Ursula Kluwick – författare

From early colonial encounters to the ecological disasters of the twenty-first century, the performativity of contact has been a crucial element in the political significance of the beach. Conceptualising the beach as a creative trope and as a socio-cultural site, as well as an aesthetically productive topography, this collection examines its multiplicity of meanings and functions as a natural environment engendering both desire and fear in the human imagination from the Victorian period to the present. The contributors examine literature, film, and art, in addition to moments of encounter and environmental crisis, to highlight the beach as a social space inspiring particular codes of behaviour and specific discourses, as a geographical frontier between land and water, as an historical site of contact and conflict, and as a vacationscape promising regeneration and withdrawal from everyday life. The diversity of the beach is reflected in the geographical range, with essays on locales and texts from Britain, Ireland, the Caribbean, South Africa, the United States, Polynesia, and New Zealand. Focusing on the changed function of the beach as a result of processes of industrialisation and the rise of a modern leisure and health culture, this interdisciplinary volume theorises the beach as a demarcater of the precarious boundary between land and the sea, as well as between nature and culture.

Kluwick breaks new ground in this book, moving away from Rushdie studies that focus on his status as postcolonial or postmodern, and instead considering the significance of magic realism in his fiction. Rushdie’s magic realism, in fact, lies at the heart of his engagement with the post/colonial.In a departure from conventional descriptions of magic realism—based primarily on the Latin-American tradition—Kluwick here proposes an alternative definition, allowing for a more accurate description of the form. She argues that it is disharmony, rather than harmony, that is decisive: that the incompatibility of the realist and the supernatural needs to be recognized as a driving force in Rushdie’s fiction.In its rigorous analysis of this Rushdian magic realism, this book considers the entire corpus—Midnight’s Children, Shame, The Satanic Verses, The Moor’s Last Sigh, The Ground Beneath Her Feet, Shalimar the Clown, and The Enchantress of Florence. This study is the first of its kind to do so.

Victorians’ views of water and its role in how the social fabric of Victorian Britain was imaginedWater matters like few other substances in people’s daily lives. In the nineteenth century, it left its traces on politics, urban reform, and societal divisions, as well as on conceptualizations of gender roles. Drawing on the methodology of material ecocriticism, Ursula Kluwick’s Haunting Ecologies argues that Victorian Britons were keenly aware of aquatic agency, recognizing water as an active force with the ability to infiltrate bodies and spaces.     Kluwick reads works by canonical writers such as Braddon, Dickens, Stoker, and George Eliot alongside sanitary reform discourse, court cases, journalistic articles, satirical cartoons, technical drawings, paintings, and maps. This wide-ranging study sheds new light on Victorian-era anxieties about water contamination as well as on how certain wet landscapes such as sewers, rivers, and marshes became associated with moral corruption and crime. Applying ideas from the field of blue humanities to nineteenth-century texts, Haunting Ecologies argues for the relevance of realism as an Anthropocene form.

Victorians’ views of water and its role in how the social fabric of Victorian Britain was imaginedWater matters like few other substances in people’s daily lives. In the nineteenth century, it left its traces on politics, urban reform, and societal divisions, as well as on conceptualizations of gender roles. Drawing on the methodology of material ecocriticism, Ursula Kluwick’s Haunting Ecologies argues that Victorian Britons were keenly aware of aquatic agency, recognizing water as an active force with the ability to infiltrate bodies and spaces.     Kluwick reads works by canonical writers such as Braddon, Dickens, Stoker, and George Eliot alongside sanitary reform discourse, court cases, journalistic articles, satirical cartoons, technical drawings, paintings, and maps. This wide-ranging study sheds new light on Victorian-era anxieties about water contamination as well as on how certain wet landscapes such as sewers, rivers, and marshes became associated with moral corruption and crime. Applying ideas from the field of blue humanities to nineteenth-century texts, Haunting Ecologies argues for the relevance of realism as an Anthropocene form.

Kluwick breaks new ground in this book, moving away from Rushdie studies that focus on his status as postcolonial or postmodern, and instead considering the significance of magic realism in his fiction. Rushdie’s magic realism, in fact, lies at the heart of his engagement with the post/colonial.In a departure from conventional descriptions of magic realism—based primarily on the Latin-American tradition—Kluwick here proposes an alternative definition, allowing for a more accurate description of the form. She argues that it is disharmony, rather than harmony, that is decisive: that the incompatibility of the realist and the supernatural needs to be recognized as a driving force in Rushdie’s fiction.In its rigorous analysis of this Rushdian magic realism, this book considers the entire corpus—Midnight’s Children, Shame, The Satanic Verses, The Moor’s Last Sigh, The Ground Beneath Her Feet, Shalimar the Clown, and The Enchantress of Florence. This study is the first of its kind to do so.