
Contents
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Pure and Strange Worlds? Pure and Strange Worlds?
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Between Ariel and Caliban: How to Be Black Between Ariel and Caliban: How to Be Black
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Rum Essence: Afterlives of Slavery and of 1492 Rum Essence: Afterlives of Slavery and of 1492
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More of the Same: Modernizing French Masculine Power and French Colonial Violence More of the Same: Modernizing French Masculine Power and French Colonial Violence
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Masculinity Gone Wild: Violence Begets Violence in a Phallic Fight to the Death Masculinity Gone Wild: Violence Begets Violence in a Phallic Fight to the Death
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Déraison, Jokes, and Phallic Feuds: Aesthetics and Poetics of Rape Déraison, Jokes, and Phallic Feuds: Aesthetics and Poetics of Rape
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Sybil: Object of Colonial Desire for Blackness Sybil: Object of Colonial Desire for Blackness
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Tragic Cornélia: Redefinition of Self Tragic Cornélia: Redefinition of Self
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Five Whiteness and Masculinity Gone Wild: Rap(e)ture and Impossible Redemption
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Published:December 2021
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Abstract
Chapter 5 examines the Martinican Raphaël Tardon’s short story “La Rédemption de Barbaroux” [“The Redemption of Barbaroux,” 1946] and novel Starkenfirst (1947), in order to demonstrate how this author undermines Western humanism and the colonial project. “La Rédemption de Barbaroux” depicts the barbarities of a white Creole Bluebeard-like character who is a famous rum producer from Martinique. This character attacks women, regardless of color and nationality; their corpses flavor his best-selling rum, enjoyed by male connoisseurs. This idea of consuming women signifies a patriarchal and colonial order naturalizing the non-human and inhumanity. In Starkenfirst, Tardon revisits the period right before and after the 1848 February Revolution and the French proclamation of Emancipation but uses a broader, transatlantic and transnational scope, following the travels of an American slave-ship from Africa to the United States and then the peregrinations of the American slaver Starkenfirst. Looking into another iteration of the flesh trade, he uses representations of sexuality and sexual coercion of white and Black women to denounce European colonialism as a mercantilistic, sexualized project of domination. In each text, Tardon’s ideology does not delve in the promotion of Blackness or Africanity, yet he still denounces colonialism, racism, capitalism, and consumerism.
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