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.
Inhaltsverzeichnis
1;Contents;7 2;List of Figures;9 3;Acknowledgements;11 4;Introduction: Resistance to the Un-Australian;13 5;I. Aboriginal Gothic;23 6;II. Aboriginal Appropriations;43 6.1;1. Re-Biting the Canon: Mudrooroos Vampire Trilogy;43 6.2;2. De-Composing the Epic: Sam Watsons The Kadaitcha Sung;101 6.3;3. Un-Singing Historiography: Kim Scotts Benang;115 6.4;4. Con-Juring the Phantom: Spectral Memories;128 6.5;5. Trans-Muting Cinema: Tracey Moffatts Films;159 7;Conclusion: Creation in Resistance;195 8;Bibliography;201 9;Index of Names;223
