Cry , the Beloved Country: Post-Colonial Literary Theory Bibliography w/4 sources Cry , the Beloved Country by Alan Paton is a perfect example of post-colonial literature. South Africa is a colonized country, which is, in many ways, still living under oppression. Though no longer living under apartheid, the indigenous Africans are treated as a minority, as they were when Paton wrote the book. This novel provides the political view of the author in both subtle and evident ways. Looking at
Post-Colonial Theory and Heart of Darkness "Heart of Darkness" begins and ends in London; on the Nellie on the Thames. The most part, however, takes place in the Congo (now known as the Republic of the Congo). The Kongo, as it was originally known, was inhabited first by pygmy tribes and migratory 'Bantus' and was 'discovered' by the Portuguese in the 14th Century. The Portuguese brought with them Catholocism; European missionaries. The Congo was ruled by King Alfonso I from 1506 - 1540 and Shamba
the post-colonial theory. Post-colonial alludes on a period coming after the finish of imperialism or a post-freedom authentic period in once-colonized countries. Edward Said’s earth shattering Orientalism (1978) cleared a path for the post-colonial mindset by constraining scholarship in the West to re-evaluate the relationship between the Occident and Orient. In this manner, his hypothesis of Orientalism introduced the field of discussion which at last prompted to the advancement of the post-colonial
Zimbabwe, though the colonial political authority has left. Yet I wonder if the town elder speaking in the above passage from Yvonne Vera's Nehanda would recognize current Zimbabwean authorities as strangers or countrymen. Could he relate to today's government officials and understand the languages which they speak? Would he feel at home in an African country with borders defined by European imperial powers without regard to the various ethnic nations involved? Post-colonial theory attempts to explain
Controversies about cultural hybridity made it a crucial trend of research in “post-colonial theories”. While some used it to argue for the existence of democracy, others used it to support the current “neocolonial discourse” (Kraidy, 2002, p. 316) .Nevertheless, the current debate on cultural hybridity allows one to ponder upon the existence of hybrid identity and its development in both colonial and post-colonial discourses. In this case, my area of research will focus on cultural hybridity, which
Theory and Practice in Post-Colonial Literatures Introduction More than three-quarters of the people living in the world today have had their lives shaped by the experience of colonialism. It is easy to see how important this has been in the political and economic spheres, but its general influence on the perceptual frameworks of contemporary peoples is often less evident. Literature offers one of the most important ways in which these new perceptions are expressed and it is in their writing
Application of Post-Colonial Theory A group’s past experiences can greatly affect its members for many generations. These groups are often separated by race, gender, or religion. Native Americans have suffered one of the most immoral and inhumane treatments in history. Many books, short stories, autobiographies, and poems were written, often by Native Americans, about the unethical treatment and hardships that this group suffered. One example of a Native American author is Sherman Alexie and his
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
Theories of Post-Coloniality: Edward W. Said and W.B. Yeats (Citations from Said’s essay “Yeats and Decolonization” as published by Bay Press, not the Field Day pamphlet) Post-colonial theory, a mode of thought which accepts European Imperialism as a historical fact and attempts to address nations touched by colonial enterprises, has as yet failed to adequately consider Ireland as a post-colonial nation. Undoubtedly, Ireland is a post-colonial nation (where ‘post-’colonial refers to any consequence
opinions as to interplay of post-modern and post-colonial theory. The title of the novel refers to the birth of Saleem Sinai, the novel’s principal narrator, who is born at midnight August 15th 1947, the precise date of Indian independence. From this remarkable coincidence we are immediately drawn to the conclusion that the novel’s concerns are of the new India, and how someone born into this new state of the ‘Midnight’s child’, if you will, interacts with this post-colonial state. To characterise the
Colonialism and Independence: Nigeria as a Case Study During the colonial period in Nigeria (from about 1850 to 1960), the British, like any other colonial power, asserted their dominance through a variety of media. The colonial experience of Nigeria and Britain, and Nigeria's early post-colonial history can be described, roughly chronologically, in three phases or periods: the formation of a ‘captured' colony, the education and inculcation of ‘proper,' British ways (i.e., the ‘taming'
little quip “decolonization is always a violent phenomenon. ” In this paper, I will seek to locate where this post-colonial violence is located in discourses regarding race, class and gender. Particularly, I will look at the representations
Magic realism as post-colonialist device in Midnight's Children Magic realism in relation to the post-colonial and Midnight's Children 'The formal technique of "magic realism,"' Linda Hutcheon writes, '(with its characteristic mixing of the fantastic and the realist) has been singled out by many critics as one of the points of conjunction of post-modernism and post-colonialism' (131). Her tracing the origins of magic realism as a literary style to Latin America and Third World countries is accompanied
Language Follows Evolution of Jackson and Trewe Relationship Paralleling the Colonization to Post-Colonial Movement in Pantomime The play opens on the edge of a cliff; anything can happen. Derek Walcott, a playwright from the Caribbean, lives his own life on the edge of a cliff. Walcott’s family placed strong emphasis on education and ancestry. His inherent duality, European and African, mirrors that of post-colonialism (Gilbert 131). It is this duality that Walcott tries to reconcile in his work
A post-colonial canonical and cultural revision of Conan Doyle's Holmes narratives Redefining the British literary canon as imperial construct and influence 'A canon,' Ashcroft, Griffiths and Tiffiin argue, 'is not a body of texts per se, but rather a set of reading practices....' (189). They define 'reading practices' as 'the enactment of innumerable individual and community assumptions, for example about genre, about literature, and even about writing....' (189). The purpose of the following
A Post-colonial Study of Heart of Darkness In this paper, Joseph Conrad’s Heart of Darkness will be examined by using a recent movement, Post-colonial Study that mainly focuses on the relationship between the Self and the Other, always intertwined together in considering one’ identity. The Other is commonly identified with the margin, which has been oppressed or ignored by Eurocentric, male-dominated history. Conrad is also conscious of the Other's interrelated status with the Self, but
developments in the humanities, usually grouped under the common label of "post-structuralist theory," have contributed to making us sensitive to the politics of culture, in general, and of literature, in particular. Much thought has been given in the last few decades to how the literary canon emerges and holds its ground, and to the relations between canonical and non-canonical, between the centre and the margins. Post-colonial theorist Edward Said reminds us that "[t]he power to narrate, or to block
increased my awareness how much all bodies of knowledge — about the ways the world works and the way the world, and we ourselves, are — need to be understood as ‘local knowledge systems’. The concept of local knowledge systems has been developed in post-colonial studies of science, and has been applied in assertions that ‘indigenous’, i.e., non-western, and western ways of knowing are both local in the sense that both are culture-dependent and neither has a claim to universality. (1) From that one could
When European colonial authors introduced us to the native, they created the native; the native character became more real to European readers than the actual inhabitants of the new world. The natives' overwhelming otherness eclipsed any individuality that might have been found among them. The native was childish, incapable of reason, and savagely unchristian, or as Lord Cromer described him, a being which "generally acts, speaks and thinks in a manner that is exactly opposite to the European" (qtd
that focused on the Congo. In the article, "Post-colonial Literatures and Counter-discourse," Helen Tiffin raises a number of issues in regards to the hybridization of the colonized and how European universals invariably clash with that of the native. From the very beginning of the article, Tiffin notes that there is a "call to arms" (so to speak) that encompasses the "demand for an entirely new or wholly recovered 'reality,' free from all colonial taint" (95). This hope is idealistic, especially