Relevant bibliographies by topics / Shani Mootoo

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Academic literature on the topic 'Shani Mootoo'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Shani Mootoo"

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Mootoo, Shani. "Shani Mootoo." Journal of Lesbian Studies 4, no. 4 (December 2000): 107–13. http://dx.doi.org/10.1300/j155v04n04_11.

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May, Vivian M. "Trauma in Paradise: Willful and Strategic Ignorance in Cereus Blooms at Night." Hypatia 21, no. 3 (2006): 107–35. http://dx.doi.org/10.1111/j.1527-2001.2006.tb01116.x.

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Shani Mootoo's Cereus Blooms at Night demonstrates how willful and strategic epistemologies of ignorance intertwine. By rejecting a compartmentalized approach to domination, Mootoo highlights the disjuncture between idealized images of family, home, love, and the Caribbean and traumatic events of personal and cultural history. Mootoo not only asks readers to take up resistant questioning, argues May, but also to recognize that epistemology must acknowledge unspeakable and silenced stories to adequately account for multiple ways of knowing.
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Fung, Richard. "Bodies out of place: The videotapes of Shani Mootoo." Women & Performance: a journal of feminist theory 8, no. 2 (January 1996): 161–73. http://dx.doi.org/10.1080/07407709608571237.

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Zarranz, Libe García. "Feeling Sideways: Shani Mootoo and Kai Cheng Thom’s Sustainable Affects." University of Toronto Quarterly 89, no. 1 (July 2020): 88–106. http://dx.doi.org/10.3138/utq.89.1.06.

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Almeida, Sandra Regina Goulart. "Bastardos culturais e inglórios: configurações de gênero na diáspora em série de Shani Mootoo." Aletria: Revista de Estudos de Literatura 21, no. 2 (August 30, 2011): 113–25. http://dx.doi.org/10.17851/2317-2096.21.2.113-125.

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Este trabalho analisa o romance Cereus Blooms at Night, de Shani Mootoo, que narra a estória de personagens de descendência indiana que imigraram para o Caribe como mão de obra através de contratos de trabalho. Partindo de teorizações sobre performance de gênero, analisa a representação dessas personagens cujas vivências, marcadas pela violência e pela exclusão, estão relacionadas não apenas a sua experiência diaspórica, mas também a suas orientações sexuais e à inadequação dos papéis de gênero às quais estão submetidas.
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Lee, Sun-min, and Chung Wan Woo. "Empathy and Alliance Generated by the Representation of Disability in Literature - Focusing on Shani Mootoo’ Cereus Blooms at Night -." Journal of Humanities 72 (February 28, 2019): 133–69. http://dx.doi.org/10.31310/hum.072.05.

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Moyano, Thiago Marcel. "Colonialidades em Movimento." Revista Criação & Crítica, no. 22 (December 21, 2018): 85–101. http://dx.doi.org/10.11606/issn.1984-1124.v0i22p85-101.

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Os estudos de gênero e a teoria pós-colonial estabeleceram novos paradigmas à perquirição das subjetividades no mundo contemporâneo. No campo dos estudos literários, percebe-se, por exemplo, o crescente número de trabalhos que ora revisitam o cânone ocidental, ora questionam o estatuto do mesmo a partir destas visadas, reelaborando, assim, o que se tem definido por ‘Literatura’, tanto no que tange às vozes autorais tradicionalmente legitimadas, quanto os temas e formas que têm sido privilegiados no decorrer da História. Ao longo deste processo de desconstrução de “verdades” epistêmicas, destaca-se, tanto para a Teoria de Gênero quanto Pós-Colonial, a necessidade de se repensar o papel do corpo na constituição de subjetividades. Assim, este trabalho tem por objetivo analisar, sob uma perspectiva interseccional, o conto “Out on Main Street” (1993) da escritora indocaribenha Shani Mootoo. Acredito que a autora projete textualmente o corpo, trazendo à tona uma crítica das colonialidades de poder e do gênero e seus múltiplos entrecruzamentos na trama social em que a personagem-narradora se vê inserida: da diáspora caribenha. Trabalhos de Aníbal Quijano, Fernanda Belizário, Judith Butler, Leticia Sabsay, entre outros servirão de aporte teórico para esta investigação.
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O'Toole, Tina. "Cé Leis Tú? Queering Irish Migrant Literature." Irish University Review 43, no. 1 (May 2013): 131–45. http://dx.doi.org/10.3366/iur.2013.0060.

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Irish lesbian, gay, bisexual, and transgender (LGBT) writers have almost all had personal experience of migration, and register the profound effect of those migrant experiences in their literary writing. Yet, to date, these voices have been silent in dominant accounts of the Irish diaspora. Focusing on queer subjects in migrant literature by women writers, this essay sets out to examine the links between LGBT and diasporic identities, and to explore the ways in which kinship and migrant affinities unsettle the fixities of family and place in the culture. Reading across the diasporic literary space carved out by Kate O'Brien, Emma Donoghue, and Shani Mootoo, the essay shows how their work resists, rejects, and questions the dominant culture, whether ‘at home’ or in the diaspora. Queer kinship, which intentionally appropriates relationships and values from the bio/genetic sphere but introduces elements of choice and agency to these connections, provides a useful framework within which we might read this literature. By the end of the twentieth century, queer kinship networks were in evidence across the Irish diaspora. In Ireland, ensuing transnational exchanges had a profound impact on grassroots social activism and theory. For instance, I argue that feminist theory and literature, often transmitted along axes of queer kinship, was key to the shaping of the women's and LGBT movements in Ireland. While we have yet to see the wide-scale effect of emerging immigrant writers on existing cultural forms in Ireland, it is only a matter of time before LGBT writers from immigrant communities begin to have an impact on the culture. While anticipating such work, we must continue to question how the space of Irish literature, and indeed of the Irish diaspora, has been constituted – and resisted – thus far.
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O'Callaghan, E. "Sex, Secrets, and Shani Mootoo's Queer Families." Contemporary Women's Writing 6, no. 3 (November 1, 2012): 233–50. http://dx.doi.org/10.1093/cww/vps023.

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Salcedo González, Cristina. "An Exploration of Queer Diasporic Subjectivities in Shani Mootoo’s 'Out on Main Street'." Complutense Journal of English Studies 28 (November 24, 2020): 45–52. http://dx.doi.org/10.5209/cjes.66756.

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In view of the acute lack of analyses of Indian-Trinidadian queer diasporic subjectivities, this article will focus on Shani Mootoo’s “Out on Main Street” by using a queer diasporic theoretical framework, one which hinges on unveiling the violent practices to which sexually and racially marginalized communities are exposed and on exploring the ways by which queer diasporic subjects subvert dominant assumptions. In order to carry out the analysis, I will, first, offer an overview of the uses and implications for invoking the concept of a queer diaspora to study Mootoo’s story; second, I will scrutinize the manner in which the queer diasporic narrator is affected by exclusivist definitions of gender and national identities, and, third, I will examine the specific tactics through which she unsettles the normative logic. Ultimately, the study of Mootoo’s story under a queer diasporic approach will offer a further insight into the diaspora experience, one which considers both sexuality and translocation as crucial factors shaping the way the narrator inhabits the city.
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Dissertations / Theses on the topic "Shani Mootoo"

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McCormack, Donna Marie. "Queer witnessing : intersubjective storytelling in selected novels of Shani Mootoo, Tahar Ben Jelloun and Ann-Marie MacDonald." Thesis, University of Leeds, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.659122.

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This thesis explores the idea of queer witnessing as a form of multisensory embodied remembering. It suggests that the political potential of theories of performativity, where bodies and spaces are opened up to change through repetition, needs to be rethought through the notion of witnessing. Rather than assuming repetition means change, performativity is unpacked in order to stress which components are necessary for change to become imaginable and possible, and which reinforce the status quo. Bringing together Judith Butler's work on bodily performativity and Romi Bhabha's on postcolonial performativity, this project draws out the centrality of witnessing to the possibility of narrating past violence and to the instantiation of alternative forms of embodiment and belonging. Unlike the emphasis on the individual in trauma theory, the selected novels draw out the importance of witnessing as a communal act of infinite responsibility. The ethics that emerges from these texts is situated in the opacity of the narrative form and, thus, in the impossibility of a definitive story. It is through an encounter with epistemic limits that history is reformulated as an ethical mode of inter subjective storytelling. Each chapter focuses on the particular historical contexts of the selected novelsthe Caribbean in Shani Mootoo's Cereus Blooms at Night (1996), Morocco in Tahar Ben Jelloun's L 'Enfant de sable (1985) [The Sand Child] and La Nuit sacree (1987) [The Sacred Night], and the East coast of Canada in Ann-Marie MacDonald's Fall on Your Knees (1996) - in order to suggest that the potentiality of bearing witness is deeply intertwined with the specificities of colonial and familial violence. The narration of these histories becomes possible through an undoing of the self in relation to the other, where the boundary between self and other is conceived of as precarious and vulnerable. The possibility of hearing an other's story is not only the ability to understand referential language but also a willingness to communicate with the body through touch, smells and sounds. In sum, this thesis argues that the possibility of non-violent encounters and narrating unspeakable histories is situated in the ethics that emerges at the juncture of communal narration and bodily vulnerability.
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Choudhuri, Sucheta Mallick Kopelson Kevin Kumar Priya. "Transgressive territories queer space in Indian fiction and film /." Iowa City : University of Iowa, 2009. http://ir.uiowa.edu/etd/346.

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Pires, Raquel Gonçalves. "Compulsory heterosexuality and Caribbean queer identities: an investigation of Achy Obejas's Memory mambo and Shani Mootoo's Valmiki's daughter." Universidade do Estado do Rio de Janeiro, 2015. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=8685.

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Esta dissertação pretende investigar de que forma idéias construídas socialmente impõem a heterossexualidade e afetam indivíduos não heterosexuais das ilhas Caribenhas, conforme ilustrado nos romances Memory Mambo, da Cubana-Americana Achy Obejas e Valmikis Daughters, da Trinitária-Canadense Shani Mootoo. Este trabalho se concentra na análise de políticas sexuais ligadas à homossexualidade tanto nas ilhas do Caribe quanto nos Estados Unidos da América. Em Memory Mambo, a protagonista Juani Casas deseja entender como sua condição de exilada cubana molda sua identidade sexual e como seu lesbianismo afeta seus relacionamentos familiares e amorosos. Reconstruindo sua história através de uma memória não confiável, Juani procura descobrir como sua sexualidade e sua nacionalidade estão ligadas, para que ela possa conciliar as duas. Em Valmikis Daughter, Viveka Krishnu e seu pai Valmiki Krishnu tentam esconder seus verdadeiros desejos por causa dos comportamentos supostamente corretos que foram designados tanto para homens quanto para mulheres em Trinidad, e mais especificamente na sociedade indo-caribenha. Pai e filha sofrem com a opressão e tentam não se tornarem vítimas de homofobia constante, ele escondendo sua sexualidade e ela deixando a ilha. Assim, através da representação literária, Obejas e Mootoo participam de uma discussão necessária sobre as consequencias das políticas sexuais na construção identitária de Caribenhos que vivem nas ilhas ou em destinos diaspóricos
This thesis intends to examine how socially constructed ideas of compulsory heterosexuality affect non-conforming individuals from the Caribbean, as illustrated in the novels Memory Mambo by Cuban-American Achy Obejas and Valmikis Daughter by Trinidadian-Canadian Shani Mootoos. This work primarily focuses on the analysis of sexual politics concerning homosexuality both in the islands of the Caribbean and in the United States of America. In Memory Mambo protagonist Juani Casas wishes to understand how her condition of Cuban exile has shaped her sexual identity and how her lesbianism affects her relationships with family members and lovers. Reconstructing her story by means of an unreliable memory, Juani attempts to discover the deep connection between her sexuality and her nationality so that she can make sense of both. In Valmikis Daughter, Viveka Krishnu and her father Valmiki Krishnu try to conceal their true desires because of so-called correct behavior prescribed for both men and women in Trinidad, and more specifically in a Hindu-Caribbean society. Father and daughter suffer from oppression and try not to be victims of constant homophobia by either hiding their sexuality or fleeing the island. Thus, through literary representation, both Obejas and Mootoo engage in a much-needed discussion about the consequences of sexual politics in the identity construction of Caribbean individuals living on the islands or in diasporic destinies
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Fung, Stephanie. "The aesthetics of reticence and visuality : reframing intimacy in Shani Mootoo's Cereus Blooms at Night and Trinh T. Minh-ha's Surname Viet Given Name Nam." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/57882.

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This thesis examines the relation between race and intimacy, particularly the ways in which intimacy is used in film and literature as an aesthetic strategy to resist heteropatriarchal and colonial constructions of racialized subjectivities, histories, and knowledge. Drawing from Lisa Lowe’s recent The Intimacies of Four Continents, I argue that Shani Mootoo’s Cereus Blooms at Night and Trinh T. Minh-ha’s Surname Viet Given Name Nam reframe intimacy by engaging with the residual and emergent to emphasize the lesser known forms of kinship and alliance between different colonized groups of people. In Chapter 1, I trace articulations of reticent intimacies in Cereus Blooms and contend that they generate an anticolonial mode of remembering that reimagines intergenerational relationships. Mootoo’s emphasis on historical gaps, fragments, and erasures to reconstruct narratives demonstrates a practice of reticent intimacy that challenges linear narratives and historical memory. In Chapter 2, I explore how Surname Viet depicts a transnational feminist intimacy through a narrative arc that reflects a transformation to visuality. The film makes visible palimpsest identities engendered through intimacies-in-motion as Vietnamese American women’s stories are inscribed with traces of the colonial past. This interdisciplinary project not only furthers understandings of the relation between the politics of intimacy and racialized subjectivities, but it also suggests aesthetic strategies of reading for alternative modernities that push beyond limits of inherited genealogies of liberal humanism to reveal possibilities of knowing what has been assumed to be erased, lost, and forgotten.
Arts, Faculty of
English, Department of
Graduate
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Morguson, Alisun. "All the Pieces Matter: Fragmentation-as-Agency in the Novels of Edwidge Danticat, Michelle Cliff, and Shani Mootoo." Thesis, 2013. http://hdl.handle.net/1805/3218.

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Indiana University-Purdue University Indianapolis (IUPUI)
The fragmented bodies and lives of postcolonial Caribbean women examined in Caribbean literature beget struggle and psychological ruin. The characters portrayed in novels by postcolonial Caribbean writers Edwidge Danticat, Michelle Cliff, and Shani Mootoo are marginalized as “Other” by a Western patriarchal discourse that works to silence them because of their gender, color, class, and sexuality. Marginalization participates in the act of fragmentation of these characters because it challenges their sense of identity. Fragmentation means fractured; in terms of these fictive characters, fragmentation results from multiple traumas, each trauma causing another break in their wholeness. Postcolonial scholars have identified the causes and effects of fragmentation on the postcolonial subject, and they argue one’s need to heal because of it. Danticat, Cliff, and Mootoo prove that wholeness is not possible for the postcolonial Caribbean woman, so rather than ruminate on that truth, they examine the journey of the postcolonial Caribbean woman as a way of making meaning of the pieces of her life. This project contends that fragmentation – and the fracture it produces – does not bind these women to negative existences; in fact, the female subjects of Danticat, Cliff, and Mootoo locate power in their fragmentation. The texts studied include Danticat’s "Breath, Eyes, Memory" (1994) and "The Farming of Bones" (1999), Cliff’s "Abeng" (1984) and "No Telephone to Heaven" (1987), and Mootoo’s "Cereus Blooms at Night" (1996) and "He Drown She in the Sea" (2005).
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Books on the topic "Shani Mootoo"

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Valmiki"s daughter / Shani Mootoo. Toronto: House of Anansi Press, 2008.

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Bell, Lynne S. Urban fictions: Lorna Brown, Margot Butler, Ana Chang, Allyson Clay, Dana Claxton, Andrea Fatona, Melinda Mollineaux, Shani Mootoo, Susan Schuppli, Karen Ai-Lyn Tee, Cornelia Wyngaarden, Jin-me Yoon. North Vancouver, B.C: Presentation House Gallery, 1997.

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(autograph), Bowering Marilyn, Kroetsch Robert 1927 (autograph), Mootoo Shani (autograph), Thomas Audrey Callahan (autograph), and Haase Peter, eds. Night of the novelists: Marilyn Bowering, Robert Kroetsch, Shani Mootoo, Audrey Thomas. Salt Spring Island, B.C: (m)Other Tongue Press, 1998.

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Seymour, Nicole. Post-Transsexual Pastoral. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037627.003.0002.

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This chapter offers a definitive example of ecological thinking in contemporary queer fictions. It reads American author Leslie Feinberg's Stone Butch Blues (1992) alongside two narratives set in the Caribbean: Jamaican American Michelle Cliff's No Telephone to Heaven (1987) and Trinidadian Canadian Shani Mootoo's Cereus Blooms at Night (1998). These novels depict what an “organic transgenderism:” a spontaneous, noncommodified, and self-directed process likened to the life-cycle changes of plants and animals. The chapter claims that they thereby challenge the common view of gender transitioning as an “unnatural” medical intervention. Moreover, through their depictions of organic transgenderism, these novels stage, and thus help facilitate, a shift in the 1990s from the older sexological model of “transsexuality” to the current community-derived umbrella term of “transgenderism.” Finally, this chapter demonstrates how a queer ecocritical lens can help us trace the transnational circulation of queer ecological thinking.
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Book chapters on the topic "Shani Mootoo"

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Campbell, Kofi Omoniyi Sylvanus. "Shani Mootoo." In The Queer Caribbean Speaks, 135–45. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137364845_9.

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Pecic, Zoran. "Shani Mootoo’s Diasporas." In Queer Narratives of the Caribbean Diaspora, 36–101. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137379030_3.

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Diamond, Marie Josephine. "Rape, Representation and Metamorphosis in Shani Mootoo’s Cereus Blooms at Night." In Postcolonial Traumas, 173–89. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137526434_12.

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Iovannone, Jeffry J. "The Mad Woman in the Garden: Decolonizing Domesticity in Shani Mootoo’s Cereus Blooms at Night." In Disabling Domesticity, 269–85. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-48769-8_11.

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Chatterji, Tuli. "“Mini Death, and a Rebirth”: Talking the Crossing in Shani Mootoo’s Moving Forward Sideways Like a Crab." In Indo-Caribbean Feminist Thought, 113–30. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-55937-1_8.

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"Indo-Trinidadian Identities and Sexuality: A Survey of Shani Mootoo’s Fiction." In Critical Perspectives on Indo-Caribbean Women's Literature, 194–214. Routledge, 2012. http://dx.doi.org/10.4324/9780203101032-15.

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"Illicit Intimacies, the Ramayana and Synaesthetic Remembering in Shani Mootoo’s Valmiki’s Daughter." In Critical Perspectives on Indo-Caribbean Women's Literature, 215–40. Routledge, 2012. http://dx.doi.org/10.4324/9780203101032-16.

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"Time (Un)flowing and Sideways Movement in Shani Mootoo’s Moving Forward Sideways Like a Crab." In Queer Tidalectics, 155–90. Northwestern University Press, 2021. http://dx.doi.org/10.2307/j.ctv1m9x337.8.

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"“Softer than Cotton, Stronger than Steel”: Metaphor and Trauma in Shani Mootoo’s Cereus Blooms at Night." In The Splintered Glass, 135–51. Brill | Rodopi, 2011. http://dx.doi.org/10.1163/9789401200837_007.

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