Gender and Allegory in Transamerican Fiction and Performance by Katherine Sugg (auth.)

By Katherine Sugg (auth.)

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To deal in stereotypes and allegories, communicative modes that underline the crises of language and representation inherent to contemporary social formations. The double speak of allegory becomes especially meaningful when its "subversion" oflanguage and its break with transparent meanings are analyzed in terms of the aporias of self-representation and collective identities in the late twentieth and early twenty-first centu ries. In his classic study of allegory, Angus Fletcher notes: "In the simplest terms, allegory says one thing and means another.

Ironic Narrativities A central lesson of these performances and of much of the narrative cultural production studied in the subsequent chapters of Gender and Allegory is that irony sustains such paradoxes and contradictions of linguistic self-description. As Rileyputs it, "Irony possesses [the] skill of making mention of something by displaying it, holding it aloft to view in a pair 14 GENDER AND ALLEGORY of tongs" (126). Suspension thus emerges as a crucial trope of critical understanding at that moment of encountering the most deeply and painfully held politico-linguistic representations of self and community.

This intransigent lodging of identity discourses within emerging expressions of collectivity and politics signals the contemporary moment as manifesting a mixed temporality: one that paradoxically suspends the modes, languages, political logics, and "technologies of selfhood" of several times or epochs, we might say. " In fact, the legacies of representational politics are exactly what many of the Def Poets enthusiastically embrace, albeit with varying degrees of irony and equivocation. S. history of struggle by peoples of color for social and political recognition.

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