“As we grow older as a race, we grow aware that history is written, that it is a kind of literature without morality. That in its actuaries the ego of the race is indissoluble and that everything depends on whether we write this fiction through the memory of hero or of victim.”Derek Walcot (The Postcolonial Studies Reader 371)
After Edward Said’s Orientalism (1978); a new milestone in the history of literacy criticism that heralded the postcolonial school of criticism many revisionist approaches emanated to question the self proclaimed ‘truths’ and ‘facts’ and the story behind the histories with an aim to discover the other side of the coin. The Subaltern Studies Group founded in 1982 is another name of such emerging schools which seeks to develop a new critique of colonialist and nationalist perspectives in the historiography of colonized countries. This paper concerns itself with one of the most influential playwrights of our time, Girish Karnad and his seminal play Tughlaq which has gained high critical acclaim for its multiple layers of meaning and significance. Time and again critics have explored post colonial political perspectives in the play. However, the objective of my paper is to establish a subaltern turn in the same.
At the very outset it needs to be emphasized that consciously or unconsciously Girish Karnad does not share the political goal of the Subaltern Collective nor do we find intertextual elements in either of them. Notwithstanding that it will be interesting to find parallel between the two of them. The paper initially discusses the origin and objective of the Subaltern Studies Group. The later section deals with the play and its different motives. The concluding section seeks to draw a parallel between K...
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In this essay I shall concentrate on the plays 'Road' by Jim Cartwright and 'Blasted' by Sarah Kane with specific reference to use of language and structure of dialogue as examples of dramatic techniques.
Relations during this time with the prison and the outside world are discussed, as well as how these relations dominated life inside of a prison and developed new challenges within the prison. After Ragen left, Frank Pate become his successors. Pate faced a problem because he neither sought nor exercised the charismatic authority of Ragen. The Prison remained an imperatively coordinated paramilitary organization, which still required its warden to personify its goals and values. Jacobs goes on to discusses how what Pate did, was not the same direction or ideas that Ragen was doing or had. Jacobs’s counties this discussion with the challenges and issues that prison had during the time of 1961 through 1970. Jacobs blames that the loss of a warden who could command absolute authority, the loss of local autonomy, it heightened race problems among blacks, and the penetration of legal norms exposed severe strains in the authrotitarian system, and says pate cant control
Neither Conover nor Santos paints a favorable picture of conditions within prison. In particular, Santos description of violence within prison shows a very disturbing setting for people to live. Santos describes a daily fight to remain safe and alive. ...
The 1970s in the United States was a time of incredible change, doubt, as well as reform. The many issues happening throughout the country helped to lead to the discomfort in many prisoners that eventually lead to their e...
Ralph, P.H.(1997). From Self Preservation to Organized Crime: The Evolution of Inmate Gangs. In J.W. Marquart, & J.R. Sorensen (Eds.). Correctional Contexts: Contemporary and Classical Readings (pp. 182-186). Los Angeles: Roxbury
An American resolution: The history of prisons in the United States from 1777 to 1877 by Matthew Meskell. Stanford Law Review.
Theatre Journal 37.4 (1985): 426-439. Print. Wheeler, Kip. " Literary Terms and Definitions M." Literary Terms and Definitions "M" Carson-Newman University, n.d. Web. 12 May 2014.
When it comes to post-colonial literature, most initially think about the colonization of other countries and how it has affected the natives. Though it is the most well known form of post-colonial literature, it is not the most wide-spread. By slightly altering the framing in which one looks at it, the idea that feminist literature by women from a patriarchal society is post-colonial literature begins to make sense.
The eunuch is an integral part of the 18th century play The Mogul Tale, by Elizabeth Inchbald. He serves a historical role by being the Mogul’s advisor, watchman, and, most importantly, harem guard. Eunuchs are generally defined as castrated males and are thus excellent choices to guard the Mogul’s women – no fear of the guard taking the ladies for himself. Inchbald reinforces these noble positions by showing the eunuch as the Mogul’s “right-hand man”. But with the passing of time these traditional roles have died along with the people who embraced them. Eunuchs now exist in an India that has all but forgotten their position as protectors. They are now part of a larger, marginalized group that exists on the fringe of Indian society - the hijras1.
Postcolonial criticism, as suggested in the textbook, “has developed because of the dramatic shrinking of the world and the increasing multicultural cast of our own country” (1603). As described by Andrea Smith in his book “From Heteropatriarchy and the Three pillars of White Supremacy”, “The
As one critic has suggested, nations themselves are narrations. The power to narrate, or to block other narratives from forming and emerging, is very important to culture and imperialism, and constitutes one of the main connections between them. (xiii)
2nd ed. of the book. USA: Penguin Books, Ltd. [Accessed 01 January 2014]. The Prison Reform Trust.
In order to develop her argument, Mould relies on the texts of three authors and their contributions to the postcolonial discourse: Fanon’s Black Skin, White Masks, Homi Bhabha’s foreword to the 1986 edition of this book, and Chilla Bulbeck’s, Re-Orientating
In this paper, I will be focusing briefly on my knowledge and understanding of the concept of Applied theatre and one of its theatre form, which is Theatre in Education. The term Applied Theatre is a broad range of dramatic activity carried out by a crowd of diverse bodies and groups.
Aparna, Bhargava. Theatres of Independence: Drama, Theory, and Urban Performance in India Since 1947. New York: University of Iowa Press, 2009.