By Gail Ching-Liang Low
During this fascinating re-reading of the vintage paintings of Haggard and Kipling, Gail Ching-Liang Low examines the representational dynamics of colonizer as opposed to colonized. Exploring the interface among the local 'other' as a mirrored image and as some degree of deal with, the writer asserts that this 'other' is a reflect reflecting clone of the colonizer - a 'cultural cross-dressing'.
using psychoanalysis, anthropology and postcolonial concept, Low analyzes the best way fable and fabulation are stuck up in networks of hope and tool. White Skins/Black Masks is an engaging access into the present debate of post-colonial idea.
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Additional resources for White Skins/Black Masks: Representation and Colonialism
Such a process must be stopped in its tracks by demarcating the kingdom of the Kukuanas from the real historical Southern Africa. The newly installed black king decrees that other white men will in future be barred from entry: I will see no traders with their guns and gin…. I will have no praying men to put fear of death into men’s hearts, to stir them up against the law of the king, and make a path for the white man to follow. (Haggard, 1940:340) SOME VERSIONS OF THE PASTORAL The dedication in Allan’s Wife, written partly in the style of a pastoral elegy combines two different moments of grief: a mourning for a lost youth—‘many a boyish enterprise and adventure’ [my emphasis]—Zand a mourning for a natural and wild land of ‘misty charm’ now lost to development, civilisation and to Britain.
Seltzer labels these youth movements and their manuals of manly development ‘the anthropology of boyhood’, alluding to Seton’s equation of boyhood with savagery. But the association of boyhood, anthropology, health and ‘savagery’ is also apt in another respect. Nineteenth-century ethnology’s concern with the origin and development of European civilisation shared a common ancestry with the folklore movement; both possessed an antiquarian tradition which encompassed material artifacts and oral traditions.
The structure of the text enables the unreflexive and authoritative white voice to scrutinise, define and pin down its black subjects; thus Quatermain may say with absolute certainty that the Hottentot Ventvogel’s affinity to drink is ‘common with his race’ or that ‘being a Hottentot, the heat had no particular effect’. ’ Here the omniscient narrator’s comments place the particularity of Jantje’s action into the homogenised, collective and subdued other of his race: Jantje was lurking about the stems of the trees in the peculiar fashion that is characteristic of the Hottentot, and which doubtless is bred into him after tens of centuries of tracking animals and hiding from foes.