Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
effects the british empire had on india
Feminist movement In Indian literature
essays on post colonialism
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: effects the british empire had on india
Post-colonialism known as an “era” or the “post-colonial theory” that exists since around the middle of the 20th century. Post-colonialism also deals with conflicts of identity and cultural belonging. In Post-colonial writings the themes which are focused on are nationalism, self-identification to anti-imperialistic critique and postcolonial protest. Often protest writing has a political agenda of social change and expresses anger and disillusion at the postcolonial nation state. Nayar points out, “resistance literature in both the colony and the postcolonial nation include testimonial writings, prison narratives, revolutionary tracts and ‘insurgency’ writing. The rise and changes through technology, the manipulated fear of wars, multi-national capitalism, corporate economy, environmental concerns, various rights, terrorism, and all that; through political After colonialism and post colonization there is a re-colonization taking place with India. It is rather continuation of colonialism with certain added features to suit the perpetrators of colonialism, be it art, culture, commerce, or politics. or, we are heading back to colonialism by not resisting the politics of tyranny of a handful of zealots who have virtually consolidated their brutal power and are now out to obliterate the “marginalized”. , postcolonial literature is writing which has been “affected by the imperial process from the moment of colonization to the present day” (Ashcroft et al, 2). In India’s case, this includes novels, poetry, and drama which were written both during and after the British Raj or “Reign,” which came to a formal conclusion with Indian Independence in August 1947. Post colonial literature focuses on Reclaiming spaces and places Asserting cultur...
... middle of paper ...
...racters are strong women or totally weak women. The focus of his character are enduring hard struggles of life. Patience and perseverance is one of the prominent features of his characters in the short stores as they slave away at jobs for long hours, under bad living and working conditions. Most of these characters are able to overcome their difficult situations due to their belief in God and karma its faith that allows persons to not look at the harsh realities of their lives.
Works Cited
Anuj, A. K.. A study of R.K. Narayan's novels. New Delhi: Murari Lal & Sons, 2011. Print.
Kumar, Shiv Kumar. Contemporary Indian short stories in English. New Delhi: Sahitya Akademi, 1991. Print.
Narayan, R K. Malgudi days. New York: Viking Press, 1982.Print
Suman Chakrabony Indian English Literature A Critical Casebook, united kingdom, London ,Roman Books , 2012 Print
Malkani, Gautam. Londonstani. Rotten English: a literary anthology. By Dohra Ahmad New York: W.W. Norton & Co., 2007.
Nowadays, the global division of labour between countries, followed by the resource extraction in the Third World countries, specificity of the world’s economy and migration are showing largely inherited contours of the old colonial order. Thus, a debate regarding the question of whether a contemporary world is postcolonial or not is arising. The purpose of this essay is to critically discuss and analyse the debate, focusing firstly on a brief summary of postcolonial ideas and the concept of decolonization; secondly, the question will be discussed from the perspectives of neo-colonialism and new imperialism as those theories maintain the existence of the new forms of colonialism and argue for the continuation of dominion politics on the
The present paper aims at studying the novel as a love story whose dimensions are touched by caste, creed and other socio-political realities existing in the regionally contextualised boundaries of the South Indian state of Kerala. The narrative of The God of Small Things hinges on or around the Ayemenem House and at times peeps into the misty atmosphere of the History House to delicately explore the big things lurked unsaid inside. This novel features the very worst sort of war, a war that captures dreams and re-dreams them. Altogether, the novel reiterates how it really began in the days when the love laws were made. The laws that lay down who should be loved, and how, and how much. This manifests almost like the guiding motif of this novel. On the whole Arundhati Roy’s The God of Small Things is a major breakthrough in Indian fiction in English. Especially in typical Indian setting, the depiction of an engaging tale of cross caste forbidden love between a Paravan
Ayemenem is the town in the state of Kerala in India. Kerala is the cultural, religious and political hybrid state. To explain the word “hybrid”, I am taking the term “hybridization” from Chemistry as an example. This process occurs during bond formation and defined as “process of mixing of atomic orbitals of different shapes and energies to form hybrid orbitals of same shapes and energies is called hybridization”. The same concept can be applied to the peoples living in colonial India. Peoples living in Kerala belongs to different cultures, traditions and religion, therefore persons living there lose their individual personality and their personalities are shaped to form hybrid personality. This process develop negative impact in their behavior, their creativity is lost, and they are just copies of one another and have no individual identity. I have chosen Feminist Literary theory, because this theory can also applied to post-colonialism. My analysis is based on four women characters belongs to three women generations of the family presented in the novel. I have discussed changes in the personalities, ideas and behavior of women generations in post-colonial India. My focus is to observe “thirst for liberation” in women characters. The colonial period is from 1757 to 1947, when the subcontinent was part of the British Empire; and the postcolonial period, is from 1947 onward, when the subcontinent was partitioned into several new
The works of Indian authors writing in English are often to be found on the best-seller list. They are also incurring and earning an immense amount of critical fame.
By now, R.K Narayan took a turn from his usual way of writing. Moving away from writing books, which were more or less auto-biographical, his exposure to foreign lands would have inspired him to move beyond his world and hone his creativity. Starting right from ‘Mr. Sampath’ (1948) to ‘The Vendor of Sweets’ (1967), this trend was seen in all books written in this period. ‘The Guide’ and ‘The Man-Eater of Malgudi’ is analyzed here, in this context.
Booker, M. Keith. Colonial Power, Colonial Texts: India in the Modern British Novel. Michigan: University of Michigan Press, 1997.
As in representations of the other British colonies, India was used by colonial novelists as a tool of displacement of the individual and re-affirmation of the metropolitan whole. There are three methods by which this effect is achieved. The first method displays an unqualified reliance on a culture too remote to be approached except physically: a hero or protagonist in a pre-mutiny novel is at liberty to escape to India at a moment of crisis, rearrange his life to his advantage and return to a happy ending and the establishment of a newly defined metropolitan life. Dobbin of Thackeray's Vanity Fair (1848) and Peter Jenkins of Gaskell's Cranford (1853) exemplify this well. Even the child Bitherstone of Dickens' Dombey and Son (1848) regards India as his salvation.
Roy, Arundhati. The God of Small Things. New Delhi: Penguin Books India Pvt. Ltd, 2002.
Crane, Ralph J. Inventing India: A History of India in English Language Fiction. London: Macmillan, 1992.
In sum, through their dichotomies of the British and Indian relationship during the emergence of India to independence, Forster and Scott allow the reader to free themselves of their prejudices and open up to their views on historical culture. Forster ‘attaches to India through extravagant metaphorical meanings and anthropomorphisms’ whilst Orwell stated that he ‘didn’t do prophecy’ and that he would not ‘put anything into it that human societies have not already done.’
Recent years have witnessed a large number of Indian English fiction writers who have stunned the literary world with their works. The topics dealt with are contemporary and populist and the English is functional, communicative and unpretentious. Novels have always served as a guide, a beacon in a conflicting, chaotic world and continue to do so. A careful study of Indian English fiction writers show that there are two kinds of writers who contribute to the genre of novels: The first group of writers include those who are global Indians, the diasporic writers, who are Indians by birth but have lived abroad, so they see Indian problems and reality objectively. The second group of writers are those born and brought up in India, exposed to the attitudes, morale and values of the society. Hence their works focus on the various social problems of India like the plight of women, unemployment, poverty, class discrimination, social dogmas, rigid religious norms, inter caste marriages, breakdown of relationships etc.
1. Prem,P.C.K English Poetry in India: A Comprehensive Survey of Trends and Thought Patterns. New Delhi Author Press, 2011
the prefix "post"....implies an "aftermath" in two senses - temporal, as in coming after, and ideological, as in supplanting. It is the second implication which critics of the term have found contestable: if the inequities of colonial rule have not been erased, it is perhaps premature to proclaim the demise of colonialism. A country may be both postcolonial (in the sense of being formally independent) and neo-colonial (in the sense of remaining economically and/or culturally dependant) at the same time. (7)
Allen, Charles. Kipling Sahib: India and the Making of Rudyard Kipling. New York: Pegasus Books, 2009. Print.