![]() This process is experimental and the keywords may be updated as the learning algorithm improves. ![]() These keywords were added by machine and not by the authors. 2 Sometimes described as an ‘imperialist’ text, Oroonoko is so, indeed, in the wake of subsequent historical trajectories. The deployment of such contexts arguably illuminates our desires for the text to perform ideological work in late modernity as much as, or more than, the categories it explores itself. That, at times, for critics Oroonoko stands in an allegorical and didactic relationship to late modernity is suggested by its framing in relation to studies of eighteenth- and nineteenth-century slavery in North America. 1 At stake in this concern is the durability versus the provisional nature of the categories by which Anglo-American late modernity experiences its pasts. In general, readings that emphasize the modernity of Behn’s text emphasize novelistic features and see various kinds of plantation slavery as a key context those that seek to link the text to earlier features emphasize romance and the politics of the moment of production or setting. In historical and literary critical writing on Aphra Behn’s Oroonoko (1688), a text which stands on the threshold of modernity, a tension exists concerning whether it should be seen as fully participant in the concerns and genres of modernity or whether it is crucially bound to earlier ways of thinking and writing. ![]()
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