Colonial and postcolonial Gothic

Paravisini-Gebert, Lizabeth

doi:10.1017/ccol0521791243.012

Cited by 38 publications

(9 citation statements)

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“…Paravisini-Gebert indicates that by the turn of the nineteenth century, Gothic writers came to realise that 'Britain's growing empire could prove a vast source of frightening "others"'. 22 From this point on the Gothic mode in literature, and later cinema, would be invoked by the oppressed and oppressing groups alike to 'give voice to the fears awakened by colonial realities'. 23 The mode is utilised in the context of Troubles narratives as a frame within which to understand the chaotic and often paradoxical nature of continued socio-political conflict which keeps the Irish history of British occupation very much alive in the Irish present.…”

Section: Boundaries In Northern Irish Gothicmentioning

confidence: 99%

Troubled Boundaries: Corporeal and Territorial Transgression in Hunger (Steve McQueen, 2008) and ’71 (Yann Demange, 2015)

Wynne-Walsh

2023

Gothic Studies

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The legacy of the Troubles is still patently visible in Ireland. This period has never been absent from contemporary national discourse and, in fact, exists in living memory for the majority of the Irish. Brexit and the passing of Nobel Peace Prize laureate John Hume in August 2020 have only reinvigorated discussions on the Troubles, the IRA, and the Northern Irish peace processes, in which Hume was a central figure. This article presents a critical approach to the Troubles within a Gothic framework. This mode has long articulated anxieties engendered by the irresolvability of contested histories, territories and memories. I argue that the films Hunger and ’71 use gothic narrative structures and motifs to negotiate the emotionally and ideologically loaded Northern Irish conflict. Formally, the Gothic comes to the fore in each film's preoccupation with the unspoken and the visually untrustworthy. Both films rely on fractured chronologies and flashbacks to re-present lingering Northern Irish personal and collective traumas. I position Hunger and ’71 as essential components of an ongoing process of trauma negotiation in regards to the deep-set cultural wounds of the Troubles.

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Section: Boundaries In Northern Irish Gothicmentioning

confidence: 99%

Troubled Boundaries: Corporeal and Territorial Transgression in Hunger (Steve McQueen, 2008) and ’71 (Yann Demange, 2015)

Wynne-Walsh

2023

Gothic Studies

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“…2 See Oloff (2016), Hinrichsen (2015), Gelder (2014), Shockley (2006), Paravisini-Gebert (2002), respectively.…”

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“The ugliness of my surroundings”: Tip Marugg’s Ecogothic Poetics of Isolation

Arbino

2019

eTropic

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In this paper I argue that Curaçaoan author Tip Marugg’s use of ecogothic articulates a postcolonial sense of insular alienation for his white protagonists in Weekend Pilgrimage (1957) and The Roar of Morning (1988). His depiction of the Dutch Caribbean environment as decadent and hostile facilitates an atmosphere in which his characters become untethered from the structures that empowered them. Marugg’s narrative techniques regarding the gothic rely on postcolonial critiques of the island of Curaçao’s racial hierarchy, the oil industry as a product of sustained colonization for the sake of globalization, and tourism as a product of neocolonialism. The environment’s opposition abounds through images of haunting winds, suicidal birds, sea monsters, and widespread destruction that serve to criticise societal changes that isolate the protagonists. Because I suggest that Marugg’s ecocriticism is implicated within a larger question of belonging as it pertains to race and class in Curaçao, I will conclude by considering how his contemporary Frank Martinus Arion employs nature in Double Play (1998). That is to say, whereas Marugg’s white protagonists are often the target of the island’s ecosystem, Arion’s interaction with the natural environment espouses a sentiment of belonging for his Afro-Curaçaoan protagonist that ultimately positions Afro-Curaçaoans as stewards of the island’s future.

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“…Lizabeth Paravisini-Gilbert has argued that "it is finally in Caribbean writing that a postcolonial dialogue with the Gothic plays out its tendencies most completely and suggestively," 9 and while this underplays the complex negotiations that the genre has exhibited in Australian and Canadian fiction more widely, it does nevertheless underscore the way the "lineaments" of clichéd Caribbean tropes have aligned well with the clichéd "lineaments of gothic fiction." Hence narratives of the "many Obeah men, 'voodoo' priests, zombies, and sorcerers that people Gothic fiction, the many plots that revolve around the threat of mysterious practices associated with animal sacrifice, fetishes, and spells, all contribute to make of the colonized space the locus of horror necessary for the writing of Gothic literature."…”

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confidence: 99%

The Caribbean Gothic Down Under: Caribbean Influences in Marianne de Pierres’ Parrish Plessis Novels

Turcotte¹

2018

CEchinox

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This paper investigates the way voodoo, postcolonial theory, Indigenous spirituality and Caribbean culture are brought together to discuss contemporary and future race politics down under in the novel Nylon Angel, Code Noir and Crash Deluxe. Marianne de Pierres' Parrish Plessis books are edgy, street-smart science fiction novels set in a future Sydney where government has effectively collapsed, media controls its citizenry and gangs vie for control of the streets. In some ways it appears a fairly typical model for SF writing, except that de Pierres has invested great effort in the delineation of racially complex groups. Of these, the encounter between Caribbean (and Voodoo), shamans, and Indigenous Kaidaitcha men, makes for a refreshing, but uncomfortable, contemporary negotiation of race politics in Australia.

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Colonial and postcolonial Gothic

Cited by 38 publications

References 0 publications

Troubled Boundaries: Corporeal and Territorial Transgression in Hunger (Steve McQueen, 2008) and ’71 (Yann Demange, 2015)

Troubled Boundaries: Corporeal and Territorial Transgression in Hunger (Steve McQueen, 2008) and ’71 (Yann Demange, 2015)

“The ugliness of my surroundings”: Tip Marugg’s Ecogothic Poetics of Isolation

The Caribbean Gothic Down Under: Caribbean Influences in Marianne de Pierres’ Parrish Plessis Novels

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