| Popis: |
The conclusion returns to the two central pillars of the book’s structure – breathing spaces where female characters of colour look, talk, desire, and protest, and transmedia afterlives where they outlive their creator. These fannish methodologies speak to the rise of participatory culture and the pluralising, democratising, and ultimately decolonising potential of its frameworks. Reiterating the viability of the ‘Nina trilogy’ as an object of study, the conclusion also encourages teaching Heart of Darkness alongside its postcolonial adaptations. From Swedish/Kenyan artist Catherine Anyango Grünewald’s haunting 2010 graphic novel to theatre company imitating the dog’s 2019 production (in which Marlow is reimagined as a black female Private Investigator travelling from Kinshasa into the heart of a desolate Europe), engaging with texts like Heart of Darkness through their transmedia reinventions decentres author-Gods like Conrad and focuses instead on the readers, audiences, and students who have come after him. |
