| Abstrakt: |
The article investigates the interface between postcolonial and ecocritical approaches in Lion Feuchtwanger's oil drama Die Petroleuminseln, which elaborates upon exploitation discourses and practices, unmasking their monstrosity, inscribing them as repressed memories into Western Modernity, and relating them to (imaginary) matriarchy. Feuchtwanger's dramaturgy, which was inspired by Brecht, draf ts highly fragile positions of power, which overlap with subaltern ones, both being integrated in an imagery of depreciation. Due to the hunger for energy and consumption within the ›risk society‹ (Beck), menaces can not be enclosed to delimited areas, as demonstrated by the ambiguous figures, but threaten the entire world. Unintended collateral effects of raw material extraction (adulteration of landscape, which becomes a locus terribilis, and precarious working conditions) can no longer be assigned to Others, but also concern white Western cultures. [ABSTRACT FROM AUTHOR] |
