In these images there is a larger politics of power and ethnographic representation at work that is also in dialogue with the linguistic code, and it is this politics of power and representation that I will be investigating shortly with regard to a number of textual examples. The knowledge gained from such empirical testimony is inimical because it is so superficial, even though it has the gloss of objective reality. The affected ambiguity of these photographs underscores the complexity and paradoxical nature of reading photographic images.
They seem to be asking more questions of the viewer than they are providing answers. The book addresses how understanding nudity differs depending on gender, age, culture and era, and encompasses a variety of approaches including sociological, literary studies, historical, ethnological, culture studies and art historical. John Berger teases apart the subtle though illuminating, culturally invested semantic distinction between naked and nude bodies with: To be naked is simply to be without clothes, whereas the nude is a form of art The nude also relates to lived sexuality. To be naked is to be oneself.
To be nude is to be seen naked by others and yet not recognized for oneself. A naked body has to be seen as an object in order to become a nude. Nudity is placed on display. To be naked is to be without disguise. Ways of Seeing 53 Objectively speaking, the photographed subjects in Das Bad are naked, they are without clothing, and therefore they are in their natural state. If you do you have never understood Japanese art at all.
The Japanese people are the deliberate self-conscious creation of certain individual artists The actual people who live in Japan are not unlike the general run of the English people; that is to say they are extremely commonplace, and have nothing curious or extraordinary about them.
In fact, the whole of Japan is a pure invention. Women beautifying themselves and naked women at the bath were among the most popular photographic motifs for both European and Japanese photographers, and these photographs played a substantial role in the eroticization of the Japanese woman in Western perceptions. And whether the naked women represented in Das Bad were photographed at a public or private bath is difficult to say, but what is apparent is that they have been removed from a closed space and have been recontextualized for public viewing and consumption.
The nature of the photographic medium invites looking, yet the voyeuristic pleasure realized with these particular images stems from these photographed subjects being seemingly unaware that they are the object of the gaze, evidenced by the fact that they are not looking back at the camera. The visual nudity in the text situates the reader as the voyeur, as there is something undeniably taboo in gazing at these naked females, their age unknown, who have been put on display without their knowledge or consent.
John Urry points to this sense of control created by photographic representation: To photograph is in some ways to appropriate the object being photographed. To have visual knowledge of an object is in part to have power, even if only momentarily, over it. Photography tames the object of the gaze, the most striking examples being of exotic cultures. The Tourist Gaze 47 Although there is nothing explicitly obscene or pornographic about the images in this text, the interplay of pose, nudity, erotic and exotic intimates that these women are being represented and read through a fairly narrow set of determining signifiers that make them objects of desire.
Moreover, as photographs they become literally material objects which a viewer can hold and possess; or put differently, they become fetish objects that are viewed as the focus of sexual desire. Metz points to the fact that, because of its qualities, photography is more like a slice of nature that freezes a moment in time.
Das Bad not only points to the objectification of women through photographic images, but also to how in everyday life women are subjected to a kind of objectifying masculine gaze, one which women ultimately internalize and then use to self-surveille. A woman must continually watch herself. Women watch themselves being looked at. This determines not only most relations between men and women but also the relation of women to themselves. The surveyor of women in herself is male: Thus she turns herself into an object — and most particularly an object of vision: The idea here is that the way men look at women in photographs, as objects of desire, slips or spills over into everyday life and affects the way that men look at women in reality.
Moreover, as women are aware that they are being looked at as objects, they begin to survey, surveille and discipline themselves as objects of vision. This crucial scene will be the focal point of the following pages. This will permit a much clearer understanding of their context and meaning to be established; therefore, I will now demonstrate how they function in connection with the linguistic code. These paragraphs descriptively, actively and conceptually provide a frame for the reader that works as a point of entry into the content and theoretical implications of the text.
The opening lines read: Neben dem Spiegel hing in einem Rahmen eine Portraitaufnahme von mir. Mein Tag begann damit, dass ich beim Vergleich des Spiegelbilds mit der Fotographie Unterschiede entdeckte, die ich dann mit Schminke korrigierte. I had hung a framed photograph of myself beside the mirror. The first things I would do when I got up was to compare my reflection with the photograph, checking for discrepancies which I then corrected with makeup. At the same time, there is also a tension between notions of surface and depth at work, as the body is being represented as prone to movements and influences taking place beneath and within, while the mirror and photographic images are surface reflections and representations that influence from without.
Throughout the text notions of surface and depth serve to situate the photograph amidst this paradox of change and stasis. The depiction of a different face that appears every day in the mirror image can also be read as reflecting the different photographic images that appear on the pages of the text. In both the linguistic and visual media the face that we literally see at the beginning of the text is not the same face that we see at the end, although each face does occasionally repeat itself.
Bluntly put, there is a process of subject constitution developing in these opening lines of Das Bad that underscores the complexities and paradoxes involved in the construction of subjectivity. On the one hand there is a sense of transformation and human agency exemplified by the constant repetition of difference and the sense that she has some control over her appearance, but this is contrasted by the power of prescriptive and binding norms to which the subject is unconsciously beholden. The photograph here is representative of 79 these normative and ideologically infused discourses that act on, and ultimately constitute, the subject — not in any kind of overtly subjugating way, but in the quotidian performance of daily rituals, e.
The complete transformation of human sense-awareness by [photographic] form involves a development of self-consciousness that alters facial expression and cosmetic makeup as immediately as it does our bodily stance, in public or in private The age of Jung and Freud is the age of the photograph, the age of the full gamut of self-critical attitudes. At one time both maps and photographs enjoyed the status of objective and unmediated representations of reality.
Individual and social psychology traditionally use the metaphor of the mirror to explain the processes of constituting what is foreign and the alienation of the subject. The manner in which the protagonist reacts to these external images is somewhat ambiguous, in the sense that she both adapts to and resists these models.
As the opening lines of this text emphasize, the human body is in a state of constant change and flux, as is human identity, and thus the photographic image in this text initially serves as a point of reference and reassurance for a protagonist seeking control of her personhood, but later proves as unstable and contingent as the identity it helps construct.
Framing signifies a special status for that particular rendering, the one chosen from an infinite number of possibilities. It also suggests a particular ideological frame for the photograph insofar as one viewpoint is being promoted while everything existing outside of this frame of reference is being discarded. The more recent Das nackte Auge features a similar pattern, with a female Vietnamese protagonist who comes to East Germany and then France, has a German boyfriend Georg , and a female confidante Ai Van , although it could be argued that Catherine Deneuve plays the more central role of confidante.
Herein rest the ideological implications of the photograph that, due to the apparent veracity of its denotative message, is read as though it were merely a natural reflection and not a culturally embedded object. The simultaneous presence of iconic and indexical qualities infuses the photograph with its authority and makes it a powerful point of identification for the protagonist in Das Bad. Especially when placed opposite the mirror, the photograph opens a complex negotiation of identity construction that continues throughout the text.
The iconic sign is one that resembles in its representation the subject represented — a photograph for example. Barthes also sees the photograph as containing this quality. Finally, the symbolic sign, such as words or speech, always require interpretation, and thus symbol and interpretant are inseparable. See Peirce on Signs: Writings on Semiotics by Charles Sanders Peirce for a complete outline of these sign-types. These terms themselves are suggestive of the theoretical interplay between the mirror and the photograph with respect to the construction of the subject, as identity indicates more of a stability and singular core to the individual, while subjectivity points to the processual and indeterminate nature of development that is often done both by and upon the subject.
Yet, at the same time, they also underscore the fact that identification is a process of misrecognition of an image external to the self.
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The mirror image, according to Lacan, presents the illusion of a stability of the ego and promise of return to an original unity, while the photographic image provides the pretence of a stabilized and fixed identity that can be obtained with the daily application of make-up. Because the protagonist identifies with a densely and culturally coded representation and copy of herself, the identity constructed is really the product of repeated imitation rather than a naturally occurring origin. There is undoubtedly a certain tension in subjectivity between choice and the illusion of choice, between agency and interpellation, self- conscious and unconscious processes of identification, and forces which constitute and constrain us and which we can never control.
In this sense subjectivity connotes a much more complex, dynamic and problematic layering of identities. It was previously noted that, while the photograph represents a false idealization of the protagonist to which she identifies, it also acts as a form of control here. The photograph serves to arrest and anchor the play, circulation and proliferation of signifiers of aberration or difference to a prescribed model which the protagonist feels compelled to imitate.
Analogously, Diana Tietjens Meyers in her work Gender in the Mirror considers how women internalize oppression and constantly self-police themselves, although often to no avail. The photograph in Das Bad serves as this deceptively stable origin, and is symbolic of a fixed, internal essence or natural gender, racial and sexual identity that the protagonist is required to embody.
In this daily repetition, or imitation, of an already discursively constructed ideal that is by no means naturally sanctioned, there is a resultant destabilization of the regulatory ideal. If there is, as it were, always a compulsion to repeat, repetition never fully accomplishes identity. That there is a need for a repetition at all is a sign that identity is not self-identical. And as the text later demonstrates, these norms of gender, race, femininity and ethnicity are vulnerable because of this necessary repetition, since there is also the possibility that they will be repeated and performed otherwise — with a difference.
Even though the subject does not have complete control over the terms of her subjectivity, there is the potential to intervene in this circular process. It is therefore crucial to recognize repetition as central to the visual and textual themes, concepts and theory that register throughout this text: However, as I will later highlight, in the end the repetitive circuit is finally cut, and her submission to these regulatory norms is ultimately challenged.
Although the photographic image itself is static and eternal, the message of this image is that change and ultimately death await the photographed subject regardless of how much she attempts to resurrect the past. While on the one hand the photographic image inscribes and preserves the subject on paper, a subject whose presence is required for the photograph to exist, it is clear to any observer that this moment can never be recovered.
Profoundly and irreparably shaken by the death of his mother, in Camera Lucida Barthes expresses his experience with reading photographs as an intimate contact with death, and that death is the logical implication of every photographic image. Part of this deathly relation is due to the very nature of the photograph as a fixed and silent rendering of the photographed subject.
These critics include Barthes and Phillipe Dubois, who equated photography with thanatography. The photograph, while a static and frozen image, is a constant reminder of the transitoriness of existence. This morbid fact is only accentuated when the photograph is placed in contrast to the mirror image. The protagonist, after having fainted in a hotel bathroom, meets and goes home with a woman who has suffered terrible burns to the majority of her body, and who we later find out is, in fact, dead.
There is some question as to whether or not this mysterious, nameless victim was murdered or if her death was the result of suicide. According to a woman who lived in the same building, and to a report in the local newspaper, it was the latter of the two. The deceased, approximately fifty years old, lived alone and was reportedly lonely, although she disputes this assertion earlier in the text when the protagonist visits her apartment. Wer allein lebt, ist gar nicht einsam. According to the dead woman, her lifestyle as a middle age woman living alone puts her in a position of suspicion and even danger, and it becomes apparent that this danger is also almost certainly connected to her sexuality.
It is this image of suffering that we read in her photographic representation articulated later in the text when a newspaper reports on the circumstances of her death. The text then goes on to consider the ideological function of the newspaper photograph with respect to memory, as its aim is not to represent the woman as she really was, but rather to transmit to its readership a deterrent against suicide and non-normative lifestyles. Zwischen den vermischten Nachrichten war jene Frau abgebildet.
UBC Theses and Dissertations
Wahrscheinlich hatte der Fotograph das Bild retuschiert. Der Bericht lautete, dass man dem Verdacht, es handele sich um einen Mord, nachgegangen sei, die Nachforschungen aber kein Anhaltspunkte ergeben hatten. Man ginge nun von Selbstmord aus. In the human interest section was a photograph of that woman. There were no burn marks on her face.
A photographer must have retouched the picture to make her look so unhappy. As well as unattractive. The article said that although there had been an investigation due to the suspicion of foul play, the investigation was now closed and it was concluded that her death had been a suicide. Apparently it was 92 standard practice to retouch the photo of a suicide to make her look unattractive. While the opening lines of the text feature the relationship between the protagonist and her own photographic image, shortly thereafter the text devotes an entire 93 chapter the text is comprised of a total of ten chapters of varying length to constructing the context around the photographic rendering of the protagonist, and then the reception of the resultant image.
The stage is set in the opening lines of chapter two with: Das Foto von mir, das an der Wand neben dem Spiegel befestigt war, hatte Xander vor ein paar Jahren aufgenommen. Eines Tages war er mit drei Leica- Kameras in einer Tasche, 58 die ihm von der Schulter hing, vor mir aufgetaucht. Dies war die erste Begegnung zwischen dem Photographen und seinem Modell. He appeared before me one day with three Leica cameras slung over his shoulder. This was the first encounter between the photographer and his model. This is an essential distinction to keep in mind when considering this text, for as Stuart Hall indicates in his work on cultural representation and signifying practices: There is power in representation, power to mark, assign and classify Representation In the case of Das Bad the power juxtaposition of photographer to photographic model is but one example, albeit a telling one, of the unequal and subtly oppressive relationship between the protagonist and her boyfriend, Alexander.
As photographer, Xander this is the name he goes by, as seen on his carte de visite wields appreciable control over how his photographic subject is represented — so much so that this rigidly choreographed photographic session is more a representation of the photographer and his expectations than it is of the actual model photographed. In connection to Xander, Sabine Fischer makes a comparable observation: The camera serves as his mirror, which reflects his own masculine-European viewpoint upon the Japanese woman.
Several of these techniques, which I will address shortly, are also explicitly demonstrated in the terse commands that Xander delivers during their photographic sitting. A photograph of the female, Japanese protagonist taken by a white, male photographer that is intended for a travel poster contains a significantly different message than it would were it meant for her own personal consumption.
Quite simply, the ideological implications and representational politics invested in, and implicated by, the former are far more contentious and consequential than they are in the latter. The travel poster Xander seeks to create is, from an uncritical perspective, a harmless attempt to attract potential tourists using the image of a Japanese woman as an alluring representation of her country of origin.
On the contrary, this tourist marketing technique is revealed as an ideologically fiction as the constructed other. Like Barthes, Tawada relinquishes any claim to cultural reality, opting instead Representing essence and authenticity proves impossible in this text, although the manipulation of visual images can be a convincing intervention. This means that Das Bad is more an interrogation of the politics implicit in the photographic representation and the photographer wielding this tool than it is a text expressive of cultural differences or essences.
The visual body becomes a machine for seeing and processing images, a camera. The related questions become: Are these bodies, or are they machines? Is the body a machine, or an organic unit, a housing for travel [akin to a car] or a machine for recording images [akin to a camera]? The commands Xander delivers throughout the photographic session are indicative of his attempt to intervene in the image and manipulate the photographic subject according to his expectations. Sie verderben die Aufnahmen. They were embarrassed, especially because of the accuracy of the rendering.
Benjamin also mentions that, unlike Xander, the motto of a photographer was: Xander ist befehlshaberisch und seine Haltung wirkt erschrecken auf seine Arbeitskollegin Xander, as the bearer of the look, controls this fantasy space by attempting to manipulate the subject into embodying an imposed ideal, and because her gaze holds the potential to destabilize and undermine the power of the observer over the observed, extra attention is paid to mitigating this subversive strength.
This stands to reason when we consider how a look can mean different things to different people, depending on the context. The direct gaze then, from this perspective, can be read as confrontational and active. Moreover, this forced smile also underscores to the reader how staged this whole process, and the resultant image, truly is, making the photographic image akin to a choreographed-ethnographic performance space. The 63 There is a slight, though crucial, difference here between the German and English translations.
In the German it states: A smile does not come naturally to her in this moment, and her distorted facial contortion is hardly the true outward expression of an inner emotion. Finally, with the interdict to remain silent, the manipulation of the photograph and control over the photographic subject is complete. It is frequently noted in photographic theory that the camera served alongside the gun in nineteenth century European colonization and exploitation.
Hight and Gary D. Imag in ing Race and Place. On a number of occasions Das Bad makes either explicit or implicit associations between camera and gun, and by extension ethnographic and colonial projects. There is a sense here that the protagonist is being set-up, not for a modelling shoot, but rather for an execution! Furthermore, if we bear in mind that they both arrest movement, one physically, the other in terms of ethnographic representational fixity, then the gun and the camera should be recognized as comparable tools.
Die Linse versuchte mich einzufangen - meine Augen wurden zu Fischen aus Licht und versuchten, in die Luft zu fliehen. Aber diese Kameralinse wollte meine Haut einfangen. But this camera was trying to capture my skin. Unlike other forms of representation at the time , the photograph captures the imperceptible and covert that would otherwise go unnoticed and remain hidden, and thus the equation of the camera with a psychiatrist in the above quotation.
The photographic type here transitions from tourist photography to nineteenth century anthropological photography, as the text depicts the attempt to fix the subject to her skin by way of this visual technology. Durch sie wird das Sichtbare neu abgesteckt, medial erschlossen und zugleich analysierbar.
This equation of the photographer and the psychiatrist, and in particular the psychoanalyst, also has a tradition in German literature. Edhin Krokowski as both a psychoanalyst and a photographer. Instead, they consider the much more ambiguous effects that photography can have in constructing, and complicating, race through imagery. This analysis complicates and problematizes the stability and fixity of both photographic representation and the very concept of race itself, in favour of more nuanced, ambivalent, fluid and mobile qualities that better articulate their realities.
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Poole accepts that visual technologies, especially photography, have historically served to sediment and calcify the taken-for-granted and common-sense understanding of race as a visually verifiable fact, yet she also highlights more recent work on photography that: This means that the photograph is no more an unmediated, objective representation of reality than race is a trans- historical, pre-discursive biological given, and thus neither can be unreflectively seen as taken- for-granted or common sense truisms.
This simultaneously sets up the false pretence that human bodies can be easily classified and comprehended by racial signifiers. Like Barthes [in Empire of Signs], Tawada relinquishes any claim to cultural reality, opting instead War die Kamera kaputt? Aber Sie sind nicht drauf.
Was the camera broken? Dennoch ergibt sich aus der Kombination von exotistischen, historischen Bildern und Schrift bzw. Judith Butler highlights this possibility with: If I have no desire to be recognized within a certain set of norms, then it follows that my sense of survival depends upon escaping the clutch of those norms by which recognition is conferred This does not mean that I can remake the world so that I become its maker My agency does not consist in denying this condition of my constitution.
If I have any agency, it is opened up by the fact that I am constituted by a social world I never chose. That my agency is riven with paradox does not mean it is impossible. It means only that paradox is the condition of its possibility. Xander, as the photographer, has attempted to encode the photograph with a stock set of highly conventionalized, easily readable ethnic and gendered signifiers. Yet, in the reception and decoding of any message, however denotative it appears to be, meaning is multi-accentual, or open to dis- and re-articulation that contests its original intention, and thus the ideological power and certainty of the photograph is disturbed.
The protagonist, therefore, remains ethno-graphically illegible. In the case of Das Bad, the end result then is a potential discord between signifier and signified in photographic representation and reception. Moreover, it is explicitly stated that this image was taken during the photographic session mentioned above. Xander believes that the protagonist is absent from the photograph because she does not have enough sense of herself as Japanese, and this lack of a Japanese essence he connects directly to her skin.
After the two heatedly debate whether or not skin actually has a colour a dialogue I address extensively in chapter four , the text states: Xander dachte mit gesenktem Kopf eine Weile lang nach, hob dann wieder sein Gesicht und fragte: He laid it on so thickly that it closed up all my pores and my skin could no longer breathe. While in the opening paragraphs we witness the protagonist identifying with external images that hang on her wall in order to appropriate an imposed ideal, in a later depiction this daily ritual unfolds quite unexpectedly.
Waking up to the sound of clanking dishes and Xander making coffee in the kitchen, the protagonist begins her day as follows: Ich blickte in den Spiegel. Die Wangen leuchteten wie Pfirsiche. Ich malte mir Spuren von Schlafmangel unter die Augen. I used makeup to create dark circles under my eyes.
Then I filled in the contours of my lips with white lipstick, which made them look bloodless. Finally I rubbed the edges of my eyes with a little vinegar so that the skin shrank and puckered. In the quote above, the unexpected turn is that instead of conforming to the idealized image in the photograph, the protagonist demonstrates an act of resistance by styling herself otherwise, against the prescriptive image and restrictive norms that she regularly appropriates. A few lines later this first act of resistance is followed by another, whereby the protagonist ceases to speak the language that Xander, her boyfriend, photographer and language instructor, has taught her.
Hardly have I begun to speak about Europe, and I repeat it. The two even converse with one another through dolls the protagonist a silk Japanese doll, Xander a blonde violinist marionette [Das Bad ]. However, while the protagonist initially mimics his words without understanding their meaning, she eventually recognizes her subservience, and becomes quiet. Earlier in the text, when Xander addresses the protagonist he speaks to her using the second person formal Sie, but, as the above quotation illustrates, this transforms into a third person form of address when they communicate as dolls.
During this peculiar ventriloquist dialogue he relates to both the protagonist and himself from an external, third person perspective. The distance between the two characters grows proportionally to the resistance the protagonist exercises through whatever limited means she has at her disposal: In the concluding lines of the text the narrator expresses the realization that many of the identity markers ascribed to the protagonist throughout are no longer applicable.
It therefore acts, literally and figuratively, as a book-end to the content and materiality of the text. Analogous to the depiction of the protagonist in Das Bad who operates as a representation and representative for her collective people, this text describes the power relationship between the represented and those doing the representing, suggesting that the represented are the culturally or economically conquered, even annihilated. As in other museums as well, a power relationship is illustrated here: In other words, these texts invite readers to reconsider the constructed perspective of the observer instead of only focusing on the fictional representations of the observed.
Exposing the fictional character of these seemingly realistic representations is meant to encourage readers to reflect on the motivations and manipulations woven into these choreographed images and scenes. Fischer further considers this ethnographic staging with: Die Besucher wiederum betrachten diese Darbietungen unter dem Einfluss traditioneller eurozentristischer Sichtweisen des Fremden. The ideologically tinted representations of the foreign are conserved in glass and made accessible to a wide audience in easily consumable form.
Visitors observe these offerings under traditionally Eurocentric views of the foreign. My analysis approached this text as an intermedial dialogue between the bibliographic and linguistic codes in this case the text is mediated through images and writing which, when seen in cooperation, produce a composite text that is much more compelling than it would be were these codes read in isolation. With the theoretical support of Barthes, Batchen, Benjamin, Burgin, and Sekula, I first outlined how photographic representation visually and linguistically presented in Das Bad reflects a number of the theoretical positions fronted by these canonical theorists.
For example, I argued that the destruction of the aura through mechanical reproducibility is exemplary of the destruction of an originality or essence in subjectivity construction. I also detailed the complexity of reading photographic images that, due to their pretence of representational verisimilitude, can serve the ideological function of fixing or freezing an image as common-sense reality. By stressing the paradoxical nature of the photograph, and then connecting this paradox to Das Bad, I contend that Tawada is attempting to destabilize the taken-for-granted representational closure of the photograph.
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Download Iran - Chronik Des Rassenpolitik Und Verfolgungserfahrung Studien Zur Judischen Geschichte Bd. Download Kirchenbegehungen Im Freiburger Munster: Download Konfrontation Und Kooperation: Download Oldenbourg Geschichte Lehrbuch: Download Olynth Und Die Chalkidier: Eine Kleine Stadt Bei Auschwitz: Europa - Seine Kultur, Seine Barbarei: Deutsche RuBlandbilder Im Julia Borst, Juliane Tauchnitz Organization: Jun 6, Conference Start Date: This will be read as an act of epistemic violence that is embedded in language and symbolic systems and establishes a hegemonial, inegalitarian relationship of power between the former colonizer and the former colonized.
On this basis, I will explore identity concepts from the Caribbean and elsewhere that resist these acts of silencing and transgress binary constructions of Western identity and Caribbean alterity. The Powers of Mourning and Violence. Contributions to the Development of a Concept. Spivak, Gayatri Chakravorty A Critique of Postcolonial Reason. Toward a History of the Vanishing Present. Power and the Production of History. University of Bielefeld, Germany Event Date: Jan 22, Organization: Theories and Practices of Transgression in the Caribbean and its Diasporas".
Valdez and Princesa de Capotillo by Luis R.
Santos, both so far rather neglected by academia — and read them as Dominican coming-of-age stories Santos, both so far rather neglected by academia — and read them as Dominican coming-of-age stories in the 21st century. These novels go beyond a narrowed view of the Dominican Republic as a touristy paradise with big hotels and spectacular beaches and offer differentiated insights into other dimensions of postcolonial reality in the Dominican Republic. The texts address urgent social problems and invoke a society suffering from proliferating gang violence and rampant drug trafficking and whose urban poor live in miserable conditions.
Firstly, I will examine this narrative technique as a subtle means of social critique. Moreover I will discuss how both novels — as they feature adolescent protagonists struggling to come to terms with their place in Dominican society — destabilize traditional identity discourses of dominicanidad and question their validity for future generations.
Jul 2, Organization: Dominicanidad - Perspectivas de un concepto trans- nacional. University of Bremen Event Date: May 8, Organization: Sep 22, Conference Start Date: Beyond Cadavers and Cocoa Trees: Re-appropriating Violence in Haitian Literature more. According to the Haitian writer Lyonel Trouillot, Western readers should be careful not to read a new kind of exoticism in the representation of violence in contemporary Haitian literature substituting cocoa trees with cadavers cf According to the Haitian writer Lyonel Trouillot, Western readers should be careful not to read a new kind of exoticism in the representation of violence in contemporary Haitian literature substituting cocoa trees with cadavers cf.
Such a vision of the second Republic of the Americas is evidence of the functioning of the coloniality of power — a concept describing the continued existence of colonial structures in the form of epistemological dominance and expropriation cf. Although Haitian writers vehemently disapprove of the image of Haiti as a brutal and atrocious place, the theme of violence as a traumatic experience is still omnipresent in their works. How can this tension be explained?
Answering this question is the main objective of this contribution. It will analyze how contemporary Haitian writers re-approriate the discourse about violence in Haiti and take it into their own hand, revealing the phenomenon in its complexity and not as a fatal sign of barbarism which cannot be overcome. It will focus on how they use special narrative techniques in order to show the traumatization of Haitian society by inscribing it into the body of the text, while still emphasizing their refusal to resign to a cycle of violence they fiercely criticize.
University of Oxford More Info: Jul 4, Organization: Jul 6, Conference Start Date: Nov 4, Organization: Jun 25, Conference Start Date: Violence and Space in Lyonel Trouillot's Novels more. Nov 16, Organization: Narrating Haiti after the U. Michael Dash at New York University. Nov 13, Conference Start Date: Violence , Haiti , Haitian Literature , and Violene in literature. Oct 2, Conference Start Date: Jun 26, Conference Start Date: Violence , Haitian Literature , and Spatial Turn.
Spaces of Violence in the Haitian Novel more.