Janine Hauthala (International) assertion Janine Hauthala i(8518733 works by)
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1 European Peripheries in the Postcolonial Literary Imagination Janine Hauthala , Anna-leena Toivanen , 2021 single work criticism
— Appears in: Journal of Postcolonial Writing , vol. 57 no. 3 2021; (p. 291-301)

'The idea of unbalanced power relations between (post)colonial centres and peripheries lies at the heart of postcolonial studies. In this pattern, Europe, through colonial discourses, has constructed itself as the centre, whereas former colonized spaces – or what is nowadays frequently referred to as the Global South – are conceived as geographical, economic, and cultural peripheries. The centre/periphery binary, as Bill Ashcroft, Gareth Griffiths, and Helen Tiffin (2007) put it in Post-Colonial Studies: The Key Concepts, “has been one of the most contentious ideas” in the field (2007, 32). Not only does it attempt to define the pattern, but those asserting the independence of the periphery run the risk of perpetuating the binary and continue to subscribe to the very idea of the centre instead of destabilizing it. The centre/periphery model has mostly been associated with world-systems analysis as theorized by scholars such as Immanuel Wallerstein in the 1970s. This theory “locates the center of gravity of historical agency in north-western Europe” (Kaps and Komlosy 2013, 238), and, with its allusions to notions such as development and backwardness, the model echoes colonial discourses (240–241).' (Introduction)
1 Countering the Eurocentric Gaze? Europe in the Antipodean Filmic Imagination Janine Hauthala , 2020 single work criticism
— Appears in: Antipodes , vol. 34 no. 2 2020; (p. 242-261) 'This article explores how Europe is depicted in contemporary Antipodean films by drawing on the example of An Angel at my Table (1990), Romulus, My Father (2007), Mr. Pip (2012), and Dead Europe (2012). The comparative case study of these cinematic adaptations shows, first, how (British) literature shapes the protagonists' encounter with Europe. Second, the author examines whether the films perpetuate or counter the Eurocentric gaze. She argues that Campion and Roxburgh highlight characters' diasporic longing for, and their catalytic or unhealthy attachment to, Europe as "imaginary homeland." Adamson's adaptation, in turn, decenters Eurocentric visions, while Krawitz's portrayal of Europe as "traumascape" rejects the alleged superiority of an idealized Europe even more forcefully than Tsiolkas's novel does. Of the four films, only Mr. Pip visually engages postcolonial discourses and, at least indirectly, relates to the settler colonial contexts to which all four films belong. Ultimately, the films' shared engagement with Europe broadens the national focus of earlier Antipodean cinema, offering various avenues to rethink identity and belonging beyond the national and the postcolonial.'  (Publication abstract)
1 Europe as Alternative Space in Contemporary Australian Fiction by Carey, Tsiolkas and Jones Janine Hauthala , 2019 single work criticism
— Appears in: Journal of the European Association for Studies of Australia , vol. 10 no. 2 2019;

'This article investigates imaginings of Europe in contemporary Australian fiction in order to explore whether (traveling to) Europe provides alternative points of reference to discourses on nation, belonging, and identity beyond the (settler) postcolonial. The article sets out to compare recent works by Peter Carey, Christos Tsiolkas and Gail Jones who narrate Europe against a wide range of backgrounds, covering diverse diasporic, migratory and expatriate experiences, in order to explore the role of Europe as an alternative space, and of European modernities in particular, in the Australian literary imagination. Concentrating on Jack Maggs (1997), Dead Europe (2005) and A Guide to Berlin (2015), the article has a threefold focus: Firstly, it analyses the representation of European spaces and explores how the three novels draw attention to multiple modernities within and beyond Europe. Secondly, it demonstrates how all three novels, in their own way, reveal European modernities to be haunted by its other, i.e. death, superstition, ghosts, or the occult. Thirdly, these previous findings will be synthesized in order to determine how the three novels relate Europe to Australia. Do they challenge or perpetuate the protagonists’ desire for Europe as an ‘imaginary homeland’? Do references to Europe support the construction of national identity in the works under review, or do these references rather point to the emergence of multiple or transnational identities?'

Source: Abstract.
1 Writing Back or Writing off? Europe as “Tribe” and “Traumascape” in Works by Caryl Phillips and Christos Tsiolkas Janine Hauthala , 2015 single work criticism
— Appears in: Journal of Postcolonial Writing , vol. 51 no. 2 2015; (p. 208-219) 'This article takes its cue from Caryl Phillips’s critique of Eurocentric “tribalism” in The European Tribe and compares it to the ghostly and highly dystopian “traumascape” of Dead Europe by the Australian writer Christos Tsiolkas. It argues that, in contrast to the predominantly black British frames of reference of Phillips’s counter-travelogue, Tsiolkas’s depiction of Europe is characterized by a transcultural shift. Scrutinizing this shift, the analysis of Tsiolkas’s novel demonstrates how transgressing generic boundaries and employing narrative unreliability and magical realism not only brings transculturality to the fore, but also creates reader complicity. The article goes on to examine the novel’s use of photography, since it plays a crucial role in depicting Europe as “traumascape” and, together with the novel’s unclear stance on anti-Semitism, invites readers to experience the struggle and tensions accompanying diasporic encounters and the emergence of transnational identities in contemporary fictions of Europe.' (Publication abstract)
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