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
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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.