Bodies and Voices: The Force- Field of Representation and by Mereta Falck Borch, Eva Rask Knudsen, Martin Leer

By Mereta Falck Borch, Eva Rask Knudsen, Martin Leer

A wide-ranging choice of essays concentrated on readings of the physique in modern literary and socio-anthropological discourse, from slavery and rape to woman 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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And a general concern with absorbent fluidity, vampirism and threats of contamination, as well as the monstrous and feminine (often at one in Mudrooroo’s work). Embracing the abject and “abhuman,” which politically is related to the vampire colonizers sucking Australia dry, the narrator tries to embrace the many possible alterities in a constant morphic flexibility, as a gothic answer to the problem of survival. ” The artists’ illness narrative, written at the margin between health and disease, meaning and meaninglessness, where the sense of self seems so often to be heightened, has become known as ‘autopathogra- ½Š¾ Introduction: The Force-Field of Representation and Discourse xxxv phy’.

He is never seen again, the police claiming later that he slipped, fell on his head and died. To the wife’s enquiries, they answer: “alas, they could not give her her husband’s body, it was buried already,”1 and she eventually understands that she will never get her husband’s body back. In this blunt case of a body’s disappearance, the narrative voice leaves no doubt about the callousness of the police and adopts a tone of subdued compassion towards the oppressed. Nevertheless, the story ends on a surprising note of appeasement, with the 1 Alan Paton, “Life for a Life” (1961), in South African Short Stories, ed.

Coetzee, Waiting for the Barbarians (1980; Harmondsworth: Penguin, 1982): 43. Further page references are in the main text. 13 Jacques Lacan, Écrits (1966; tr. 1977; London: Routledge, 2001): 94. 8 ANDRÉ VIOLA ½Š¾ with a shift of horror I behold the answer that has been waiting all the time offer itself to me in the image of a face masked by two black glassy insect eyes from which there comes no reciprocal gaze but only my doubled image cast back at me. (44) At the end of the dialogue, the magistrate begins to realize what the girl has understood long ago: namely, that he is obscurely actuated by an unwholesome desire to feel he can impress himself on her as deeply and lastingly as her torturers did.

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