Academic literature on the topic 'Postcolonial mimicry'
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Journal articles on the topic "Postcolonial mimicry"
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Owen, Catherine, John Heathershaw, and Igor Savin. "How postcolonial is post-Western IR? Mimicry and mētis in the international politics of Russia and Central Asia." Review of International Studies 44, no. 2 (October 25, 2017): 279–300. http://dx.doi.org/10.1017/s0260210517000523.
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AbstractScholars of International Relations have called for the creation of a post-Western IR that reflects the global and local contexts of the declining power and legitimacy of the West. Recognising this discourse as indicative of the postcolonial condition, we deploy Homi Bhabha’s concept of mimicry and James C. Scott’s notion of mētis to assess whether international political dynamics of a hybrid kind are emerging. Based on interviews with Central Asian political, economic, and cultural elites, we explore the emergence of a new global politics of a post-Western type. We find that Russia substantively mimics the West as a post-Western power and that there are some suggestive examples of the role of mētis in its foreign policy. Among Central Asian states, the picture is more equivocal. Formal mimicry and mētis of a basic kind are observable, but these nascent forms suggest that the dialectical struggle between colonial clientelism and anti-colonial nationalism remains in its early stages. In this context, a post-Western international politics is emerging with a postcolonial aspect but without the emergence of the substantive mimicry and hybrid spaces characteristic of established postcolonial relations.
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Siltaoja, Marjo, Katariina Juusola, and Marke Kivijärvi. "‘World-class’ fantasies: A neocolonial analysis of international branch campuses." Organization 26, no. 1 (May 27, 2018): 75–97. http://dx.doi.org/10.1177/1350508418775836.
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In this article, we build on postcolonial studies and discourse analytical research exploring how the ‘world-class’ discourse as an ideology and a fantasy structures neocolonial relations in international branch campuses. We empirically examine how international branch campuses reproduce the fantasy of being so-called world-class operators and how the onsite faculty members identify with or resist this world-class fantasy through mimicry. Our research material originates from fieldwork conducted in business-school international branch campuses operating in the United Arab Emirates. Our findings show the ambivalent nature of mimicry towards the world-class fantasy to include both compliance and resistance. Our contributions are addressed to postcolonial management studies by discussing the ambivalent nature of mimicry in international branch campuses and the significance of grandiose constructions in organizations for neocolonial relations.
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Islam, Dr MD Rakibul, and DR Nazia Hasan. "Kim and Kip in the Mirror of Mimicry: A Postcolonial Study." Grove - Working Papers on English Studies 27 (December 14, 2020): 25–40. http://dx.doi.org/10.17561/grove.v27.a2.
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The research paper aims to give an accurate account of how Kirpal Singh/Kip in The English Patient by Michael Ondaatje copies the socio-cultural and linguistic norms of the Europeans (colonizers) unlike Kipling’s Kim who emulates the Eastern people (colonized) and their culture. They are examples of going through a long drawn process of growing up, looking into the mirror of mimicry. Kip joins the English army as a grown up, learns the need to show affinity to the new culture by way of imitation, adopting their ways to weave a comfort zone. Being different could be an assaulting fact for both sides, Kip is quick to realize that. But his childish view of looking down upon his native culture is the irony of mimicry. It wipes out the original being to rewrite a new identity. Kip leaves the small community sprouted accidentally in the Italian monastery, showing traces of a stricken conscience. Kim, by the virtue of living in close company of Indians, adopts their habits and manners without any qualm, in a most unconscious manner. He never worries to look or sound his original self which he has not experienced for long. Thus, a kind of reverse mimicry is his fate and character when we look at him as an outsider living as an Indian native. The ambivalence of their characters, presented by both, is an interesting aspect of mimicry. In the paper, we have used the views of postcolonial and cultural literary theorists on mimicry, deliberating upon how with the effect of both the processes, Kip and Kim, consciously or unconsciously, get their national identity peeled off, affixing new hybrid identity.
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Darmawan, Ruly Indra. "Revisiting Bhabha’s Mimicry in George Orwell’s Animal Farm." PIONEER: Journal of Language and Literature 12, no. 2 (December 31, 2020): 141. http://dx.doi.org/10.36841/pioneer.v12i2.731.
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This paper talks about Bhabha’s Mimicry’s idea in Orwell’s novel entitled Animal Farm. Postcolonialism theory is used to analyze the Animal Farm since the novel portrays the dynamic of animals’ lives after being freed from human colonization. Bhabha’s mimicry is utilized to demonstrate Napoleon and his pig family as the principal data that portrays animals that are imitating a human as a result of human’s colonization. The animal is known as the foe of humankind on the ranch that they live. Mimicry ideas utilized are Bhabha’s both ambivalence and term the same but not quite. Those ideas are practised to uncover the pig’s propensity and act that represents postcolonial discourse. The mimicry in Animal Farm begins with Old Major’s discourse that is contaminating all animals on the ranch with his feeling of inadequacy towards the man. It results in another form of colonization directed to the animals as the colonized.
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Iskarna, Tatang. "KOMPLEKSITAS POSKOLONIAL DALAM PUISI “NYANYIAN LAWINO” KARYA OKOT P’BITEK." Adabiyyāt: Jurnal Bahasa dan Sastra 10, no. 2 (December 31, 2011): 259. http://dx.doi.org/10.14421/ajbs.2011.10203.
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This article discusses how an African woman faces the postcolonial complexity as presented in the poem “Song of Lawino” (1966), written by Okot p’Bitek, an Uganda writer. The postcolonial complexity here means the difficult situation of decolonizing process as a result of a cultural clash between local African and Western culture, which has been internalized by some African people. The internalization of the Western culture creates self-hatred racism of African people, political group dispute, woman oppression, and mimicry. Using postcolonial perspective, which is proposed by Franz Fanon, Aime Caesar, and Homi K. Bhaba, the writer analyzes how this poem portrays three phenomena of postcolonial complexity. This postcolonial complexity is investigated through the conflict and the characters in the poem.
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Suwondo, Tirto. "KAJIAN WACANA SASTRA PASCAKOLONIAL DAN PEMBANGUNAN KARAKTER BANGSA." JENTERA: Jurnal Kajian Sastra 3, no. 2 (September 7, 2017): 95. http://dx.doi.org/10.26499/jentera.v3i2.440.
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This article talks about Indonesia literature postcolonial discourse in relation to characters building (nation). The approaches used are postcolonial and pragmatic. Postcolonial approach is used to study the meaning of texts, while pragmatic is used to study the meaning of contexts. The postcolonial approach proves that Indonesia literature texts indicate the existence of postcoloniality in the form of power relation, double identities, mimicry, and resistence. The pragmatic approach shows that postcoloniality can be used by readers as a reference to various temathical ideas; and those ideas can also be made as a projection for characterized self building (nation). AbstrakArtikel ini membahas wacana pascakolonial sastra Indonesia dalam kaitannya dengan pembangunan karakter bangsa. Pendekatan yang digunakan adalah pascakolonial dan pragmatik. Pascakolonial digunakan untuk membahas makna teks, sedangkan pragmatik digunakan untuk membahas makna konteks. Hasil pembahasan pascakolonial membuktikan bahwa teks-teks sastra Indonesia menunjukkan adanya pascakolonialitas yang berupa relasi kuasa, identitas ganda, mimikri, dan resistensi. Hasil pembahasan pragmatik menunjukkan bahwa pascakolonialitas itu oleh para pembaca dapat digunakan sebagai referensi berbagai gagasan tematis; dan gagasangagasan tematis itu dapat pula dijadikan sebagai proyeksi bagi pembangunan diri (bangsa) yang berkarakter
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Lothspeich, Pamela. "Chasing the Parsi Theatre in Bareilly." TDR/The Drama Review 59, no. 2 (June 2015): 9–45. http://dx.doi.org/10.1162/dram_a_00447.
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A contemporary restaging of Pandit Radheshyam Kathavachak’s mythological play Heroic Abhimanyu in the style of Parsi theatre raises questions about postcolonial mimicry, hybrid theatre forms, and the vicissitudes of reviving traditional theatre in India.
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Zeghal, Malika. "On the Politics of Sainthood: Resistance and Mimicry in Postcolonial Morocco." Critical Inquiry 35, no. 3 (January 2009): 587–610. http://dx.doi.org/10.1086/600093.
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Watson, Jini Kim. "Imperial mimicry, modernisation theory and the contradictions of postcolonial South Korea1." Postcolonial Studies 10, no. 2 (May 15, 2007): 171–90. http://dx.doi.org/10.1080/13688790701348565.
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Chakrabarti, Sumit. "Moving beyond Edward Said: Homi Bhabha and the Problem of Postcolonial Representation." International Studies. Interdisciplinary Political and Cultural Journal 14, no. 1 (November 1, 2012): 5–21. http://dx.doi.org/10.2478/v10223-012-0051-3.
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The essay takes up the issue of postcolonial representation in terms of a critique of European modernism that has been symptomatic of much postcolonial theoretical debates in the recent years. It tries to enumerate the epistemic changes within the paradigm of postcolonial theoretical writing that began tentatively with the publication of Edward Said’s Orientalism in 1978 and has taken a curious postmodern turn in recent years with the writings of Gayatri Spivak and Homi Bhabha. The essay primarily focuses on Bhabha’s concepts of ambivalence and mimicry and his politics of theoretical anarchism that take the representation debate to a newer height vis-ŕ-vis modes of religious nationalism and Freudian psychoanalysis. It is interesting to see how Bhabha locates these within a postmodern paradigm.
Dissertations / Theses on the topic "Postcolonial mimicry"
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Sengupta, Aparajita. "NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA." UKnowledge, 2011. http://uknowledge.uky.edu/gradschool_diss/129.
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In spite of the substantial amount of critical work that has been produced on Indian cinema in the last decade, misconceptions about Indian cinema still abound. Indian cinema is a subject about which conceptions are still muddy, even within prominent academic circles. The majority of the recent critical work on the subject endeavors to correct misconceptions, analyze cinematic norms and lay down the theoretical foundations for Indian cinema. This dissertation conducts a study of the cinema from India with a view to examine the extent to which such cinema represents an anti-colonial vision. The political resistance of Indian films to colonial and neo-colonial norms, and their capacity to formulate a national identity is the primary focus of the current study.
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Wyver, Richey. "Almost The Same, But Not Quite: Mimicry, Mockery and Menace in Swedish Transracial Adoption Narratives." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23991.
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This study examines the role and implications of mimicry (Bhabha, 1994) and colonial trans-lation (Young, 2003) in Swedish adoption narratives. Through a deconstructive narrative analysis of three Swedish adoption texts: Längtansbarnen: Adoptivförädrar berättar [The Longed for/Longing Children: Adoptive parents tell their story] (Weigl, 1997), Adoption: Banden som gör oss till familj [Adoption: the ties that make us a family] (Juusela, 2010), and Gul Utanpå [Yellow on the Outside] (Lundberg, 2013); the study explores how mimicry manifests itself in adoption narratives, the process of the translation of the adoptee into a mimic Swede, and how the transnational/-racial adoptee as a mimic poses a threat, as mimicry turns to menace.The study finds that mimicry emerges as a process, where the adoptee is first desired as abody of difference that can become an almost the same Swede, a mimic Swede, while keeping an almost difference. A dual translation process takes place where the adoptee’s body is translated from a body of a difference that is total into a mimic Swede, while a version of Swedishness is translated onto the body. As a mimic, the adoptee communicates their (almost) sameness through an excessive, but limited version of Swedishness, while disavowing their difference.However, their difference is still visible, and continuously communicated through (mis)recognition by others. The adoptee’s mimicry is prone to turn into menace, where they pose a threat to the identity of the white Swede and meanings of white Swedishness.Key Words: Transnational/-racial Adoption; Mimicry; Colonial Translation; DeconstructiveNarrative Analysis; Sweden
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Doyle, Susan. "Ambiguity and Ambiguous Identities in Caryl Phillips's Crossing the River." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-23161.
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In the first chapter of Crossing the River (1993), Caryl Phillips depicts the dilemma of a fluid identity for the peoples of the African diaspora and their descendants by using ambiguity to simulate feelings of contradiction, liminality and a double consciousness. The first character, Nash Williams, struggles with his cultural identity as an emancipated, black slave and missionary who is repatriated in Africa to convert the pagans of Liberia. A postcolonial reading of Nash’s hybrid position illustrates his experiences of unhomeliness, of religious doubt and realisation in the shortcomings of mimicry. The second character, Amelia Williams is divided by her dual identity as the wife of a slave owning-slave liberator in antebellum America. Via a contrapuntal reading of Amelia as the antagonist of the tale, her hostile manner supports the suggestion that she sought to control the peculiar situation which was threatening her livelihood, depreciating her social status and debasing her imperialist values. Her proslavery standpoint could not, however, be established unequivocally. Nevertheless, both Amelia and Nash are unmistakably troubled by inner conflicts engendered through slavery and polarised ideologies.
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Carlsson, Cecilia. "Navigating the Contradictions of Colonial Citizenship : A Study of Chinua Achebe’s No Longer at Ease Focused on Mr Green and Obi Okonkwo." Thesis, Umeå universitet, Institutionen för språkstudier, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-167432.
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This thesis studies Chinua Achebe’s novel No Longer at Ease from a postcolonial perspective, specifically concentrating on its protagonist, the colonized Obi Okonkwo, and his antagonist, the colonizer Mr Green, using the theories of the literary critic Homi Bhabha. It argues that these two characters are hybrids in their ambivalent contact zone by demonstrating firstly, the coinciding presence of reciprocal feelings of sympathy/admiration and contempt, and secondly, that they are culturally cross-bred individuals. Additionally, this thesis examines the mimicry of Obi and reveals that it can be either strategic or subconscious in nature. It concludes that both mimicry and mockery have the potential to destabilize the structural power-imbalance between colonizer and colonized, thereby challenging colonial authority.
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Yousofi, Zehra Ahmed. "No Country for Diasporic Men: The Psychological Development of South Asian Masculinities in The Buddha of Suburbia and The Mimic Man." TopSCHOLAR®, 2016. http://digitalcommons.wku.edu/theses/1612.
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The purpose of this thesis is to examine the psychological development of South Asian masculinity in a diaspora that is depicted in Hanif Kureishi’s The Buddha of Suburbia and V.S. Naipaul’s The Mimic Men. Together, Kureishi and Naipaul construct a complete understanding of masculinity through childhood, adolescent, young adult, and adulthood. Chapter 1 explores the need to displace their father’s masculinity and seek better masculine models that align with the social norms of the diaspora. Chapter 2 establishes the motivation behind seeking peers to define the meaning of masculinity in a diaspora and the disadvantage of this pathway. Chapter 3 demonstrates two possible outcomes for South Asian men attempting to construct a secure masculinity. The difficulties these characters encounter when developing their identity is both a product of their diasporic environment and the lingering effect of colonization through the presence of hegemonic masculinity. They attempt to rectify the inadequacies in their masculinity by refuting a portion of their identity tied to being South Asian in order to better assimilate to the ideals of their diaspora. Ultimately, there are two possible consequences for South Asian men in a diaspora: one is to attempt to negotiate their position as a mixture of both the ideals of the diaspora and South Asian culture and the second is to continue to live a fragmented life of denying aspects of their identity tied to either the diaspora or South Asian culture.
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Khan, Shoukat Yaseen. "History, culture and identity in the novels of Bapsi Sidhwa, Bharati Mukherjee and Hanif Kureishi." Thesis, Tours, 2017. http://www.theses.fr/2017TOUR2018/document.
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L'objectif de cette thèse est d'étudier trois romans écrits par des auteurs anglophones du Pakistan ou de l'Inde, à savoir Bapsi Sidhwa, Bharati Mukherjee et Hanif Kureishi. On pourrait être tenté de placer les trois écrivains de cette étude dans la catégorie «littérature des immigrants». Ils écrivent tous à un moment de migration de masse lorsque l'idée de «choc culturel» parmi les peuples occidentaux commence à être plus évidente. Les trois écrivains sont affectés par des thèmes qui apparaissent seulement de manière marginale dans le débat évoqué ci-dessus, l'accent étant principalement mis sur les difficultés culturelles et sociales des femmes dans la société indo-pakistanaise. Quant à Kureishi, la polarisation mentionnée ci-dessus suppose un accent très différent, impliquant la situation d'un Asiatique né et élevé dans la société occidentale. Dans cette évaluation globale du contexte idéologique et historique commun aux trois écrivains, il sera important d'examiner les attitudes spécifiques adoptées par chaque écrivain par rapport à son expérience personnelle. L'objectif principal de cette étude sera donc thématique, en se concentrant sur les préoccupations spécifiques de ces écrivains et sur la manière dont cela se manifeste dans leur représentation particulière des tensions en jeuThe objective of this thesis is to study three novels written by English-speaking authors of Pakistan or India, namely Bapsi Sidhwa, Bharati Mukherjee and Hanif Kureishi. One might be tempted to place the three writers of this study in the category of "literature of immigrants." They all write at a time of mass migration when the idea of "cultural shock" among Western peoples begins to be more evident. All three writers are affected by themes which appear only marginally in the debate evoked above, much of the emphasis being on the cultural and social difficulties of women in Indo-Pakistani society. As for Kureishi, the polarization mentioned above assumes a very different emphasis, involving the situation of an Asian born and brought up inside Western society. Within this overall assessment of the ideological and historical context common to all three writers, it will thus be important to examine the specific attitudes adopted by each writer in relation to his or her own personal experience. The main focus of this study will therefore be thematic, centering on these writers’ specific preoccupations and the way this is seen in their peculiar depiction of the tensions at stake
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Baazizi, Nabil. "The Problematics of Writing Back to the Imperial Centre : Joseph Conrad, Chinua Achebe, and V. S. Naipaul in Conversation." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA073.
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Dans le sillage de la décolonisation, les récits colonialistes ont systématiquement été réécrits à partir de perspectives autochtones. Ce phénomène est appelé « The Empire writes back to the centre » - une tendance qui s'affirme dans la critique postcoloniale à la fin du XXe siècle. L'objectif de ces actes de réécriture est de lire des textes colonialistes d'une manière barthesienne à l'envers, de déconstruire les dogmes orientalistes et colonialistes, et éventuellement créer un dialogue où il était seulement un monologue. Tourner le texte colonial dedans/dehors et le relire à travers la lentille d'un code ultérieur permet le texte postcolonial de déverrouiller son précurseur colonial et le changer de l'intérieur. Dans ce cadre critique, Heart of Darkness (1899) de Joseph Conrad a été un texte particulièrement influent pour Chinua Achebe et V. S. Naipaul. Leurs romans Things Fall Apart (1958) et A Bend in the River (1979) peuvent être considérés comme une réécriture du roman de Conrad. Cependant, avant d'examiner leurs différentes stratégies de réécriture, il serait utile de les localiser dans la tradition postcoloniale de la réécriture. Alors que Achebe se démarque clairement comme la figure de proue du mouvement, le romancier trinidadien est difficile à catégoriser. Est-ce que Naipaul réécrit, de façon à critiquer, ou d'une manière d'adopter et de justifier, l’idéologie impériale? Comme pas toute réécriture est une forme de « writing back » en termes de critique anticoloniale, la position de Naipaul continue d'être considérée comme l’énigmatique entre-deux d'un «insider» devenu «outsider». Prenant acte de ses différentes perceptions critiques peut devenir un moyen de mettre en évidence de manière efficace la lecture erronée d’Achebe et le détournement de Naipaul du modèle Conradien, un moyen de fixer un cadre pour la conversation simulée cette thèse vise à créer entre les trois romanciersIn the wake of decolonization, colonialist narratives have systematically been rewritten from indigenous perspectives. This phenomenon is referred to as “the Empire writes back to the centre” – a trend that asserted itself in late twentieth-century postcolonial criticism. The aim of such acts of writing back is to read colonialist texts in a Barthesian way inside-out or à l’envers, to deconstruct the Orientalist and colonialist dogmas, and eventually create a dialogue where there was only a monologue. Turning the colonial text inside-out and rereading it through the lens of a later code allows the postcolonial text to unlock the closures of its colonial precursor and change it from the inside. Under this critical scholarship, Joseph Conrad’s Heart of Darkness (1899) has been a particularly influential text for Chinua Achebe and V. S. Naipaul. Their novels Things Fall Apart (1958) and A Bend in the River (1979) can be seen as a rewriting of Conrad’s novella. However, before examining their different rewriting strategies, it would be fruitful to locate them within the postcolonial tradition of rewriting. While Achebe clearly stands as the leading figure of the movement, the Trinidadian novelist is, in fact, difficult to pigeonhole. Does Naipaul write back to, that is criticize, or does he rewrite, and in a way adopt and justify, imperial ideology? Since not all rewriting involves writing back in terms of anti-colonial critique, Naipaul’s position continues to be explored as the enigmatic in-betweenness and double-edgedness of an “insider” turned “outsider.” Taking cognizance of these different critical perceptions can become a way to effectively highlight Achebe’s “(mis)-reading” and Naipaul’s “(mis)-appropriation” of Conrad, a way to set the framework for the simulated conversation this thesis seeks to create between the three novelists
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Sehnalová, Kamila. "Otázka identity v dílech Impresionista a Baumgartnerova Bombaj." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-346734.
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This diploma thesis aims to depict the nature of identity formation in the main characters of two works of postcolonial literature, Hari Kunzru's The Impressionist and Anita Desai's Baumgartner's Bombay. The concept of identity is approached from two perspectives, the traditional and the postcolonial one. Apart from that, the reactions of the two characters to their identity crises are scrutinized. The goal of this thesis is to determine what consequences the extreme implementation of a fluid, therefore ideal postcolonial identity, and the fixed one, as its extreme opposite, might have upon human lives. Special attention is paid to the three terms crucial in the postcolonial theory, liminality, hybridity and mimicry and how they predetermine the characters of the two novels. The analysis shows that neither extreme approach proves to be viable or beneficial for the life of an individual.
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SHAMBA, MBUMBURWANZE N. "SOUS LE SPECTRE DU PÈRE: POÉTIQUE ET POLITIQUE DE LA DÉPENDANCE ET DU SEVRAGE DANS LE ROMAN POSTCOLONIAL AFRICAIN." Thesis, 2011. http://hdl.handle.net/1974/6579.
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This thesis analyzes the major theme of ‘postcolonial genealogy’ in portraying the African bending under the weight of colonial history in Le vieux nègre et la médaille, Une vie de boy of Ferdinand Oyono and Le Chercheur d’Afriques of Henri Lopes. Being a product of a colonial Genesis, the African character runs behind the colonizer’s mirror through his Civilizing Mission. René Girard’s ‘double bind’ theory explains how this cultural assimilation is, in Le vieux nègre et la médaille and Une vie de boy, a dead end because the colonizer needs a subordinate and not an equal. The cohabitation of a black housewife with the French Commander in Le Chercheur d’Afriques should be seen as simply an allegory of postcolonial Africa’s dependency on the West. The consequences of the feminization of the African continent are enormous in the post-colonial imaginary. While the colonizer had conquered Africa with his Herculean body, in Oyono’s novels, his Fall is obtained through the aesthetics of Bakhtinian ‘rabaissement’ which degrades his ‘grotesque body’ to that of the colonized. The colonizer and the colonized are neutralized and leveled in their perishable bodies, thus, making futile the Civilizing Mission that operated by ranking races. Power is never total. It is always imperfect, and can never destroy a subjectivity that resists it. In Oyono’s novels, the Fall of the colonial Father is also obtained through the inquisitive gaze that the colonized return back to the colonizer, and through their ‘subversive mimicry’ that parodies his codes. In Une vie de boy and Le Chercheur d’Afriques, the ‘son-Father’ relationship between the hero and the colonial Father, is also symbolic of the ‘Africa-West’ rapports. Living under the specter of the Father, the son has to negotiate his survival between weaning and parricide. The biological miscegenation in Le Chercheur d’Afriques is a metaphor of the ‘rhizome identity’ of the postcolonial African who renounces both the Fathers of Negritude and those of the Civilizing Mission.Thesis (Ph.D, French) -- Queen's University, 2011-06-24 12:43:30.006
Books on the topic "Postcolonial mimicry"
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Forter, Greg. Critique and Utopia in Postcolonial Historical Fiction. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198830436.001.0001.
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Postcolonial historical fiction offers readers valuable resources for thinking the prehistory of our present. The genre’s treatment of colonialism as geographically omnivorous yet temporally “out of joint” with itself gives it a special purchase on the continuities between the colonial era and our own. These features also enable the genre to distill from our colonial pasts the evanescent, utopian intimations of a properly postcolonial future. Critique and Utopia in Postcolonial Historical Fiction arrives at these insights by juxtaposing novels from the Atlantic world with books from the Indian subcontinent. Attending to the links across these regions, Forter develops luminous readings of novels by Patrick Chamoiseau, J. G. Farrell, Amitav Ghosh, Marlon James, Hari Kunzru, Toni Morrison, Marlene van Niekerk, Arundhati Roy, Kamila Shamsie, and Barry Unsworth. He shows how these works not only transform our understanding of the colonial past and the futures that might issue from it, but also contribute to pressing debates in postcolonial theory—debates about the politics of literary forms, the links between cycles of capital accumulation and the emergence of new genres, the meaning of “working through” traumas in the postcolonial context, the relationship between colonial and panoptical power, the continued salience of hybridity and mimicry for the study of colonialism, and the tension between national liberation struggles and transnational forms of solidarity. Beautifully written and meticulously theorized, Critique and Utopia in Postcolonial Historical Fiction will be of interest to students of world literature, Marxist critics, postcolonial theorists, and thinkers of the utopian.
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Agathocleous, Tanya. Disaffected. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501753879.001.0001.
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This book examines the effects of antisedition law on the overlapping public spheres of India and Britain under empire. After 1857, the British government began censoring the press in India, culminating in 1870 with the passage of Section 124a, a law that used the term “disaffection” to target the emotional tenor of writing deemed threatening to imperial rule. As a result, the book shows, Indian journalists adopted modes of writing that appeared to mimic properly British styles of prose even as they wrote against empire. The book argues that Section 124a, which is still used to quell political dissent in present-day India, both irrevocably shaped conversations and critiques in the colonial public sphere and continues to influence anticolonialism and postcolonial relationships between the state and the public. The book draws out the coercive and emotional subtexts of law, literature, and cultural relationships, demonstrating how the criminalization of political alienation and dissent has shaped literary form and the political imagination.
Book chapters on the topic "Postcolonial mimicry"
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Bhabha, Homi K. "Of Mimicry and Man." In Postcolonial Studies, 53–59. Chichester, UK: John Wiley & Sons, Ltd, 2016. http://dx.doi.org/10.1002/9781119118589.ch3.
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Arich-Gerz, Bruno. "Mimicry à Trois." In World Literature and the Postcolonial, 23–34. Berlin, Heidelberg: Springer Berlin Heidelberg, 2020. http://dx.doi.org/10.1007/978-3-662-61785-4_2.
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Waits, Mira Rai. "Colonial mimicry and nationalist memory in the postcolonial prisons of India." In Neocolonialism and Built Heritage, 168–88. New York: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429429286-9.
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"Postcolonial Desire: Mimicry, Hegemony, Hybridity." In Reconstructing Hybridity, 59–79. Brill | Rodopi, 2007. http://dx.doi.org/10.1163/9789401203890_005.
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Forter, Greg. "The Politics of Hybridity-Mimicry in Hari Kunzru’s The Impressionist and Marlene van Niekerk’s Agaat." In Critique and Utopia in Postcolonial Historical Fiction, 141–81. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198830436.003.0004.
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This chapter critiques the continued influence of Homi Bhabha’s theories of hybridity and mimicry in the colonial context, while putting Bhabha’s ideas into dialogue with those of Roberto Retamar. Hari Kunzru’s The Impressionist and Marlene van Niekerks’ Agaat offer nuanced revisions of both theorists’ positions. They elaborate versions of hybridity and mimicry that are intensely attuned to the interplay between historical forces and subjective experience; they grasp the limited yet real agency of colonized selves in fashioning responses to colonial power; and they situate colonialist textuality in a dynamic relation both to extra-discursive institutions of domination and to subjective interiority. These shared commitments result in fictional historiographies that emphasize the politically variable effects of hybridity-mimicry rather than the inevitable subversion described by Bhabha or the linguistic guerrilla warfare outlined by Retamar.
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Sim, Gerald. "Reorienting Film History Spatially." In Postcolonial Hangups in Southeast Asian Cinema. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463721936_ch02.
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This chapter applies Singapore’s postcolonial spatial epistemology to rethink local film historiography, national identity, and film style. First, the framework bridges Singapore’s bifurcated film history, namely its “golden age” of the 50s and 60s, and the post-90s production revival. Second, in mulling the relationship that bodies have with the inhabited environment, it highlights the oeuvre of documentarian Tan Pin Pin, and finds a spatially attuned artist who fashions affective poetics of ambivalence, uncertainty, and hiraeth. A subsequent examination of unintended ironies created by “new wave” films that appropriate the language of alienation popularized by Western art cinemas, discovers a postcolonial style less reliant on tropes such as mimicry, cultural authenticity, and subaltern agency. These films conscript Deleuzean time-images and “any-space-whatevers” into a postcolonial paradox, in which new wave-inspired films try unsuccessfully to wrench individuals from the inextricable landscape.
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GoGwilt, Christopher, and Melanie D. Holm. "Parrots and Starlings." In Mocking Bird Technologies. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823278480.003.0001.
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This chapter introduces the sense in which “mocking birds” applies to a range of birds that mimic and introduces the different kinds of “technologies” (avian, human, interspecies, poetic, mechanic, etc.) variously addressed by the volume’s contributors. Taking the pairing of parrot and starling as paradigmatic across a range of different philological traditions, the introduction surveys some of the foundational theoretical and methodological problems for the human sciences presented by the topic of bird mimicry. The parrot, global sign of a long history of human-animal mimicry, appears everywhere across different linguistic and literary traditions, a familiar and exotic trope that is something of a touchstone for postcolonial studies. The starling adds to that familiar and exotic trope a complication of classification, cultural difference, and bio-diversity (including all the various mynah birds also called starlings). The foundational problems of bird and word classification posed by parrot and starling extend to the range of scientific, poetic, linguistic, and post-human issues discussed by the volume as a whole, whether addressing this bird, that bird, or even no bird at all.
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"CHAPTER 1. Mimicry Revisited: Latin America, Postcolonial Theory, and the Location of Knowledge." In The Narrow Pass of Our Nerves, 311–44. Vervuert Verlagsgesellschaft, 2011. http://dx.doi.org/10.31819/9783954871643-013.
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Shinjo, Ikuo. "Male Sexuality in the Colony." In Beyond Imperial Aesthetics, translated by Daryl Maude, 97–115. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888455874.003.0005.
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This essay examines the ways in which a crisscrossing of homosexual desires in a novella written in US-occupied Okinawa in the 1950s ruptures the structure of military colonialism and eventually renders that colonial structure inoperative through its illumination of a circuit of certain promiscuous forces. Toyokawa Zenichi's novella "Searchlight" was originally published in the ninth volume of radical students' literary journal Ryukyu University Literature (1956), which was censored, banned, and eventually withdrawn from circulation by the US military apparatus in Okinawa. The novella's disclosure of transference of homoerotic desires across plural bodies and subjectivities offers a fundamental critique of political norms that subtend the US military occupation in Okinawa, including the racialized and gendered hierarchy of the bodies and the equally hierarchical division of the sexual subject and object. The novella's critique of such institutionalized norms through its exploration of mimicry opens up a new circuit of politics that is still missing in Homi Bhabha's theorization of the same practice in postcolonial politics and aesthetics. That is, going far beyond the politics of "subversion" in the early Bhabha and Butler, for instance, the novella discovers a mode of radical mimicry that contaminates and eventually calls into question the very subjectivitiy of the colonizer and the colonized.
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Mourant, Chris. "Rhythm: Parody and (Post)Colonial Modernism." In Katherine Mansfield and Periodical Culture, 109–80. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474439459.003.0003.
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Chapter 2 examines Mansfield’s contributions to the self-consciously ‘modernist’ little magazine Rhythm, edited by John Middleton Murry. Through an analysis of Mansfield’s ‘parodic translations’ and short story contributions to the magazine, the chapter examines the ways in which Mansfield used Rhythm as a performative space in which to develop multiple authorial identities and cultivate different national registers in her work, employing parody, satire and mimicry as modes of critique. Whilst Mansfield identified with the metropolitan modernism advanced by the magazine, it is argued, she also sought to introduce aspects of cultural difference into Rhythm that challenged the spatial imaginaries upon which its discourse of communal affiliation had been constituted. As such, the chapter examines the ways in which Mansfield’s contributions to Rhythm figure an ambivalent negotiation of the colonial/metropolitan binary, helping us to reposition her as a proto-postcolonial writer or ‘colonial-metropolitan modernist’.
Conference papers on the topic "Postcolonial mimicry"
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Sangidu, Sangidu, Harun Prayitno, Sherif El-Jayyar, Hassan Youssef, and Awla Ilma. "Mimicry and East–West Hybridity in Najīb Al-Kīlaniy's Ar-Rajulul-Ladzī Āmana: A Postcolonial Literature Study." In Proceedings of the First International Conference on Science, Technology and Multicultural Education, ICOCIT-MUDA, July 25th-26th, 2019, Sorong, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.25-6-2019.2294274.
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