This study of selected literary and cinematic works by Michael Ondaatje investigates the political potential of the Canadian author's aesthetics. Contributing to current debates about affect and representation, ideology critique and the artwork, trauma and testimony, this book uses the concept of the haptic to demonstrate how Ondaatje's multisensory, fluid and historically inflected writing can forge an enabling relationship between audience, author and text. This is where Ondaatje's micropolitics, often misconstrued as ideologically suspect aestheticism, emerges: a praxis that intimates how one can write and read politically with a difference.…mehr
This study of selected literary and cinematic works by Michael Ondaatje investigates the political potential of the Canadian author's aesthetics. Contributing to current debates about affect and representation, ideology critique and the artwork, trauma and testimony, this book uses the concept of the haptic to demonstrate how Ondaatje's multisensory, fluid and historically inflected writing can forge an enabling relationship between audience, author and text. This is where Ondaatje's micropolitics, often misconstrued as ideologically suspect aestheticism, emerges: a praxis that intimates how one can write and read politically with a difference.
Milena Marinkova is the co-editor of Visions of Canada: Canadian Studies in Europe, and has publications in Moving Worlds and The Journal of Commonwealth Literature. She teaches Contemporary, Postcolonial and Canadian Literature at the University of Birmingham and the University of Leeds, UK.
Inhaltsangabe
Acknowledgements Table of contents Introduction The multiple senses of the haptic A touch affectionate but troubling Michael Ondaatje: Writing politically with a difference Notes Chapter I: Haptic Writing as Affective Cinema Hapticizing the 'I' / 'eye' in The Collected Works of Billy the Kid Coming through the haptic cut: History in the making and Coming through Slaughter Humble Affections of the Cinematic: Michael Ondaatje's Films of the 1970s Notes Chapter II: Micropolitical Hapticity and Witness Writing 'Touching into words' the intimacy of witness writing in Running in the Family Witnessing the body/The body witnessing in Anil's Ghost Notes Chapter III: Haptic Writing and Micropolitical Betrayals 'A falling together of accomplices' in In the Skin of a Lion: Writing, history, betrayal Between the grope of the hand and the sight of a rifle: The betrayal of propinquity in The English Patient Betrayals of the Cinematic: Anthony Minghella's The English Patient Notes Epilogue: The Haptic in Literature: Hiding, Playing, Educating Notes Bibliography Index
Acknowledgements Table of contents Introduction The multiple senses of the haptic A touch affectionate but troubling Michael Ondaatje: Writing politically with a difference Notes Chapter I: Haptic Writing as Affective Cinema Hapticizing the 'I' / 'eye' in The Collected Works of Billy the Kid Coming through the haptic cut: History in the making and Coming through Slaughter Humble Affections of the Cinematic: Michael Ondaatje's Films of the 1970s Notes Chapter II: Micropolitical Hapticity and Witness Writing 'Touching into words' the intimacy of witness writing in Running in the Family Witnessing the body/The body witnessing in Anil's Ghost Notes Chapter III: Haptic Writing and Micropolitical Betrayals 'A falling together of accomplices' in In the Skin of a Lion: Writing, history, betrayal Between the grope of the hand and the sight of a rifle: The betrayal of propinquity in The English Patient Betrayals of the Cinematic: Anthony Minghella's The English Patient Notes Epilogue: The Haptic in Literature: Hiding, Playing, Educating Notes Bibliography Index
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