This article touches upon issues of captivity, suppression, misrepresentations and exclusion of black people from a historical and cultural point of view through the analysis of Chase-Riboud’s neoVictorian novel Hottentot Venus (2003). It also focuses on the implications and consequences for contemporary South Africa of situations of slavery and exploitation of African descended peoples. Notions of identity and moral and legal inclusion of black women into past and contemporary societies and communities will be also discussed from the point of view of postcolonial and gender and sexuality studies. The complexities of blackness and the violation of human rights as a result of these will be a substantial argument throughout the text represented in the historical and fictional character of the Venus Hottentot. She was seen as the icon of sexual deviancy and became a victim of the white colonizer as the embodiment of black racialized sexuality for Europeans. However, despite her vulnerability, in the narrative she gains agency in resistance in Butlerean terms. In the Hottentot Venus, Barbara ChaseRiboud tries to bring to light the experience and the memory of slavery as they constitute a key element in the reconstruction of the past and in the construction of a better future. Similarly, the process of recovery and identity construction in a postcolonial era determined by the traces of colonial trauma is an important element in the fictionalization of Sarah Baartman’s life as an icon of the idealization and problematization of South-Africa. These issues bring to the fore questions of race and feminism, the idealization of the colonies and colonized people in contrast with white imperial subjects, and the consideration of the contemporary neo-slave narrative as a neo-Victorian genre. Maria Isabel Romero Ruiz, "Chase Riboud’s Hottentot Venus (2003) and the Neo-Victorian: page 2 of 9 The Problematization of South-Africa and the Vulnerability and Resistance of the Black Other" CLCWeb: Comparative Literature and Culture 20.1 (2019): Special Issue Gendered Bodies in Transit: Between Vulnerability and Resistance. Ed. Manuela Coppola and Maria Isabel Romero Ruiz Maria Isabel ROMERO RUIZ Chase Riboud’s Hottentot Venus (2003) and the Neo-Victorian: The Problematization of South-Africa and the Vulnerability and Resistance of the Black Other As a symbol of the commodification of the black female body, the Hottentot Venus has become the focus of recent academic research, and her life and death constitute an early example of the exploitation of female black sexuality and for the colonization and representation of South Africa. Saartjie Baartman’s tour around England and France of during the nineteenth century, and the scientific debates that the exceptional size of her back and genitals provoked, attracted the interest of a middle-class audience, especially in the freak shows of London and Paris. As a result, she became the embodiment of black racialized sexuality and deviancy, exemplifying the notion of the “exotic” and the “other” for the white European imagination. A victim of slavery both in South Africa and Europe, she never regained her freedom and represented the spectacle of the primitive when she was alive and beyond her death. As a neo-Victorian novel, the Hottentot Venus (2003) tries to recover from oblivion the story of a woman whose life represents the extreme vilification of the black female body and sexuality but in a fictionalized way. In this context, Chase-Riboud tries to question issues of sexual exploitation and discrimination and to re-write the history of slave-women giving a voice to the victims. The experience and the memory of slavery constitute a key element in the reconstruction of the past and in the construction of a better future, making the readers revise their perspective on history and its implications for the present. Similarly, the process of recovery and identity construction in a postcolonial era determined by the traces of colonial trauma is an important element in the fictionalization of Sarah Baartman’s life as an icon of the idealization and problematization of South-Africa. Also, the author resorts to spectrality to give her protagonist some agency in a way that reflects on contemporary theories about vulnerability and resistance. In Judith Butler’s words, “we are first vulnerable and then overcome that vulnerability, at least provisionally, through acts of resistance” (12). Similarly, the aim of the narrative is to symbolize the silenced voices of subaltern colonial people that haunt our present postcolonial societies. These issues bring to the fore questions of race and feminism, the idealization of the colonies and colonized people in contrast with white imperial subjects, and the consideration of the contemporary neo-slave narrative as a neo-Victorian genre. Notions of identity and moral and legal inclusion of black women into past and contemporary societies and communities will be also discussed from the point of view of postcolonial and gender and sexuality studies. Finally, the complexities of blackness and the violation of human rights as a result of these will be a substantial argument throughout the text. Therefore, this article will first discuss the neo-slave narrative as a subgenre within neo-Victorian studies to see to which extent tropes of neo-Victorianism such as traces of the past, ventriloquism or spectrality can be found in the novel while at the same time rewriting the story of a slave woman. Secondly, this article will argue that the Venus Hottentot can exemplify the black experience of “the other” and her commodified body is a repository of memory and trauma representing resistance and resilience against exploitation and violence, writing back to empire and colonialism. However, what I will attempt to contest is that despite independence and modernity, South-Africa is still a country in which black women are vulnerable and are often victims of sexual violence, while at the same time not being granted the category of human, and all this despite the idealization of this country in the novel. Finally, I will try to show how Chase-Riboud makes an attempt to present Sarah’s revenge on white civilization after death as a tool for asserting black female subjectivity and agency and for achieving healing. The Hottentot Venus can be read as a neo-slave narrative situated in the context of neo-Victorian fiction. The fact that neo-Victorian novels are historical fictions which rewrite, repossess and interpret the past is conspicuously relevant to Chase-Riboud’s novel. Also the idea that these texts give voice to the oppressed, the silent and the deviant in order to make a claim for political justice has many points of coincidence with the postcolonial and the reformulation of “otherness” with its consequences for the present. Similarly, the neo-Victorian genre is particularly concerned with issues of entertainment and ethnographic exhibition and with the colonial, scientific and medical discourses that determined the observation and interpretation of the racialized body in the nineteenth century. Issues of race relations and gender conventions are intermingled in the plot, and some of the literary conventions of the neoslave literary form and the neo-Victorian genre can be found in the text, together with many of the features of the historical novel. Maria Isabel Romero Ruiz, "Chase Riboud’s Hottentot Venus (2003) and the Neo-Victorian: page 3 of 9 The Problematization of South-Africa and the Vulnerability and Resistance of the Black Other" CLCWeb: Comparative Literature and Culture 20.1 (2019): Special Issue Gendered Bodies in Transit: Between Vulnerability and Resistance. Ed. Manuela Coppola and Maria Isabel Romero Ruiz In neo-Victorianism, authors and their audience share their interest and their preoccupation about the past and its implications for our contemporary societies. Both history and fiction are artificial constructs, so their truth can be challenged and remodeled. Postmodernism provides the theoretical stance for historical fiction and the possibility to reinterpret past events with multiple readings in our postmodern cultures (Heilmann and Llewellyn, “Historical Fictions” 139-141). Therefore, neo-Victorian writers “are not merely looking back, but using their appropriation of form, style and theme to make some kind of intervention in our understanding of the Victorian period,” casting an image that Victorians did not have of themselves in all probability as they were constrained by the social and literary limitations of their time (Preston 99). That image must also include the fact that Britain was an imperial power and that life in the colonies and their presence in the metropolis were part of the picture. The fact that neoVictorian studies have fluid and widening boundaries regarding time and space allows for the inclusion of places like South-Africa in the fictionalization of a British colonial past; in the same way, the interest in socio-political justice in relation to events and characters from that past makes the rewriting of tales of slavery and racial exploitation relevant to the neo-Victorian genre. These rewritings would permit us to apply the prefix “neo” to contemporary slave narratives that analyze colonial issues from a contemporary approach. In that respect, neo-slave narratives make use of the form, style and theme of the slave narratives that were written as the testimony of men and women in bondage. Neo-slave narratives have their origins in the slave narratives that were born at the end of the eighteenth century during the rise of the transatlantic abolitionist movement. They recorded the harshness and cruelty of life under slavery and became political and social documents whose main concern was accuracy and authenticity. Slave narratives were s

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蔡斯·里布（Chase Riboud）的《霍滕托特·维纳斯（Hottentot Venus）》和《新维多利亚时代》：南非的问题化以及黑人其他国家的脆弱性和抵抗力

本文通过对大通-里布德的新维多利亚时代小说《霍滕托特·维纳斯》（Hottentot Venus）（2003）的分析，从历史和文化的角度探讨了黑人被囚禁，压制，错误陈述和排斥的问题。它还集中讨论奴隶制和对非洲后裔的剥削对当代南非的影响和后果。还将从后殖民研究，性别研究和性别研究的角度讨论黑人妇女的身份以及道德和法律在过去和当代社会和社区中的包容性。在这些文本中，以维纳斯·霍滕托特的历史和虚构人物为代表的文本中，黑色的复杂性和侵犯人权的行为将是一个充分的论据。她被视为性行为异常的标志，并成为白色殖民者的受害者，成为欧洲人黑色种族化性的化身。然而，尽管她脆弱，但在叙事中，她获得了以巴特勒式的话语抵抗的力量。芭芭拉·切斯·里布（Barbara ChaseRiboud）在霍滕特维纳斯（Hententot Venus）试图揭示奴隶制的经验和记忆，因为它们是重建过去和建设更美好未来的关键要素。同样，殖民地痕迹决定的后殖民时代的恢复和身份建构过程，是萨拉·巴尔特曼（Sarah Baartman）人生的小说化中的一个重要元素，是南非理想化和问题化的标志。这些问题使种族和女权主义成为首要问题，与白帝国主体形成鲜明对比的是殖民地和殖民地人民的理想化，以及将当代新奴隶叙事作为新维多利亚时代的流派来考虑。玛丽亚·伊莎贝尔·罗梅罗·鲁伊斯（Maria Isabel Romero Ruiz），“大通·里布德的霍滕托特·维纳斯（2003）和新维多利亚时代：第2页，共9页南非的问题化和其他黑人的脆弱性和抵抗力” CLCWeb：比较文学和文化20.1（2019）：过境性别问题特刊：脆弱性与抵抗力之间。埃德 曼努埃拉·科波拉（Manuela Coppola）和玛丽亚·伊莎贝尔（Maria Isabel Romero Ruiz）玛丽亚·伊莎贝尔（Merro Isabel ROMERO RUIZ） ，霍滕托特·维纳斯（Hottentot Venus）已成为近期学术研究的焦点，她的生与死是剥削女性黑色性行为以及南非的殖民和代表的早期典范。萨特杰·巴特曼（Saartjie Baartman）在19世纪的英格兰和法国巡回演出，以及科学辩论，认为她的背部和生殖器尺寸异常大，引起了中产阶级观众的兴趣，特别是在伦敦和巴黎的怪异表演中。结果，她成为黑人种族化的性行为和异端的化身，为欧洲白人的想象力例证了“异国”和“其他”的概念。在南非和欧洲都是奴隶制的受害者，她从不重获自由，在她还活着并活到死后，仍代表着原始人的景象。作为新维多利亚时代的小说，霍滕托特·维纳斯（Hottentot Venus）（2003）试图从遗忘中找回一个女人的故事，该女人的生活代表着黑人女性的身体和性行为的极端污蔑，但是却是虚构的。在这种情况下，大通-里布（Chase-Riboud）试图质疑性剥削和歧视问题，并改写奴隶妇女的历史，向受害者发声。奴隶制的经验和记忆是重建过去和建设更美好未来的关键要素，这使读者改变了对历史及其对当今的启示。同样，殖民地痕迹决定的后殖民时代的恢复和身份建构过程，是萨拉·巴尔特曼（Sarah Baartman）人生的小说化中的一个重要元素，是南非理想化和问题化的标志。同样，作者诉诸于光谱学，以反映当代关于脆弱性和抵抗力的理论的方式赋予主角某种力量。用朱迪思·巴特勒（Judith Butler）的话说，“我们首先是脆弱的，然后至少通过抵抗行动暂时克服了该脆弱性”（12）。同样，叙事的目的是象征困扰着我们现在的后殖民社会的亚殖民殖民者的沉默之声。这些问题引起了种族和女权主义的首要问题，与白帝国主体形成鲜明对比的是殖民地和被殖民地人民的理想化，以及将当代新奴隶式叙事视为新维多利亚时代的流派。还将从后殖民，性别和性研究的角度讨论黑人妇女的身份，道德和法律上的包容性，以了解过去和当代社会和社区的观念。最后，黑社会的复杂性和由此造成的侵犯人权将成为整个案文的重要论据。因此，本文将首先讨论作为新维多利亚时代研究的一个子流派的新奴隶叙事，以了解在多大程度上可以在小说中找到新维多利亚时代的比喻，例如过去的痕迹，文艺主义或光谱特征，同时重写一个奴隶女人的故事。其次，本文将论证维纳斯·霍滕特（Venus Hottentot）可以作为“另一个”的黑人经验的例证，而她的商品化的身体是记忆和创伤的宝库，代表着对剥削和暴力的抵抗力和复原力，回溯到帝国和殖民主义。但是，我将要争辩的是，尽管具有独立性和现代性，但南非仍然是一个黑人妇女易受伤害的国家，经常是性暴力的受害者，而与此同时，非洲妇女并没有被授予人类这一类别，尽管这部小说把这个国家理想化了，但所有这些。最后，我将尝试展示蔡斯-里布（Chase-Riboud）如何尝试展示莎拉（Sarah）死后对白人文明的报复，以此作为主张黑人女性主观性和权威性以及实现康复的工具。霍滕托特维纳斯可以被解读为是新维多利亚时代小说中的新奴隶叙事。新维多利亚时代的小说是重写，占有和解释过去的历史小说，这一事实与蔡斯-里布德的小说明显相关。这些文本向被压迫者，沉默者和越轨者发出声音以主张政治正义的想法，与后殖民主义和“其他”及其对当前后果的重新表述有许多巧合点。同样，新维多利亚时代的流派特别关注娱乐和民族志展览问题，以及与殖民，科学和医学有关的话语，这些话语决定了十九世纪对种族化身体的观察和解释。情节中混杂着种族关系和性别习俗的问题，在文本中可以找到一些新奴隶制文学形式和新维多利亚时代体裁的文学习俗，以及该历史小说的许多特征。玛丽亚·伊莎贝尔·罗梅罗·鲁伊斯（Maria Isabel Romero Ruiz），“大通Riboud的霍滕托特维纳斯（2003）和新维多利亚时代：第3页，共9页南非的问题化和其他黑人的脆弱性和抵抗力” CLCWeb：比较文学和文化20.1（2019）：科学和医学话语，决定了19世纪种族化身体的观察和解释。情节中混杂着种族关系和性别习俗的问题，在文本中可以找到一些新奴隶制文学形式和新维多利亚时代体裁的文学习俗，以及该历史小说的许多特征。玛丽亚·伊莎贝尔·罗梅罗·鲁伊斯（Maria Isabel Romero Ruiz），《大通Riboud的Hottentot维纳斯（2003）和新维多利亚时代：第3页，共9页南非的问题化与黑人的脆弱性和抵抗力》 CLCWeb：比较文学和文化20.1（2019）：科学和医学话语，决定了19世纪种族化身体的观察和解释。情节中混杂着种族关系和性别习俗的问题，在文本中可以找到一些新奴隶制文学形式和新维多利亚时代体裁的文学习俗，以及该历史小说的许多特征。玛丽亚·伊莎贝尔·罗梅罗·鲁伊斯（Maria Isabel Romero Ruiz），《大通Riboud的Hottentot维纳斯（2003）和新维多利亚时代：第3页，共9页南非的问题化与黑人的脆弱性和抵抗力》 CLCWeb：比较文学和文化20.1（2019）：在文本中可以找到新奴隶文学形式和新维多利亚时代体裁的一些文学习俗，以及历史小说的许多特征。玛丽亚·伊莎贝尔·罗梅罗·鲁伊斯（Maria Isabel Romero Ruiz），《大通Riboud的Hottentot维纳斯（2003）和新维多利亚时代：第3页，共9页南非的问题化与黑人的脆弱性和抵抗力》 CLCWeb：比较文学和文化20.1（2019）：在文本中可以找到新奴隶文学形式和新维多利亚时代体裁的一些文学习俗，以及历史小说的许多特征。玛丽亚·伊莎贝尔·罗梅罗·鲁伊斯（Maria Isabel Romero Ruiz），“大通Riboud的霍滕托特维纳斯（2003）和新维多利亚时代：第3页，共9页南非的问题化和其他黑人的脆弱性和抵抗力” CLCWeb：比较文学和文化20.1（2019）：过境性别问题特刊：脆弱性与抵抗力之间。埃德 Manuela Coppola和Maria Isabel Romero Ruiz在新维多利亚主义时代，作家和听众分享了他们对过去的兴趣和关注，以及对当代社会的影响。历史和小说都是人造的，因此它们的真实性可以受到挑战和重塑。后现代主义为历史小说提供了理论立场，并为我们的后现代文化提供了多种解读方式来重新诠释过去的事件（Heilmann和Llewellyn，“历史小说” 139-141）。因此，新维多利亚时代的作家“不仅在回顾，而且在形式，风格和主题上的运用对我们对维多利亚时代的理解进行了某种干预，”塑造一个维多利亚时代的人完全没有自己的形象，因为他们受到当时社会和文学方面的限制（普雷斯顿99）。该形象还必须包括这样一个事实，即英国是一个帝国大国，殖民地的生活及其在大都市中的存在是其中的一部分。新维多利亚时代的研究在时间和空间上有着不断变化的边界，这一事实使南非之类的地方可以纳入英国殖民时期的虚构化之中。同样，对与过去的事件和人物相关的社会政治正义的兴趣使得对奴隶制和种族剥削的故事的重写与新维多利亚时代的题材有关。这些改写将使我们能够在当代奴隶叙事中使用前缀“ neo”，这些叙事从当代角度分析了殖民问题。在这方面，新奴隶叙事利用了奴隶叙事的形式，风格和主题，这些奴隶叙事被写成男女在奴役中的见证。新奴隶的叙事起源于十八世纪末跨大西洋废奴运动兴起的奴隶叙事。他们记录了奴隶制下生活的残酷和残酷，并成为政治和社会文件，主要关注准确性和真实性。奴隶叙述是 奴隶叙事的风格和主题，作为男人和女人在奴役中的见证。新奴隶的叙事起源于十八世纪末跨大西洋废奴运动兴起时的奴隶叙事。他们记录了奴隶制下生活的残酷和残酷，并成为政治和社会文件，主要关注准确性和真实性。奴隶叙述是 奴隶叙事的风格和主题，作为男人和女人在奴役中的见证。新奴隶的叙事起源于十八世纪末跨大西洋废奴运动兴起的奴隶叙事。他们记录了奴隶制下生活的残酷和残酷，并成为政治和社会文件，主要关注准确性和真实性。奴隶叙述是