/ari.2017.0034.

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18

Kirlew, Shauna Morgan. "Caryl Phillips: writing in the key of life." Journal of Postcolonial Writing 49, no. 2 (May 2013): 244–46. http://dx.doi.org/10.1080/17449855.2012.761402.

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19

Ledent, Bénédicte, Caryl Phillips, and Daria Tunca. "“A growth to understanding”: An interview with Caryl Phillips about biographical fiction." Journal of Commonwealth Literature 55, no. 3 (January 9, 2019): 456–68. http://dx.doi.org/10.1177/0021989418814586.

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Starting from the recognition of a biographical impulse in the work of Caryl Phillips, this interview focuses on his practice of biographical fiction. Among the issues raised are the increased popularity of life writing, the tension between fact and fiction at the heart of biographical narratives, the linguistic exactitude involved in focusing on historical characters, the role of research in the exploration of human lives, and the importance of emotional truth in novels that deal with famous individuals. This conversation sheds light on Phillips’s specific approach to biofiction, particularly in his novels Dancing in the Dark (2005) and A View of the Empire at Sunset (2018), while also providing readers with a more general reflection on the genre in the postcolonial field.
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20

Antoni, Robert. "The Enigma of Unarrival: A Tribute to Caryl Phillips." ariel: A Review of International English Literature 48, no. 3-4 (2017): 29–35. http://dx.doi.org/10.1353/ari.2017.0031.

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21

Jaggi, Maya. "Crossing the river: Caryl Phillips talks to Maya Jaggi." Wasafiri 10, no. 20 (September 1994): 25–29. http://dx.doi.org/10.1080/02690059408574360.

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22

Clingman, Stephen. "The nature of empathy: An interview with Caryl Phillips." Journal of Postcolonial Writing 53, no. 5 (February 8, 2017): 590–612. http://dx.doi.org/10.1080/17449855.2016.1275339.

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23

Clingman, Stephen. "Writing the biofictive: Caryl Phillips and The Lost Child." Journal of Commonwealth Literature 55, no. 3 (November 9, 2018): 347–60. http://dx.doi.org/10.1177/0021989418808010.

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This article is an exploration of the biofictive in Caryl Phillips’s writing, in particular in his novel The Lost Child (2015). The term “biofiction” has been in critical use for some 20 years, but is in general under-theorized. The article intends to help fill that gap by considering the biofictive in Phillips’s work as a form of postcolonial epistemology. It also introduces a new but logical dimension by setting the biofictive in conversation with biopolitics. However, whereas the dominant focus in discussions of the biopolitical (formulations from Foucault to Agamben and beyond) concerns the structures and dispositions of power, the role of the biofictive is inflected differently insofar as it both acknowledges a history of power but also creates a space of narrative alterity and resistance. In Phillips’s work this is revealed both in his nonfiction and fiction, not least where the two are combined; and it is especially evident in the multimodal operations of his fiction, dispersed across time and space in the aftermath of slavery, migration, and empire. We see all this in The Lost Child, which also introduces a complex rereading of Emily Brontë’s Wuthering Heights. Overall, Phillips’s version of the postcolonial is capacious, intersecting with other forms of post-traumatic and fugitive experience. The biofictive becomes a bona fide form of knowledge in our postcolonial, post-imperial moment.
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24

Clingman, Stephen. "Rights, Routes, and Refugees: The Fiction of Caryl Phillips." Law & Literature 27, no. 3 (September 2, 2015): 365–81. http://dx.doi.org/10.1080/1535685x.2015.1099220.

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25

Frątczak-Dąbrowska, Marta. "Social (in)Justice, or the Condition of Global Capitalism in the Lost Child (2015) by Caryl Phillips." Studia Anglica Posnaniensia 54, no. 1 (March 1, 2019): 5–20. http://dx.doi.org/10.2478/stap-2019-0001.

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AbstractThe present article is a critical rereading of Caryl Phillips’s latest novel The Lost Child (2015). It looks at the text as both a literary comment on the crisis of today’s global capitalism and as an acute socio-economic analysis of the crisis’ roots and effects. It is being argued that, by placing Wuthering Heights (1847) as an intertext for his contemporary novel and by linking the figure of Heathcliff with African slavery and contemporary poverty, Caryl Phillips aims to emphasise the affinity between the socio-economic conditioning of the nineteenth- and twentieth-century England, as well as between the contemporary and historical experience of economic marginalisation. Thus, he shows global capitalism as a universal experience of long modernity and asks some vital questions about its shape and its future. The following analysis, in line with recent scholarship in the field of postcolonial studies, combines postcolonial criticism with socioeconomic theories and argues that the novel deserves a place in the ongoing debates on the condition of the global economy, social (in)justice and (in)equality, which nowadays become part of the postcolonial literary scholarship.
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26

Fejer, Azhar. "The Stereotypical Representation of Black Women in Caryl Phillips’ "Cambridge"." International Journal of Literary Humanities 17, no. 2 (2019): 51–64. http://dx.doi.org/10.18848/2327-7912/cgp/v17i02/51-64.

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27

Smethurst, O. "Postmodern blackness and unbelonging in the works of Caryl Phillips." Journal of Commonwealth Literature 37, no. 2 (August 1, 2002): 5–20. http://dx.doi.org/10.1177/002198902322439754.

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28

Smethurst, Paul. "Postmodern Blackness and Unbelonging in the Works of Caryl Phillips." Journal of Commonwealth Literature 37, no. 2 (June 2002): 5–19. http://dx.doi.org/10.1177/002198940203700202.

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29

Savory, Elaine. "A View of the Empire at Sunset, by Caryl Phillips." Review: Literature and Arts of the Americas 51, no. 2 (July 3, 2018): 315–17. http://dx.doi.org/10.1080/08905762.2018.1541156.

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30

Laursen, Ole Birk. "Caryl Phillips, David Dabydeen and Fred D’Aguiar: Representations of slavery." Journal of Postcolonial Writing 48, no. 4 (September 2012): 449–50. http://dx.doi.org/10.1080/17449855.2011.639950.

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31

Stephens, Michelle Ann. "The Comic Side of Gender Trouble and Bert Williams’ Signature Act." Feminist Review 90, no. 1 (October 2008): 128–46. http://dx.doi.org/10.1057/fr.2008.29.

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Using the turn of the century blackface performer Bert Williams as a case study, this essay explores how we might think about black male performativity in the New World as a historical formation, one that extends both over the time of modernity and across the space of diaspora. I draw from contemporary theories of circum-atlantic performance and black feminist studies of the impact of slavery on black racial and gendered identities, to argue that performance affords a unique window into how blackness is constructed in a space between the black male performer and his equally racialized New World audience. The essay theorizes a notion of key black male performances as ‘signature acts’, then explores discussions of minstrelsy by other black American writers such as Ralph Ellison, Ishmael Reed, and the black British writer Caryl Phillips. Using Fanon's notions of triple-consciousness in tandem with Brechtian and Freudian theories of alienated performances and jokes, the essay concludes with a brief analysis of some of the gendered significations in lyrics from Bert Williams’ first musical comedy and then also in a novel about the performer by Caryl Phillips.
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32

Rosenberg, Beth. "The Postcolonial Jew in Anita Desai’s Baumgartner’s Bombay and Caryl Phillips’ The Nature of Blood." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 8 (December 1, 2015): 32. http://dx.doi.org/10.12681/syn.16211.

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Anita Desai’s Baumgartner’s Bombay (1988) and Caryl Phillips’ The Nature of Blood (1997) are novels that feature Jewish protagonists; both represent the history of the Holocaust and diverge from the postcolonial landscapes the authors are associated with. Though the Indian Desai and the Anglo-Caribbean Phillips are distinct as postcolonial subjects, their Jewish protagonists help to create what Rebecca Walkowitz terms “comparison literature,” the “work of books that analyse… the transnational contexts of their own production, circulation, and study.” In other words, Desai and Phillips are interested in the structures and dynamics of ethnic identification in a global context. Through what I term the postcolonial Jew, these novels move beyond the notion of ethnic authenticity to a cosmopolitan view of identity as hybrid and positional. The authenticity of and in these novels does not rely on the authors’ ethnic backgrounds, but is found in their ways of telling history. Their intention is to break from the traditional association of Jews with the Judeo-Christian tradition, to represent them instead as separate from the Occidental tradition. As a result, Desai and Phillips utilise a decentred Jew, one who is constantly in flux, disparate, conflicted, and the embodiment of diaspora. The existential condition of this Jew —the placeless place he is called upon to inhabit, which the reader is invited to visit— and the paradoxical states of belonging and displacement become the conditions of all displaced others and represent the constant deferral of meaning in the narrative act.
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33

Acquarone, Cecilia. "Barriers, borders and crossing in two postmodern novels: Caryl's Phillips's The Nature of Blood and Zadie Smith's White Teeth." Epos : Revista de filología, no. 24 (January 1, 2008): 207. http://dx.doi.org/10.5944/epos.24.2008.10581.

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The present article is a study of the novels the Nature of Blood by Caryl Phillips and White Teeth by Zadie Smith as paradigmatic examples of postmodern writing as well as of two different responses that the movement has elicited in our times. While The Nature of Blood deals tragically with the postmodern condition, White Teeth laughs at the contradictions and celebrates the achievements of postmodernism.
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34

Brown, J. Dillon. "A State of Interdependence: Caryl Phillips and the Postwar World Order." ariel: A Review of International English Literature 44, no. 2-3 (2013): 85–111. http://dx.doi.org/10.1353/ari.2013.0022.

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35

Carter, Tomeiko Ashford. "Signifying (Non)Linguistic and Subliminal Spirituality: Caryl Phillips’ Crossing the River." ariel: A Review of International English Literature 45, no. 1-2 (2014): 247–60. http://dx.doi.org/10.1353/ari.2014.0006.

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36

Ledent, Bénédicte, and Evelyn O'Callaghan. "Caryl Phillips' The Lost Child: A Story of Loss and Connection." ariel: A Review of International English Literature 48, no. 3-4 (2017): 229–47. http://dx.doi.org/10.1353/ari.2017.0032.

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37

Yelin, Louise. "Migrant Subjects, Invisible Presences: Biography in the Writings of Caryl Phillips." ariel: A Review of International English Literature 48, no. 3-4 (2017): 103–28. http://dx.doi.org/10.1353/ari.2017.0036.

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38

Ledent, Bénédicte. "Radio drama and its avatars in the work of Caryl Phillips." Journal of Postcolonial Writing 54, no. 1 (January 2, 2018): 32–42. http://dx.doi.org/10.1080/17449855.2017.1417761.

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39

Bewes, Timothy. "Shame, Ventriloquy, and the Problem of the Cliche in Caryl Phillips." Cultural Critique 63, no. 1 (2006): 33–60. http://dx.doi.org/10.1353/cul.2006.0014.

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40

Luburić Cvijanović, Arijana. "MEMORY IN THE WORK OF CARYL PHILLIPS: SANCTUARY AND/OR PRISON?" Годишњак Филозофског факултета у Новом Саду 40, no. 1 (December 10, 2015): 163. http://dx.doi.org/10.19090/gff.2015.1.163-174.

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Memory and rememoration were crucial for the (re)construction of postcolonial identities in the heyday of historical and cultural retrieval in earlier postcolonial literature. With the gradual change of focus towards considerations of identity construction in neocolonial societies, the importance of rememoration faded while memory continues to haunt characters in contemporary postcolonial fiction, as Caryl Phillips’s writing illustrates. His protagonists retrace memories of past lives, seeking refuge from loss, exile and marginalization, risking permanent entrapment in the labyrinths of past traumas. Although withdrawal into memory prevents some of them from adapting to their surroundings, memory in Phillips’s work as a whole serves as a meeting point for pogrom survivors. It is a polyphonic, heterotopian, heterogeneous imaginary community to which the uprooted figures of his novels belong. The aim of this article is to examine the function of memory in Phillips’s vision, arguing that the established space of memory is designed to mend the rift between value-infested polarities.
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41

Goyal, Yogita. "Theorizing Africa in Black Diaspora Studies: Caryl Phillips' Crossing the River." Diaspora: A Journal of Transnational Studies 12, no. 1 (2003): 5–38. http://dx.doi.org/10.1353/dsp.2011.0033.

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42

Goyal, Yogita. "Theorizing Africa in Black Diaspora Studies: Caryl Phillips’ Crossing the River." Diaspora: A Journal of Transnational Studies 12, no. 1 (March 2003): 5–38. http://dx.doi.org/10.3138/diaspora.12.1.5.

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43

Ferraz, João Paulo. "Displacement and unfulfillment." Revista Letras Raras 5, no. 2 (November 18, 2016): 169–78. http://dx.doi.org/10.35572/rlr.v5i2.677.

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O objetivo deste ensaio é discutir brevemente a questão sobre pertencimento cultural e identitário, a partir do texto “Imaginary Homelands” (1982), de Salman Rushdie, do conto “Mericans” (1991), de Sandra Cisneros e da peça Strange Fruit (1981), de Caryl Phillips. Os três autores escrevem de uma perspectiva multicultural sobre a aceitação da identidade e os conflitos étnicos, raciais e sociais entre percepção da realidade pelo indivíduo e diversidade cultural em espaços de diáspora pós-colonial.
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44

Holland, Samantha Reive. "Forgetting to Remember: Multidirectional Communities in Caryl Phillips' In the Falling Snow." ariel: A Review of International English Literature 48, no. 3-4 (2017): 209–27. http://dx.doi.org/10.1353/ari.2017.0025.

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45

Field, Douglas. "The evidence of a film not seen: An interview with Caryl Phillips." Wasafiri 18, no. 39 (June 2003): 24–26. http://dx.doi.org/10.1080/02690050308589840.

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46

Singh, Dr Neha. "Carnival of Cultural Hybridity and Racial Ethnicity in Caryl Phillips’ The Final Passage." POETCRIT 32, no. 1 (February 14, 2019): 57–60. http://dx.doi.org/10.32381/poet.2019.32.01.8.

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47

Saez, E. M. "Postcoloniality, Atlantic Orders, and the Migrant Male in the Writings of Caryl Phillips." Small Axe: A Caribbean Journal of Criticism 9, no. 1 (January 1, 2005): 17–39. http://dx.doi.org/10.1215/-9-1-17.

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48

Sáez, Elena Machado. "Postcoloniality, Atlantic Orders, and the Migrant Male in the Writings of Caryl Phillips." Small Axe: A Caribbean Journal of Criticism 17 (March 2005): 17–39. http://dx.doi.org/10.2979/sax.2005.-.17.17.

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49

Wallart, Kerry-Jane. "Bénédicte Ledent and Daria Tunca, eds., Caryl Phillips, Writing in the Key of Life." Commonwealth Essays and Studies 35, no. 2 (April 1, 2013): 111–12. http://dx.doi.org/10.4000/ces.5884.

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50

I, Lidiya, and Dr V. Francis. "An Interpretation on the Dynamics of Cultural Conflicts in Caryl Phillips’ novel The Final Passage." Think India 22, no. 3 (September 21, 2019): 950–56. http://dx.doi.org/10.26643/think-india.v22i3.8432.

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Caryl Phillips is a prodigious writer, whose writings reflect the cultural dynamics and its ramifications in a colonized context. He attempts to unravel the diasporic experiences of the black people in Africa, Caribbean islands and England. The author through his novel The Final Passage articulates the life experiences of a young girl, who was tossed up in a world of conflict of cultural infliction. The article attempts to narrate and offer exegesis on the bane that the young girl Leila encounters in Caribbean and England context. It exposes the myopic nature of the dominant white community and her own black family background. It offers a soulful rendition to the predicaments she faces due to ambivalent identity, racial disparity.
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