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Darkness Subverted Aboriginal Gothic in Black Australian Literature and Film von Althans, Katrin (eBook)

  • Erscheinungsdatum: 18.02.2010
  • Verlag: Vandenhoeck & Ruprecht
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Darkness Subverted

Der dem klassischen Schauerroman zugrunde liegende Diskurs von "Selbst" und "Anderem" wurde schnell auf die Gegebenheiten der kolonialen Situation angewandt und auf das Verhältnis zwischen Kolonialherr und kolonialem Subjekt projiziert. Zeitgenössische schwarzaustralische Künstler nehmen sich dieses kolonialen Schauerdiskurses an, reißen ihn durch ihre scharfe Perspektive in Stücke und transformieren ihn schließlich zu einem Diskurs des "Aboriginal Gothic".Die vorliegende Studie erarbeitet die theoretischen Grundlagen des "Aboriginal Gothic" und benutzt den so konkretisierten Begriff, um Romane von Vivienne Cleven, Mudrooroo, Kim Scott, Sam Watson und Alexis Wright sowie Filme von Beck Cole und Tracey Moffatt zu analysieren. Im Zentrum der Untersuchung steht dabei die Frage, inwieweit der traditionell europäische Schauerdiskurs mit Elementen indigener australischer Kultur durch- bzw. zersetzt ist, um die aktuelle Situation australischer Aborigines darzustellen und eine wiedererlangte kulturelle Identität zu beschreiben.

Produktinformationen

    Format: PDF
    Kopierschutz: watermark
    Seitenzahl: 224
    Erscheinungsdatum: 18.02.2010
    Sprache: Englisch
    ISBN: 9783862340927
    Verlag: Vandenhoeck & Ruprecht
    Größe: 2020kBytes
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Darkness Subverted

" II. Aboriginal Appropriations (S. 31-32)

1. Re-Biting the Canon: Mudrooroo's Vampire Trilogy

a. Classics Rewritten

i. Bram Stoker's Dracula

Beginning a study of Aboriginal Gothic with Mudrooroo's vampire trilogy of all works seems odd and rather inappropriate, if not offensive, in the wake of Victoria Laurie's article "Identity Crisis"2 and the fierce debate about Mudrooroo's/Colin Johnson's right to Aboriginality it entailed. A contested issue in its own right, Aboriginality and Torres Strait Islander status is, for administrative purposes and to establish eligibility for services and programs, only open to indigenous people, defined by three criteria which have first been devised by High Court judge Sir WilliamDeane. In his reasoning in Commonwealth v Tasmania, he states that "[b]y "Australian Aboriginal" I mean [. . . ] a person of Aboriginal descent, albeit mixed, who identifies himself as such and who is recognized by the Aboriginal community as an Aboriginal".

These criteria also loom large in the discussion ofMudrooroo's heritage, and it was chiefly his claim to a matrilineal affi liation with the Bibbulmun people of Western Australia which has led to his being accused of having deliberately mis-appropriated an Aboriginal identity – and of having committed a cultural fraud.4 Responses to Laurie's uncoverings range from denyingMudrooroo any rights to Aboriginality, including his chosen name,5 to balanced assessments of what constitutes an Aboriginal identity.

For Nina Smidt,many contributions to this discussion reduce the complex issue of "identity" to mere biological/genealogical categories and fail to take into account notions of a cultural identity.6 Similarly, Mary Ann Hughes criticizes tendencies which narrow Aboriginality to a, by white bureaucratic standards, accurately defined "true" Aboriginality, and exclude other, different, experiences, a strategy which for her is just another tool used by Anglo- Celtic critics to further objectify Aboriginal culture.

Apart from any questions surrounding his biological inheritance, it cannot be denied that Mudrooroo has lived inside Aboriginal culture, experienced white discrimination, and fought for equality and justice formore than four decades, which, as Eva Rask Knudsen rightly observes, "is something literary hoaxes tend to lack".8 His works are, even though ostensibly not written by an Aboriginal writer of maternal Bibbulmun descent, still to be considered informed byMudrooroo's cultural identity which has been shaped by his very own Aboriginal life and experiences, and thus his vampire trilogy can still be read in terms of an Aboriginal Gothic."

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