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The paper analyses instances of mimicry as they appear in Danticat’s historiographic fiction, The Farming of Bones. More specifically, it will examine why and how some characters appear accomplices in the brutal Parsley Massacre provoked by the Trujillo regime. Besides its literary dimension, the analysis can be said to be relevant from a cultural and socio-historical perspective as well because it seeks to reveal the emergence of a process which will be called inner colonisation and a new version of the native informant, which will be referred to as the neo-colonial informant.

Emerging powers like China, India and Brazil are receiving growing attention as objects in International Relations (IR) discourse. Scholars from these emerging powers are rarely present as subjects in mainstream IR discourse, however. This paper interrogates the conditions for scholars in emerging powers to speak back to the mainstream discipline. It argues, first, that 'theory speak' is rare from scholars based in periphery countries perceived to be 'emerging powers'. Despite increasing efforts to create a 'home-grown' theoretical discourse in China, India and Brazil, few articles in mainstream journals present novel theoretical frameworks or arguments framed as non-Western/Southern theory or even as a 'Chinese school' or 'Brazilian concepts'. Second, scholars from emerging powers tend to speak as 'native informants' about their own country, not about general aspects of 'the international'. Third, some scholars even speak as 'quasi-officials', that is, they speak for their country.

Cet article met en exergue ma perspective des revendications ethniques en rapport avec l'émergence d'une communauté Hakka indienne reconnue â Toronto au Canada. Je procede â une analyse autoethnographique des changements et de l'évolution dans la façon dont je dévoile mon identité ; ma réticence initiale â revendiquer mon identité ethnique et sa consolidation progressive sont explorées comme une « intersectionnalité de hostilités » contre la race et la politique ethnique qui a orienté mon hyper-vigilance primordiale sur ma différence et mon statut d'étranger. Une préoccupation sous-jacente est de savoir si le fait de centrer le soi et la personne dans une analyse autoethnographique, peut étre une contribution politiquement efficace pour la construction des alliances, au lieu de reproduire ma position singuliere de privilege relatif. J'utilise trois moments de proclamation publique de mon identité ethnique pour interroger son évolution, pour mettre en évidence son historicité et ensuite pour la dénaturaliser. Cela place ma pratique de représentation au-delâ des contraintes du droit â la parole de « l'informateur natif » postcolonial. Le travail de traduction est traité comme une liaison et un rapport étroit entre le soi et la communauté plutôt que d'etre simplement la voix représentative de la communauté.

This article presents an interpretation of three works by Cairo-based artist Hassan Khan. The works are “17 and in AUC” (2003), “Conspiracy: Dialogue/Diatribe” (2006/2010) and “Dead Dog Speaks” (2010). I argue that in these works Khan stages a withdrawal from the legacy of the 1967 Naksa. He does this by means of a separation of his figures from their particular contexts, reflexive narrative strategies, non-periodic scene structures and substitutive manipulations of his figures. I argue ultimately that Khan's staging of uprooted figures of Egyptian identity sends up the ethnographic notion of the “native informant” on which post- nationalists discourses have been based.

Abstract The return to the pre-modern tradition of erotic literature in The Proof of the Honey is a deliberate act of unearthing the archives to reclaim the lost corporal memory of the Arabs, and to locate narrative, sexual, and diasporic desires on the Arab world's cultural map. More than simply an escape from censorship, listening to the archives reflects a rejection of Western theoretical and literary frameworks. In the process of such an endeavor, the author makes a concerted effort to go beyond the fragmentation, the contestation, and the binaries of postcolonial and feminist articulations, and to shun the West's prescribed role for the native informant. As the Arabic language and libido are resurrected, so is the belief in a more autonomous and secure Arab self.

This chapter contains sections titled: Conclusion References and Further Reading

Hsu Ming Teo’s (2000) novel Love and Vertigo oscillates between three countries, Singapore, Malaysia and Australia. Though Teo is seen to be affiliated with Malaysia, and certainly appraised as articulating her ethnic history with clarity of creative and artistic skill, the image of Malaysia that she shapes come to the fore as a remembered reality, through the glimpses caught from the morsels of both memory and filial visits to this estranged home/ancestral land. The most significant issue that resides at the heart of such writings is the repudiation of the Chinese community by the Malays in Malaysia. The images of Malaysia in the novel are fleeting, yet when they do appear they seem to be the most macabre amongst the spectres of the past that haunt the main protagonist, Grace. This article discusses the almost ghostly role that Malaysia plays in the novel and argues that the cultural memory of the older country lies entombed with the ghost of the 1969 racial riots. It concludes that when writings by diasporic native informants such as Teo and others around the globe are taken to be authentic renditions of ethnic heritage as part of multicultural politics in the cosmopolitan, the implications of these are highly serious as they are largely constructions of decidedly essentialist discourses of the older country.

Interviews with racialized minority immigrant women activist-managers in immigrant service sector in Toronto, Canada demonstrate how women construct their activist identities. An antiracist postcolonial feminist framework is used to explore their narrative strategies and to show that their activist possibilities are constrained by their identities. Activism is limited to advocating for their ethnic community in multicultural politics that is structured by postcolonial \"speaking\" configuration that allows \"native informants\" to represent their communities as culturally alien and to authorize state management of racial and ethnic differences. The interviews also show the complexities of immigrant women's political agency as they navigate the limiting politics. [PUBLICATION ABSTRACT]

Estimating native-speaker vocabulary size is important for guiding interventions to support native-speaker vocabulary growth and for setting goals for learners of English as a foreign language. Unfortunately, the measurement of native-speaker vocabulary size has been one of the most methodologically contentious areas of research in applied linguistics, with estimates of adults' vocabulary size ranging from 12,000 words to well over 200,000 words. This book reviews over one hundred years of research, critically examining the methodological issues and findings at each age level from young children to adults, and suggesting solutions. It presents a model organising the factors involved in vocabulary growth and is rich in well-researched suggestions for supporting native-speaker vocabulary learning. It concludes with topics for further research. The research shows that we now have a more stable and coherent picture of what and how much vocabulary native-speakers know, and how this knowledge grows throughout their lives.

This chapter presents commonly used terms in the study of postcolonialism. The terms listed begin with the alphabet “N”. Detailed explanation is provided for several terms, including national allegory, nationalism, native Informant, negritude and new world. Each entry includes the origin of the term; a detailed explanation of its perceived meaning; and examples of the term's use in literary‐cultural texts. While some thinkers have emphasized political belonging, others see nationalism as an extension of social ordering, ethnic and community formations. The Native Informant is one who is the native voice for a short period but whose voice is simply buried ‐ foreclosed, in Spivak's psychoanalytic language ‐ in the textual apparatus produced by the European as a result of this voice. Vespucci thereby rectified Columbus’ declaration that he had reached the East Indies by demonstrating that it was an entirely new world.