........................................................................................................................................... ii Acknowledgments ......................................................................................................................... iii Table of Contents .......................................................................................................................... iv List of Figures ................................................................................................................................. vi Preface ............................................................................................................................................ vii 1	   Introduction: Speaking of Ghosts ........................................................................................... 1 1.1	   Purpose, Method, Definitions ......................................................................................... 1 1.2	   Talking Ghosts: On Ghost Stories and Criticism ....................................................... 26 2	   How to Tell A Ghost Story .................................................................................................... 45 2.1	   Field Survey: A Brief History of Ghost Stories and the Theatre ............................... 45 2.2	   Major Argument: About Telling Ghost Stories .......................................................... 52 2.3	   Speaking of Ghosts: Conor McPherson’s The Weir ................................................... 61 2.4	   An Irish Gothic: Marina Carr’s By the Bog of Cats... ................................................. 76 2.5	   Staging South African Photography and the Ghost of Sizwe Banzi ......................... 90 2.6	   A Haunting Machine: Theatrical Technologies and Samuel Beckett’s Shades ..... 108 2.7	   Haunting Oceans, Mourning Languages: J.M. Synge and Derek Walcott ............ 135 3	   Witness to Ghosts ................................................................................................................. 155 3.1	   Field Survey: Transnational Poetics and the Globalgothic ..................................... 155 3.2	   Major Argument: Voice, Medium, Rhythm, and the Poetry of Dead Metaphors162 3.3	   Eavan Boland and the Haunted Chorus .................................................................... 187 3.4	   Breyten Breytenbach and the Afrikaans Gothic ....................................................... 209 3.5	   Nohow On from Here: Samuel Beckett’s Worsening Writings .............................. 235 3.6	   Scholia on a Case Study: Imagining the Zong ........................................................... 259

/pdf/about-telling-ghosts-and-hauntings-in-contemporary-drama-and-1dwkan7afw.pdf

About Telling: Ghosts and Hauntings in Contemporary Drama and Poetry

Moments of Rupture: Narratological Readings of Contemporary German Literature

Despite the recent archipelagraphic turn in island studies, there have been few literary studies of the archipelago. This paper has three aims. The first is to bring to light an archipelagraphic literary text that has not yet been explored in Island Studies Journal: Cuban writer Julieta Campos’s The Fear of Losing Eurydice. The second is to develop ‘archipelagraphy’ (a term coined by DeLoughrey) into a methodology for reading literary texts, putting it into practice through an analysis of The Fear of Losing Eurydice. This archipelagraphic analysis reveals that Campos’ text destabilizes the concept of the island as tabula rasa, an end-goal in a utopian quest. Instead utopia emerges as a call uttered by multiple voices across different times and spaces, resulting in the ‘archipelago of desire’ motif. This emancipatory cartography remaps western geographies of centre and periphery, instead stressing the connections between the Caribbean, Asia, Europe, and Africa. The paper’s final aim is to provide a working definition of an archipelagraphic text.

https://islandstudies.ca/sites/default/files/ISJReddArchipelagoCamposEurydice.pdf

Towards an archipelagraphic literary methodology: reading the archipelago in Julieta Campos’ The Fear of Losing Eurydice

This thesis examines the concept of parody through three novels, Friday or the Other Island, Vendredi ou la Vie Sauvage and Foe, rewriting Daniel Defoe’s Robinson Crusoe. I focus more specifically on the character of the island as the metaphor of the process of rewriting, and I argue that the multiple rewrites shape an archipelago. I apply Linda Hutcheon’s critical work A Theory of Parody to show how the island’s paradoxical aspect illustrates the parody’s paradoxical aspect: it is constrained – the island is isolated and the parody is forced to follow a literary format or pattern, but not

/pdf/parodic-archipelago-friday-or-the-other-island-vendredi-ou-2zdl1onbm8.pdf

Parodic Archipelago: Friday, or, The Other Island, Vendredi ou la Vie sauvage and Foe

Ann Marie Fallon, Global Crusoe: Comparative Literature, Postcolonial Theory and Transnational Aesthetics (Ashgate, 2011)Ann Marie Fallon's Global Crusoe offers valuable insight into Daniel Defoe's canonical text The Life and Strange Surprising Adventures of Robinson Crusoe (1719) and its twentieth-century revisions. Fallon uses feminist and postcolonial theories to read these texts in the context of transnationalism; the resulting study is an original and valuable addition both to Crusoe scholarship and to postcolonial criticism in general. Global Crusoe brings the discussion of Defoe's novel into the present day, proposing that 'we see Crusoe today ... as a cosmopolitan figure of connection and a representation of our own moment of anxiety around a rapidly globalizing world' (2). The figure of Crusoe continues to be relevant in contemporary times: updating the scholarship on this topic, as Fallon has done, is thus of paramount importance.Literary text and geographical/imagined space are closely intertwined throughout the study, with Fallon stating that she will 'demonstrate the ways that revising and unsettling these texts are intimately connected to revising and unsettling space' (17). This process creates, in Fallon's words, 'a transnational map of literary influence and revision' (17). Global Crusoe argues that these revisions present us with 'a new kind of transnational aesthetic' wherein 'the colonial Crusoe becomes the postcolonial Robbie Crusoe' and 'the uncharted island becomes the overly inscribed postmodern, postcolonial nation' (29). 'Home' is a key concept within this aesthetic: Fallon repeatedly returns to the term and seeks to display how her chosen texts engage with it and how it forms links between texts. 'What does it mean to be at home in the world?' is, Fallon explains, 'a basic question for Global Crusoe' (3). The book explores how characters and authors negotiate this question and how, in turn, our own attitudes and anxieties are embedded within these negotiations.Global Crusoe has seven chapters. The first of these extends on the theoretical groundwork covered in the text's introduction, with Fallon very diligently providing the reader with a range of definitions for key terms as well as clarifying her own intended use of these terms. The second chapter offers an analysis of Fallon's foundational text - Defoe's Robinson Crusoe - in relation to 'revision' and 'dislocation' within the text itself. The next four chapters discuss twentieth-century revisions of this urtext and are structured around specific titles: Derek Walcott's play Pantomime (1978) and Sam Selvon's novel Moses Ascending (1975); J.M. Coetzee's novel Foe (1986), Nadine Gordimer's short story 'Friday's Footprint' (1960), and Bessie Head's short story 'The Wind and a Boy' (1977); Marianne Wiggins' novel John Dollar (1989); and Victoria Slavuski's novel Musica para olvidar una isla (1993). A range of other narratives are also discussed throughout these chapters, most notably Defoe's The Farther Adventures of Robinson Crusoe (1719) and Serious Reflections of Robinson Crusoe (1920), Elizabeth Bishop's poem 'Crusoe in England' (1979), and the film Cast Away (2000). …

Britta Hartmann

Papers

Global Crusoe: Comparative Literature, Postcolonial Theory and Transnational Aesthetics