Postcolonial Con-Texts: Writing Back to the Canon
A&C Black, 1 mars 2002 - 208 sidor
In recent years works such as Jean Rhys's Wide Sargasso Sea, J.M. Coetzee's Foe and Peter Carey's Jack Maggs, which 'write back' to classic English texts, have attracted considerable attention as offering a paradigm for the relationship between post-colonial writing and the 'canon'. Thieme's study provides a broad overview of such writing, focusing both on responses to texts that have frequently been associated with the colonial project or the construction of 'race' (The Tempest, Robinson Crusoe, Heart of Darkness and Othello) and texts where the interaction between culture and imperialism is slightly less overt (Great Expectations, Jane Eyre and Wuthering Heights). The post-colonial con-texts examined are located within their particular social and cultural backgrounds with emphasis on the different forms their responses to their pre-texts take and the extent to which they create their own discursive space. Using Edward Said's models of filiative relationships and affiliative identifications, the book argues that 'writing back' is seldom adversarial, rather that it operates along a continuum between complicity and oppositionality that dismantles hierarchical positioning. It also suggests that post-colonial appropriations of canonical pre-texts frequently generate re-readings of their 'originals'. It concludes by considering the implications of this argument for discussions of identity politics and literary genealogies more generally. Authors examined include Chinua Achebe, Margaret Atwood, Kamau Brathwaite, Peter Carey, J.M. Coetzee, Robertson Davies, Wilson Harris, Elizabeth Jolley, Robert Kroetsch, George Lamming, Margaret Laurence, Pauline Melville, V.S. Naipaul, Caryl Phillips, Ngugi wa Thiong'o, Jean Rhys, Salman Rushdie, Djanet Sears, Sam Selvon, Olive Senior, Jane Urquhart and Derek Walcott.
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protean Crusoes exiled Fridays
Caribbean and Canadian responses to the Brontës
5 Turned upside down? Dickenss Australia and Peter Careys Jack Maggs
restaging The Tempest
a different Othello music
narrative agency in Pauline Melvilles The Ventriloquists Tale
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action African allowed appears aspects attempt Australian becomes beginning binary Caliban Canadian canon Caribbean central century Changing chapter characters colonial con-texts concerned Conrad constructed contemporary course Crusoe cultural Dickens discourse discussion earlier early effect Emily engage England English European Expectations experience Eyre father fiction figure finally finds Friday Heart of Darkness identifies identity imagination influence island issue kind lack language later less locate London Maggs male mode Naipaul narrative narrator nature never novel obvious offers oppositional original Othello parallels particularly passage period play positive possibility postcolonial practice pre-text present Prospero protagonist provides readers reading references relation relationship remains represents response Robinson role seems seen sense simply situation social society story suggests takes Teeton tell Tempest voice Water with Berries Wide Sargasso Sea writing
Sida 15 - It was unearthly, and the men were - No, they were not inhuman. Well, you know, that was the worst of it - this suspicion of their not being inhuman. It would come slowly to one. They howled and leaped, and spun, and made horrid faces; but what thrilled you was just the thought of their humanity like yours - the thought of your remote kinship with this wild and passionate uproar.
Sida 41 - She was savage and superb, wild-eyed and magnificent; there was something ominous and stately in her deliberate progress. And in the hush that had fallen suddenly upon the whole sorrowful land, the immense wilderness, the colossal body of the fecund and mysterious life seemed to look at her, pensive, as though it had been looking at the image of its own tenebrous and passionate soul.
Sida 30 - The point was in his being a gifted creature, and that of all his gifts the one that stood out pre-eminently, that carried with it a sense of real presence, was his ability to talk, his words — the gift of expression, the bewildering, the illuminating, the most exalted and the most contemptible, the pulsating stream of light, or the deceitful flow from the heart of an impenetrable darkness.
Sida 30 - The earth seemed unearthly. We are accustomed to look upon the shackled form of a conquered monster, but there— there you could look at a thing monstrous and free. It was unearthly, and the men were— No, they were not inhuman. Well, you know, that was the worst of it—this suspicion of their not being inhuman.
Sida 118 - It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife.
Sida 20 - We penetrated deeper and deeper into the heart of darkness. It was very quiet there. At night sometimes the roll of drums behind the curtain of trees would run up the river and remain sustained faintly, as if hovering in the air high over our heads, till the first break of day. Whether it meant war, peace, or prayer we could not tell.
Sida 41 - Kurtz discoursed. A voice! a voice! It rang deep to the very last. It survived his strength to hide in the magnificent folds of eloquence the barren darkness of his heart.
Sida 20 - We were wanderers on a prehistoric earth, on an earth that wore the aspect of an unknown planet.
Sida 87 - He's the leader they're waiting for and the day will come, of that I'm convinced, when they will parade in the streets and offer him the crown, everybody will say then, "This man was born in the back room of a Chinese grocery, but as Catherine said to Heathcliff, 'Your mother was an Indian princess and your father was the Emperor of China...
Sida 40 - The room seemed to have grown darker, as if all the sad light of the cloudy evening had taken refuge on her forehead. This fair hair, this pale visage, this pure brow, seemed surrounded by an ashy halo from which the dark eyes looked out at me. Their glance was guileless, profound, confident, and trustful.