Key Concepts in Postcolonial Literature
... Roy writes "He lived in a caravan" (78). In another example, she writes "Baby Kochamma wrote for her father: My dearest Papa, […] But Koh-i-noor appears to be unhappy and homesick" (13). It is a name of a girl. ...
... TGST is full of hybridity in terms of language too. "Linguistic examples include pidgin and creole languages, which are local versions of a language brought by colonizers" [13]. We could find the following samples for the linguistic hybridity: Arundhati Roy is an Indian writer, but she writes her novel in English. ...
... Roy writes "He lived in a caravan" (78). In another example, she writes "Baby Kochamma wrote for her father: My dearest Papa, […] But Koh-i-noor appears to be unhappy and homesick" (13). As Roy described about the name "Koh-i-noor" belongs to a Muslim person. ...
... The term 'international' rose in the eighteenth century. It referred to "the growing importance of territorial states in organizing social relations" [14]. Globalization is the process of becoming a single place. ...
... It involved a range of terms such as hybridity, transculturalism, "Third Space" (38). It is as "cultural imperialism" or "neo-imperialism" [14]. It is used to analyze "hybridization", "diffusion", "relativization", and interrelationship of global societies. ...
... ."Diaspora criticism". in introducing criticism at the 21 th century. ed Julian ـ Wolfreys, Edimburgh university press. Wisker, Gina. (2007). Key concepts in postcolonial literature. hound mills. palgrave macmillan. ...
A poet’s imagination is the major element in forming his/her poetry. However, temporal and spatial conditions influence his/her discourse. Persian lyrical poetry, especially Ghazal, is the product of the poets’ emotions and sensibility in a tumultuous period. Such a condition has created two kinds of reactions in the poets; they have either withdrawn into their own inner world or have gone out of their real place to search for a peaceful time-space. Due to great political and cultural developments, two Persian poets from two different periods, with two different styles–Iraqi and Hindi-have spent most of their lives in travelling. These two poets have created various and unprecedented attitudes to concepts of love and beloved. Based on a descriptive-analytical approach, the present article attempts to analyze the changes created in elements of Ghazal by Sa’di and Taleb Amoli. Under the influence of their journeys to East and West, and the temporal and spatial circumstances, the two poets’ attitude towards love, beloved, their bearings, and the way they are described had consciously undertaken change bringing about a new discourse.
... ."Diaspora criticism". in introducing criticism at the 21 th century. ed Julian ـ Wolfreys, Edimburgh university press. Wisker, Gina. (2007). Key concepts in postcolonial literature. hound mills. palgrave macmillan. ...
The poet's artistic imagination is the most important factor shaping his poetry, but the place and time has a significant impact on his discourse. In connection with this subject, Persian poetry, especially Ghazal, is the result of a poignant sensitivity and affection in times of turbulence. Such a time has taken two reactions from the poet: to crawl into the world inside or out of the real place and to seek a place free of chaos. In this regard, two poets from two Persian literary styles, the Iraqi and Indian style, who spent a significant part of their life in travel and migration due to profound cultural, religious, political, and cultural changes, led the attitudes Different in the position and characteristics of the beloved in the ghazal, which has previously been unprecedented, Saadi's romantic lyrics and one of his followers (Talib Amoli) are reviewed in order to review the changes created by these two poets. The result of this study indicates that the main roots of the two poets' thinking influenced by the context and time of immigration or traveling to the West and the East (Iraq and Indies), the consciousness led to a change in the angle of the poet in the sense of love, The influence of the beloved and the lover and the description of their appearance, new concepts and discourse in the field of Persian poetry. Most of the changes created by Sa'di and Taliban are related to the synchronic axis and the succession of Ghazal.
... Hybridity is an inevitable and vastly used sub-theory under postcolonial theory. Gina Wisker in her book Key Concepts in Postcolonial Literature comments on Hybridity as, "it is both widely used and disputed, referring to the creation of new transcultural forms within the space produced by colonisation where people, indigenous, immigrated, settled, colonising and colonised, live and move" [18]. The immigrants accommodate these qualities as essential survival needs to amalgamate with the society, due to the supremacy of western ideas. ...
Abstract- The study purveys the hybrid nature of the first generation of settlers in The Immigrant. Manju Kapur has imbibed the bourgeois characteristics in the characters like Ananda, Dr Sharma and Nina. Identity crisis, a quest for self-identity and a contrast in Indian and Canadian style of living is predominantly evidenced in the novel, which leads to the idea of third place. This paper significantly identifies an unquenchable need for third places in the immigrants. The findings are of two parts: the first part identifies the hybrid qualities of the characters and the second part of the paper spots the need for third places in the characters.
Further study correlates the characteristics of the Third Places with the places found in the
novel by stating those as a source of elevation from the clutches of westernisation. The
amalgamation of Hybridity and ‘Third Places’ theories dissect the novel whereby justifies the
title of the paper.
Keywords: Third places, Hybridity, Immigrant, Postcolonial
... This demanded an increased protection from both rebellions and invasion from other competing empires; a trend that was common in those days. For instance, Wisker (2007) shares how the British Empire was ready to fight to protect the Singaporean port which was seen as a strategic location for trade with China, being a lead driver in the provision of consumer goods, as well as a relay for their home industries. It was also viewed as a critical control point and by protecting this port, Lloyd (1996) highlights that the British colony was able to conquer most of what was then known as the Burmese coastline; hence, increasing its trading in the South Eastern Asia. ...
As the impacts of climate change are accelerated, due to continued emissions generating activities of industrialised nations, there is an increasing need for revised policies and climate change mitigation programs. The latter is, however, out of reach to vulnerable economies which are financially unequipped to afford such programs. In view of this, most turn towards debt financing, which can pose a risk to their economies in the long term as critical urban assets are used as collaterals; leading to unsustainable debt levels, posing a risk to the liveability of cities.
This hybrid thesis explores the thematic of economic inequity from the context of colonialism and outlines how former colonial empires have exploited former colonies; which are today mostly classified as vulnerable economies, for the benefit of industrialisation -which helped in strengthening the economic agendas of colonial empires while also contributing substantially to the climate change.
With this backdrop, the thesis explores how today, in an era of post-colonialism where an economic disparity exists due to colonialism, the thematic of climate change can be addressed while both bridging the economic divide between developed and least developing economies and socially empowering communities.
The hybrid thesis, featuring one journal publication, underlines the above thematic and proposes the use of a revised model surfing on the concept of Emissions Trading System (ETS) and Smart Contracts through the Blockchain, while supporting the cultural attributes of vulnerable economies -which can be unique economic dimensions.
... The woman has an in-between space in the postcolonial debate which "allows for much diversity and flexibility in identity" [4]. Criticism of colonialism on an ideological basis and the stress on the colonizer / colonized dichotomy exclude hybrid groups. ...
... Adeline's oppression is consistent with Spivak's claim that women in a colonized country lack a voice within their own patriarchal culture, and they are doubly unheard of under the colonial regime (cited in Bertens 2003: 211). On this related point, Michel Foucault argues that those who hold language hold power (1978; cited in Gina Wisker 2007). Therefore, it is important to speak and write out, particularly for those whose experience of colonization renders them absent, silenced, and marginalized. ...
In her autobiography , Falling Leaves (1997), Adeline Yen Mah writes about the lives of Chinese women caught in the clash between the existing Chinese patriarchal culture and the advent of Western colonialism in Hong Kong that she herself experienced. Helpless in the face of the overwhelming Western influx, Chinese women were subjected to Western racial discrimination in addition to the sexual discrimination built into Chinese culture. Everything Western, including Western blood, was considered better than anything Chinese. At the same time, the Chinese patriarchy was still a powerful cultural force in spite of the pervasiveness of Western influence. This became a doubly oppressive predicament for Chinese women. Nevertheless, in Falling Leaves, Adeline Yen Mah describes how she carefully chose and employed a variety of roles in order to survive. This paper argues that negotiating between the impositions of Chinese patriarchy and Western colonialism, Adeline constructed multiple identities that satisfied her demand for integrity. She assimilated her Chinese ancestral roots into her identities but rejected the sexist practices in Chinese tradition. As for gender identity, she opted to be a woman who realizes her potential and who has the self-will to become successful even though this idea conforms to Western feminism .
... This resolution represented yet a further advance towards the UN asserting its dominance, not over indigenous people per se, but over the representation of indigeneity globally to non-indigenous outsiders. The UNPFII fostered this transcultural, rather than multicultural, construction of indigeneity in a way that potentially undermined the unique dimensions of each constituent indigenous group (Wisker 2007). For example, it sought to work "for the solution of problems faced by indigenous people in such areas as culture, education, health, human rights, the environment and social and economic development" (General Assembly 2004) without any reference whatsoever to the distinctive requirements or perspectives of various indigenous communities. ...
The purpose of this article is to examine how the work of the United Nations (UN) nurtures hybridised constructs of indigeneity, especially through the activities of the United Nations’ Permanent Forum on Indigenous Issues (UNPFII). This article surveys particular aspects of the literature relating to cultural and indigenous hybridisation, and then applies this to the activities of the UNPFII as a means of interpreting the contribution of the organisation’s work and objectives to portrayals of indigeneity, drawing in the experiences New Zealand’s indigenous Maori as a case study. It concludes that the UNPFII—as a globalising agent—simultaneously promotes the rights of indigenous peoples while masking many of the cultural differences between its constituent members, resulting in a broad conception presented to outsiders of a single, hybridised indigeneity in the international sphere, which is defined and only exists in the hegemonic space created by the UN.
... ter-narrative " (p. 245). They endeavor to " disestablish Eurocentric norms of literary and artistic values, and to expand the literary canon to include colonial and postcolonial writers " (Ibid). Postcolonial Studies is revisionary in the sense that it undertakes to re-write history from the view of those hidden, suppressed, forgotten and 'other'. Wisker (2007) calls postcolonial literature as a ' reaction to, and a response against, the oppressions and constructions of colonization and imperialism (p. 172). It endeavors to shake off and undo binary oppositions which are constructed by Europeans. The colonizers drew an imaginary line border and divide universe into ISSN 1799-2591 Theory and Pr ...
Edward Said in his groundbreaking work Orientalism, which later becomes a bible for Postcolonialists, elucidates how the Western scholars, writers, scientists, philologists, administrators among others take it for granted the binary distinction between the West and its Other. He underscores the special place of the Orient in the Western canon. The arbitrary and fabricated line between the Self (Occident) and the Other(Orient) in which the former is privileged and grasps the upper hand to define, reconstruct andre-present the latter, comes at the center of Postcolonialism. Orwell as a Western writer with firsthand experience-he was born in India and served as a cog in British imperial machine for five years-never managed to disconnect wholeheartedly with his deep imperial roots. One of Orwell's major concerns during his life was the issue of imperialism and colonialism which is reflected in many works such as Burmese Days, Shooting an Elephant, Marrakech, and Hanging. One characteristic which is shared among these works is the author's conflicting feelings within them about the Orient and Orientals from European's lens. In this study, the relationship between the representer or Westerners and the represented or Easterners is expounded in Shooting an Elephant according to Said's Orientalism.
Artikkelissa tarkastellaan väkivallan, rikollisuuden ja monikulttuurisuuden kytköksiä neljässä brittiläisen dekkaristin Barbara Nadelin Istanbuliin sijoitetussa rikosromaanissa. Ne ovat Beshazzar’s Daughter (1999), Arabesk (2001), Deep Waters (2002) ja Dead of Night (2012). Väkivaltaa tarkastellaan suhteessa historiaan, paikkaan ja tilaan, sekä materiaalisiin käytäntöihin, jotka toimivat identiteettien rakennusaineina monikulttuurisessa tilanteessa. Representaatio ja hybridiys ovat keskeisiä käsitteitä, joiden avulla eri ihmisryhmien kollektiivisten ja yksilöllisten identiteettien rakentumista tarkastellaan suhteessa kussakin romaanissa muodostuvaan yhtenäisen identiteetin normiin. Artikkelin mukaan romaanit korostavat ajatusta siitä, että normiin sitoutuminen ja kulttuurisen hybridiyden torjuminen tuottaa väkivaltaa monikulttuurisessa tilanteessa. Kertoessaan tarinoita väkivallan syistä ja seurauksista eri etnisten ryhmien sisällä ja välillä, romaanit tuovat esiin paitsi monikulttuurisuuteen liittyviä ongelmia, myös sen tuottamia mahdollisuuksia. Niiden yhteiskunnallinen viesti korostaa dialogia keinona konfliktien välttämiseen.
This chapter, “The cinepoetry of Shirin Neshat’s Women Without Men: Female histories and the cinematic women’s space of the Garden,” provides an analysis of Shirin Neshat’s film Women Without Men (2009), which returns to one of the most critical episodes of Iranian history:—the British-American staged coup of 1953 against the democratic government of Mohammad Mosaddegh to reinstall the Shah. Drawing on postcolonial feminist discourse and the feminism of sexual difference, this chapter argues that Neshat places emphasis on the renewal of past as a site of resistance against patriarchal and imperialist ideologies. Before embarking on a detailed analysis of the film, the chapter provides a brief background of Neshat’s artistic career, since many of the narrative and stylistic hallmarks of her work, especially those related to her own identity positions, feature prominently in Women Without Men. The second part of the chapter focuses on how women re-inscribe their histories into an official history from which they have traditionally been excluded. The chapter then moves onto the film’s gendered construction of space, particularly Neshat’s reclaiming of the trope of the Persian garden as a cinematic and female place, located outside of the violent masculine-dominated world of Tehran in the midst of political crisis. My reading of this space connects two central threads of this book: intercultural subjectivities or spaces, and the issues of gender and women’s creative expression. By adopting Luce Irigaray’s concept of self-defined female subjectivity and enunciation, I contend that the Garden not only alludes to the liminality of Neshat’s own intercultural subject position, but also functions as a visual representation of the process of women’s becoming-subject on their own terms outside of the restrictive confines of patriarchal discourse.
Edward Morgan Forster e George Orwell foram exímios escritores do início do século XX, um século marcado por duas guerras mundiais e também pelo imperialismo. Os dois autores vivenciaram a guerra de perto, pois ambos trabalharam a favor da Coroa Britânica, em contextos diferentes. Ao investigar, sob a luz dos conceitos de pós-colonialismo, como ambos autores representaram suas realidades em relação ao imperialismo e também suas experiências em um país-colônia, como a, então, Índia-britânica, é possível realizar um levantamento de suas possíveis relações Eu/Outro e seus posicionamentos.
Coastal Cities have played a pivotal role in shaping empires since time immemorial. Ports served as their anchors for warfare and defence of economies. While prominent now, as witnesses to the last centuries, such cities reaffirmed themselves in colonial history and also highlighted the importance of these port cities in national security and as pillars of national economic prosperity. However, as the role of ports is now less associated with warfare and defence, being seen as contributing essentially to economies at local, regional, and global scales, their focus remains the same: being a node for power and control. This chapter explores this phenomenon while mapping the changes and decline in the nature of port cities. The survey includes consideration of regional economic policies and evaluates their role in facilitating trade while negatively impacting low-income coastal economies.
The need for increasing the number of financial resources to sustain local economies has forged new international political-economic landscapes. Redefining in the same vein, the colonial dynasty that re-distributed pre-colonialisation wealth has benefited mainly European countries, leaving others impoverished and economically raped. This rise of capitalism fuelled a thirst for power that led to inhumane, unfair, and unjust strategies by colonial empires and their corporate entities, leaving conquered countries in a state of profound social and economic fragmentation. Further to this, colonialists imposed foreign influences—such as religion/s, culture/s, and language—to these places to help aid their political (and assimilation) ambitions. Their objective through these tools was economic/cultural/racial assimilation and control, believing that such enabled cohesive communication and the easier establishment of new hierarchies of power. To this end, colonial powers established new cities to maintain nodes of power and (re)structured local and regional economy of regions.
Exile Testimonio, as exemplified by Darwish's poetry, demonstrates how the Personal is Political and the Political is Historical. Exile Testimonio highlights group of people who, despite being physically located in the same place, maintain strong emotional ties to their home country over time and space. They have a history of migration that has shaped who they are as people even in their native country. They are adaptable and can be built and rebuilt many times. Displaced people in the host country feel disenfranchised and isolated due to Ghettoization and discrimination. The writers are immersed in a multicultural setting where they are subjected to dislocation, discontinuity, and fragmentation, all of which expose them to new cultural processes and racial/ethnic blends. It is clear from reading the works of Mahmoud Darwish that the protagonists are on the move in an effort to find a safe haven away from the oppression of their homeland and to establish a new, permanent identity there. Darwish's writings cover a wide range of emotions and experiences, including isolation, rejection, hopelessness, nostalgia, and the struggle to fit in or be accepted. His autobiographical Darwish's writings cover a wide range of emotions and experiences, including isolation, rejection, hopelessness, nostalgia, and the struggle to fit in or be accepted.
Mo Yan’s Frog has been widely recognized and welcomed by readers since its publication. Apart from the Western readers’ love of Chinese culture, it also owes its popularity to the translator’s skillful handling of the translation. Specifically, this paper examines the translation strategies used in the English translation of Frog. The term hybrid translation is derived from Homi Bhabha’s hybrid theory, which advocates the mixing of different cultures in order to create a hybrid and fuzzy third space. This hybrid translation approach consists of mixing and integrating translation strategies, such as domestication and foreignization, literal translation and free translation, and finally forming a translation that reflects cultural hybridity. To demonstrate a cultural hybrid effect, translators must adopt a variety of approaches to the transformation of the text so that the target readers are able to fully understand its meaning and connotations.
Postcolonial theory (or often post‐colonial theory) deals with the effects of colonization on cultures and societies and those societies' responses. The study of the controlling power of representation in colonized societies began in the 1950s with the work of Frantz Fanon and reached a climax in the late 1970s with Edward Said's Orientalism . This study led to the development of the colonialist discourse theory in the work of critics such as Gayatri Chakravorty Spivak and Homi Bhabha. The term “postcolonial” per se was first used in literary studies by The Empire Writes Back in 1989 to refer to cultural interactions within colonial societies. Postcolonial theory accompanied the rise of globalization theory in the 1990s, which used the language of postcolonial theory in studies of cultural globalization in particular.
The depiction of women has been pivotal in the Orientalist discourse of representation which has frequently been keen on inculcating in readers certain concepts and views of Oriental women, thus maintaining and expanding the Orientalist agenda. Rudyard Kipling’s Kim is no exception, even if it is predominantly a male novel as posited by a number of critics. This paper argues that some critical views on this issue are on the whole sketchy when it comes to this novel in particular. Drawing heavily upon his immediate and extensive knowledge of India, as well as on the enormous Orientalist chronicles, Kipling succeeds in creating an artistic masterpiece which offers a many-sided negative imagery of females whose echoes still resound in today’s media. Kim’s focus of representation remains largely concerned with the female status in the Orient socially, ideologically, mentally, and physically. Together, these well-knit dimensions, in addition to other elements, construct a picture that reinforces colonial aspirations. Re-considering the intricate threads and sophisticated processes of Orientalism depending on the contribution of critics like Edward Said and others in works such as Kim is likely to help today’s readers to better understand forms of cultural denigration and appropriation diffused purposefully by hegemonic actors in various media.
This dissertation examines the works of Chinese American writer Amy Tan. It focuses on the complication of Chineseness through analyzing Tan’s way of writing landscape. It argues that there is no fixed, limited Chineseness. Instead, Chinesenessis always in a process of becoming. It is precisely from this absence of one single version of Chineseness that various versions of Chineseness arise. The fluidity of landscape, the unreliability of narration, and that of memory also emerge. In Tan’s novels, landscape makes up a fruitful space for her to negotiate with her Chinese heritage. For her, China is a lost land and Chinese landscapes are unwritten stories.This dissertation puts Chinese philosophy, landscape paintings, and landscape poems in dialogue with Tan’s revisiting of Chinese philosophies concerning the relationship between humans and nature. It equally brings Chinese American female characters’ active and creative engagement with landscape into the understanding of Chineseness into play. Tan’s views on Chineseness expressed in her representation of the landscapes of her female characters spirally evolve in the chronological unfolding of her novels, going through a process of tension, transition-and-transformation, and return. Part 1 discerns an opposition-correlation between the tension field of Chinese-born and American-born female characters’ perception and interpretation of landscape. Chineseness is inaccessible to Tan’s female characters in this tension field. Part 2 analyzes the elusiveness, fluidity, and uncertainty in Tan’s written landscapes, which are in unceasing transition and transformation. I read this fluidity as Tan’s way of complicating Chineseness as well as an expression of her dilemma as a writer. Part 3 displays Tan’s Chinese American female characters’ own (mis)/(re)understanding of China, which offers Tan more freedom to explore what China and Chineseness mean to her. In analyzing the(missed)/(mis) readings of China, concepts such as the past, home, and origin also gain the opportunity to be reconsidered.
This piece is the creative, critical product of constructive dialogue between graduated doctors, Josephine Mwasheka Nghikefelwa (Namibia/South Africa), Frances Wyld (Australia) whose doctorates are in literary-related work and who are transforming what is possible in decolonised doctorates in terms of perspectives, voice, research and writing and Gina Wisker (UK), researcher and examinerexaminer(s).
El objetivo de este artículo es ofrecer una propuesta de clasificación de los rasgos presentes, en mayor o menor medida, en la literatura poscolonial en cualquier idioma. A pesar de que esta taxonomía toma como punto de partida definiciones teóricas previas de los conceptos clave relacionados con la literatura poscolonial (Edwards 2008, Nayar 2008 y Ramone 2011), parece ser la primera clasificación formal que se ha elaborado al respecto. De este modo, se analizan conceptos consolidados a la par que presenta la nueva noción de plasticidad de géneros literarios y explora las corrientes actuales en la investigación de la interseccionalidad. Como resultado, proporcionaremos un decálogo de características de la literatura poscolonial que favorecerá la crítica literaria y los estudios de literatura comparada.
Palabras Clave: literatura poscolonial; taxonomía; teoría de la literatura; crítica poscolonial; plasticidad.
This paper aims to offer a classification proposal of the features that are typically found, to a greater or lesser extent, in postcolonial texts in any language. In spite of the fact that this taxonomy model is based on previous theoretical definitions of the key concepts related to postcolonial literature (Edwards 2008, Nayar 2008, and Ramone 2011), it seems to be the first formal classification to be devised. It examines well-established concepts, presents the new notion of plasticity of literary genres and explores the current trends regarding research on intersectionality. The decalogue of characteristics of postocolonial literature obtained as a result will facilitate literary criticism and comparative literature studies.
Keywords: Postcolonial literature; Taxonomy; Literary theory; Postcolonial criticism; Plasticity.
Language still is a hotly debated topic in postcolonial circles. Both academics and writers strive to define which language should be used in postcolonial contexts and the impact of such choice. Two tendencies are prevalent. Detractors of the colonisers’ tongue argue that using colonial languages offers a continuum of the colonial quest, reproducing its mindset and hierarchy. Defendants of deploying colonial languages as abrogation tools assert these offer a twofold opportunity: the language expresses the nuances of postcolonial societies while reaching wider audiences. Despite its ethnographic peculiarities, Ireland is no exception to this dichotomy. The discussion has, however, mainly focused on Irish writers’ recent productions, to the exclusion of the early nineteenth century. By analysing James Clarence Mangan's attitude to language in his writings, this study shed some light on an area which deserves further study, contributing to the overall understanding of how postcolonial writers counter colonial constructions via language.
“A literatura movente de Chimamanda Adichie é um livro que, ao trazer uma análise da prosa da escritora que dá nome ao título, explica por que ela tem sido lida e aclamada mundialmente: as temáticas, personagens e enredos de Adichie criam identificação profunda com leitoras e leitores de diversas culturas. Cláudio R. V. Braga perpassa as narrativas de Adichie, principalmente o romance Americanah, discutindo o papel da mulher na atualidade, baseando-se sobretudo na personagem Ifemelu. Quais são as expectativas, angústias e vivências dessa jovem mulher africana, negra e imigrante, oriunda de um país pós-colonial? Existe livre-arbítrio ou as circunstâncias determinam a vida? Qual a relação entre o presente e o passado pós-colonial de pessoas cujos países passaram pelo trauma da colonização europeia? O autor também se dedica à questão da mobilidade humana contemporânea, concebida literariamente por Adichie. Para isso faz uso da teoria da diáspora para abordar a prosa adichieana e questionar: como se dá a tensão entre experiências positivas e negativas vividas pelas pessoas que imigram? Como a mobilidade e sua representação literária influenciam no processo de descolonização cultural do indivíduo pós-colonial? Esses são alguns questionamentos encontrados neste livro, sobre os quais o autor discorre a partir de teorias selecionadas, mas sobretudo à luz da literatura de Adichie. A literatura e os estudos literários constituem formas de se pensar e compreender o que se passa ao nosso redor. Este livro é uma contribuição nesse sentido: o autor Cláudio R. V. Braga investiga a prosa de Chimamanda Adichie, escritora contemporânea globalmente conhecida, propondo uma perspectiva de mundo caracterizada pela pós-colonialidade, que é uma condição dos dias de hoje, perpassada por processos complexos de descolonização cultural e de mobilidade humana em escala global. No decorrer da investigação, percebe-se que a literatura de Adichie é “”movente””, segundo o autor, porque, além de representar um mundo de movimentos incessantes, ela também é agente dessa mobilidade, configurando-se em uma intervenção concreta com o poder de mobilizar e, portanto, mudar pensamentos e atitudes na direção da chamada descolonização cultural.”
تناقش هذه الورقة إشكالية حضور المثقفة اللامنتمية وتمثيلاتها في الرواية النسوية السعودية ما بين عامي (2000-2014م)، وهي الفترة الزمنية التي شهدت تشكل تيار في الكتابة الروائية السعودية يدعم الحركة النسوية في الكتابة، كونها حركة ذات طرح وقضية. ونقصد بتمثيلات المثقفة أشكال حضور وأدوار تقوم بها قياماً فاعلا ًتعكس وظيفة معينة كـ التمرد، أو المرونة أو الخنوع أو التقوقع على الذات.
وتراهن هذه الورقة على حضور الوعي بالكتابة من قبل الروائيات السعوديات في استظهار حالة المثقفة السعودية بوصفها شريكاً حقيقياً يسهم بفاعلية في قراءة المشهد الثقافي واستكمال أبعاده. مما يستدعي الاستعانة بمقولات النظرية النسوية والنقد النفسي لاستدراك إشكالية الدراسة في الرواية السعودية ذات الصبغة النسوية عينة الدراسة.
Having its seat in both realms, the subjective and the intersubjective, as a product of human mind, society and culture, language appears to be the most complex phenomenon in the known Universe. It displays multiple layers of organization in its spoken and written manifestations, none of which can be ignored at the expense of any other, in communication, ideation and information processing. Therefore language, being an organic system of utmost complexity, requires holistic and organic methodology. Such methodology requires meeting the criterion of ecological validity. In the realm of psychological research, Gilliam Cohen, a cognitive psychologist, advocates “a return to real-life situations”, such as “remembering real faces, shopping lists, scenes, etc.” She demonstrated a reaction against “rigorous and artificial” psychological experiments, based on “nonsense syllables or words out of context”.[1] Similarly, ‘ecological validity’ in linguistics requires a naturalistic treatment of linguistic data, real usage instances stemming from field work and/or the study of discourse/texts. Both observation and experimentation in linguistic research require naturalistic methods, where the so-called ‘simplicity should not be sought at the expense of factuality’. In this sense, explorations into real texts within the Systemic-Functional Grammar framework, field work in the Anthropological Linguistics tradition, or the usage-based model proposed in Cognitive Grammar, all meet the criterion of ecological validity. This paper is bound to grasp some of the questions inherent within multiple spectra organically resting among the constellations that reflect philosophical, psychological and linguistic points of reference. These points of reference also emerged organically and naturally throughout the history of their evolution, in their own terms, as they evolved in their ‘ecosystems’ of ideas. In this way we hope to provide a broad realm for reflection on language and linguistic methodology, allowing to see unity through diversity, thus creating mutual affiliations of a parallel, convergent and complementary character, in the vein of an organic whole. First, we shall take a bird’s eye view on ontological and epistemological questions regarding any kind of exploration within the Universe of natural phenomena. Next, we shall take a general view on linguistic enquiry in the 20th century. Finally, we shall survey key approaches to language articulating overall aspects of structural, functional, generative and cognitive orientations.[1] Cohen, 1977:6
Monsters and the idea of monstrosity are central tenets of Gothic fiction. Such figures as vampires and werewolves have been extensively used to represent the menacing Other in an overtly physical way, identifying the colonial Other as the main threat to civilised British society. However, this physically threatening monster evolved, in later manifestations of the genre, into a more psychological, mind-threatening being and, thus, werewolves were left behind in exchange for psychological fear. In Ireland, however, this change implied a further step. Traditional ethnographic divisions have tended towards the dichotomy Anglo-Irish coloniser versus Catholic colonised, and early examples of Irish Gothic fiction displayed the latter as the monstrous Other. However, the nineteenth century witnessed a move forward in the development of the genre in Ireland. This article shows how the change from physical to psychological threat implies a transformation or, rather, a displacement—the monstrous Other ceases to be Catholic to instead become an Anglo-Irish manifestation. To do so, this study considers the later short fictions of Joseph Sheridan Le Fanu and analyses how theDublin-born writer conveys his postcolonial concerns over his own class by depicting them simultaneously as the causers of and sufferers from their own colonial misdeeds.
In this article, first the “paradox of assimilation and difference” and its consequences will be discussed and next the movie A Girl Walks Home Alone at Night by Ana Lily Amirpour who is an immigrant Iranian American director will be analyzed. The aim is to show how her shattered identity as an immigrant is represented in her art. Her movie is an amalgamation of different signs from both cultures. These signs are not completely related to host culture (American) or local culture (Iranian). Although this impossible situation seems very painful at the first glance, it is beneficial for immigrant artist. In this hybridized space, she creates a kind of art which is very innovative and unique, because she is not forced to follow the cliché styles which those cultures are dictating her.
Keywords: immigration; identity; paradox of assimilation and difference; hybridized space.
This article analyses two novels, Hanif Kureishi’s The Buddha of Suburbia (1990) and Andrea Levy’s Small Island (2004), to elaborate on how they form postcolonial literary visions of metropolitan Britain, in resistance to colonialist depictions of the setting which have been disseminated across the world. The two works share related themes and motifs in their representations of the experiences of first- and second-generation migrants from Britain’s (former) colonies. Kureishi’s novel, set in the 1970s, relates the teenage life of Karim, the son of an Indian migrant, Haroon, as he navigates his sense of being a “funny kind of Englishman” (3). Levy’s novel, on the other hand, relates the experiences of a Jamaican couple, Hortense and Gilbert, as they arrive in Britain in 1948 within a fictionalised representation of the Empire Windrush. Comparable images within their works, including allusions to George Lamming’s writing from the 1950s and Stuart Hall’s depiction of the West End as it has existed in colonial imaginings, demonstrate how the two novelists participate in – and, therefore, help construct – a counter-canon of writing about post-war and postcolonial Britishness.
The number of migration narratives published in recent years in the form of short stories, novels, poetry, and nonfiction has been considerable, particularly by writers connected with the African continent. Previous studies on this body of work have included investigations of identity and otherness, transnational connections, and cosmopolitan aspirations. Despite this abundance of perspectives on the literature, there have also been urgent calls for new ways of theorizing migration (Fasselt, 2019; Kraler, 2011; Edmunds, 2006). Postmigration is just such an intervention, a concept that aims to go beyond previous meanings of migrant and migration, to critique instances of othering and the gap between the margins and the majority society (Römhild, 2017), and to focus explicitly on trajectories relating to the future. Postmigration, as outlined by Roger Bromley (2017: 39), is not a concept solely tied to temporal distinctions, but is also ideological in its attempts to construct “a new set of emergent spaces of plurality”. The present article argues that Leila Aboulela’s short story collection Elsewhere, Home (2018) manifests such spaces, particularly through its representations and negotiations of gender, family practices, generation, and religious belief and practice. My analysis shows that Aboulela subverts tropes regarding gendered and religious identity and mobility. Elsewhere, Home is no longer primarily occupied with the displacement of individual characters but moves toward seeing migration as interaction and participation instead of integration (Moslund and Petersen, 2019), and as transcultural (Petersen and Schramm, 2017) instead of transnational.
Alternative forms of expression, like spoken word and slam poetry, manifest themselves when conventional representations silence certain groups. These alternative forms, however, also hold the capacity to exclude certain individuals as is illustrated by the objectification of women in many contemporary spoken word forms. While the rising popularity of this genre of poetry reinforces the male gaze, certain female spoken word artists refuse to allow this form to erase their own experiences. This essay therefore brings to the forefront the voices of those who have emerged to confront this silencing and assert a female identity not determined by male fantasies. A strategic focus on the poems ‘hi, i’m a slut’ by Savannah Brown and ‘A Poem on Flo Rida’s Blow My Whistle’ by Hollie McNish, explores the effectiveness of the techniques used by female spoken word poets to subvert and even ridicule this male-dominated form, which in turn creates a liberating space in which the voices of women are brought to centre stage.
Literature, as a branch of Humanities, has a significant role in demonstrating the problems and the realities of a society. Therefore, the literary texts written in South Africa, had a major role in the victory of people against the policy of Apartheid, according to which the whites were segregated from non-whites. Harold Athol Lanigan Fugard is one of the writers, who showed his hatred and dissatisfaction to the world, with his plays. He is known for his deeply rooted and controversial anti-apartheid plays. His Blood Knot (1961) has been chosen in this study, in which the negative implications of colonialism and racism can be explored. Bhabha is one of the influential critics whose works give priority to the agency of colonized people. The relation between the colonizer and the colonized will be scrutinized subsequently according to what Bhabha mentioned in his influential book The Location of Culture.
This paper attempts to analyze the mentioned novel based on postcolonial studies in Arundhati Roy's The God of Small Things. The concepts that can be mentioned in this novel are history, diaspora, hybridity, the role of women in Indian society, globalization, resistance and orientalism. These concepts are used from postcolonial theorists, Edward W. Said and Homi K. Bhabha.Prominent issue is the role women in Indian society, because there are several female characters, such as Ammu, Rahel, and so on in TGST. Economic growth causes change in Ayemenem. It becomes a globalized community. Postcolonial resistance is an important issue in the novel. When Roy uses English language which it is a colonial language, she does a kind of resistance against colonization itself. Roy refers to the children’s life as a means of resistance.
The concept of cultural hybridity has been widely discussed since the 1980s, especially within cultural and postcolonial studies. Hybridity directly results from cross-frontiers movements of migrants and cross-cultural flows that in Britain extended beyond WW II. It opposes the idea of limited or even closed identity and cultural bonds. The notion of hybridity has mainly been related to second-generation immigrants who were brought up in between two different worlds and two societies: the ethnic and the dominant ones. The paper focuses on first-generation immigrants of South Asian origin portrayed in literary works by Monica Ali and Hanif Kureishi in terms of the phenomenon of hybridity and the level of the immigrants’ assimilation into the host community.
Kultuurihübriidsuse mõiste üle on eriti just kultuuriuuringute ja postkoloniaalsete uuringute vallas laialdaselt arutletud alates 1980. aastatest. Artikli alguses mainitakse hübriidsuse kõige olulisemaid definitsioone, sest see mõiste koondab väga paljusid ideid. Kõigepealt selgitatakse mõiste bioloogilist tähendust, kirjeldatakse hübridiseerumise allikaid ja liigutakse tunnustatud teoreetikute Stuart Halli ja Homi Bhabha pakutud definitsioonideni. Hübriidsus on migrantide piireületava liikumise ja kultuuride vaheliste mõjude otseseks tulemuseks, sellele vastandub piiratud või lausa suletud identiteedi idee. Tegemist on vana nähtusega, mis tekkis juba kolonialismieelsel ajajärgul, kuid muutus järjest üldisemaks sõjajärgsel perioodil, kui Suurbritannias toimus massiline immigratsioon endistest kolooniatest. Termin on peamiselt seotud teise põlvkonna immigrantidega, nagu näiteks Suurbritannias elavad Lõuna-Aasia maade päritolu inimesed, kes kasvasid üles kahe erisuguse maailma ja ühiskonna – oma etnilise ühiskonna ja domineeriva ühiskonna vahel. Tuleb märkida, et tavaliselt teevad just teise põlvkonna immigrandid läbi hübridiseerumise protsessi. Mis toimub esimese põlvkonna immigrantidega? Kuidas mõjutab nende identiteeti fakt, et nad elavad oma kodumaast kaugel?
Artikkel püüab vastata küsimusele, kas Suurbritannias elavaid esimese põlvkonna Lõuna-Aasia maade päritolu immigrante võib ka hübriidsetena identifitseerida. Keskendutakse identiteedi formeerumisele kahel tegelasel, kes esindavad Lõuna-Aasia immigrantide esimest põlvkonda Suurbritannias: Monica Ali raamatu „Brick Lane“ („Telliskivitee“, 2003) tegelane Chanu ja üks Hanif Kureishi raamatu „The Buddha of Suburbia“ („Äärelinna Buddha“, 1990) peategelasi, Haroon.
Chanu saabus Londonisse 1970. aastatel eesmärgiga teenida palju raha, teha poliitilist karjääri ja pöörduda eduka ning lugupeetud mehena tagasi Bangladeshi. Ta lõpetas Dhaka Ülikooli, kuid otsustas Inglismaale emigreeruda, kus ta lootis leida tasuvat ja vastutusrikast tööd. Ta kavatses teenida piisavalt palju, et osta Dhakas maja ja anda oma pojale hea haridus. Vastupidiselt tema ootustele ei lange talle osaks mingit eeliskohtlemist, vaid ta peab minema elama teiste Bangladeshi immigrantide juurde Londoni Tower Hamletsi linnaossa. Hoolimata sellest, et ta elab Londonis, ei unusta Chanu kordagi oma kultuuripärandit ja peab oma kultuurilist tagapõhja äärmiselt tähtsaks.
Haroon käis koloniseeritud Indias korralikes koolides ja sai hea Briti kirjanduse-alase hariduse. Nagu Chanu, lahkus temagi kodumaalt, et osa saada Inglismaa kõrgest elustandardist. Tegelik elu Inglismaal ei vasta aga ta ootustele. Tema hea inglise keele oskus ja suured teadmised inglise kultuurist ja kirjandusest ei suurenda tema võimalusi saada enamusühiskonna osaks. Ta üritab igati valdavasse ühiskonda integreeruda, kuid jääb siiski võõraks – üheks paljudest Londonisse jõudnud India immigrantidest. Ühest küljest unistab ta vastuvõtva ühiskonna täieõiguslikuks liikmeks saamisest, teisest küljest aga ei loobu ta oma kultuurilisest tagapõhjast. Niipea, kui ta mõistab, et tema India päritolu võib osutuda eeliseks, käivitab ta omaenda äri, mis tõmbab valgeid inglasi ligi eksotitsismi ja müstikaga.
Artikkel analüüsib mõlema tegelase identiteeti kujundavaid elemente ja kirjeldab, kui suurel määral neil õnnestub vastuvõtvasse ühiskonda assimileeruda. Artikli viimane osa võtab kokku nende identiteedi formeerumise protsessi ja vastab küsimusele, kas Suurbritannias elavaid Lõuna-Aasia päritolu esimese põlvkonna immigrante võib nimetada kultuurihübriidideks. Samuti selgitatakse lühidalt hübriidsuse rolli tänapäevases maailmas.
The goals of public higher education are to generate knowledge and transfer knowledge and skills to students to prepare them for making the world a better place. Given current severe threats to human well-being from climate change impacts, biodiversity loss, and global trends of inequality, we will need a strong commitment to sustainability education to achieve that "better place." This chapter focuses on several key concepts and teaching approaches that can engage students in sustainability challenges and give them some of the necessary knowledge and tools to become thoughtful leaders and followers, problem-solvers, and active citizens. It discusses how key concepts such as intrinsic and extrinsic values help students understand the role of values in human decision-making about addressing bigger-than-self sustainability challenges (e.g., global poverty). The concepts of overconsumption, social commodity chain, metabolic rift, the commons, polycentricity, and resilience allow instructors to traverse disciplines and help students recognize the complex, interdependent nature of social-environmental problems and solutions. The chapter also describes teaching approaches that help students understand how people, problems, and ecological conditions are interconnected and encourage them to move from individual to collective approaches to sustainability. These approaches include place-based experiential learning, project- or problem-based learning, case study conflict studies, collaborative learning, social learning, and community service learning. To effectively engage higher education students in sustainability, educators must provide interdisciplinary and experiential learning experiences and put students in positions where they imagine themselves using innovation, experimentation, trial-and-error social learning, and adaptive management to become future problem-solvers and change agents. © Springer International Publishing AG, part of Springer Nature 2018. All rights reserved.
This chapter develops an innovative theoretical approach to black British literature that combines postcolonial concepts of community with deconstructive philosophies of community. Since contemporary black British short fiction typically surpasses the realm of the postcolonial and treats community not as an exclusively black British but as a general human concern, Jansen supplements well-known postcolonial conceptions of community by Stuart Hall and Homi K. Bhabha with Jean-Luc Nancy’s philosophy that radically rethinks community both on a politico-ethical and an ontological level. In particular, this chapter offers an elaborate discussion of Nancy’s concepts of ‘singular plurality’ and the ‘inoperative community’. Jansen argues that Nancy’s community-theoretical reflections are highly relevant for literary analysis because they culminate in a theory of literature.
South Africa, like many other Eastern countries, was a victim of the brutal phenomenon called colonialism. Its people suffered a lot but did not give up protesting against it. Literature was often used as a means to demonstrate the problems and realities of the society. Therefore, the literary texts can be considered an effective weapon in this battle. One of these influential people is Harold Athol Lanigan Fugard who is known for his anti-apartheid plays. This article scrutinizes the relation between the colonizer and the colonized in Athol Fugard’s
Introduction. A reader turning to this chapter might ask what part film plays in a history of postcolonial literature, and so it is perhaps necessary to begin by explaining that the focus here is not on postcolonial film per se, but on the relationship between film and writing in postcolonial contexts. A topic as expansive as this makes it impossible to adequately historicize each context; however, the term ‘postcolonial film’, in contrast to the more widely used ‘world cinema’, does provide a sense of historical and thematic scope in that it refers to a form of filmmaking that has been impacted by, or that responds to, colonialism and imperialism. Building on Ato Quayson’s definition of the postcolonial in the introduction to these volumes, this chapter works with the claim that ‘If the wide variety of writing that critics and readers group under the label “postcolonial” has anything in common, it is an awkward reliance on imperial remainders.’ Although film has been introduced in very different ways in different colonial and postcolonial contexts, similarities in motivations and effects may be found. In West Africa in the early 1900s, the French used film as a form of cultural colonization, as a tool within their general policy of assimilation of local people to French ways of life; in India the British exploited the economic potential of film, attempting to inculcate British taste so as to bring large financial returns to the empire; in Mexico, film arrived almost a century after political independence from Spain, when the country was under the dictatorial control of Porfirio Díaz, who did not hesitate to exploit the medium to build his own reputation and enforce his policies and ideologies.
These quotations from Toni Morrison’s The Bluest Eye (1970) and a poem by Nalo Hopkinson’s father, Slade Hopkinson, focus on ways in which once-colonized people can be seen to internalize worldviews and behaviours that limit their development, stunt their identities. A call to recognize, challenge and move beyond such destructive limitations runs throughout Canadian/Trinidadian/Jamaican Nalo Hopkinson’s “A Habit of Waste” (2001), as it does through much postfeminist, postcolonial Gothic fiction. This essay explores ways in which post-feminist, postcolonial Gothic women writers engage in a critique of oppressive versions of history and self, inflicted from the colonial past. In so doing, it investigates how their critical and imaginative use of Gothic and postcolonial writing, intersecting at the issue of abjection and body image, rises above colonialism’s negative effects, laughing off and rejecting denigrating constraints embedded in myth, history, story and everyday behaviour.
This article explores postcolonial powers of ambivalence in Octavia Butler’s Wild Seed (1980). It will offer an in-depth analysis of the thematic and ideological characteristics of selected work. We will mainly focus on the theme of the mutual relationship between the colonized and the colonizer in the novel. This relationship is specified to the concept of ambivalence that incarnates the dual, yet, uncontrolled relationship between the colonized and the colonizer. Nevertheless, the colonized considers the colonizer as oppressive but an envious power; and the colonizer judges the colonized as inferior but indigenous. The colonial relationship will also be revealed by using the concept of self-other. Such concept scrutinizes the way the colonized and the colonizer perceive and resist each other. Thus, the study’s main focus point is the power relationship developed in the light of colonial ambivalence and self-other continuum. The colonial characteristics of this study offer a new interpretation of the colonial relationship depicted in the novel. Accordingly, the ambivalent relationship between the colonized and the colonizer will be equal (i.e. both of them have positive and negative attributes). This interpretation paves the way for other discourse studies interested in the depiction of the colonized and the colonizer relationship in postcolonial literature in general, and in Butler’s fiction in particular.
Thomas Keneally is one of Australia’s best-known novelists, with a reputation as a popular but serious writer both at home and abroad. In 1972, the publication of The Chant of Jimmie Blacksmith, his fictional reconstruction of the axe murders of the half-caste aboriginal, Jimmy Governor, in 1900, a dark episode in the history of Australian-Aboriginal relations, brought him local fame. In this interview with Bruce Harding undertaken in New Zealand in 1984, Keneally, with the hindsight then of 12 years, reflects on the novel as a reassessment of social and political change, and considers race relations more generally, before turning to his early career, his break with Catholicism and his attitude towards Australia’s convict past. Harding’s opening and closing commentaries provide historical contexts for the novel’s story and its moment of publication, which coincided with the initial euphoria of the Whitlam years.
The rise of imperialism has given birth to the notion of globalization that connotes several ideas: First, threat to national boundaries; second, rapid technological progresses; and third, the policy of homogenization or uniformity. Technological progresses have been regarded as the main threat on national identity and the main cause of global identity. The discursive reflection of globalization can be studied in literature and best in poetry. Because the local aspect of English poetry places more emphasis on the significance of poetry in the latter half of the 20th century, "The Horses" by the Scottish Edwin Muir (1887-1959) can be an excellent study of the poet's local attitude towards globalization. Although Muir wrote in English, he never lost sense of regionality and national identity. He was always concerned about feeling in one language and thinking in another. This study is an attempt to show Muir's view, as a localized figure, about globalization and the aftermath of technological progresses with a brief look at "The Horses" offering possibility of nationalism.
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