After the eruption of Mt Pinatubo (Philippines) in 1991, most Aytas living at the foot of the volcano were resettled in lowland areas. Breaking with the past entailed a painful struggle particularly among these indigenous people who were uprooted from their source of life. As they tried to adapt to their new environment, they had no choice but to conform in re-establishing their habitat and in attempting to find ways of achieving a better future. Since formal education was a most promising venture, there were Ayta parents who welcomed the scholarships offered by the government or the private sector to their children. This study features interviews with Pinatubo Aytas—who were given the opportunity to finish college—and highlights their struggle as they aspire for socio-economic mobility. The new generation of Aytas has become an emerging breed of acculturation that puts their identity fundamentally at stake: their case demonstrates a “struggle of identification,” to use Bhabha’s term. Their experience of self-consciousness in their psychic identification with the dominant culture or their alacritous acceptance of their assimilated condition remains a critical issue calling for further inquiry.
{"title":"College Educated Pinatubo Aytas: A ‘Struggle of Identification’”","authors":"Julieta Cunanan Mallari","doi":"10.1344/CO20172187-104","DOIUrl":"https://doi.org/10.1344/CO20172187-104","url":null,"abstract":"After the eruption of Mt Pinatubo (Philippines) in 1991, most Aytas living at the foot of the volcano were resettled in lowland areas. Breaking with the past entailed a painful struggle particularly among these indigenous people who were uprooted from their source of life. As they tried to adapt to their new environment, they had no choice but to conform in re-establishing their habitat and in attempting to find ways of achieving a better future. Since formal education was a most promising venture, there were Ayta parents who welcomed the scholarships offered by the government or the private sector to their children. This study features interviews with Pinatubo Aytas—who were given the opportunity to finish college—and highlights their struggle as they aspire for socio-economic mobility. The new generation of Aytas has become an emerging breed of acculturation that puts their identity fundamentally at stake: their case demonstrates a “struggle of identification,” to use Bhabha’s term. Their experience of self-consciousness in their psychic identification with the dominant culture or their alacritous acceptance of their assimilated condition remains a critical issue calling for further inquiry.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"29 1","pages":"87-104"},"PeriodicalIF":0.0,"publicationDate":"2017-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81335343","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article analyzes the transnational features of narratives between Galicia and Australia from the year 1519 to the Present-day. Sailors like Pedro Fernandez de Quiros and Luis Vaez de Torres, who reached Australia in the sixteenth century, will be considered as the starting point of a cultural dialogue still going on in today’s literature not only as regards the geography of the continent but also in the collective imagination of the country. Other connections between these countries are also established by contemporary novelists such as Peter Carey, Sally Morgan and Murray Bail, who use Galician history and places, filtered through British sources, to address Australia and its present-day characters and decolonizing conflicts. Finally, the works of other authors such as Robert Graves and Felix Calvino, who also deal with this literary dialogue in their fiction, are explored.
本文分析了1519年至今加利西亚与澳大利亚之间叙事的跨国特征。像Pedro Fernandez de Quiros和Luis Vaez de Torres这样的水手在16世纪到达澳大利亚，他们将被视为文化对话的起点，在今天的文学中，不仅是关于大陆的地理，而且是关于这个国家的集体想象。当代小说家彼得·凯里(Peter Carey)、莎莉·摩根(Sally Morgan)和默里·贝尔(Murray Bail)也建立了这些国家之间的其他联系，他们利用加利西亚的历史和地点，通过英国的资料过滤，来描述澳大利亚及其当今的特征和非殖民化冲突。最后，本书还探讨了其他作家的作品，如罗伯特·格雷夫斯和菲利克斯·卡尔维诺，他们也在小说中处理这种文学对话。
{"title":"Australia and Galicia in Transnational Narratives","authors":"María Jesús Lorenzo-Modia","doi":"10.1344/co20182265-83","DOIUrl":"https://doi.org/10.1344/co20182265-83","url":null,"abstract":"This article analyzes the transnational features of narratives between Galicia and Australia from the year 1519 to the Present-day. Sailors like Pedro Fernandez de Quiros and Luis Vaez de Torres, who reached Australia in the sixteenth century, will be considered as the starting point of a cultural dialogue still going on in today’s literature not only as regards the geography of the continent but also in the collective imagination of the country. Other connections between these countries are also established by contemporary novelists such as Peter Carey, Sally Morgan and Murray Bail, who use Galician history and places, filtered through British sources, to address Australia and its present-day characters and decolonizing conflicts. Finally, the works of other authors such as Robert Graves and Felix Calvino, who also deal with this literary dialogue in their fiction, are explored.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"79 1","pages":"65-83"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83913302","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Identity politics is fraught with difficulties. Of few places is this truer than in Australia when it comes to the representation of Aboriginality. On the one hand the absence or invisibility of Aboriginality in Australian life and culture maybe interpreted as a deliberate exclusion of a people whose presence is uncomfortable or inconvenient for many Australians of immigrant origin. Equally, the representation of Aboriginality by non-Aboriginals may be seen as an appropriation of identity, an inexcusable commercial exploitation or an act of neocolonialism. Best-selling and prize-winning South African-born author Peter Temple appears to be very much aware of these pitfalls. In his crime novels, written between 1996 and 2009, he has obviously made the decision to grasp the nettle and attempt to represent Aboriginality in a way that would be as acceptable as possible. This paper traces the evolution of Temple's representation of Aboriginality through the three major Aboriginal characters present in his novels: Cameron Delray (Bad Debts, 1996; Black Tide, 1999; Dead Point, 2000; and White Dog, 2003), Ned Lowey (An Iron Rose, 1998) and Detective Sergeant Paul Dove (The Broken Shore, 2005 and Truth, 2009).
{"title":"The Representation of Aboriginality in the Novels of Peter Temple","authors":"Bill Phillips","doi":"10.1344/CO2016209-21","DOIUrl":"https://doi.org/10.1344/CO2016209-21","url":null,"abstract":"Identity politics is fraught with difficulties. Of few places is this truer than in Australia when it comes to the representation of Aboriginality. On the one hand the absence or invisibility of Aboriginality in Australian life and culture maybe interpreted as a deliberate exclusion of a people whose presence is uncomfortable or inconvenient for many Australians of immigrant origin. Equally, the representation of Aboriginality by non-Aboriginals may be seen as an appropriation of identity, an inexcusable commercial exploitation or an act of neocolonialism. Best-selling and prize-winning South African-born author Peter Temple appears to be very much aware of these pitfalls. In his crime novels, written between 1996 and 2009, he has obviously made the decision to grasp the nettle and attempt to represent Aboriginality in a way that would be as acceptable as possible. This paper traces the evolution of Temple's representation of Aboriginality through the three major Aboriginal characters present in his novels: Cameron Delray (Bad Debts, 1996; Black Tide, 1999; Dead Point, 2000; and White Dog, 2003), Ned Lowey (An Iron Rose, 1998) and Detective Sergeant Paul Dove (The Broken Shore, 2005 and Truth, 2009).","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"58 1","pages":"9-21"},"PeriodicalIF":0.0,"publicationDate":"2016-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85727989","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Jamaican writer Marlon James’s third novel, A Brief History of Seven Killings, for which he won the prestigious Man Booker Prize in 2015, is a crime novel which looks beyond the surface to explore and unearth suppressed histories. The genre itself, crime fiction, has proven to be prosperous ground to undertake such explorations. In Twentieth-Century Crime Fiction, Lee Horsley asserts that simply “the act of looking at what has been hidden is in itself fraught with meaning” (2005: 203) and he further specifies that the detective or crime story is “an ideal form of exploration of suppressed realities. The investigative structure provides a ready-made instrument for unearthing the previously invisible crimes against people” (id.). In fact, James himself has described his novel as the act of the pulling off a stitch that might “disrupt the whole fabric” (James 2015).
牙买加作家马龙·詹姆斯(Marlon James)的第三部小说《七次杀人简史》(A Brief History of Seven killing)获得了2015年著名的布克奖，这是一部透过表面探索和挖掘被压抑历史的犯罪小说。事实证明，犯罪小说这一类型本身是进行此类探索的繁荣之地。在《二十世纪的犯罪小说》中，李·霍斯利断言，简单地说，“观察被隐藏的东西的行为本身就充满了意义”(2005:203)，他进一步指出，侦探或犯罪故事是“探索被压抑的现实的理想形式”。调查结构为揭露以前看不见的危害人民罪行提供了现成的工具”(同上)。事实上，詹姆斯自己将他的小说描述为一种拔掉可能“破坏整个结构”的一针的行为(James 2015)。
{"title":"“Marlon James’s ‘Dangerous’ A Brief History of Seven Killings”","authors":"Maria Grau Perejoan","doi":"10.1344/CO20162094-97","DOIUrl":"https://doi.org/10.1344/CO20162094-97","url":null,"abstract":"Jamaican writer Marlon James’s third novel, A Brief History of Seven Killings, for which he won the prestigious Man Booker Prize in 2015, is a crime novel which looks beyond the surface to explore and unearth suppressed histories. The genre itself, crime fiction, has proven to be prosperous ground to undertake such explorations. In Twentieth-Century Crime Fiction, Lee Horsley asserts that simply “the act of looking at what has been hidden is in itself fraught with meaning” (2005: 203) and he further specifies that the detective or crime story is “an ideal form of exploration of suppressed realities. The investigative structure provides a ready-made instrument for unearthing the previously invisible crimes against people” (id.). In fact, James himself has described his novel as the act of the pulling off a stitch that might “disrupt the whole fabric” (James 2015).","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"38 1","pages":"94-97"},"PeriodicalIF":0.0,"publicationDate":"2016-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86500165","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper locates the postcolonial crime novel as a space for disenfranchised groups to write back to the marginalisation inherent in the process of colonisation, and explores the example of Australia. From its inception in the mid-19th century, Australian crime fiction reflected upon the challenging harshness and otherness of the Australian experience for the free and convict settler, expelled from the metropole. It created a series of popular subgenres derived from the convict narrative proper, while more ‘standard’ modes of crime fiction, popularised in and through British and American crime fiction, were late to develop. Whereas Australian crime fiction has given expression to the white experience of the continent in manifold ways, up until recently it made no room for Indigenous voices – with the exception of the classic Inspector Napoleon Bonaparte series written by the prolific Arthur Upfield in the first half of the 20th century. For the longest time, this absence reflected the dispossession, dispersal and disenfranchisement of the colonised Indigenous peoples at large; there were neither Aboriginal voices nor Aboriginal authors, which made the textual space of the Australian crime novel a discursive terra nullius. This paper will look at the only Indigenous-Australian author to date with a substantial body of work in crime fiction, Philip McLaren, and elucidate how his four crime novels break new ground in Australian crime fiction by embedding themselves within a political framework of Aboriginal resilience and resistance to neo/colonialism. Written as of the 1990s, McLaren’s oeuvre is eclectic in that it does not respond to traditional formats of Australian crime fiction, shifts between generic subtypes and makes incursions into other genres. The paper concludes that McLaren’s oeuvre has not been conceived of as the work of a crime writer per se, but rather that its form and content are deeply informed by the racist violence and oppression that still affects Indigenous-Australian society today, the expression of which the crime novel is particularly well geared to.
{"title":"Philip McLaren and the Indigenous-Australian Crime Novel","authors":"C. Renes","doi":"10.1344/CO20162022-37","DOIUrl":"https://doi.org/10.1344/CO20162022-37","url":null,"abstract":"This paper locates the postcolonial crime novel as a space for disenfranchised groups to write back to the marginalisation inherent in the process of colonisation, and explores the example of Australia. From its inception in the mid-19th century, Australian crime fiction reflected upon the challenging harshness and otherness of the Australian experience for the free and convict settler, expelled from the metropole. It created a series of popular subgenres derived from the convict narrative proper, while more ‘standard’ modes of crime fiction, popularised in and through British and American crime fiction, were late to develop. Whereas Australian crime fiction has given expression to the white experience of the continent in manifold ways, up until recently it made no room for Indigenous voices – with the exception of the classic Inspector Napoleon Bonaparte series written by the prolific Arthur Upfield in the first half of the 20th century. For the longest time, this absence reflected the dispossession, dispersal and disenfranchisement of the colonised Indigenous peoples at large; there were neither Aboriginal voices nor Aboriginal authors, which made the textual space of the Australian crime novel a discursive terra nullius. This paper will look at the only Indigenous-Australian author to date with a substantial body of work in crime fiction, Philip McLaren, and elucidate how his four crime novels break new ground in Australian crime fiction by embedding themselves within a political framework of Aboriginal resilience and resistance to neo/colonialism. Written as of the 1990s, McLaren’s oeuvre is eclectic in that it does not respond to traditional formats of Australian crime fiction, shifts between generic subtypes and makes incursions into other genres. The paper concludes that McLaren’s oeuvre has not been conceived of as the work of a crime writer per se, but rather that its form and content are deeply informed by the racist violence and oppression that still affects Indigenous-Australian society today, the expression of which the crime novel is particularly well geared to.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"305 1","pages":"22-37"},"PeriodicalIF":0.0,"publicationDate":"2016-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73509418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The “Bresciano” series of seven historical detective novels (2010-2015) by Sam Benady and Mary Chiappe set in a period of four decades early in the British imperial history of Gibraltar from the 1780s to the 1820s provides an excellent opportunity not only for reconstructing a significant image of the historical past of the colony – and possibly also of its current status – but also for investigating a complex of critical approaches to such writing in terms of historical crime fiction, post-coloniality, and the wider ramifications of the function of cultural-historical “museumification” and its impact on the literary narrative. The present brief study should be regarded as an introductory discussion rather than a definitive analysis.
{"title":"“The Crime Scene as Museum: The (Re)construction in the Bresciano Series of a Historical Gibraltarian Past”","authors":"J. Stotesbury","doi":"10.1344/CO20162083-93","DOIUrl":"https://doi.org/10.1344/CO20162083-93","url":null,"abstract":"The “Bresciano” series of seven historical detective novels (2010-2015) by Sam Benady and Mary Chiappe set in a period of four decades early in the British imperial history of Gibraltar from the 1780s to the 1820s provides an excellent opportunity not only for reconstructing a significant image of the historical past of the colony – and possibly also of its current status – but also for investigating a complex of critical approaches to such writing in terms of historical crime fiction, post-coloniality, and the wider ramifications of the function of cultural-historical “museumification” and its impact on the literary narrative. The present brief study should be regarded as an introductory discussion rather than a definitive analysis.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"87 1 1","pages":"83-93"},"PeriodicalIF":0.0,"publicationDate":"2016-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89364941","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article centres on the first part of James Cameron’s 1878 biography of Adelaida de la Thoreza, entitled Adelaide de la Thoreza: A Chequered Career, in order to briefly discuss the problematics of biography as a literary genre, but in particular to reveal what appears to be a reconstruction of identity in the figure of Adelaide. Although the discussion will leave many questions unanswered due to the lack of documentary evidence, this very lack of evidence will allow for a series of “reasonable doubts” to cast their shadow over the veracity of Cameron’s text.
{"title":"“The Biography of Adelaide de la Thoreza: Fact or Fiction?”","authors":"S. Ballyn","doi":"10.1344/co20162038-47","DOIUrl":"https://doi.org/10.1344/co20162038-47","url":null,"abstract":"This article centres on the first part of James Cameron’s 1878 biography of Adelaida de la Thoreza, entitled Adelaide de la Thoreza: A Chequered Career, in order to briefly discuss the problematics of biography as a literary genre, but in particular to reveal what appears to be a reconstruction of identity in the figure of Adelaide. Although the discussion will leave many questions unanswered due to the lack of documentary evidence, this very lack of evidence will allow for a series of “reasonable doubts” to cast their shadow over the veracity of Cameron’s text.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"21 1","pages":"38-47"},"PeriodicalIF":0.0,"publicationDate":"2016-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87035099","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Kerry Greenwood’s The Phryne Fisher Mystery Collection is formed by 19 novels set in 1928-1929 Australia and its main character is the Hon. Phryne Fisher, a young beautiful intelligent rich woman who works as a private detective. The seventh novel of this collection is Ruddy Gore (1995), which presents one of the most relevant characters in the series: Lin, and which includes a turning-point in the protagonist’s life.This article analyses the depiction of Miss Fisher as a postcolonial detective in the late 1920s Melbourne, and focuses on the constructs of gender and ethnicity in the creation of Miss Fisher and of Lin. This novel was adapted as a TV episode, aired by the Australia Broadcasting Corporation in 2012. This article also explores the way Phryne is depicted in the episode and how she interacts with some of the characters. The article aims to find out whether the adaptation creates a female detective as author Kerry Greenwood had envisioned, and whether this character breaks stereotypes or follows them.
{"title":"\"Phryne Fisher: A postcolonial female detective in Ruddy Gore (1995)\"","authors":"Catalina Segura","doi":"10.1344/CO20162048-66","DOIUrl":"https://doi.org/10.1344/CO20162048-66","url":null,"abstract":"Kerry Greenwood’s The Phryne Fisher Mystery Collection is formed by 19 novels set in 1928-1929 Australia and its main character is the Hon. Phryne Fisher, a young beautiful intelligent rich woman who works as a private detective. The seventh novel of this collection is Ruddy Gore (1995), which presents one of the most relevant characters in the series: Lin, and which includes a turning-point in the protagonist’s life.This article analyses the depiction of Miss Fisher as a postcolonial detective in the late 1920s Melbourne, and focuses on the constructs of gender and ethnicity in the creation of Miss Fisher and of Lin. This novel was adapted as a TV episode, aired by the Australia Broadcasting Corporation in 2012. This article also explores the way Phryne is depicted in the episode and how she interacts with some of the characters. The article aims to find out whether the adaptation creates a female detective as author Kerry Greenwood had envisioned, and whether this character breaks stereotypes or follows them.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"1 1","pages":"48-66"},"PeriodicalIF":0.0,"publicationDate":"2016-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90133339","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article addresses the representation of China in contemporary crime fiction written in English. A close examination of a selection of works set in China by Lisa See, Peter May, Catherine Sampson, Lisa Brackmann and Duncan Jepson reveals that, following the hardboiled tradition and crime fictions produced in post-colonial times, these narratives scrutinize the West’s many deficiencies. However, the authors do not articulate a truly postcolonial discourse aimed at destabilizing the notion of the assumed superiority of the West and its right to intrude in other countries’ affairs. Furthermore, these narratives seem to be written to confirm the readers’ worst expectations about China, which is fated to stay poor, backward and ultimately Other, unable to achieve some degree of ‘normalization’ or Westernization that could legitimize China’s claims to modernity, improvement and ascendancy in our global economy. Thus, as we vicariously travel the country through these narratives, we face the usual array of fraudsters, tricksters and blood-thirsty murderers that populate crime fictions, but it is China itself that is singled out as the true monster of the stories.
{"title":"'This Is Getting a Little Too Chinese for Me': The Representation of China in Crime Fiction Written in English","authors":"I. Capdevila","doi":"10.1344/CO20162067-82","DOIUrl":"https://doi.org/10.1344/CO20162067-82","url":null,"abstract":"The article addresses the representation of China in contemporary crime fiction written in English. A close examination of a selection of works set in China by Lisa See, Peter May, Catherine Sampson, Lisa Brackmann and Duncan Jepson reveals that, following the hardboiled tradition and crime fictions produced in post-colonial times, these narratives scrutinize the West’s many deficiencies. However, the authors do not articulate a truly postcolonial discourse aimed at destabilizing the notion of the assumed superiority of the West and its right to intrude in other countries’ affairs. Furthermore, these narratives seem to be written to confirm the readers’ worst expectations about China, which is fated to stay poor, backward and ultimately Other, unable to achieve some degree of ‘normalization’ or Westernization that could legitimize China’s claims to modernity, improvement and ascendancy in our global economy. Thus, as we vicariously travel the country through these narratives, we face the usual array of fraudsters, tricksters and blood-thirsty murderers that populate crime fictions, but it is China itself that is singled out as the true monster of the stories.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"20 1","pages":"67-82"},"PeriodicalIF":0.0,"publicationDate":"2016-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80496503","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Indigenous-Australian fiction has experimented with subgenres of the Fantastic in various ways to secure an empowering location from which to address post/colonial dispossession. In the mid-1990s, the Australian writer and critic Mudrooroo, formerly known as Colin Johnson, proposed Maban Reality as a genre denomination for fiction which introduces the reader to the powerful and empowering universe of the Aboriginal maban or shaman, also known as the Dreaming. Mudrooroo’s coining of Maban Reality was a way of establishing an Australian variant of Magic Realism which defied a European epistemology of the universe, engaging and enabling Dreamtime spirituality as a solid pillar of Aboriginal reality. Mudrooroo had already experimented with a postcolonial reversal of the Gothic, a dark version of the Fantastic, in the first of his Tasmanian quintet, Dr Wooreddy’s Prescription for Enduring the Ending of the World (1983), but left its gloomy resignation to a dire Indigenous fate under colonial rule behind for the upbeat Master of the Ghost Dreaming (1993). Yet, as the result of a deep personal crisis—believed not to have an Aboriginal bloodline, in the mid-1990s he was barred from the tribal affiliation he had long claimed—Mudrooroo resorted to the gloominess of the postcolonial Gothic again in a vampire trilogy to reflect on the devastating impact of colonisation on Australian identity at large. This essay comments on the ways in which he has reflected on the present state of Australianness by rewriting Bram Stoker’s Dracula .
{"title":"Postcolonial Rewritings of Bram Stoker´s Dracula: Mudrooroo’s Vampire Trilogy","authors":"C. Renes","doi":"10.1344/CO20161823-37","DOIUrl":"https://doi.org/10.1344/CO20161823-37","url":null,"abstract":"Indigenous-Australian fiction has experimented with subgenres of the Fantastic in various ways to secure an empowering location from which to address post/colonial dispossession. In the mid-1990s, the Australian writer and critic Mudrooroo, formerly known as Colin Johnson, proposed Maban Reality as a genre denomination for fiction which introduces the reader to the powerful and empowering universe of the Aboriginal maban or shaman, also known as the Dreaming. Mudrooroo’s coining of Maban Reality was a way of establishing an Australian variant of Magic Realism which defied a European epistemology of the universe, engaging and enabling Dreamtime spirituality as a solid pillar of Aboriginal reality. Mudrooroo had already experimented with a postcolonial reversal of the Gothic, a dark version of the Fantastic, in the first of his Tasmanian quintet, Dr Wooreddy’s Prescription for Enduring the Ending of the World (1983), but left its gloomy resignation to a dire Indigenous fate under colonial rule behind for the upbeat Master of the Ghost Dreaming (1993). Yet, as the result of a deep personal crisis—believed not to have an Aboriginal bloodline, in the mid-1990s he was barred from the tribal affiliation he had long claimed—Mudrooroo resorted to the gloominess of the postcolonial Gothic again in a vampire trilogy to reflect on the devastating impact of colonisation on Australian identity at large. This essay comments on the ways in which he has reflected on the present state of Australianness by rewriting Bram Stoker’s Dracula .","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"52 1","pages":"23-37"},"PeriodicalIF":0.0,"publicationDate":"2016-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90873790","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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