Darkness Subverted / Representations & Reflections (PDF)
Aboriginal Gothic in Black Australian Literature and Film
(Sprache: Englisch)
At the heart of the Gothic novel proper lies the discursive binary of »self« and »other«, which in colonial literature was quickly filled with representations of the colonial master and his indigenous subject. Contemporary black Australian artists have...
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At the heart of the Gothic novel proper lies the discursive binary of »self« and »other«, which in colonial literature was quickly filled with representations of the colonial master and his indigenous subject. Contemporary black Australian artists have usurped this colonial Gothic discourse, torn it to pieces, and finally transformed it into an Aboriginal Gothic.This study first develops the theoretical concept of an Aboriginal Gothic and then uses this term as a tool to analyse novels by Vivienne Cleven, Mudrooroo, Kim Scott, Sam Watson, and Alexis Wright as well as films directed by Beck Cole and Tracey Moffatt. It centres on the question of how a genuinely European mode, the Gothic, can be permeated and thus digested by elements of indigenous Australian culture in order to portray the current situation of Aboriginal Australians and to celebrate a recovered cultural identity.
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"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
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›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."
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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Autoren-Porträt von Katrin Althans
Dr. Katrin Althans, geboren 1978 in Gütersloh, ist zurzeit Lehrkraft für besondere Aufgaben am Englischen Seminar der Universität Münster.
Bibliographische Angaben
- Autor: Katrin Althans
- 2010, 1. Auflage 2010, 224 Seiten, Englisch
- Herausgegeben: Uwe Baumann, Marion Gymnich, Barbara Schmidt-Haberkamp
- Verlag: V&R unipress
- ISBN-10: 3862340929
- ISBN-13: 9783862340927
- Erscheinungsdatum: 18.02.2010
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