Aesthetic Resistance Theory: The Use of Mythology in Selected Poems by Nancy Morejón | ||||
| بحوث | ||||
| Article 26, Volume 1, Issue 1, January 2021, Page 1-20 PDF (1.01 MB) | ||||
| Document Type: أوراق بحثیة أکادیمیة | ||||
| DOI: 10.21608/buhuth.2021.129001 | ||||
 View on SCiNiTO | ||||
| Author | ||||
Marwa Saad 
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| English Department, Faculty of Arts, Helwan University | ||||
| Abstract | ||||
| The present paper first sheds light on resistance theory, aesthetic theory, and aesthetic resistance theory as an attempt to form the term “aesthetic resistance in poetry.” Then, in light of this term, the researcher examines selected poems of Nancy Morejón on the ground of using mythology as an aesthetic resistance instrument to resist oppression against Africans minority. Resistance discourse is any act intended to resist oppression whether a slave master, multinational cooperation, occupying or ruling power, and causes transformation in the existing order to give space for the marginalized groups. Resistance poetry is the poet’s innovations either linguistically or any other innovations which brings ethical and political transformations in the oppressive structure. Resistance literature creates new world that leads to new perspectives and establishes examples that bring ethical and political transformations to oppressive structures. Gail Weiss believes that resistance literature creates space for the marginalized to resist oppression through language to form ethical and political transformation (Weiss 97). Accordingly, the resistance writers across cultures believe that their non-violent struggle and literary historical reclamation are important area of cultural territory. For instance, the poet Nancy Morejón resists oppression and marginalization through her poetry. Aesthetic theory reveals the true content of the work of art and describes art from within. Aesthetic dwells in the work of art that forms opinion and changes the society. Nancy Morejón is a postmodern resistance women poet who represents the voice of the Afro-Cuban experience as they suffer from marginalization. The poet regards her poems as primal instrument of resistance that can act as effective socio-political actor. Morejón does not have any expression of self-pity that might evoke or reinforce the notion of passivity. The poet calls on African slaves for transculturation, to integrate into Caribbean culture and consider it as their new homeland through mythology. | ||||
| Keywords | ||||
| Nancy Morejón; resistance; resistance culture; resistance literature; aesthetic resistance; Orisha; Yoruba; Myth | ||||
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