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Journal articles on the topic 'Oroonoko (Behn, Aphra)'

Author: Grafiati

Published: 28 July 2024

Last updated: 30 July 2024

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Sehat, Ma’soome, and Alireza Qadiri Hedeshi. "Oroonoko: Royal or Slave; Bakhtinian Reading of Aphra Behn’s Oroonoko." IJOHMN (International Journal online of Humanities) 6, no. 2 (April 21, 2020): 15–37. http://dx.doi.org/10.24113/ijohmn.v6i2.172.

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Having had its protagonist in a carnivalistic world, Aphra Behn’s Oroonoko provides a polyphonic atmosphere in which different attitudes toward colonization can be heard. Oroonoko, who used to be the prince of Coramantien, is doomed to live as a slave in Surinam; a British colony. This degradation, beside other elements of Bakhtinian carnivalesque, makes his language a unique one, belonging neither to aristocrats anymore nor to the slaves, but simultaneously representing both. The subtitle of the story, The Royal Slave, can be implied as referring to this paradox. Additionally, his relationship with the slave society lets their different beliefs and ideas be revealed to the reader despite the author’s will. Aphra Behn, the author, intends to impose her monolithic view on the readers. As a Tory proponent of her time, she defends the colonization and tries her best not to stand against. She attempts to portray her protagonist as the one who believes in social hierarchy; what defines a gentleman from the narrator’s viewpoint. On the surface, Aphra Behn and her hero seem to be of the same opinion toward monarchy and accordingly its policies. They both respect it and believe in its need for the society. A Bakhtinian reading, however, can disclose other massages. Adding to all that, having employed first point of view as the narrator, Behn provides an opportunity for herself to enforce her political attitude to the story. All miscellaneous details of the story are under the control of this monolithic voice. Therefore other characters including the hero can speak only after her permission. Nevertheless, the scope of the novel does not let her be meticulous enough and sporadically, other voices can be heard from different lines of the story. The Bakhtinian reading of this story can bring these hidden voices to the surface.

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Wallace, Elizabeth Kowaleski. "Transnationalism and Performance in 'Biyi Bandele's Oroonoko." Publications of the Modern Language Association of America 119, no. 2 (March 2004): 265–81. http://dx.doi.org/10.1632/003081204x21306.

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'Biyi Bandele's Oroonoko, in its textual and performance history, bridges eighteenth- and late-twentieth-century forms of transnationalism. The Oroonoko story has always been an improvised text. Bandele's play relates to earlier versions of the Oroonoko story by Aphra Behn, Thomas Southerne, and John Hawkesworth. Three issues in Bandele's Oroonoko have special relevance to a transnational reading of the play: the deployment of an African setting as a strategy for counteracting a pseudouniversalism; the place of anachronism, especially in the representation of gender relations; and Bandele's use of English as a means of conveying Yoruban culture. His play raises the question of what it means to “sell” Oroonoko to a wide audience today.

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Mitsein, Rebekah. "Oroonoko by Aphra Behn, ed. Tiffany Potter." Eighteenth-Century Fiction 34, s1 (September 1, 2022): 624–27. http://dx.doi.org/10.3138/ecf.34.s1.624.

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Taff, Dyani J. "Rivers and Bogs: Slow Protests in Aphra Behn’s Oroonoko." Coastal Studies & Society 2, no. 1 (March 2023): 38–57. http://dx.doi.org/10.1177/26349817221133973.

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In Aphra Behn’s 1688 novel Oroonoko, the title character owns enslaved people when he is in Africa and is himself enslaved and forced to migrate to and labor in the Suriname River watershed. The narrator praises his European-ness and denies the value of his African-ness, framing the failure of his shipboard and plantation protests as the fate of a tragic romance hero. But the narrator’s perspective on Oroonoko is only one dimension of this story: the narrative weaves and folds and digresses like a river winding down to the sea, moving through locations that are neither fully wet nor dry, salt nor fresh. Both formally and scenically, Behn challenges readers to move slowly, to resist the desire for narrative and environmental control, to embrace the uncertainty, danger, and shifting, undefined nature of the coastal ecotone. She holds before us the deeply violent consequences of European heroic romance as it drives Oroonoko’s and the narrator’s actions in the Atlantic world and invites us to imagine environments and circuitous logics that protest that violence. Attending to the novel’s coastal-ness enables resistance to dominant English seventeenth-century ideologies about racial, gendered, and species mastery.

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Flothow, Dorothea. "Aphra Behn in Crime Fiction – The Writer’s Afterlives in Recent Novels." Crime Fiction Studies 5, no. 1 (March 2024): 83–97. http://dx.doi.org/10.3366/cfs.2024.0112.

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As part of a wider trend of remedying the past neglect of historic women, their lives are currently being reimagined by writers and artists. This has led to a proliferation of biopics, biofiction and (popular) biographies dedicated to this task. Crime fiction writers, likewise, have approached secret, hidden lives of forgotten females. This paper examines how recent crime novels have re-created the life of the early-modern writer Aphra Behn (1640–1689), employing typical features of the genre. Aphra Behn has recently received much attention: she is famed as the first female writer to have ‘made money by [her] pen’ (Woolf), and her prose narrative Oroonoko has become central to the history of the early novel. Still, many of the details of her life have remained hidden, leaving crime writers with fascinating possibilities to explore. Next to analysing selected novels, the article examines the wider possibilities of crime writing as life-writing.

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Yıldız, Nazan. "Ignorance is Bliss." Acta Neophilologica 57, no. 1 (May 24, 2024): 63–77. http://dx.doi.org/10.4312/an.57.1.63-77.

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This article reads Aphra Behn’s Oroonoko: or, the Royal Slave (1688) as a rewriting of the paradise story of Adam and Eve largely identified with John Milton’s Paradise Lost (1667) by literary circles. Meeting the true colours of civilization via slavery, the paradisal innocence of Oroonoko and Imoinda grows into a horrible experience that brings their downfall from African paradise, similar to Adam and Eve losing their innocence for the sake of knowledge. Drawing on the principles of primitivism, Behn emblematicizes a black Adam and Eve as representatives of mankind which subverts colonial and patriarchal discourses all in the same breath. In this respect, the article finally asserts that Oroonoko serves as a microcosm of humanity at large which delineates the unremitting war between nature and civilization, and innocence and experience as foregrounded in recent ecological studies, as well as men and women.

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Martin, Judith E. "Oroonoko in Nineteenth-Century Germany: Race and Gender in Luise Mühlbach's Aphra Behn." German Life and Letters 56, no. 4 (October 2003): 313–26. http://dx.doi.org/10.1111/1468-0483.00259.

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Law, Robin. "An Alternative Text of King Agaja of Dahomey's Letter to King George I of England, 1726." History in Africa 29 (2002): 257–71. http://dx.doi.org/10.2307/3172163.

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In an earlier issue of this journal I published the text of a letter to King George I of England written in the name of King “Trudo Audati” (better known under the name which he is given in in local tradition, Agaja) of the west African kingdom of Dahomey. Although dated 1726, this letter was received in England only in 1731, when it was belatedly delivered to London by Bulfinch Lambe, a former employee of the Royal African Company of England, who had spent some time in captivity in Dahomey, and who claimed to have written the letter at King Agaja's dictation. Lambe was accompanied to England by an African interpreter called “Captain Tom,” who vouched for the letter's authenticity; this man's African name was given as “Adomo Oroonoko Tomo,” though the middle name “Oroonoko” at least was surely not authentic, but borrowed from the popular romantic novel by Aphra Behn, Oroonoko: or, the Royal Slave (1689). An official enquiry by the Board of Trade decided that the letter itself was a forgery, though on grounds I at least find unpersuasive; but it was acknowledged that Lambe had been charged with some sort of message from King Agaja, and arrangements were made for the repatriation of the interpreter “Adomo Oroonoko Tomo” to Dahomey, which was effected in the following year, 1732.

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الصالح, أسعد. "From Coramantein Nobility to Surinamese Slavery: Displacement in Oroonoko." المجلة العربية للعلوم الإنسانية 30, no. 119 (July 7, 2012): 223–42. http://dx.doi.org/10.34120/ajh.v30i119.2295.

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بعد فترة طويلة من الإهمال غير المستحق، أصبح هناك اهتمام متزايد بالكاتبة الروائية والمسرحية أفرا بن (Aphra Behn (1640- 1689 على نحو متزايد في مجال الدراسات المتخصصة بآداب اللغة الإنجليزيةـ ومن المسلم به - دون شك - أن رواية أورونوكو (Oroonoko) تعد من أفضل الأعمال التي تعبر عن القيمة الإبداعية لهذه الكاتبة. ويعود اهتمام الكثير من النقاد بهذه الرواية إلى وجود فجوة واضحة بين أنماط التفكير السائدة في عصر أفرا بن والمواقف الذاتية التي تعبر عنها الكاتبة في هذا العمل. ولا يزال لدى الدارسين والباحثين المعاصرين اهتمام متزايد بقضايا تثيرها هذه الرواية، كالتفاوت بين الجنسين والصراع الطبقي والعبودية. غير أنه بالإضافة إلى النظريات الأدبية والثقافية التي استخدمت في تحليل هذه الرواية، فإن مفهوم المكان يستحق مزيداً من الاهتمام، وذلك من أجل إرساء فهم أفضل لهذا العمل الذي تدور أحداثه في مكانين مختلفين: كورامانتين (Coramantein) وسورينام (Suriname). على وجه الخصوص، فهذا البحث يطرح إمكانية مناقشة التشرد والاغتراب القسري من مكان إلى آخر - كمفهوم مأخوذ من دراسات ما بعد الاستعمار - والإسهام بفهم العلاقة المعقدة بين هوية شخصية أرونوكو (Oroonoko) وشخصية إمويندا (Imoinda) وحالة الانتقال القسري من وطنهما الأصلي إلى مستعمرة سورينام، بالإضافة إلى ردود فعلهما لهذا الاغتراب وكيفية مقاومتهما له.

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Santamaria, Laura. "vocês mediadas de la subalternidade. Estampas de la colonización." EXILIUM Revista de Estudos da Contemporaneidade 4, no. 6 (June 19, 2023): 69–84. http://dx.doi.org/10.34024/exilium.v4i6.15225.

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En este artículo analizaremos las siguientes tres obras: Oroonoko: or, the Royal Slave (1688), de Aphra Behn; Gulliver’s Travels (1726), de Jonathan Swift; e Paradisos Oceànics (1930), Aurora Bertrana, con el objetivo de estudiar cómo estos tres autores occidentales re-presentaron y combatieron los resultados del colonialismo y la esclavitud que observaron en sus viajes. En concreto nos centraremos en los conceptos de orientalismo y espacios terceros (Homi Bhabha, Edward Said, Salman Rushdie) y de subalternidad (Gayatri Spivak) para presentar la estrategia que utilizaron con el fin de subvertir la ideología dominante. En todos los casos, a pesar de la manifiesta voluntad de reconocer al otro, el punto de vista occidental junto con las representaciones sociales que se derivan está presente en las tres obras. Behn y Bertrana relatan lo que observan, y hallamos instancias de multilingüismo y multiculturalidad, lo cual da pie a la generación de espacios terceros donde deben existir los pueblos dominados. Swift crea unos mundos ficticios, que visita exclusivamente Gulliver, siempre con el ánimo de respeto hacia el otro y de denuncia constante contra la ocupación colonial, pero para ello debe utilizar distintas estrategias de censura que le aseguren que su obra será publicada.

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Nozen, Seyyedeh Zahra. "Femalization of the Genre of Literature; Novel Owners of the Novel." Khazar Journal of Humanities and Social Sciences 26, no. 4 (November 2023): 62–84. http://dx.doi.org/10.5782/2223-2621.2023.26.4.62.

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Unfairly female authors have been deprived of the title of “mothers” of English Novel and “fathers” have been taken as the sole male owners of the Novel. While not only the first professional novelist was a woman but the numbers of female novelists exceed that of the males. Female authors indefatigably undertook the process of femalization the genre of literature and the current study conducted through the qualitative research and text-analysis methods together with historical approach tried to put light to the fact that how female novelists contributed to the great genre of literature and strengthen it due to their fairness and their gender as well as their treatment of their subject. Aphra Behn penned Oroonoko of 1688 much earlier than Danial Defoe’s Robinson Crusoe of 1719. The purpose of this paper has, by no means, been to convert female writers from the lower novelists to higher ones. However, under the strict social conventions of the seventeenth and eighteenth century England, there had been buried some masterpieces of literary works which need to be delivered again to the world of literature, the negligence of which is a loss and the revival of which is a gain to both consumers and producers of literary works.

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Rubik, Margarete. "Oroonoko. Aphra Behn. A Broadview Anthology of British Literature edition. Edited by Tiffany Potter. Peterborough: Broadview, 2020. 132 pp. $12.95. ISBN 978-1554811625." Early Modern Women: An Interdisciplinary Journal 16, no. 1 (September 1, 2021): 164–67. http://dx.doi.org/10.1086/715706.

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Vandenberghe, Fauve. "Behn’s White Innocence: Language Politics in the Dutch-Surinamese Translations of Oroonoko (1688)." Eighteenth-Century Fiction 36, no. 2 (April 1, 2024): 251–67. http://dx.doi.org/10.3138/ecf.36.2.251.

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Aphra Behn’s Oroonoko (1688) has elicited myriad contradictory readings based on its central ideologies about race and slavery. The ambivalence within the novel has made it a popular text to adapt or translate to produce a certain politics. This essay examines two twentieth-century Dutch-Surinamese translations of the novel: H.D. Benjamins’s of 1919 and Albert Helman’s of 1983. I contextualize both translations within each author’s language politics and imperial projects, reading their work through the lens of Gloria Wekker’s notion of “white innocence.” I argue that Benjamins and Helman rely on Behn’s ethnographic authority and her white sentimentalized womanhood to produce an imperialist politics that perpetuates the long-standing myth of the Netherlands as a gentle and benevolent nation. By moving beyond the notorious politicization of Oroonoko during the nineteenth-century abolition movement, this essay sheds new light on how the novel’s ambivalent politics has been manipulated to political ends throughout history.

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Awad, Yousef. "“I could right what had been made wrong”: Laila Lalami’s appropriation of Aphra Behn’s Oroonoko." Arab World English Journal 6, no. 3 (September 15, 2015): 191–204. http://dx.doi.org/10.24093/awej/vol6no3.12.

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Fike, Matthew A. "Shadow Dynamics in Aphra Behn’s Oroonoko." Journal of Jungian Scholarly Studies 4 (June 1, 2008). http://dx.doi.org/10.29173/jjs68s.

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Aphra Behn (1640–1689)—the first woman to write professionally in English—is remembered today primarily for her novel Oroonoko, or the Royal Slave: A True History (1688), which addresses both the abuses of slaves in Surinam and the psychological complexity of enslavement. This essay uses Behn’s portrayal of slavery to examine complementary processes that hold individuation at bay and thus propel the events toward tragedy: men’s shadow projection manifests as brutality, especially against Oroonoko; and present women are objects of anima projection, while absent women symbolize the lack of men’s anima integration. In addition, the narrator’s frequent stress on female characters’ tempering influence on men, which anticipates Jung’s essentialism (his attribution of gender to biological sex), is cultural accretion rather than psychological truth. The novel’s essentialist position, however, deconstructs itself because of Imoinda’s prowess in battle and the narrator’s own unrealized complicity in slavery. Ultimately, by providing a compensatory voice, the novel critiques the culture of slavery that it reflects.

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Gökçen, Seren Boz. "Oroonoko: Post-colonialism, Kant and Todorov." Journal of Social and Political Sciences 4, no. 4 (December 30, 2021). http://dx.doi.org/10.31014/aior.1991.04.04.321.

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Postcolonial theory looks at history, and it links to culture, sociology, psychology, and even politics and law. This study aims to analyze Aphra Behn Oroonoko with respect to post-colonialism, in particular, investigation of the extent colonialism, slavery, and being other. Oroonoko displays literary fiction and reality at the same time; thus, Immanuel Kant’s concepts of the noumenal world and phenomenal world have significant meaning. It draws on these theories and worlds: while the phenomenal world is day-to-day life conditions, the noumenal world is impossible to experience. On the other hand, Tzvetan Todorov’s perspectives on stories and novels are different, and he puts them in scales such as fantastic, uncanny and marvelous. For Oroonoko, readers can decide the scales only if they are willing to understand Todorov’s aims. The aim of this study is to examine Kant's concepts of the noumenal world and the phenomenal world, and Todorov's scales, as well as colonialism, slavery and being other.

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Awad, Yousef. "'I Could Right What Had Been Made Wrong': Laila Lalami's Appropriation of Aphra Behn's Oroonoko." SSRN Electronic Journal, 2015. http://dx.doi.org/10.2139/ssrn.2834736.

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