{"title":"Marie-Claire Blais, Lise Gauvin. Les lieux de Marie-Claire Blais","authors":"Anne de Vaucher Gravili","doi":"10.30687/tol/2499-5975/2021/23/036","DOIUrl":"https://doi.org/10.30687/tol/2499-5975/2021/23/036","url":null,"abstract":"Compte rendu de Blais, M.-C. ; Gauvin, L. (2020). Les lieux de Marie-Claire Blais. Entretiens. Montréal : Éditions Nota Bene, 223 pp.","PeriodicalId":32601,"journal":{"name":"Il Tolomeo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46720422","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}
{"title":"Mónica de Miranda. Atlantica. Contemporary Art from Angola and its Diaspora","authors":"Alice Girotto","doi":"10.30687/tol/2499-5975/2021/23/040","DOIUrl":"https://doi.org/10.30687/tol/2499-5975/2021/23/040","url":null,"abstract":"Review of Miranda, M. de (ed.) (2018). Atlantica. Contemporary Art from Angola and its Diaspora. Lisbon: Hangar Books, 261 pp.","PeriodicalId":32601,"journal":{"name":"Il Tolomeo","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69565573","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}
Pub Date : 2021-12-20DOI: 10.30687/tol/2499-5975/2021/23/021
Alessia Polatti
The paper considers Phillips’s rewriting of the canonical nineteenth-century romances in three of his novels – A State of Independence (1986), The Lost Child (2015), and A View of the Empire at Sunset (2018). The three texts resettle the romance genre through the postcolonial concept of ‘home’. In A State of Independence, Phillips rearranges the role of one of Jane Austen’s most orthodox characters, the landowner Sir Thomas Bertram of Mansfield Park (1814), by transposing the Austenian character’s features to his protagonist Bertram Francis, a Caribbean man who comes back to his ancestral homeland after twenty years in Britain. In The Lost Child, chronicling literary-historical events in the present tense by transferring the life of the Brontë family into the protagonists of Wuthering Heights (1847) is for the author one way of calling into question the real sense of literature. It is for this reason that Phillips constructs a cyclic narration around the figure of Branwell Brontë, fictionalised by his sister Emily in the romance protagonist Heathcliff, and mirrored in The Lost Child in the character of Tommy Wilson. In A View of the Empire at Sunset, Phillips definitely overturns the colonial and genre categories by reassessing the in-between life of the Dominican-born writer Jean Rhys through her personal return journey to Dominica: as a result, the author of Wide Sargasso Sea (1966) (an intense rewriting of Jane Eyre) becomes a fictional character, and the literary events of her life sum up the vicissitudes both of the two ‘Bertrams’ – of Mansfield Park and A State of Independence – and the protagonists of Wuthering Heights and The Lost Child.
{"title":"Caryl Phillips’s Rewriting of the Canonical Romance as a Genre","authors":"Alessia Polatti","doi":"10.30687/tol/2499-5975/2021/23/021","DOIUrl":"https://doi.org/10.30687/tol/2499-5975/2021/23/021","url":null,"abstract":"The paper considers Phillips’s rewriting of the canonical nineteenth-century romances in three of his novels – A State of Independence (1986), The Lost Child (2015), and A View of the Empire at Sunset (2018). The three texts resettle the romance genre through the postcolonial concept of ‘home’. In A State of Independence, Phillips rearranges the role of one of Jane Austen’s most orthodox characters, the landowner Sir Thomas Bertram of Mansfield Park (1814), by transposing the Austenian character’s features to his protagonist Bertram Francis, a Caribbean man who comes back to his ancestral homeland after twenty years in Britain. In The Lost Child, chronicling literary-historical events in the present tense by transferring the life of the Brontë family into the protagonists of Wuthering Heights (1847) is for the author one way of calling into question the real sense of literature. It is for this reason that Phillips constructs a cyclic narration around the figure of Branwell Brontë, fictionalised by his sister Emily in the romance protagonist Heathcliff, and mirrored in The Lost Child in the character of Tommy Wilson. In A View of the Empire at Sunset, Phillips definitely overturns the colonial and genre categories by reassessing the in-between life of the Dominican-born writer Jean Rhys through her personal return journey to Dominica: as a result, the author of Wide Sargasso Sea (1966) (an intense rewriting of Jane Eyre) becomes a fictional character, and the literary events of her life sum up the vicissitudes both of the two ‘Bertrams’ – of Mansfield Park and A State of Independence – and the protagonists of Wuthering Heights and The Lost Child.","PeriodicalId":32601,"journal":{"name":"Il Tolomeo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44868185","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}
Pub Date : 2021-12-20DOI: 10.30687/tol/2499-5975/2021/23/023
Valérie Tosi
This article analyses Peter Carey’s novel My Life as a Fake (2003) through the lens of genre fiction, focusing on how the Gothic mode combines with key concepts in postcolonial studies. Intertextual references to Mary Shelley’s Frankenstein, or The Modern Prometheus (1818) and analogies with Stephen King’s The Dark Half (1990) and “The Importance of Being Bachman” (1996) are investigated to contextualise Carey’s postcolonial Gothic. Furthermore, taking a cue from Frantz Fanon and Oswaldo de Andrade’s theoretical studies, I argue that the main characters of this novel display attitudes that allegorically reflect the stages through which the national literature of a former settler colony is shaped.
本文通过类型小说的视角分析了彼得·凯里的小说《我的假货生活》（2003），重点探讨了哥特式模式如何与后殖民研究中的关键概念相结合。对玛丽·雪莱（Mary Shelley）的《弗兰肯斯坦》（Frankenstein）或《现代普罗米修斯》（The Modern Prometheus）（1818）的文本间引用，以及与斯蒂芬·金（Stephen King）的《黑暗的一半》（The Dark Half）（1990）和《单身汉的重要性》（The Importance of Being Bachman）（1996）的类比进行了研究，以将凯里的后殖民哥特式置于背景中。此外，从Frantz Fanon和Oswaldo de Andrade的理论研究中，我认为这部小说的主要人物表现出的态度寓言地反映了一个前定居者殖民地的民族文学形成的阶段。
{"title":"Decolonising the Mind of the Antipodean Author: Gothic Tropes and Postcolonial Discourse in Peter Carey’s My Life as a Fake","authors":"Valérie Tosi","doi":"10.30687/tol/2499-5975/2021/23/023","DOIUrl":"https://doi.org/10.30687/tol/2499-5975/2021/23/023","url":null,"abstract":"This article analyses Peter Carey’s novel My Life as a Fake (2003) through the lens of genre fiction, focusing on how the Gothic mode combines with key concepts in postcolonial studies. Intertextual references to Mary Shelley’s Frankenstein, or The Modern Prometheus (1818) and analogies with Stephen King’s The Dark Half (1990) and “The Importance of Being Bachman” (1996) are investigated to contextualise Carey’s postcolonial Gothic. Furthermore, taking a cue from Frantz Fanon and Oswaldo de Andrade’s theoretical studies, I argue that the main characters of this novel display attitudes that allegorically reflect the stages through which the national literature of a former settler colony is shaped.","PeriodicalId":32601,"journal":{"name":"Il Tolomeo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42816547","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}
Pub Date : 2021-12-20DOI: 10.30687/tol/2499-5975/2021/23/022
Teresa Colliva
This article presents an analysis of the new category of Africanfuturism coined by the Nigerian American writer (or Naijamerican, as she defines herself) Nnedi Okorafor in 2019, after years of questions about the limits that the category of Afrofuturism has put over the receptions of her works. Okorafor felt the urgency to open this new horizon to better insist on the importance of stories and narratives profoundly rooted in the African continent, thus abandoning the Western models and canons of science fiction and creating new ways of looking towards the far future. Through the analysis of Okorafor’s novels (Who Fears Death?, Lagoon and Binti), interviews and posts on her blog, the article explores the potentialities of Okorafor’s speculative fiction to deal with technologies, traditions, cultures, social transformations, and how these issues inform a future Africa that could possibly be an entirely new world, in which the concept of ‘West’ and ‘colonialism’ do not have any meaning.
{"title":"Nnedi Okorafor: Trajectories of an African Futurism","authors":"Teresa Colliva","doi":"10.30687/tol/2499-5975/2021/23/022","DOIUrl":"https://doi.org/10.30687/tol/2499-5975/2021/23/022","url":null,"abstract":"This article presents an analysis of the new category of Africanfuturism coined by the Nigerian American writer (or Naijamerican, as she defines herself) Nnedi Okorafor in 2019, after years of questions about the limits that the category of Afrofuturism has put over the receptions of her works. Okorafor felt the urgency to open this new horizon to better insist on the importance of stories and narratives profoundly rooted in the African continent, thus abandoning the Western models and canons of science fiction and creating new ways of looking towards the far future. Through the analysis of Okorafor’s novels (Who Fears Death?, Lagoon and Binti), interviews and posts on her blog, the article explores the potentialities of Okorafor’s speculative fiction to deal with technologies, traditions, cultures, social transformations, and how these issues inform a future Africa that could possibly be an entirely new world, in which the concept of ‘West’ and ‘colonialism’ do not have any meaning.","PeriodicalId":32601,"journal":{"name":"Il Tolomeo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44617801","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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