Amphibian hermaphrodites: A dialogue with Marina Warner and David Dabydeen

Härting, Heike; Döring, Tobias

doi:10.1080/09528829508576527

Cited by 4 publications

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“…Therefore it is best just to [envelop] yourself in a kind of total forgetfulness out of which something might emerge. (quoted in Härting & Döring, , 42)…”

Section: Property or Lovementioning

confidence: 94%

Fight, love, and flee

Abdelmotagally

2018

Orbis Litterarum

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Horane Smith, the Jamaican‐born award‐winning Canadian writer, reworks the Jamaican legend of Lovers’ Leap in his novel Lover's Leap (1999), to renegotiate the past and uncover what is hushed up in history and literature. He brings to light the white mistress's relationship with the enslaved black man, a topic largely unexplored by writers and scholars. The enslaved black woman/free white mistress dichotomy places Jerome, the Jamaican black slave, in a constant state of dissonance. The subjectivity of the enslaved African is underexplored in the critical literature on Caribbean slavery, and besides, psychoanalysis in Caribbean literature is an underused critical approach; I am thus enticed to braid Leon Festinger's Cognitive Dissonance theory (1957) with Frantz Fanon's “psychoanalytical interpretation of the black problem” in Black Skin White Masks (1952) to delve deep into Jerome's inner self and examine how he responds to attitude and behavior inconsistencies produced within various contexts of hegemonic power.

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“…Therefore it is best just to [envelop] yourself in a kind of total forgetfulness out of which something might emerge. (quoted in Härting & Döring, , 42)…”

Section: Property or Lovementioning

confidence: 94%

Fight, love, and flee

Abdelmotagally

2018

Orbis Litterarum

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“…Similarly, Dabydeen considers the sea central to Caribbean memory: “I come back to Walcott’s statement that if you look for Caribbean history, look for it in the pages of the sea” (Dabydeen, qtd. in Härting and Döring, 1995: 41). Dabydeen demonstrates a personal, artistic engagement here as he interacts with the history of Zong as well as Turner and Ruskin.…”

Section: Seaing the Past: David Dabydeen And Marlene Nourbese Philip ...mentioning

confidence: 98%

The sea and memory: Poetic reconsiderations of the Zong massacre

Howley

2019

The Journal of Commonwealth Literature

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This article examines two poems which deal directly with the events of the Zong massacre of 1781, which saw 132 Africans aboard the British slave ship Zong thrown overboard when the ship ran out of potable water. David Dabydeen’s “Turner” and Marlene NourbeSe Philip’s Zong! attempt to render the African experience of Zong in their work. Despite the similarities in subject matter and approach, there has been little substantial comparative work on these poems. Responding respectively to J. M. W. Turner’s painting The Slave Ship, which was inspired by the events, and art critic John Ruskin’s commentary on the work, as well as the legal case surrounding the massacre, Dabydeen and Philip write with the colonial past at the forefront of their minds. Using Ian Baucom’s theory of the synaptic sea, this article explores Dabydeen’s and Philip’s use of the sea as a space to remember and retell the massacre. Through its fluid and mutable nature, the sea becomes a counterpoint to the colonial record for both poets. It is both a creative and destructive space. Writing about this event is fraught with complexities for Dabydeen and Philip, but the sea emerges for both writers as a space which may accommodate the various pulls in their desire to redress the lack of African voices and depict the Zong massacre poetically.

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Turning the colonial gaze

Döring

1997

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Amphibian hermaphrodites: A dialogue with Marina Warner and David Dabydeen

Cited by 4 publications

References 0 publications

Fight, love, and flee

Fight, love, and flee

The sea and memory: Poetic reconsiderations of the Zong massacre

Turning the colonial gaze

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