Abstract

My paper studies the relationship of Aphra Behn’s Oroonoko to theater. I demonstrate that Behn’s novella is structured as a series of successive performances observed and responded to by diverse audiences. It is by imitating the interactions between the actors and the spectators of a play that Oroonoko can successfully combine the tragedy central to its plot with a broad exploration of cultural alterity and colonial politics. Since Oroonoko is often regarded as a precursor of the novel, this observation is of wider significance for our understanding of the origins and development of this genre.

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Additional Information

ISSN
1080-661X
Print ISSN
0028-6087
Pages
pp. 321-334
Launched on MUSE
2008-08-17
Open Access
No
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