#Hawaiian pidgin english translation online free
A haunting version of such life-change and caritas is New England Puritanism offspring Rose Hawthorne Lathrop’s opening of Free Home for Incurable Cancer on the Lower East Side, after her conversion to Roman Catholicism in 1891, and her founding of a Dominican order as Mother Mary Alphonsa. “He a new creature: old things are passed away behold, all things are become new” reverberates the staggering present-tense claim for conversion, down through centuries of repetition, for the incoming-power of the inaugurating/ reborn subject (“new creature”) of early Christian modernity. Conversion means a turning with and as some force of newness: it affirms, plugs into, and enacts energies of becoming, eruptive ideas, recomposition, and a creativity (or beatitude) latent or damaged in the self. In conversion, broadly speaking of it as a transfigurative poetics, one encounters a life-force of amplified being like the New Haven ship coming into harbor for Henry ʻŌpūkahaʻia or his meeting the “praying families” of New England, or Dylan’s seeking out the folk-mentorship of Woody Guthrie reborn in a New Jersey sickbed, or Allen Ginsberg meeting Kerouac and Snyder on the Beat roads of San Francisco and writing Howl. They created gendered diasporas in often hostile and unfamiliar new cities, supporting each other as “sisters” and fictive kin. Yet hula also led island women to lives and careers both inside and outside of entertainment during a time when many women were limited to racially and gender-stratified plantation and service industries. Live hula performances, while elevating Hawaiians to the principal brokers of Hawaiian culture, simultaneously helped to erase the presence of large numbers of immigrant Asians who lived in Hawai‘i. Their commercial performances produced what I call an “imagined intimacy” between Hawai‘i and the United States, enabling American audiences to experience a fantasy of Hawai‘i as a different but welcoming place. Performing in popular Hawaiian showrooms in New York City, Chicago, and other metropolitan areas, these performers were heralded as “hula queens,” celebrities, and success stories. continent as Hawaiian women became ambassadors of aloha for the territory of Hawai‘i. This article discuses hula circuits across the U.S. This conflict, the essay argues, has to do with the impact of capitalism and colonialism on traditional native Hawaiian values – in which the notions of ‘āina and ‘ohana seem to be intricately connected to each other and overlapping.
To some extent, the protagonist’s inner struggle, and the engine of the dramatic action, emerges primarily from a tragic conflict between a responsibility towards the land and a responsibility towards the family. While a primary importance is given to gender and male subjectivity in the Hawaiian political context, the essay simultaneously follows the lead of two crucial concepts in Hawaiian culture: the notion of ‘āina (land, earth) and the notion of ‘ohana (family, kin group). The play dramatizes several issues that are central to an understanding of contemporary Hawaiian activism and culture: land expropriation, tourism, economic exploitation, and the relation between a specific territory and a genealogy. This essay focuses on Alani Apio’s 1994 play, Kāmau, and its protagonist, the young Hawaiian tour guide Alika. In Twelf Nite, Shakespeare’s language becomes a model for speech that is inauthentic, affected, and above all, haole. During his most ostentatious outbursts, Malolio’s lines consist of phrases extracted nearly verbatim from Shakespeare’s original play. In the essay’s second part, I demonstrate that Benton crafts Malolio’s pretentious pidgin by modeling it on Shakespeare’s own language.
In particular, I show that Benton aligns historical caricatures of early modern puritans with cultural views of Protestant missionaries from New England who arrived in Hawai‘i beginning in the 1820s.
In the first part of this essay, I argue that Benton characterizes Malolio’s social aspirations against two historical moments of religious conflict and struggle: post-Reformation England and post-contact Hawai‘i. Using historical models of Protestant identity and Shakespeare’s original text, Benton explores the relationship between pidgin language and social privilege in contemporary Hawai‘i. In doing so, Malolio alters his native pidgin in order to sound more haole (white). In Benton’s translation, Malolio (Malvolio) strives to overcome his reliance on pidgin English in his efforts to ascend the Islands’ class hierarchy. In 1974, the Honolulu-based director James Grant Benton wrote and staged Twelf Nite O Wateva!, a Hawaiian pidgin translation of Shakespeare’s Twelfth Night.
0 kommentar(er)
