@article{Cazzato_2017, title={(Dis)Integrating Visions: South and Imperial/Colonial Difference in Dickens and Conrad}, url={https://riviste.unimi.it/index.php/AMonline/article/view/8465}, DOI={10.13130/2035-7680/8465}, abstractNote={<span><span>Albeit late with respect to the Iberians</span></span><span><span>,</span></span><span><span> </span></span><span><span>the </span></span><span><span>English contributed in a hegemonic way to </span></span><span><span>the</span></span><span><span> rise of Euro-Modernity, or that </span></span><span><span>geocultural</span></span><span><span> identity which emerged as the central site for the control of the world. Further to the idea of East, the idea of South </span></span><span><span>has</span></span><span><span> been central to British cultural imagination and </span></span><span><span>has</span></span><span><span> helped the rise of Englishness</span></span><span><span> and </span></span><span><span>of the </span></span><span><span>European</span></span><span><span> imperial master narrative. The</span></span><span><span>refore, the</span></span><span><span> aim of this paper is to examine - through the tool of </span></span><span><span>decolonial</span></span><span><span> thinking – in which way the South/North division contributed to the emergence of European </span></span><span><span>and British </span></span><span><span>modern identity</span></span><span><span> and, at the same time, to the inoculation of its disintegration virus</span></span><span><span>. I will start with some reflections on world mapping and world imaging in European cultural history, emphasizing how </span></span><span><span>histor</span></span><span><span>(</span></span><span><span>icit</span></span><span><span>)y has made geography unreal and </span></span><span><span>local</span></span><span><span> Western iconography</span></span><span><span> has created a </span></span><span><span>global</span></span><span><span> fictional world, in which</span></span><span><span> we all dwell even today</span></span><span><span>. I will then proceed with a brief survey on the concept of “</span></span><span><span>coloniality</span></span><span><span> of power”. Finally, I will try to tackle the idea of South as a literary </span></span><span><span>topos</span></span><span><span> in Charles Dickens’ </span></span><span><span>Pictures from Italy</span></span><span><span> (the beginning of Victorian age apogee) and Joseph Conrad’s </span></span><span><span>Heart of Darkness</span></span><span><span> (the end of it), examining to what extent they reflected the North/South dichotomy and partook of the (dis)integrating discursive formations of </span></span><span><span>Meridionism</span></span><span><span> and </span></span><span><span>Australism</span></span><span><span>.</span></span><span> </span>}, number={17}, journal={Altre Modernità}, author={Cazzato, Luigi}, year={2017}, month={mag.}, pages={148–163} }