Turning the colonial gaze

Döring, Tobias

doi:10.1080/09528829708576654

Cited by 24 publications

(2 citation statements)

References 6 publications

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“…Turner's painting represents the 1781 Zong massacre in which over one hundred slaves were thrown overboard for insurance purposes. For some of Turner's critics, the orange-hued natural backdrop of sky and sea, if only by its dominance of the canvas alone, risks obscuring the horrifying history of slavery consistent with a 'colonial' (Döring, 1997: 3) or a 'liberal cosmopolitan' (Baucom, 2005: 296) gaze. According to Ian Baucom, this gaze allows those that stand before the painting 'to observe, make sense of, and screen themselves off from the greater violence of history ' (2005: 294).…”

Section: Repetition As Signmentioning

confidence: 99%

Black Lives/White Backgrounds: Claudia Rankine’s Citizen: An American Lyric and Critical Race Theory

Adams

2017

Comparative American Studies An International Journal

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Section: Repetition As Signmentioning

confidence: 99%

Black Lives/White Backgrounds: Claudia Rankine’s Citizen: An American Lyric and Critical Race Theory

Adams

2017

Comparative American Studies An International Journal

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“…"In an act of marine archaeology", Tobias Döring writes, "Dabydeen's text sets out to excavate what has been culturally submerged". 2 Dabydeen argues that "my poem focuses on the submerged head of the African in the foreground of Turner's painting", a head "drowned in Turner's (and other artists') sea for centuries". For Dabydeen, the drowned slaves struggle to find a means of expression that will rescue them from "Turner's representation of them as exotic and sublime victims".…”

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confidence: 99%

“The Guilty Ship”: Ruskin, Turner and Dabydeen

Frost

2010

The Journal of Commonwealth Literature

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This article examines critical responses to J. M. W. Turner’s Slavers Throwing Overboard the Dead and Dying —Typhon Coming On (1840) and John Ruskin’s 1843 critique of the painting, in the years following the publication of David Dabydeen’s Turner (1994). The representation of drowning slaves in Turner’s painting and in Ruskin’s art criticism, has resulted in the emergence of something of a critical consensus in which both figures are seen either to neglect or take pleasure in the subject of slavery. The purpose of this article is to explore available evidence and to argue that insufficient attention has been paid to Turner’s painting, to his politics and to his purpose in Slavers; to Ruskin’s objectives in critiquing Turner; to distinctions between Ruskin’s imperialism and his position on slavery; and to his examination of Turner’s painting. In a corrective to recent critical assumptions, I suggest that in these instances claims made on these issues often rest on shaky foundations and that it is possible for more sustainable readings of Turner’s painting and Ruskin’s criticism to emerge.

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Das Studium von Ausländern als Betrachtungsgegenstand

Jensen¹

2001

Ausländerstudium in Deutschland

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Turning the colonial gaze

Cited by 24 publications

References 6 publications

Black Lives/White Backgrounds: Claudia Rankine’s Citizen: An American Lyric and Critical Race Theory

Black Lives/White Backgrounds: Claudia Rankine’s Citizen: An American Lyric and Critical Race Theory

“The Guilty Ship”: Ruskin, Turner and Dabydeen

Das Studium von Ausländern als Betrachtungsgegenstand

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