This paper rediscovers Archibald Forder as a forgotten American Orientalist, who is surprisingly left out of account by postcolonial critics. Forder's travel books record his life, travel experiences, and missionary works in Trans-Jordan between the years 1891 and 1920. This paper illuminates how Forder’s depictions of the Arabs and “going native” process are in tune with an inherent ambivalence and contradiction of the colonial discourse. While Said (1978) iterates the Western negative representations of the Orient, Bhabha (1994) theorizes the colonized’s mimicry of the colonizer. In building on Said’s monolithic discourse, this paper argues that Forder’s postcolonial discourse oscillates between positive and negative portrayals of the Arabs.
In one instance Nabokov is creating nonsense out of a verse by Kipling (Nabokov 448), which again suggests this international personality who can manoeuvre though different languages, playing with words, nevertheless, with the English tradition in mind. This makes Nabokov’s postscript a bit ironic since he throughout the novel is using the English canon as reference in which aspect it seems more than his heritage additional to his ability to play around with this content in different languages suggests that he does indeed transcend his heritage as an illusionist of languages. To the extend in which this is done may, however, be an indication of
The type of solutions tried, succeeded and tried, failed should be taken into consideration before finalizing any solution to the problem administered. A comparative analysis with a little bit of critical thinking is warranted for the better implementation of the solutions. These, then, will be approached by a thorough examination of the concepts of multiculturalism, migration, and diversified living together. The risks and troubles endured by millions of Indians who leave their homeland India for surrounding countries for want of identity, occupies an important place in the contemporary English language writers from Indian subcontinent. Ghosh’s novels The Circle of Reason, The Shadow Lines, In an Antique Land, The Hungry Tide and Sea of Poppies are constituted with the travails of migration, cosmopolitanism, exile and search for identity.
It combines social, cultural, and political history with the hardships and goal of a travel book. With Kim, a young white boy, sahib, at its center and his friend and mentor the Lama, we see the world of India in the nineteenth century as it is ruled by Great Britain. The story unfolds against the backdrop of The Great Game, the political conflict between Russia and Britain in Central Asia. It is set after the Second Afghan War which ended in 1881, but before the Third. The novel is notable for its detailed portrait of the people, culture, and varied religions of India.
A Passage to India begins and ends by posing the question of whether it is possible for an Englishman and an Indian to ever be friends, at least within the context of British colonialism. Forster uses this question as a framework to explore the general issues of Britain’s political control of India on a more personal level, through the friendship between Aziz and Fielding. At the beginning of the novel, Aziz is scornful of the English, wishing only to consider them comically or ignore them completely. Yet the intuitive connection Aziz feels with Mrs. Moore in the mosque opens him to the possibility of friendship with Fielding. Through the first half of the novel, Fielding and Aziz represent a positive model of liberal humanism:
Sahgal focuses on cultural identity, a phenomenon that is very delicate, especially in a country having a diversified culture like India. Her concern for a united nation caught within the clutches of a multicultural society is brought to the lime light. Mistaken Identity is set in the twilight years of British rule in India. The novel centers around the year of 1929, India is torn by strikes, the British Raj is close to panic, and Bhushan Singh, the purposeless but amiable son of a minor Raja, is arrested on his train journey home to north India, mistakenly charged with treason, and thrown into jail. Around the mystery of his arrest and into his stories Sahgal infuses suspense, gentle irony, and a wealth of Northern India’s culture.
M. Forster’s well-known and controversial novel, A Passage to India. It is an exemplary literary case that teaches us ways of knowing as to how to approach otherness in its diverse categories. Yet, as criticized by many, the novel is said to be controversial due to its eclectic scope and unclear vision through which one finds it hard to decide upon the authorial intention and position on the Anglo-Indian encounter. This lacking of position concerning the tensional situation in colonial India makes Forster appear as a persona non grata in the political scene. Forster reveals several fallacies of English colonial rule and analyzes the cultural and raced-based conflict between the Indian and the English, scrutinizing the colonial period of the British Raj from with a double bind.
Kipling 's ballad advises us that the great sort of relativism was initially just a method for lecturing resistance of others—the Other. But, Edward Said needs us to trust that Kipling 's perspectives of Orientals in Kim are "cliché," that Kipling considers all Indians as second rate, and that he sets a pilgrim partition that couldn 't be bridged.  Said gets a great part of the import and tenor of Kipling 's novel straight off-base. Said additionally has the chafing propensity for
The immunity from the political colonialism spread an invigoratingly salubrious breeze of far-out themes to oeuvre. Amitav Ghosh, a trailblazer of Indian English Literature, concentred on these historical nationalistic issues such as diaspora, migration, refugees, hegemonic colonialism; socio-economic and cross culturalism like east-western counter, caste and class etc. In The Shadow Lines, Ghosh incorporates diegetic elements; the discourse’s position in time and space, the geographical influence, as well as the narrator’s reminiscence while winnowing the characters based on their subjective attributes. This research paper undertakes to reflect the meandering narrative built on the labyrinth of the author’s crisscrossed memories of the people,
Samskara is a collision with a new sort of awareness of self, partly conditioned by existential thinking. Meenakshi Mukherji commented on the theme of the novel in her essay titled, Samskara, that, “The difficult and uneasy process of transition between the fixed settled order of life and the still inchoate stirring of self is part of the thematic concern of the novel. Although largely allegorical in texture and mythic in its conscious structure, the novel does not repudiate the demands of realism. Thus both in content and form it can serve as an illustration of the kind of mutation that a western form has undergone in India” (83). Ananthamurthy’s most of the characters and context of the works are from the real life situations.