Identitäten im prozess. mimikry und maskerade in heinrich von kleists die verlobung in st. domingo

Özet

\r\n The term “mestizo” for Toni in Kleist’s novella is a reference to the fundamental\r\n uncertainty of the categorization of ethnic affiliation, as this term refers to the hybrid\r\n identities inscribed , and the concept of hybridity indicates the confusion of the\r\n racial affiliation categories . „Mestizo” labeled Toni’s multiple identities as hybrid\r\n identity within the colonial conflict, however, it is an issue of being either black or\r\n white, and he is so adjusted. Toni endangers herself with the masquerade, and needs\r\n to control the situation through multiple anti-mimicry and allay the suspicions of\r\n her mother about the daughter‘s ethnic loyalty. The novella by Kleist Die Verlobung\r\n in St. Domingo embodies a large number of oscillating attribution practices in Toni’s\r\n character, in fact her own strange, conscious, unconscious provenance that are\r\n locatable between rebellion and submission in an intermediate space, a third space\r\n in the sense of H. Bhabbas. For Bhabha, mimicry has a double structure within a colonial\r\n domination discourse, which gives the possibility of a critical appropriation\r\n by colonial dominated subjects. Babekan took aim with her wiles and mimicry to\r\n deliver Gustav as a representative of the colonial order, the newly installed Law of\r\n the rebellious former slaves. However, Toni’s anti-mimicry wants to save Gustav’s\r\n from the death sentence. In this novella race, sex, and love are portrayed during\r\n the time of colonialism. Kleist reveals the symbolic purpose of fore-and surnames,\r\n body language, as well as the state of the in between and the hybridity of the colonized\r\n figures in his novella. Kleist analyzes the categories of difference caused\r\n by race, class, ethnicity, as well as processes of isolation, mimicry and mascerade.\r\n