![]() ![]() Warren’s reasoning about blackness in an attempt to highlight the metalepsis resulting from the novel’s use of the hot air-balloon and the octopus as dermatropes that cast the empire as simultaneously a dysfunctional family and a scientific laboratory. ![]() Given how the narrative emphasizes the somatic register and its epidermal terms as a scene of meaning, I bring together Frantz Fanon’s idea of epidermalization, Steven Connor’s phenomenological reading of the skin, and Calvin L. Weheliye’s notion of habeas viscus as critical frames for the discussion of racialized subjectivity, I consider how Edugyan’s use of the conventions of Victorian adventure literature and the slave narrative rethinks the entanglements between the imperial commodification of life and the scientific agenda of natural history. Murphy’s examining of the neo-slave narrative with Christina Sharpe’s conceptualization of the wake and Alexander G. Thus by interlacing, within the context of black critical theory, Yogita Goyal’s and Laura T. The publication of Esi Edugyan’s Washington Black has placed the novel among other works of history and art, which recall the material and epistemic violence of institutional racism and the lasting trauma of its legacy. ![]()
0 Comments
Leave a Reply. |