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Munos, Delphine. "“Tell it slant”: Postcoloniality and the fiction of biographical authenticity in Hanif Kureishi’s My Ear at His Heart: Reading My Father." Journal of Commonwealth Literature 55, no. 3 (2019): 376–90. http://dx.doi.org/10.1177/0021989418824372.
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In Postcolonial Writers in the Global Literary Marketplace (2007), Sarah Brouillette expands on Graham Huggan’s exploration of the current entanglement between “the language of resistance” inherent to postcolonialism and “the language of commerce” intrinsic to postcoloniality (Huggan, 2001: 264). Connecting the successful marketing of postcolonial writing with the regime of postcoloniality, Brouillette argues that such a regime requires or projects a “biographical connection” (2007: 4) between text and author so that even postcolonial fiction can be thought of as offering a supposedly authentic or unmediated access to the cultural other. This article discusses Hanif Kureishi’s My Ear at His Heart: Reading My Father (2004), in which the British Asian author narrativizes his ambivalent relationship with his father and retraces the latter’s trajectory from India to the UK of the 1960s and 1970s. My aim is to show how this memoir is very much concerned with the relationship between postcolonialism and postcoloniality even as it foregrounds issues of genre, authorship, and (af)filiation. Highlighting the ambiguities and impossibilities inherent in any referential pact (see Lejeune, 1975), My Ear at His Heart not only complicates the demand for “biographical authenticity” that is seen by Brouillette to condition the niche marketing of postcolonial literatures, the memoir also alludes to the reception of Kureishi’s own work, which was framed by “autobiographical” readings of his early novels. Through an analysis of the ways in which My Ear at His Heart re-places issues of postcoloniality and genre at the heart of the father–son relationship, I wish to suggest that Kureishi still has “something to tell us” about the commodification of “minority” cultures, provided that postcolonial scholarship starts taking issues of form seriously.
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Zobaer, Sheikh. "Pre-partition India and the Rise of Indian Nationalism in Amitav Ghosh’s 'The Shadow Lines'." Rainbow: Journal of Literature, Linguistics and Cultural Studies 9, no. 2 (2020): 156–65. http://dx.doi.org/10.15294/rainbow.v9i2.40231.
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The Shadow Lines is mostly celebrated for capturing the agony and trauma of the artificial segregation that divided the Indian subcontinent in 1947. However, the novel also provides a great insight into the undivided Indian subcontinent during the British colonial period. Moreover, the novel aptly captures the rise of Indian nationalism and the struggle against the British colonial rule through the revolutionary movements. Such image of pre-partition India is extremely important because the picture of an undivided India is what we need in order to compare the scenario of pre-partition India with that of a postcolonial India divided into two countries, and later into three with the independence of Bangladesh in 1971. This paper explores how The Shadow Lines captures colonial India and the rise of Indian nationalism through the lens of postcolonialism.
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Iqbal, Liaqat, Irfan Ullah, and Abdur Rehman. "Postcolonial perspective in No Longer at Ease and A Passage to India." Global Language Review III, no. I (2018): 114–25. http://dx.doi.org/10.31703/glr.2018(iii-i).07.
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Postcolonialism with its various aspects is focused in this paper. The present study highlights the key postcolonial issues in Chinua Achebe’s novel No Longer at Ease and E. M. Forster’s novel A Passage to India. While keeping in view length of the chapters, only the first chapter of No Longer at Ease and the first three chapters of A Passage to India have been analyzed and discussed. The postcolonial issues found in these novels are ambivalence, stereotyping, mimicry, hybridity, representation, orality, binarism and marginalization. Almost both of the novels got these issues in some proportion with different contexts but still with many similarities.
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Ren, Xuefei. "From Chicago to China and India: Studying the City in the Twenty-First Century." Annual Review of Sociology 44, no. 1 (2018): 497–513. http://dx.doi.org/10.1146/annurev-soc-073117-041131.
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Since the last quarter of the twentieth century, cities in the Global South have seen extraordinary growth, with China and India as the epicenters of urbanization. This essay critically assesses the state of the field of global urban studies and focuses particularly on the scholarship relating to urban China and India. The essay identifies three dominant paradigms in the scholarship: the global city thesis, neoliberalism, and postcolonialism. In contrast to US urban sociology, which is often preoccupied with the question of how neighborhood effects reproduce inequality, global urban studies account for a much wider array of urban processes, such as global urban networks, social polarization, and the transformation of the built environment. This essay points out the disconnect between US urban sociology and global urban studies and proposes a comparative approach as a way to bridge the divide.
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Roosa, John. "When the Subaltern Took the Postcolonial Turn." Journal of the Canadian Historical Association 17, no. 2 (2007): 130–47. http://dx.doi.org/10.7202/016593ar.
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Abstract This essay evaluates the changing research agendas of Subaltern Studies, an influential series of books on South Asian history that began in 1982. The essay criticizes the original research agenda as articulated by the series editor, Ranajit Guha, and the subsequent agenda proposed by several members of the Subaltern Studies collective. Guha initially proposed that studies of colonial India understand power in terms of unmediated relationships between “the elite” and “the subaltern” and endeavour to answer a counterfactual question on why the “Indian elite” did not come to represent the nation. The subsequent agenda first formulated in the late 1980s, while jettisoning Guha’s strict binaries and crude populism, has not led to any new insights into South Asian history. The turn towards the issues of modernity and postcolonialism has resulted in much commentary on what is already known. Some members of the collective, in the name of uncovering a distinctly “Indian modernity” and moving beyond Western categories, have reified the concept of modernity and restaged tired old debates within Western social theory.
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Hadžija, Sunaj, Jahja Fehratović, and Kimeta Hamidović. "The projection of colonialization and interculturalism throughout symbols in Forster's novel 'A passage to India'." Univerzitetska misao - casopis za nauku, kulturu i umjetnost, Novi Pazar, no. 19 (2020): 100–110. http://dx.doi.org/10.5937/univmis2019100h.
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Imperialism emerged in the late 19th century. Europe's supremacy in various areas of life which led to the view that Europe is above other parts of the world that are uncivilized and culturally fell behind, and that needed to be civilized. This attitude lead to negative phenomena such as racism - contesting the rights of other races and colonialism - conquering territories inhabitated by people of other cultures. The world seen from an imperialist perspective was most often the one colonized by Europe, postcolonial research has critized the way in which European colonial powers (especially England and France) created values of subordinate cultures and established relations between center and margins. However, the notion of discursive domination is spread quickly to all relations between colonizers and colonized, which is why this second group includes all gender and ethic groups that did not have cultural independece, but were marginalized and subjected to institutional repression. As different cultural minorities began to form resistance to agressive political, gender, and racial domination, postcolonialism also represents a disagreement with the passivity towards cultural supremacy which is symbolized in empires that no longer even existed. The novel A Passage to India represents Forster's interests in Indian culture, which was colonized by Great Britain. A Passage to India is an exploration of the spiritual and cultural contrast of the two cultures of East and West.
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Anwar, Ansa, Aasma Irshad, Maria Batool, and Hassan Bin Zubair. "Manifestation of Colonial Subjects in Twilight in Dehli and A Passage to India." World Journal of Social Science Research 9, no. 4 (2022): p35. http://dx.doi.org/10.22158/wjssr.v9n4p35.
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The goal of this research is to examine how the colony is portrayed by both the colonizer and the colonized. This paper focuses mainly on the politics of depiction by implementing the insights of postcolonialism. In this context, Twilight in Delhi by Ahmed Ali also deals with the same subject from the view of the colonized, whereas A Passage to India is a narrative of the British colony by its colonizer E. M. Forster. It may be argued that the writers’ two depictions of a similar colony represent different political and cultural viewpoints. The two authors’ representations of the same colony, one from a colonized civilization and another from that was colonized, consistently reflect their distinctive voices. Additionally, the latest research has incorporated Homi K. Bhabha and Edward Said’s analytical works on the depiction in the postcolonial theoretical perspective and explored the problem of cultural representation while using textual analyses. The research has shown that both works’ representations of colonial India differ significantly because of the authors’ respective cultural roles as colonizer and colonized.
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Khattak, Zahir Jang, Hira Ali, and Shehrzad Ameena Khattak. "Post-colonial Feminist Critique of Roys The God of Small Thing." Global Social Sciences Review IV, no. II (2019): 344–49. http://dx.doi.org/10.31703/gssr.2019(iv-ii).44.
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The present study intends to thoroughly examine the Postcolonial feminist perspective in Arundhati Roys novel The God of Small Things by focusing on the theoretical approaches of Gaytri Spivak, Trinh T.Minha and Ania Loomba. The ambivalent personality of colonized women is tarnished due to subalternity imposed by the patriarchal culture of India. The destructive nature of the Western Imperialism forced the people to endure wild oppression by British colonizers. Postcolonialism paved the way for the double oppression of women. Women became the victim of not only British Imperialists but also native cultural patriarchy. Roy successfully intricates three generations of women i.e Baby Kochamma, Mammachi, Ammu, and Rahel into the fabric of the novel to acme the plight of women in the Third World Nations..
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Dasgupta, Rohit K. "The Politics of Postcolonialism: Empire, Nation and Resistance & Crafting State-Nations: India and Other Multinational Democracies." Asian Affairs 43, no. 3 (2012): 481–84. http://dx.doi.org/10.1080/03068374.2012.720483.
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Rizvi, Aseem Majid, Aisha Khan, and Javeriya Hussain. "Comparative Analysis of Twilight in Delhi and A Passage to India through the Lens of Stylistics and Postcolonialism." Global Language Review VII, no. II (2022): 187–97. http://dx.doi.org/10.31703/glr.2022(vii-ii).16.
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While focusing on the postcolonial discourse, a comparative analysis of A Passage to India(1924) and Twilight in Delhi (1940) has been carried out.The former writing was composed by western author E.M. Forster while the latter was written by South Asian author Ahmed Ali. In both writings, the center of focus is the effects left by colonizers on colonized land,specifically in terms of culture, norms, and values. In order to complete the study in a profound manner, a qualitative approach has been employed in which description, analysis, narrative devices and definitions are utilized as research tools to affirm the deductive approach of the study. The paper is analyzed through postcolonial perspectives with a focus on discourse and stylistics viewpoints of the texts. Political, cultural,communal, social, and religious conditions of the subcontinent are unfolded from the standpoints of informant and colonizers with the implication of dichotomous critique while looking at the miserable situation of the Asian colonized region. As one author belongs to the class of colonizers and the other has its roots in colonized land, the study has explored various similar as well as contrasting elements from the novels.
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Smt. Sudha Kumari. "Exploring the Elements Dichotomy of Human Relations in Khushwant Singh’s Train to Pakistan." Creative Launcher 7, no. 5 (2022): 151–56. http://dx.doi.org/10.53032/tcl.2022.7.5.15.
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The Indian partition experience has generally been seen as being extraordinarily complex and violent kind of appearance in literary works. There are manifestations of oppression and violence that are the most recognized themes in the context of postcolonialism. The “decolonization” of writing, which aims to transcend this colonial history, will bring about and illuminate a wide range of subjects through its interpretation. Numerous books have been published about post-colonialism in India, but writers like Khushwant Singh have seen this magnificent historical period as a matter terrifying phenomenon. His novel, Train to Pakistan (1956) was written on the backdrop of Indian partition. The unavoidable reason of partition has been examined in this novel which was a sprout of radicalism and fundamentalism sparked by bolstering community attitudes. They effectively and precisely express the fear and exposure of human existence brought on by the pangs and enigmas of the consequences of the Partition. In addition to offering a wealth of information, Train to Pakistan is also unconventional in the matter of themes, style and narrativity. Khushwant Singh has provided human qualities that would interpret any sense of authenticity, dismay, and credibility rather than presenting the events in political terms. Thus, the story not only describes the existence of man and his struggle to survive, but it also demonstrates that despite social exclusion, people may still be a source of inspiration for others who are unhappy, upset disappointed and misinformed.
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Mishra, Vijay. "(B)ordering Naipaul: Indenture History and Diasporic Poetics." Diaspora: A Journal of Transnational Studies 5, no. 2 (1996): 189–237. http://dx.doi.org/10.3138/diaspora.5.2.189.
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All diasporas are unhappy but every diaspora is unhappy in its own way. There are two types of (unhappy) Indian diasporas: the old diaspora of exclusivism, the new of the border. V.S. Naipaul belongs to the former, Salman Rushdie to the latter (Mishra, “Diasporic” 421–47). For most people the Indian diaspora of the border is theoretically the more exciting: it feeds easily into late modern questions about ethnicity, postcolonialism, and the idea of the nation-state. It is the natural place to go to for researchers working on questions of migration, the role of electronic bulletin boards, web sites, fusion music, and the cultural logic of what Gayatri Spivak has called “transnationality” (Spivak, “Diasporas” 245). The old, created “before the world was thoroughly consolidated as transnational,” (Spivak, “Diasporas” 245) seems to have faded, lost in the mistaken security of its “familiar temporariness,” lost too in its own nineteenth-century fossil-world (V.S. Naipaul, House 194). It is a remarkably closed world, made up of people whose “journey had been final” and who had become resilient to the point of annoyance (V.S. Naipaul, Area 29). It cannot understand India, “an area [only] of the imagination” but without its memory, it cannot function (V.S. Naipaul, Area 42). Large numbers do not speak any Indian language—“its language not even half understood,” Naipaul had written (Enigma 111)—yet eat Indian food; do not understand the rituals of Indian religions (whether Hinduism, Islam, or Sikhism) but practice them nevertheless. As India “became more and more golden in their memory” they inscribed the Motherland into the new geographical spaces they occupied by reenacting village rituals, songs and epic fragments (V.S. Naipaul, Enigma 130). Against this relatively closed, “quaint” world (reconstituted into meaning and a totality through material or imaginary residues of the homeland), the diaspora of the border is the site of hybridity, change, “newness,” mobility, and almost everything else that goes by the name of postcolonial theory. The real significance of this way of characterizing diasporas of border is that the first diaspora of exclusivism will in time collapse into that of the border.
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Yulistiyanti, Yulistiyanti, Agnes Widyaningrum, Endang Yuliani Rahayu, and Katharina Rustipa. "Hybridity in Jhumpa Lahiri's a Temporary Matter." IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature 10, no. 2 (2023): 1837–48. http://dx.doi.org/10.24256/ideas.v10i2.3145.
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This study aims to reveal hybridity and liminality in Jhumpa Lahiri's short story entitled A Temporary Matter. This research is a qualitative research with a postcolonial approach. The theory used in this research is postcolonialism theory by Homi K. Bhabha. The methods applied in this study include data collection methods and data analysis methods. The data obtained were taken from the speech of the characters and the narrator in the short story A Temporary Matter. Bhabha in The Location of Culture (1994) discusses hybridity in society during the post-colonial era and is applied to diaspora literature. Hybridity is related to human culture and identity. Culture and identity are formed dynamically, they experience development, progress, and decline according to conditions and circumstances. Diaspora literature is produced from the writings of people living outside the country and/or writings that contain diaspora experiences. In the process of hybridity, there is a gap between the two cultures. The gap is called liminality in which there is repression of the (colonial) past that is not revealed. One of the writers included into the category of diaspora writers is Jhumpa Lahiri. In A Temporary Matter, she shows the hybridity experienced by the two main characters of Indian descent living in the United States. They were husband and wife; Shukumar and Shoba. They experienced cultural adaptation to cultures outside India. In their lives, cultural mixing occurs. This mixture is seen in the food, clothing, and language they use. Between these mixtures, several gaps fill the transition. This is found in the main character's utterances.
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Chusna, Inayatul. "Stereotip Dunia Ketiga dalam Film Bride and Prejudice." Buletin Al-Turas 22, no. 1 (2016): 65–87. http://dx.doi.org/10.15408/bat.v22i1.3013.
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Abstract The focus of this research is to expose the representation of the Third World (India) in a transnational film, Bride and Prejudice. By using the theory of representation and some concepts in postcolonial studies, the representation of the Third World are revealed through the characters of the First and Third World and their relationship. The representation of the Third World that creates center and peripheral, and the image of Center as everything confirm the stereotypical representation of the Third World. The love story of the film between the First and Third World characters actually creates prejudices which once again reflecting the First and Third World stereotypes. The genre of the film, the transnational genre, expected to give space for the Third World to be visualized equal cannot remove the stereotypical representation. Bride and Prejudice becomes a transnational film that presents colonial voices. Keywords: Postcolonialism, Representation, First and Third World, Stereotype. ------- Abstrak Fokus penelitian ini menjelaskan tentang representasi dunia ketiga (India) dalam sebuah film transnasional, Bride dan Prejudice. Dengan menggunakan teori representasi dan beberapa konsep kajian poskolonial, representasi dunia ketiga digambarkan melalui hubungan dunia pertama dan ketiga para tokoh film tersebut. Representasi dunia ketiga yang menyebabkan terjadinya pusat dan pinggiran, dan penggambaran pusat sebagai pengokohan stereotip representasi dunia ketiga. Cerita cinta dalam film tersebut, antara para tokoh dunia pertama dan ketigapada dasarnya menimbulkan praduga yang menggambarkan stereotipe dunia pertama dan ketiga. Genre film ini, genre transnasional, diharapkan dapat memberikan ruang bagi dunia ketiga mengenai kesetaraan tidak dapat menghapus stereotip terhadapnya. Bride dan Prejudice menjadi sebuah film transnasional yang merepresentasikan suara-suara kolonial. Katakunci: poskolonial, representasi, dunia pertama dan ketiga, stereotip.
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Dizayi, Saman A. "Resistance and Identity in The God of Small Things Written by Arundhati Roy." Koya University Journal of Humanities and Social Sciences 4, no. 1 (2021): 70–75. http://dx.doi.org/10.14500/kujhss.v4n1y2021.pp70-75.
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This paper presents an analysis of the novel "The God of the Small Things" written by Arundhati Roy. The primary purpose of this paper is to evaluate the idea of resistance and identity that have been described in the novel by the novelist. It will be demonstrated in this novel that how the resistance against the traditions and norms of post-colonial era is related to the self-realisation. There are different kinds of resistance that have been depicted in the novel at various circumstances. In Postcolonial context identity is a complex concept to be located in just a simple definition or to be investigated throughout a single theoretical approach. Resistance as a concept linked to the identity question. The Novel handles this notion and throughout its plot, besides the burden that is left from the colonial legacy, gender identity comes to the surface. Though women resistance appears as a reaction with identity suppression; yet it is a reflection of self-identification of gender inequality under patriarchal traditions inherited from long dominant masculine power. This paper elaborates on each type of resistance and activism that arises against the feudal and patriarchal forces structured by the economic and politically influential people in the new community as a sample in India after postcolonialism. Consequently, one of the points that the research ends with is that the act of resistance validates the pursuit for self-identity, which is an attempt to renown, reclaim and rename the world.
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Sadiq, Kamal, and Gerasimos Tsourapas. "The postcolonial migration state." European Journal of International Relations 27, no. 3 (2021): 884–912. http://dx.doi.org/10.1177/13540661211000114.
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The evolution of migration policymaking across the Global South is of growing interest to International Relations. Yet, the impact of colonial and imperial legacies on states’ migration management regimes outside Europe and North America remains under-theorised. How does postcolonial state formation shape policies of cross-border mobility management in the Global South? By bringing James F. Hollifield’s framework of the contemporary ‘migration state’ in conversation with critical scholarship on postcolonialism, we identify the existence of a ‘postcolonial paradox,’ namely two sets of tensions faced by newly independent states of the Global South: first, the need to construct a modern sovereign nation-state with a well-defined national identity contrasts with weak institutional capacity to do so; second, territorial realities of sovereignty conflict with the imperatives of nation-building seeking to establish exclusive citizenship norms towards populations residing both inside and outside the boundaries of the postcolonial state. We argue that the use of cross-border mobility control policies to reconcile such tensions transforms the ‘postcolonial state’ into the ‘postcolonial migration state,’ which shows distinct continuities with pre-independence practices. In fact, postcolonial migration states reproduce colonial-era tropes via the surveillance and control of segmented migration streams that redistribute labour for the global economy. We demonstrate this via a comparative study of post-independence migration management in India and Egypt, which also aims to merge a problematic regional divide between scholarship on the Middle East and South Asia. We urge further critical interventions on the international politics of migration that prioritise interregional perspectives from the broader Global South.
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Pedro, Dina. "“I did as others did and as others had me do”: Postcolonial (Mis)Representations and Perpetrator Trauma in Season 1 of Taboo (2017-)." Miscelánea: A Journal of English and American Studies 66 (December 13, 2022): 91–111. http://dx.doi.org/10.26754/ojs_misc/mj.20227357.
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Neo-Victorian fiction has been concerned with historically oppressed and traumatised characters from the 1990s onwards (Llewellyn 2008). More recently, neo-Victorianism on screen has shifted its attention to the figure of the perpetrator and their unresolved guilt, as in the TV series Penny Dreadful (Logan 2014-2016) or Taboo (Knight, Hardy and Hardy 2017-present). However, perpetrator trauma is an under-theorised field in the humanities (Morag 2018), neo-Victorian studies included. This article analyses Taboo as a neo-Victorian postcolonial text that explores the trauma of its protagonist James Delaney, an imperial perpetrator who transported and sold African slaves in the Middle Passage for the East India Company. Although the series is not set in the Victorian period, neo-Victorianism is here understood as fiction expanding beyond the historical boundaries of the Victorian era and that presents the long nineteenth century as synonymous with the empire (Ho 2012: 4). Thus, I argue that postcolonial texts like Taboo should be considered neo-Victorian since they are set in the nineteenth century to respond to and contest (neo-)imperial practices. However, neo-Victorian postcolonialism offers ambivalent representations of the British Empire, as it simultaneously critiques and reproduces its ideologies (Ho 2012; Primorac 2018). This article examines the ways in which Taboo follows this contradictory pattern, since it seemingly denounces the imperial atrocity of the slave trade through Delaney’s perpetrator trauma, while simultaneously perpetuating it through his future colonizing trip to the Americas. Hence, Delaney is portrayed as an anti-hero in the series, given that he is both the enemy and the very product of the British Empire.
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Sugirtharajah, R. S. "Postcolonialism and Indian Christian Theology." Studies in World Christianity 5, no. 2 (1999): 229–40. http://dx.doi.org/10.3366/swc.1999.5.2.229.
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Sugirtharajah, R. S. "Postcolonialism and Indian Christian Theology." Studies in World Christianity 5, Part_2 (1999): 229–40. http://dx.doi.org/10.3366/swc.1999.5.part_2.229.
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Lee, Yoo-Hyeok. "(Re)conceptualizing a Politics of Postcoloniality." Journal of Humanities 44 (June 30, 2017): 103–28. http://dx.doi.org/10.21582/tjh.2017.06.44.103.
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Baral, K. C. "Postcoloniality, Critical Pedagogy, and English Studies in India." Pedagogy: Critical Approaches to Teaching Literature, Language, Composition, and Culture 6, no. 3 (2006): 475–91. http://dx.doi.org/10.1215/15314200-2006-006.
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Seth, Sanjay. "From Maoism to postcolonialism? The Indian ‘Sixties’, and beyond." Inter-Asia Cultural Studies 7, no. 4 (2006): 589–605. http://dx.doi.org/10.1080/14649370600982982.
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Artanti, Sophia Kiki, and Mamik Tri Wedati. "SUBALTERNITY IN AMITAV GHOSH’S SEA OF POPPIES: REPRESENTATION OF INDIAN WOMEN’S STRUGGLE AGAINST PATRIARCHY." Prosodi 14, no. 1 (2020): 1–14. http://dx.doi.org/10.21107/prosodi.v14i1.7189.
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This study analyses the subaltern that represented by Deeti in Amitav Ghosh’s Sea of Poppies. The subject of the subaltern as an Indian woman is struggling against patriarchy in society. This study uses the postcolonialism theory, including the theory of subaltern to analyze the representation of the subaltern subject who fights against patriarchy. That subject represented by Indian women as the subject of the subaltern. The narration of Deeti in the first Trilogy Sea of Poppies by Amitav Ghosh is the main focus of this study. This study using postcolonialism theory from Homi K. Bhabha and Gayatri Chakravorty Spivak, then subaltern theory also using Gayatri Chakravorty Spivak which describes how 'colonialized subject' lives and theories from Sylvia Walby and Gerda Lerner for the definition of patriarchy. So, this study mainly about how patriarchy will be related to Deeti as the subaltern explained by Gayatri Chakravorty Spivak. The data will be taken from many aspects such as dialogues, a depiction of the situation, characters, etc. This study analyzed two problems, which are (1) How is subalternity represented in Amitav Ghosh’s Sea of Poppies? (2) How do Indian Women’s struggle to fight against patriarchy in Sea of Poppies by Amitav Ghosh? The results of this study show that Subaltern represented by Indian Women. Then the struggle of Deeti as an Indian Woman and the other characters fights against the patriarchy.
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Bhagavan, Manu. "Princely states and the making of modern India." Indian Economic & Social History Review 46, no. 3 (2009): 427–56. http://dx.doi.org/10.1177/001946460904600307.
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This article examines discussions that took place regarding princely states at the moment of transition from colonial to postcolonial India. It argues for a rethinking of Nehru's vision for ‘the integration of states’, locating his intellectual position in his broader concerns with the United Nations and a framework of international rights. For Nehru, the relationship between princely states and independent India existed reciprocally with that between the new postcolonial state and the UN. The purpose of the article, then, is to understand what ‘princely states’ meant to the imagination of India, and, more broadly, the idea of postcoloniality itself.
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Tripathi, Dhananjay. "Introduction: New Border Studies in South Asia." Borders in Globalization Review 3, no. 1 (2021): 8–11. http://dx.doi.org/10.18357/bigr31202120441.
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In this special section, New Border Studies in South Asia, BIG_Review Board Member and regional specialist Dhananjay Tripathi edits a collection by emerging scholars of the Indian subcontinent. Through new research and fieldwork, themes explored include identity formation, postcoloniality, forced displacement, and looking beyond the human-centric world in border governance
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García-Periago, Rosa M. "More than an Indian teen shrew: Postcolonialism and feminism in Isi Life Mein." Sederi, no. 26 (2016): 109–27. http://dx.doi.org/10.34136/sederi.2016.5.
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This essay explores a Bollywood movie entitled Isi Life Mein (dir. Vidhi Kasliwal, 2010), which exploits The Taming of the Shrew as a play-within-the-film for the first time in Bollywood, and even as an intertext on some occasions. Although apparently a mere teen movie, this article sheds light on the importance of the Indian location, which invites postcolonial readings of the text. From a postcolonial perspective, it is the aim of this essay to rethink how The Taming of the Shrew is caught up and shaped in another culture. The film experiments with, and offers a parody of Shakespeare and his text, to the extent that they are both “reborn.” The movie also reflects on Indian modernity characterized by endless migration and diaspora. This essay equally explores the significance of using The Taming of the Shrew, since cultural debates concerning gender relations are involved. The movie adds to the multiple cultural products that rewrite the play’s ending. One of Isi Life Mein’s main attractions lies in its ability to challenge patriarchy explicitly. Interestingly, postcolonialism and feminism are intertwined in Isi Life Mein, providing new understandings of the Shrew and, ultimately, the Bard.
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Nascimento, Naira Almeida. "As mulheres do império: uma leitura de Ana de Amsterdam / Women’s Empire: A Reading of Ana de Amsterdam." Revista do Centro de Estudos Portugueses 39, no. 61 (2019): 145. http://dx.doi.org/10.17851/2359-0076.39.61.145-160.
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Resumo: Enquadrado no bojo da produção identificada como “literatura dos retornados”, o interesse principal de Ana de Amsterdam (2016a), de Ana Cássia Rebelo, não recai nas imagens traumáticas do retorno ou na violência praticada entre colonizadores e colonizados, como é recorrente no gênero. De forma até sintomática, as lembranças de África são esporádicas na menina de cinco anos que deixou Moçambique junto à família. Em seu lugar, a exuberância de uma Índia portuguesa sonhada e projetada por ela ocupam as lacunas de um presente insatisfatório, dividido entre a criação dos três filhos de um casamento em crise e o emprego burocrático desempenhado numa Lisboa pouco atrativa. Em ambos, tanto na Goa portuguesa como no trajeto para o trabalho, despontam narrativas de mulheres que constituem a síntese entre o diário íntimo de Ana e a escrita testemunhal da diáspora. Numa primeira parte do estudo, recupera-se a gênese do romance no formato do blog assinado pela autora, evidenciando a “escrita do eu”, nos moldes dos estudos de autobiografias, diários e afins. O segundo momento volta-se para a escrita testemunhal no lastro da narrativa pós-colonial e também da pós-memória. Em comum, os dois planos tratam da perspectiva feminina, seja na batalha contemporânea da cosmopolita Lisboa, seja nos desdobramentos silenciados do pós-colonialismo, em meio às histórias duplicadas de outras tantas Anas.Palavras-chave: Ana de Amsterdam; Ana Cássia Rebelo; diário íntimo; literatura de testemunho; blogs.Abstract: Framed in the center of the production identified as “literature of the returnees”, the main focus of Ana de Amsterdam (2016a) by Ana Cássia Rebelo, does not lie in the traumatic images of the return or in the violence practiced between colonizers and colonized, as it is usually the case in this genre. Somehow, even symptomatically, African memories are sporadic in the five-year-old girl who left Mozambique with her family. Instead, the exuberance of a Portuguese India, dreamed and projected by her, occupies the gaps of an unsatisfactory present, dividing herself to raise three children of a marriage in crisis and work in the bureaucratic employment situated in an unattractive Lisbon. In both, Portuguese Goa and on the way to work, narratives of women emerge and represent the synthesis between Ana’s private diary and the testimonial writing of the diaspora. In a first part of the study, the genesis of the novel is recovered in the form of a blog signed by the author, emphasizing the “writing of the self”, in the molds of autobiographies, journals and etc. The second moment turns to the testimonial writing in the basis of the postcolonial narrative and also of the post-memory. In common, the two plans deal with the feminine perspective, whether in the contemporary battle of cosmopolitan Lisbon or in the silenced developments of postcolonialism, in the middle of the duplicate stories of so many Anas.Keywords: Ana de Amsterdam; Ana Cássia Rebelo; diary; testimonial literature; blogs.
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Kolluri, Satish. "Palle Kanneeru Pedutundo (My Village Is Shedding Tears): A Subaltern Critique of the Derivative Form of Postcolonial Nationalism." Asia Pacific Media Educator 29, no. 2 (2019): 195–200. http://dx.doi.org/10.1177/1326365x19895109.
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In positioning myself at the intersection of development (support) communication, postcolonialism, and poststructuralism, I suggest that understanding the derivativeness of the postcolonial nation provides us with the appropriate context to grasp the economic evolution of development paradigms and formation of national and communitarian/communal subjectivities in the postcolonial world. I employ postcolonial derivativeness of the nation as a device in the allegorical deconstruction of the discourse of development and (de)construction of community through the analysis of a popular song penned by the Indian poet and singer, Goreti Venkanna in Telugu, his native language as well as mine.
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Jahan, Dr Farhin. "Tabish Khair’s The Thing About Thugs: Approaching a Postcolonial Study from the Perspective of Oriental Phobia." International Journal of English Literature and Social Sciences 7, no. 3 (2022): 094–100. http://dx.doi.org/10.22161/ijels.73.15.
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The ideas of civilized versus uncivilized or west versus non-west, created with the aid of using the European Enlightenment, had been recognized, elevated and remodeled with the enlargement of European colonialism. Stereotypes of outsiders had been generated with the aid of using the colonial establishments of European nations and a few traits inclusive of laziness, aggression, violence, greed, sexual promiscuity, bestiality, primitivism, innocence and irrationality had been thrown at those businesses termed as ‘others.’ Postcolonialism, with the aid of using the tough colonial manner of wondering and writing literary works, attempts to head past the binaries of the colonizer or the colonized. It tries to reconstruct, reshape and redefine the colonized ‘self.’ Some of the postcolonial theorists bear in mind the colonized because of the colonial differences. Tabish Khair, one of the most important new writers in the Indian subcontinent, specializes in the topics associated with otherness, identification and discontent in colonized cultures. This paper, with the assistance of postcolonial and mental research of the colonized immigrants and their discontent, tries to investigate the ideas of oriental phobia in Tabish Khair’s novel, The Thing About Thugs (2010). It additionally attempts to discover the theoretical and narrative reflections of postcolonialism inside the novel.
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Jahan, Dr Farhin. "Tabish Khair’s The Thing About Thugs: Approaching a Postcolonial Study from the Perspective of Oriental Phobia." International Journal of English Literature and Social Sciences 7, no. 3 (2022): 094–100. http://dx.doi.org/10.22161/ijels.73.15.
Full textAbstract:
The ideas of civilized versus uncivilized or west versus non-west, created with the aid of using the European Enlightenment, had been recognized, elevated and remodeled with the enlargement of European colonialism. Stereotypes of outsiders had been generated with the aid of using the colonial establishments of European nations and a few traits inclusive of laziness, aggression, violence, greed, sexual promiscuity, bestiality, primitivism, innocence and irrationality had been thrown at those businesses termed as ‘others.’ Postcolonialism, with the aid of using the tough colonial manner of wondering and writing literary works, attempts to head past the binaries of the colonizer or the colonized. It tries to reconstruct, reshape and redefine the colonized ‘self.’ Some of the postcolonial theorists bear in mind the colonized because of the colonial differences. Tabish Khair, one of the most important new writers in the Indian subcontinent, specializes in the topics associated with otherness, identification and discontent in colonized cultures. This paper, with the assistance of postcolonial and mental research of the colonized immigrants and their discontent, tries to investigate the ideas of oriental phobia in Tabish Khair’s novel, The Thing About Thugs (2010). It additionally attempts to discover the theoretical and narrative reflections of postcolonialism inside the novel.
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Stasi, Paul. "Decentering Rushdie: Cosmopolitanism and the Indian Novel in English, Pranav Jani, Columbus: Ohio State University Press, 2010." Historical Materialism 20, no. 1 (2012): 232–43. http://dx.doi.org/10.1163/156920612x632836.
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Abstract Decentering Rushdie argues that postcolonial studies has consistently underestimated the investment of the English-language Indian novel in the nation by focusing on a handful of texts that conform to Western assumptions about the bankruptcy of the postcolonial nation-state. Taking Salman Rushdie’s work as the sign of a presumed homology between postcolonialism and a postmodern distrust of totality, Jani demonstrates that his novels are hardly representative of the range of Indian writing in English. Instead, in a series of expert readings of less well-known texts, he demonstrates the commitment to the decolonising project that exists even within the inevitably cosmopolitan worldview of Indians writing in a colonial language. Situating his work within foundational debates in postcolonial studies, this review demonstrates the fresh light he sheds on the vexed relations among historical location, political ideology and literary form.
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ALBERTAZZI, SILVIA. "An equal music, an alien world: postcolonial literature and the representation of European culture." European Review 13, no. 1 (2005): 103–13. http://dx.doi.org/10.1017/s1062798705000104.
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The Postcolonial representation of European culture can alter our (European) perspectives on Western arts. The case of the novel An Equal Music by the Indian writer Vikram Seth is particularly interesting. Although set in Europe (between London, Vienna and Venice) and dealing with European characters, situations, landscapes, and cultural myths, the book offers a peculiarly Postcolonial reading of our classical music. Therefore, by applying Said's contrapuntal analysis to Postcolonial writing, I deal with ‘What the Postcolonial means for us’, taking into account, besides European Literature and Postcolonialism, also the relationship between European music and the Postcolonial sensibility, using Said's and Kundera's essays as keys to Seth's musical and fictional world.
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Del Pino-Díaz, Fermín. "Alexander von Humboldt, escritor y lector de viajes hispanos: ¿Eurocentrismo poscolonial o alteridad intertextual?" Investigaciones Sociales, no. 46 (May 11, 2022): 85–103. http://dx.doi.org/10.15381/is.n46.22812.
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A partir de un recorrido vital sobre el viaje de A. de Humboldt al Nuevo Mundo, se examina particularmente su labor como lector de crónicas de Indias, parte bien conexa de su labor editorial como viajero científico. Todo ello sirve para reflexionar sobre la deuda intertextual de las crónicas de viaje y, sobre todo, sobre la relación particularmente honesta y generosa de Humboldt con la república de las letras hispano-americana y con su civilización plural. Todo ello lleva al autor a cuestionar algunos paradigmas aceptados dentro del campo intelectual llamado postcolonialismo.
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Chakrabarty, Dipesh. "Postcoloniality and the Artifice of History: Who Speaks for "Indian" Pasts?" Representations 37, no. 1 (1992): 1–26. http://dx.doi.org/10.1525/rep.1992.37.1.99p0090f.
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Chakrabarty, Dipesh. "Postcoloniality and the Artifice of History: Who Speaks for "Indian" Pasts?" Representations 37 (January 1, 1992): 1–26. http://dx.doi.org/10.2307/2928652.
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Alessio, Dominic, and Jessica Langer. "Nationalism and postcolonialism in Indian science fiction: Bollywood's Koi Mil Gaya (2003)." New Cinemas: Journal of Contemporary Film 5, no. 3 (2007): 217–29. http://dx.doi.org/10.1386/ncin.5.3.217_1.
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Gunaseelan, Poonkulaly. "Splitting/Violating the “New Indian Woman” in Shashi Deshpande’s The Dark Holds No Terrors (1980)." Zeitschrift für Anglistik und Amerikanistik 66, no. 1 (2018): 91–103. http://dx.doi.org/10.1515/zaa-2018-0009.
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Abstract The dialectics of tradition and modernity in the South Asian context often focus on the female body. Developing this discourse, Sunder Rajan [Sunder Rajan, Rajeswari (1993). Real and Imagined Women: Gender, Culture and Postcolonialism. London: Routledge.] discusses a new brand of woman that features in contemporary culture: the “New Indian Woman.” This figure is able to perfectly harmonize the conflict between tradition and modernity and negotiate seamlessly between the public and private spheres. Based on close readings, I will extend Sunder Rajan’s analysis of the New Indian Woman to Shashi Deshpande’s 1980 novel The Dark Holds No Terrors. Informed by ideas of embodiment, silence and performance, this paper considers how the unobtainability of the New Indian Woman myth in Deshpande’s novel results in a splitting of the self for the protagonist, Sarita. I argue that the splitting of the self occurs on two levels: while represented as a psychological breakdown experienced by Sarita, I contend that it is also reflected as a corporeal act through the violating literary depiction of rape.
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Chari, Sharad, and Katherine Verdery. "Thinking between the Posts: Postcolonialism, Postsocialism, and Ethnography after the Cold War." Comparative Studies in Society and History 51, no. 1 (2008): 6–34. http://dx.doi.org/10.1017/s0010417509000024.
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Lenin spoke at the Second Congress of 1920 to multiple audiences. In continuity with the First International, he spoke in the utopian language of Bolshevism, of the successful revolutionary proletariat that had taken the state and was making its place in history without the intercession of bourgeois class rule. Recognizing the limits of socialism in one country surrounded by the military and economic might of “World imperialism,” however, Lenin also pressed for a broader, ongoing world-historic anti-imperialism in alliance with the oppressed of the East, who, it seemed, were neither sufficiently proletarianized, nor, as yet, subjects of history. There are many ways to situate this particular moment in Lenin's thought. One can see the budding conceits of Marxist social history, or “history from below,” in which millions in the East could become historical subjects under the sign of “anti-imperialism.” One can also see this gesture to those outside the pale as a flourish of the emergent Soviet empire, and as a projection of anxieties about Bolshevik control over a vast and varied Russian countryside with its own internal enemies. But Lenin also spoke to audiences who would make up the next, Third International, like the Indian Marxist M. N. Roy, who saw imperialism dividing the world into oppressed and oppressor nations. For this Third Worldist audience, looking increasingly to the new Soviet Union for material and military support for “national self-determination,” Lenin extends the historic mission of a future world socialism.
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Sweet, Jameson R. "A Separate Country: Postcoloniality and American Indian Nations by Elizabeth Cook-Lynn." American Indian Quarterly 38, no. 1 (2014): 113–15. http://dx.doi.org/10.1353/aiq.2014.0006.
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Kumar, Sangeet. "Transgressing Boundaries as the Hybrid Global: Parody and Postcoloniality on Indian Television." Popular Communication 10, no. 1-2 (2012): 80–93. http://dx.doi.org/10.1080/15405702.2012.638577.
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Kumar, S. Satish. "Questions of Modernity and Postcoloniality in Modern Indian Theatres: Problems and Sources." Rocznik Komparatystyczny 8 (2017): 203–28. http://dx.doi.org/10.18276/rk.2017.8-10.
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Singh, Yash Deep. "Re-constructing Self-identity and Reorienting National Discourse: Critical Insights into an Autobiographical Book Karukku by an Indian Dalit Writer Bama." Contemporary Voice of Dalit 13, no. 1 (2021): 105–11. http://dx.doi.org/10.1177/2455328x211008450.
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All battles cannot be won by swords or guns alone, particularly when the battle is against discriminatory ideologies and supremacist ideas. Dalit Writer Bama’s book Karukku is one such attempt to contest, resist and replace all such flawed ideas and hegemonic dogmas that have dehumanized Indian Dalits for centuries. This testimonio exposes the shameful and ugly facets of Indian societal structure, in which caste-based stratification has unfortunately and unjustly treated those very masses who have most diligently served this ancient civilization with their sweat and blood. Through this book, Bama makes an impactful appeal to her fellow folks—the Dalits and, in particular, to the Dalit women—to join hands together in re-conceptualizing and re-asserting their collective as well as individual identities so as to claim their rightful place in the Indian social order. This article not only delineates upon these multiple dimensions of this masterpiece that have contributed substantially to Dalit feminism but also argues that this book must be read as a thought-provoking piece of ‘Resistance literature’. Further, this article will also make an attempt to trace the intersecting trajectories between ‘Dalit feminism’, ‘Black feminism’ and ‘Postcolonialism’.
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Rice, Ryan. "Presence and Absence Redux: Indian Art in the 1990s." RACAR : Revue d'art canadienne 42, no. 2 (2018): 42–53. http://dx.doi.org/10.7202/1042945ar.
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Les années 1990 sont une décennie cruciale pour l’avancement et le positionnement de l’art et de l’autonomie autochtones dans les récits dominants des états ayant subi la colonisation. Cet article reprend l’exposé des faits de cette période avec des détails fort nécessaires. Pensé comme une historiographie, il propose d’explorer chronologiquement comment les conservateurs et les artistes autochtones, et leurs alliés, ont répondu et réagi à des moments clés des mesures coloniales et les interventions qu’elles ont suscitées du point de vue politique, artistique, muséologique et du commissariat d’expositions. À la lumière du 150e anniversaire de la Confédération canadienne, et quinze ans après la présentation de la communication originale au colloque, Mondialisation et postcolonialisme : Définitions de la culture visuelle V, du Musée d’art contemporain de Montréal, il reste urgent de faire une analyse critique des préoccupations contemporaines plus vastes, relatives à la mise en contexte et à la réconciliation de l’histoire de l’art autochtone sous-représentée.
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Sivalingam, Maaran. "Postcolonial reading of select poems of A.K.Ramanujan." Journal of English Language and Literature 13, no. 3 (2020): 1229–32. http://dx.doi.org/10.17722/jell.v13i3.431.
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The proposed paper will attempt at making a close scrutiny of A.K.Ramanujan’s poems ‘Snakes’, ‘A poem on particulars’, and ‘Small-scale reflections on a great house’, in the light of postcolonialism . Though many attempts have already been made at highlighting postcolonial and postmodern traits, in many Indian poems in English, they have not fore grounded the points of deviation, while applying these theories to Indian poems written in English. The present paper will take up the use of the English language and projection of macrocosmic self (nation) through the microcosmic self (family) for analysis and demonstrate how A.K.Ramanujan’s poems mentioned above can be seen as exemplifying them in clear-cut as well as concrete terms.
 Besides showing the scope for interpreting these three poems from this perspective, the proposed paper also argues that it is the interplay of binary opposites such as the colonizer and the colonized in terms of handling the form and individual self and the collective self in terms of the content that makes possible the postcolonial reading of these three poems.
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Flood, Gavin. "Religion and the Specter of the West: Sikhism, India, Postcoloniality, and the Politics of Translation." Method & Theory in the Study of Religion 23, no. 1 (2011): 79–81. http://dx.doi.org/10.1163/157006811x549698.
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Nijhawan, Michael. "Religion and the Specter of the West. Sikhism, India, Postcoloniality, and the Politics of Translation." Translation Studies 5, no. 1 (2012): 111–14. http://dx.doi.org/10.1080/14781700.2012.628820.
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Draga Alexandru, Maria-Sabina. "An Unconstructable Indian Ocean: Amitav Ghosh’s Ecological Imaginary in Sea of Poppies and The Great Derangement." Revista Canaria de Estudios Ingleses, no. 82 (2021): 143–54. http://dx.doi.org/10.25145/j.recaesin.2021.82.10.
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In his 2019 book The Unconstructable Earth: An Ecology of Separation, Frédéric Neyrat opposes the idea that, having come very close to destroying the Earth in the Anthropocene, man can now use geoengineering to reconstruct it. Instead, Neyrat proposes an “ecology of separation” which recognizes the Earth’s self-regenerating capacity as essentially separate from man’s intrusion, thus suggesting that the condition for the world to survive in an age of increasing apocalyptic dangers is an acceptance of the limitations of human agency. This article will argue that Amitav Ghosh’s own ecological project, developed in his 2016 essaybook The Great Derangement: Climate Change and the Unthinkable, which started as early as his historical opium war novel Sea of Poppies (2008), narrates an ecology of separation similar to Neyrat’s, a version of Graham Huggan and Helen Tiffin’s “green postcolonialism” that confronts Eurocentric aggression against non-European civilizations and against nature
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Freitas, Vivek. "Writing in Inclement Weather: The Dialectics of Comparing Minority Experiences in Threatening Environments." Cambridge Journal of Postcolonial Literary Inquiry 5, no. 1 (2018): 106–14. http://dx.doi.org/10.1017/pli.2017.47.
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This article forms a response to Bryan Cheyette’s essay in this journal, “Against Supersessionist Thinking: Old and New, Jews and Postcolonialism, the Ghetto and Diaspora,” and focuses on the dialectics of comparing minority experiences in a climate of implicit and explicit violence toward minorities. Agreeing with Cheyette’s invocation of such threatening environments, I speak to what he characterizes as the importance of nonbinary thinking by gesturing to similar work unfolding in Black studies, specifically in the theorization of anti-Blackness and the work of Christina Sharpe. I end with a brief discussion of the Modern Jewish-Indian poet Nissim Ezekiel to focalize the practice of the comparative work between Jewish and postcolonial studies in threatening environments. I argue that Ezekiel’s approach highlights the “fluidity” and in-built multiplicity of such environments, and so undermines the seemingly rigidity of violent and singular binaries.
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Ekkanath, Shivani. "Understanding Currents and Theories in Indian and African Postcolonial Literature: Themes, Tropes and Discourse in the Wider Context of Postcolonialism." Interlitteraria 25, no. 2 (2020): 379–93. http://dx.doi.org/10.12697/il.2020.25.2.10.
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The postcolonial narratives we see today are a study in contrast and tell a different tale from their colonial predecessors as minorities and individuals finally have found the voice and position to tell their stories. Histories written about our culture and societies have now found a new purpose and voice. The stories we have passed down from generation to generation through both oral and written histories, continue to morph and change with the tide of time as they re-centre our cultural narratives and shared experiences. As a result, the study of diaspora and transnationalism have altered the way in which we view identity in different forms of multimedia and literature. In this paper, the primary question which will be examined is, how and to what extent does Indian post-colonial literature figure in the formation of identity in contemporary art and literature in the context of ongoing postcolonial ideas and currents? by means of famous and notable postcolonial literary works and theories of Indian authors and theoreticians, with a special focus on the question and notion of identity. This paper works on drawing parallels between themes in Indian and African postcolonial literary works, especially themes such as power, hegemony, east meets west, among others. In this paper, European transnationalism will also be analysed as a case study to better understand postcolonialism in different contexts. The paper will seek to explore some of the gaps in the study of diasporic identity and postcolonial studies and explore some of the changes and key milestones in the evolution of the discourse over the decades.
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Ekkanath, Shivani. "Understanding Currents and Theories in Indian and African Postcolonial Literature: Themes, Tropes and Discourse in the Wider Context of Postcolonialism." Interlitteraria 25, no. 2 (2020): 379–93. http://dx.doi.org/10.12697/il.2020.25.2.10.
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The postcolonial narratives we see today are a study in contrast and tell a different tale from their colonial predecessors as minorities and individuals finally have found the voice and position to tell their stories. Histories written about our culture and societies have now found a new purpose and voice. The stories we have passed down from generation to generation through both oral and written histories, continue to morph and change with the tide of time as they re-centre our cultural narratives and shared experiences. As a result, the study of diaspora and transnationalism have altered the way in which we view identity in different forms of multimedia and literature. In this paper, the primary question which will be examined is, how and to what extent does Indian post-colonial literature figure in the formation of identity in contemporary art and literature in the context of ongoing postcolonial ideas and currents? by means of famous and notable postcolonial literary works and theories of Indian authors and theoreticians, with a special focus on the question and notion of identity. This paper works on drawing parallels between themes in Indian and African postcolonial literary works, especially themes such as power, hegemony, east meets west, among others. In this paper, European transnationalism will also be analysed as a case study to better understand postcolonialism in different contexts. The paper will seek to explore some of the gaps in the study of diasporic identity and postcolonial studies and explore some of the changes and key milestones in the evolution of the discourse over the decades.