820 Englische, altenglische Literaturen
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Hawaiki according to Tupaia
(2023)
This essay looks into the concept of an ancestral homeland in Remote Oceania, commonly referred to as Hawaiki (‘Avaiki; Havai‘i; Hawai‘i).
Hawaiki intriguingly challenges Eurocentric notions of ‘home.’ Following the rapid settlement of the so-called Polynesian triangle from Samoa/Tonga at around 1000 AD, Hawaiki has emerged as a concept that is both mythological and real; genealogical and geographic; singular and yet portable, existing in plural regional manifestations.
I argue that predominantly Pakeha/Popa‘ā research trying to identify Hawaiki as a singular and geographically fixed homeland is misleading.
I tap into the archive surrounding the Ra‘iātean tahu‘a and master navigator Tupaia who joined Captain Cook’s crew during his first voyage to the Pacific to offer glimpses of an alternative ontology of home and epistemology of Oceanic ‘homing.’
Marronage or underground?
(2022)
I combine a reading of contemporary scholarship on US maroon histories and the Underground Railroad—and the concomitant notions of marronage and the underground—with a reading of two recent works of African American literature: Colson Whitehead’s The Underground Railroad (2016) and Ta-Nehisi Coates’s The Water Dancer (2019). Foregrounding the idea of Black geographies as a form of placemaking and “thinking otherwise” about land and water, I suggest that despite the differing, and at times contrasting, trajectories of maroon histories and the histories of Black flight to the North, African American maroon experiences and the Underground Railroad are conceptually connected in contemporary African American literature. I read the two novels as recent literary expressions of this conceptual link, which is played out via representations of relating to the land. By reimagining and intertwining marronage and the underground, both novels articulate a critique of settler-colonial and plantation modes of spatial practice, modes they identify as formative for US-American nationhood. They also, tentatively but forcefully, gesture toward alternative ways of being “above” and “below” the land while affirming African American connectedness to place.
Despite their overt focus on inexplicable alien forces, cosmic horror stories are also determined by their human cast. Far from being merely fodder for horror, the characters significantly contribute to the generation of meaning, including that of the supernatural entity or phenomenon itself. The same holds for the narrators' (implicitly) political perspectives on the world of which they are part. Much of the perspective propounded in Lovecraft's cosmic horror stories partakes of myth, adopting in particular the latter's universal view and pronounced sidelining of humanity as a whole, which it intensifies to the point of horror. Appearances to the contrary notwithstanding, this universal perspective is consistent with the racism permeating and structuring Lovecraft's writing. Though eschewing racism and universalism, the cosmic horror of Kiernan's "Tidal Forces" negotiates literary reflections of colonialism from an unreflective white perspective.
Longevity narratives
(2018)
The essay looks at longevity narratives as an important configuration of old age, which is closely related to evolutionary theories of ageing. In order to analyse two case studies of longevity published in the early twentieth century, the American psychologist G. Stanley Hall's book Senescence (1922) and the British dramatist Bernard Shaw's play cycle Back to Methuselah (1921), the essay draws on an outline of theories of longevity from the Enlightenment to the present. The analysis of the two case studies illustrates that evolutionary and cultural perspectives on ageing and longevity are ambivalent and problematic. In Hall's and Shaw's texts this is related to a crisis narrative of culture and civilization against which both writers place their specific solutions of individual and species longevity. Whereas Hall employs autobiographical accounts of artists as examples of longevity to strengthen his argument about wise old men as exclusive repositories of knowledge, Shaw in his vision of longevity as an extended form of midlife for both genders encounters the limits of age representation.
Literary criticism, particularly ecocriticism, occupies an uneasy position with regard to activism: reading books (or plays, or poems) seems like a rather leisurely activity to be undertaking if our environment—our planet—is in crisis. And yet, critiquing the narratives that structure worlds and discourses is key to the activities of the (literary) critic in this time of crisis. If this crisis manifests as a ‘crisis of imagination’ (e.g. Ghosh), I argue that this not so much a crisis of the absence of texts that address the environmental disaster, but rather a failure to comprehend the presences of the Anthropocene in the present. To interpret (literary) texts in this framework must entail acknowledging and scrutinising the extent of the incapacity of the privileged reader to comprehend the crisis as presence and present rather than spatially or temporally remote. The readings of the novels Carpentaria (2006) and The Swan Book (2013) by Waanyi writer Alexis Wright (Australia) trace the uneven presences of Anthropocenes in the present by way of bringing future worlds (The Swan Book) to the contemporary (Carpentaria). In both novels, protagonists must forge survival amongst ruins of the present and future: the depicted worlds, in particular the representations of the disenfranchisement of indigenous inhabitants of the far north of the Australian continent, emerge as a critique of the intersections of capitalist and colonial projects that define modernity and its impact on the global climate.
Today’s focus on the 1930s as a time of radical politics paving the way for the apocalypse of the Second World War ignores the complexity of the decade’s cultural responses, especially those by British women writers who highlighted gender issues within their contemporary political climate. The decade’s literature is often understood to capture the political unrest, either narrating people’s chaotic movement or their paralysed shock. This book argues that 1930s novels collapse the distinction between movement and standstill and calls this phenomenon Dynamic Stasis. This Dynamic Stasis thematically and structurally informs the novels of Nancy Mitford, Stevie Smith, Rosamond Lehmann and Jean Rhys. By disrupting the oft-repeated cliché of the 1930s as the age of political extremes, gender politics and negotiations of femininity can emerge from the discursive periphery. This book therefore corrects a persistent gender blind spot, which opens up a (re)consideration of authors that have been overlooked in literary criticism of 1930s to this day.
Rezensiertes Werk:
George, Rosemary Marangoly, Indian English and the Fiction of National Literature - Cambridge: Cambridge University Press, 2013. - Hb. viii, 285 pp. - (Zeitschrift für Anglistik und Amerikanistik ; 62(4)) ISBN 978-1-107-04000-7.
Rezensiertes Werk
Pink, Katharina, Identitas Oriens: Diskursive Konstruktionen von Identität und Alterität in britischer Orient-Reiseliteratur - Würzburg, Ergon Verlag, 2014 337 S. - (Literatur - Kultur - Theorie, 19)
This article explores a recent performance of excerpts from T.S. Eliot’s Four Quartets (1935/36–1942) entitled Engaging Eliot: Four Quartets in Word, Color, and Sound as an example of live poetry. In this context, Eliot’s poem can be analysed as an auditory artefact that interacts strongly with other oral performances (welcome addresses and artists’ conversations), as well as with the musical performance of Christopher Theofanidis’s quintet “At the Still Point” at the end of the opening of Engaging Eliot. The event served as an introduction to a 13-day art exhibition and engaged in a re-evaluation of Eliot’s poem after 9/11: while its first part emphasises the connection between Eliot’s poem and Christian doctrine, its second part – especially the combination of poetry reading and musical performance – highlights the philosophical and spiritual dimensions of Four Quartets.
Rezensiertes Werk
George, Rosemary Marangoly, Indian English and the Fiction of National Literature - Cambridge: Cambridge University Press, 2013. - Hb. viii, 285 pp. - (Zeitschrift für Anglistik und Amerikanistik ; 62(4))
ISBN 978-1-107-04000-7.
This article considers Isabella Bird’s representation of medicine in Unbeaten Tracks in Japan (1880) and Journeys in Persia and Kurdistan (1891), the two books in which she engages most extensively with both local (Chinese/Islamic) and Western medical science and practice. I explore how Bird uses medicine to assert her narrative authority and define her travelling persona in opposition to local medical practitioners. I argue that her ambivalence and the unease she frequently expresses concerning medical practice (expressed particularly in her later adoption of the Persian appellation “Feringhi Hakīm” [European physician] to describe her work) serves as a means for her to negotiate the colonial and gendered pressures on Victorian medicine. While in Japan this attitude works to destabilise her hierarchical understanding of science and results in some acknowledgement of traditional Japanese traditions, in Persia it functions more to disguise her increasing collusion with overt British colonial ambitions.
The dissertation proposes that the spread of photography and popular cinema in 19th- and 20th-century-India have shaped an aesthetic and affective code integral to the reading and interpretation of Indian English novels, particularly when they address photography and/or cinema film, as in the case of the four corpus texts. In analyzing the nexus between ‘real’ and ‘reel’, the dissertation shows how the texts address the reader as media consumer and virtual image projector. Furthermore, the study discusses the Indian English novel against the backdrop of the cultural and medial transformations of the 20th century to elaborate how these influenced the novel’s aesthetics. Drawing upon reception aesthetics, the author devises the concept of the ‘implied spectator’ to analyze the aesthetic impact of the novels’ images as visual textures.
No God in Sight (2005) by Altaf Tyrewala comprises of a string of 41 interior monologues, loosely connected through their narrators’ random encounters in Mumbai in the year 2000. Although marked by continuous perspective shifts, the text creates a sensation of acute immediacy. Here, the reader is addressed as implied spectator and is sutured into the narrated world like a film spectator ― an effect created through the use of continuity editing as a narrative technique.
Similarly, Ruchir Joshi’s The Last Jet Engine Laugh (2002) coll(oc)ates disparate narrative perspectives and explores photography as an artistic practice, historiographic recorder and epistemological tool. The narrative appears guided by the random viewing of old photographs by the protagonist and primary narrator, the photographer Paresh Bhatt. However, it is the photographic negative and the practice of superimposition that render this string of episodes and different perspectives narratively consequential and cosmologically meaningful. Photography thus marks the perfect symbiosis of autobiography and historiography.
Tabish Khair’s Filming. A Love Story (2007) immerses readers in the cine-aesthetic of 1930s and 40s Bombay film, the era in which the embedded plot is set. Plotline, central scenes and characters evoke the key films of Indian cinema history such as Satyajit Ray’s “Pather Panchali” or Raj Kapoor’s “Awara”. Ultimately, the text written as film dissolves the boundary between fiction and (narrated) reality, reel and real, thereby showing that the images of individual memory are inextricably intertwined with and shaped by collective memory. Ultimately, the reconstruction of the past as and through film(s) conquers trauma and endows the Partition of India as a historic experience of brutal contingency with meaning.
The Bioscope Man (Indrajit Hazra, 2008) is a picaresque narrative set in Calcutta - India’s cultural capital and birthplace of Indian cinema at the beginning of the 20th century. The autodiegetic narrator Abani Chatterjee relates his rise and fall as silent film star, alternating between the modes of tell and show. He is both autodiegetic narrator and spectator or perceiving consciousness, seeing himself in his manifold screen roles. Beyond his film roles however, the narrator remains a void. The marked psychoanalytical symbolism of the text is accentuated by repeated invocations of dark caves and the laterna magica. Here too, ‘reel life’ mirrors and foreshadows real life as Indian and Bengali history again interlace with private history. Abani Chatterjee thus emerges as a quintessentially modern man of no qualities who assumes definitive shape only in the lost reels of the films he starred in.
The final chapter argues that the static images and visual frames forwarded in the texts observe an integral psychological function: Premised upon linear perspective they imply a singular, static subjectivity appealing to the postmodern subject. In the corpus texts, the rise of digital technology in the 1990s thus appears not so much to have displaced older image repertories, practices and media techniques, than it has lent them greater visibility and appeal. Moreover, bricolage and pastiche emerge as cultural techniques which marked modernity from its inception. What the novels thus perpetuate is a media archeology not entirely servant to the poetics of the real. The permeable subject and the notion of the gaze as an active exchange as encapsulated in the concept of darshan - ideas informing all four texts - bespeak the resilience of a mythical universe continually re-instantiated in new technologies and uses. Eventually, the novels convey a sense of subalternity to a substantially Hindu nationalist history and historiography, the centrifugal force of which developed in the twentieth century and continues into the present.
This essay approaches T. S. Eliot’s Four Quartets (1935–1942) from the perspectives of Eve Kosofsky Sedgwick’s critical practice of reparative reading and of Paul Ricoeur’s poststructuralist hermeneutics. It demonstrates that Sedgwick’s and Ricoeur’s approaches can be productively combined to investigate hermeneutic processes in which the textual energy of a dissemination of meaning is redirected by a reparative or integrative impulse. In Four Quartets, this impetus induces the creation of semantic innovation through a violation of semantic pertinence, that is, through novel, tensional and provisional connections between formerly separate textual elements and semantic units.
Deep into the second half of the twentieth century the traditionalist definition of India as a country of villages remained dominant in official political rhetoric as well as cultural production. In the past two decades or so, this ruralist paradigm has been effectively superseded by a metropolitan imaginary in which the modern, globalised megacity increasingly functions as representative of India as a whole. Has the village, then, entirely vanished from the cultural imaginary in contemporary India? Addressing economic practices from upper-class consumerism to working-class family support strategies, this paper attempts to trace how ‘the village’ resurfaces or survives as a cultural reference point in the midst of the urban.
Language and Content
(2014)
Perspectives on English Revolutionary Republicanism takes stock of developments in the scholarship of seventeenth-century English republicanism by looking at the movements and schools of thought that have shaped the field over the decades: the linguistic turn, the cultural turn and the religious turn. While scholars of seventeenth-century republicanism share their enthusiasm for their field, they have approached their subject in diverse ways. The contributors to the present volume have taken the opportunity to bring these approaches together in a number of case studies covering republican language, republican literary and political culture, and republican religion, to paint a lively picture of the state of the art in republican scholarship.
The volume begins with three chapters influenced by the theory and methodology of the linguistic turn, before moving on to address cultural history approaches to English republicanism, including both literary culture and (practical) political culture. The final section of the volume looks at how religion intersected with ideas of republican thought. Taken together the essays demonstrate the vitality and diversity of what was once regarded as a narrow topic of political research.
Die Dissertation untersucht von Autorinnen (Louisa Johnson, Jane Loudon, Maria Theresa Earle, Gertrude Jekyll, Elizabeth von Arnim) verfasste Ratgeberliteratur zum Hausgarten für ein weibliches Lesepublikum, mit dem Anspruch an eine praktische Gartentätigkeit, im Zeitraum von 1839 bis 1900. Die Genderperspektive steht hieraus folgend im Mittelpunkt der vorliegenden Arbeit. Der Fokus auf die bürgerliche Mittelklasse ergibt sich aus der Autorinnenperspektive und der angesprochenen Leserschaft. Die Behandlung des Gartens wird einer Analyse unterzogen, die nach der weiblichen Sicht auf den Garten und einem spezifisch weiblichen Selbstverständnis der garteninteressierten bzw. gärtnernden Frauen fragt. In ihrer Beschäftigung mit dem Garten leisten die Frauen einen Beitrag zur Konzeption von männlich und weiblich, zur Bewertung von Geschlechternormen und deren Verhandlung. Das Schreiben und Lesen über den Garten sowie hieraus resultierende Handlungen waren mit der Konstruktion weiblicher Identität verknüpft. In ihrer befreienden Konzeption des Gartens heben sich diese Frauenstimmen zu Weiblichkeitsvorstellungen von anderen gesellschaftlichen zugeschriebenen Wirkungsbereichen ab. An die bürgerliche Frau herangetragene Rollenerwartungen werden in den Werken weder affirmativ bestätigt noch offen subversiv hinterfragt. Es handelt sich vielmehr um ein subtiles Unterlaufen durch das Anbieten von Handlungsfeldern, die dem Wunsch nach Selbstverwirklichung und Selbstbestimmung entgegen kamen. Im Garten als vermeintlich kleinem, hausnah-restriktivem Kontext nehmen die Frauen neue Rollen an und variieren diese. Der Beschäftigung mit dem Garten kommt daher ein protofeministischer Charakter vor dem Einsetzen der Ersten Frauenbewegung zu, so dass von einem Gartenfeminismus als Instrument zur weiblichen Bewusstwerdung gesprochen werden kann.
This essay revisits Ian McEwan’s extremely successful novel Saturday, and interrogates its exemplary assessment of the British cultural climate after 9/11. The particular focus is on McEwan’s extensive recourse to the writings of Matthew Arnold, whose melancholy outlook on culture and anarchy McEwan basically translates into the 21st century without much ideological fraction. This relapse into Victorian liberal humanism as consolation for a Western world besieged by the contingencies of terrorism is extremely problematic. Not only does it wilfully ignore the transcultural realities of modern Britain, it also promotes an ahistorical and apolitical mode of critical inquiry which may be called reductive at best in view of the global challenges that the novel addresses.
Writing an alternative Australia : women and national discourse in nineteenth-century literature
(2007)
In this thesis, I want to outline the emergence of the Australian national identity in colonial Australia. National identity is not a politically determined construct but culturally produced through discourse on literary works by female and male writers. The emergence of the dominant bushman myth exhibited enormous strength and influence on subsequent generations and infused the notion of “Australianness” with exclusively male characteristics. It provided a unique geographical space, the bush, on and against which the colonial subject could model his identity. Its dominance rendered non-male and non-bush experiences of Australia as “un-Australian.” I will present a variety of contemporary voices – postcolonial, Aboriginal, feminist, cultural critics – which see the Australian identity as a prominent topic, not only in the academia but also in everyday culture and politics. Although positioned in different disciplines and influenced by varying histories, these voices share a similar view on Australian society: Australia is a plural society, it is home to millions of different people – women, men, and children, Aboriginal Australians and immigrants, newly arrived and descendents of the first settlers – with millions of different identities which make up one nation. One version of national identity does not account for the multitude of experiences; one version, if applied strictly, renders some voices unheard and oppressed. After exemplifying how the literature of the 1890s and its subsequent criticism constructed the itinerant worker as “the” Australian, literary productions by women will be singled out to counteract the dominant version by presenting different opinions on the state of colonial Australia. The writers Louisa Lawson, Barbara Baynton, and Tasma are discussed with regard to their assessment of their mother country. These women did not only present a different picture, they were also gifted writers and lived the ideal of the “New Women:” they obtained divorces, remarried, were politically active, worked for their living and led independent lives. They paved the way for many Australian women to come. In their literary works they allowed for a dual approach to the bush and the Australian nation. Louisa Lawson credited the bushwoman with heroic traits and described the bush as both cruel and full of opportunities not known to women in England. She understood women’s position in Australian society as oppressed and tried to change politics and culture through the writings in her feminist magazine the Dawn and her courageous campaign for women suffrage. Barbara Baynton painted a gloomy picture of the Australian bush and its inhabitants and offered one of the fiercest critiques of bush society. Although the woman is presented as the able and resourceful bushperson, she does not manage to survive in an environment which functions on male rules and only values the economic potential of the individual. Finally, Tasma does not present as outright a critique as Barbara Baynton, however, she also attests the colonies a fascination with wealth which she renders questionable. She offers an informed judgement on colonial developments in the urban surrounds of the city of Melbourne through the comparison of colonial society with the mother country England. Tasma attests that the colonies had a fascination with wealth which she renders questionable. She offers an informed judgement on colonial developments in the urban surrounds of the city of Melbourne through the comparison of colonial society with the mother country England and demonstrates how uncertainties and irritations emerged in the course of Australia’s nation formation. These three women, as writers, commentators, and political activists, faced exclusion from the dominant literary discourses. Their assessment of colonial society remained unheard for a long time. Now, after much academic excavation, these voices speak to us from the past and remind us that people are diverse, thus nation is diverse. Dominant power structures, the institutions and individuals who decide who can contribute to the discourse on nation, have to be questioned and reassessed, for they mute voices which contribute to a wider, to the “full”, and maybe “real” picture of society.
In her lifetime, Dymphna Cusack continually launched social critiques on the basis of her feminism, humanism, pacificism and anti-fascist/pro-Soviet stance. Recalling her experi-ences teaching urban and country schoolchildren in A Window in the Dark, she was particularly scathing of the Australian education system. Cusack agitated for educational reforms in the belief that Australian schools had failed to cultivate the desired liberal humanist subject: 'Neither their minds, their souls, nor their bodies were developed to make the Whole Man or the Whole Woman - especially the latter. For girls were encouraged to regard their place as German girls once did: Kinder, Küche, Kirche - Children, Kitchen and Church.' I suggest that postwar liberal humanism, with its goals of equality among the sexes and self-realisation or 'becoming Whole', created a popular demand for the romantic realism found in Cusack′s texts. This twentieth century form of humanism, evident in new ideas of the subject found in psychoanalysis, Western economic theory and Modernism, informed each of the global lobbies for peace and freedom that followed the destruction of World War II. Liberal ideas of the individual in society became synonymous with the humanist representations of gender in much of postwar, realistic literature in English-speaking countries. The individual, a free agent whose aim was to 'improve the life of human beings', was usually given the masculine gender. He was shown to achieve self-realisation through a commitment to the development of “mankind”, either materially or spiritually. Significantly, the majority of Cusack′s texts diverge from this norm by portraying women as social agents of change and indeed, as the central protagonists. Although the humanist goal of self-realisation seems to be best adapted to social realism, the generic conventions of popular romance also have humanist precepts, as Catherine Belsey has argued. The Happy End is contrived through the heroine′s mental submission to her physical desire for the previously rejected or criticised lover. As Belsey has noted, desire might be considered a deconstructive force which momentarily prevents the harmonious, permanent unification of mind and body because the body, at the moment of seduction, does not act in accord with the mind. In popular romance, however, desire usually leads to a relationship or proper union of the protagonists. In Cusack′s words, the heroine and hero become “whole men and women” through the “realistic” love story. Thus romance, like realism, seeks to stabilise gender relations, even though female desire is temporarily disruptive in the narrative. In the end, women and men become fully realised characters according to the generic conventions of the love story or the consummation of potentially subversive desire. It stayed anxieties associated with women seeking independence and self-realisation rather than traditional romance which signalled a threat to existing gender relations. I proposed that an analysis of gender in Cusack′s fiction is warranted, since these apparently unified, humanist representations of romantic realism belie the conflicting aims and actions of the gendered subjects in this historical period. For instance, when we examine women′s lives immediately after the war, we can identify in both East and West efforts initiated by women and men to reconstruct private/public roles. In order to understand how women were caught between “realism and romance”, I plan to deconstruct gender within the paradigm of this hybrid genre. By adopting a femininist methodology, new insights may be gained into the conflictual subjectivity of both genders in the periods of the interwar years, the Pacific and World Wars, the Cold War, the Australian Aboriginal Movement at the time of the Vietnam War, as well as the moment of second wave Western feminism in the seventies. My definition of romantic realism and the discourses that inform it are examined in chapters two and three. A deconstruction of femininity and the female subject is pursued in chapter four, when I argue that Cusack′s romantic narratives interact in different ways with social realism: romance variously fails, succeeds, is parodic or idealised. Applying Judith Butler′s philosophical ideas to literary criticism, I argue that this hybridisation of genre prevents the fictional subject from performing his or her gender. Like the “real” subject - actual women in society - the fictional protagonist acts in an unintelligible fashion due to the multifarious demands and constraints on her gender. Consequently, the gendering of the sexed subject produces a multiplicity of genders: Cusack′s women and men are constituted by differing and conflicting demands of the dichotomously opposed genres. Thus gender and sex become indefinite through their complex, inconsistent expression in the romantic realistic text. In other words, the popular combination of romance and realism leads to an explosion of the gender binary presupposed by both genres. Furthermore, a consideration of sexuality and race in chapter five leads to a more differentiated analysis of the humanist representations of gender in postwar fiction. The need to deconstruct these representations in popular and canonical literature is recapitulated in the final chapter of this Dissertation.