By Mereta Falck Borch, Eva Rask Knudsen, Martin Leer
A wide-ranging choice of essays targeted on readings of the physique in modern literary and socio-anthropological discourse, from slavery and rape to lady genital mutilation, from garments, ocular pornography, voice, deformation and transmutation to the imprisoned, dismembered, remembered, kidnapped or ghostly physique, in Africa, Australasia and the Pacific, Canada, the Caribbean, nice Britain and ireland
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Extra resources for Bodies and Voices: The Force- Field of Representation and Discourse in Colonial and Postcolonial Studies (Cross Cultures)
Martyred Bodies and Silenced Voices 13 since she told her own father: “You shouldn’t be so unbending, David. It isn’t heroic to be unbending” (66). For his part, Petrus has rightly gauged her: “She is a forward-looking lady, not backward-looking” (136). Similarly, Bev Shaw tells David: “Lucy is adaptable. And she is young. She lives closer to the ground than you” (210). All these characteristics are not abstract ones, as, very early in the book, Lucy has been associated with the land by her father, who notices: “Lucy’s bare toes grip the red earth, leaving clear prints.
The Canadian filmmaker David Cronenberg has been consistently concerned with a virtual or mutant body provided by engineering and medicine. Like other Canadian filmmakers such as Egoyan, Rozema and Stopkevich, he has chosen in-betweenness and deviation as a resistance to Hollywood norms. This amounts in Cronenberg’s work to a reinvented Neoplatonic metaphysics, where a debate about the virtual and the real replaces the traditional debate between idealism and materialism. In this world, a games-console can become organically ill, the borders between body and gaze are blurred, as are those between self and other, and even traditional cinematographic visuality based on the dichotomy between in-shot and outof-shot.
This indeterminacy signals a gap between seeing and knowing, reality and the perception of it. However, Susan, who lives in an enlightened century, wants to teach him how to write. ”17 In the original story, the shape of a foot on the sand was the cannibal imprint that made Robinson panic. Coupled with the eye as it is here, it sends back to Susan the destabilizing gaze of mimicry analysed by Homi Bhabha. ]. Through [a] process represented in its enigmatic, inappro16 Nadine Gordimer, The Conservationist (1974; Harmondsworth: Penguin, 1983).