Cosmopolitanism as an idea is as broad and at times dangerously as vague as the term identity. Therefore, it is essential to deconstruct it into one focused teleological approach in order to understand the manner in which this desired approach can be applied to an understanding of identity construction and identity clashes within and between the EU and its ‘new’ member states, respectively. With regards to this desired approach, this will be an interpretation of Immanuel Kant’s conception of cosmopolitanism. In an edited version of Kant’s seminal publication “Toward Perpetual Peace and Other Writings on Politics, Peace, and History”, Allen W. Wood (2006;261) highlights that the central premise underpinning the term cosmopolitanism is that human
Diasporic literature proposes an individual’s relationship to the former home and the present one, to a culture left behind and to a culture now assimilated. They are living in the third space (Bhabha n.p.) Lot of questions comes to one’s mind when it comes to Diaspora. How do migrated people assimilate? How do they tackle with alienation?
Cultural globalization is often understood as the spatial diffusion of global products. At a deeper level, cultural globalization may be seen as the contested process of internationalization of values, attitudes and beliefs. The spread of cultural practices and symbols makes the world more the same, but at the same time triggers resistance. Hence, cultural globalization while uniting the world is also seen to strengthen local cultures and is a major force behind the creation of identities. Such homogenization or differentiation can be noticed in the change of cultural practices and consumption patterns over time and space.
It is worthy to refer to Robert J. C. Young’s essay “The Cultural Politics of Hybridity” in which he draws a distinction between what he calls “biological hybridity” which means the inter-racial blending that culminates in the production of heterogeneous subjects and what he refers to as “cultural hybridity” (158). Harriet holds a hybrid identity and mixed blood that could ostensibly tarnish
3.3. The Third Paradigm: The Carnivalesque A theory of postcolonial eco-poetics begins with this larger, more inclusive reading of Bakhtin's dialogic, or many-voiced discourse. In a sense, Bakhtin's belief that polyglossic narrative is a kind of "carnival" of interactions could be said in a postcolonial eco-poetical reading to be a "menagerie" of narrative, or more accurately, an ecosystem of narrative. This interactive postcolonial ecological understanding of narrative lends itself to the third paradigm of postcolonial eco-poetics, namely, the carnivalesque paradigm. This carnivalesque nexus works to disintegrate the borders between the self and other; the subject and object cannot be disentangled.
Moreover, the authors separate the neorealist theory into its elements in order to provide a guide to fellow researchers on how to reassemble and adapt the theory for different research projects. The first Chapter shows such a literature review of structural realism, classical realism and other works of neoclassical realism, outlines the neorealist account of foreign policy and sheds light on the problems attached to it. Under anarchy, according to neorealist, states’ policy choices are constrained by the systemic stimuli. Referring to Kenneth Waltz, faced with similar systemic stimuli, states despite having different regime types behave in a similar way. The authors have pointed out four gaps of the Waltzian idea of external determinism, namely perception and misperception, the clarity of signals, problems of rationality, and the need to mobilize state resources (pp.
Sadowski says, “Global chaos theorists oversimplify the difficult relationships between globalization and ethnic conflict and miss the significance of domestic variables, political, economic, and social” (Ishiyama 2004: 4). Due to vastness of globalization, it has become a buzzword that has been clichéd and abused. Perhaps analyzing ethnic conflicts too narrowly without proper factors of globalization or too broadly with no proper consideration of domestic variables cause two extremes that can bring about false interpretations. Moreover, Crawford states that “Globalization may be a ‘trigger’ for cultural conflict but it 's effects are alleviated by other factors, such as the role of state institutions. Democratization and openness aids to prevent the constant refusal of representation to important minorities” (Ishiyama 2004: 5).
Postcolonialism is defined by, and continually struggles with, the influence of the West on colonized nations. While Boehmer’s overview of the notion of postcolonialism in literary theory covers a wide range of authors and their theories, this struggle with Western influence is a recurring theme. Not long into the chapter, Boehmer asks a penetrating question: [W]hat does it mean to label a massive array of cultural productions and political movements located outside the West by means of a term that appears to suggest that all such phenomena ultimately derive in some way from the experience of having been colonized by the West? Is 'postcolonial' on this reckoning not itself a colonial term? (341) While she does not give an explicit answer in
Within Western Eurocentric culture, there exists a discourse concerning the preconceived ideas that narrate the conversations, readings, and information we consume in our academic and daily lives within a highly Eurocentric culture and society. Within the academic art world, there is an underlying plot that actively works to exclude those that do not assimilate to its narrative. This chronology has created much conversation in modern academia regarding the seemingly innocuous and once rarely questioned values the institute has relied on for millenia. The underlying Eurocentric narrative present in the identity of culture and politics is the conversation of the assumed authority of texts, art history or music that play into the canonicity.
Abstract: The term ‘Postcolonial’ applies the notion that the novel or be it any piece of writing for that matter, goes beyond every possible parameters of the locality, region and nation to participate in the global scenario today which is an aftermath of European colonization. This paper examines the cultural and social implications which exist in The God of Small Things written by Indian postcolonial writer Arundhati Roy. The novel does reveal a decisive post colonial condition; through its dialogues, characters and various events and instances it encompass. The study analyzes Roy’s work according to the postcolonial theory and gives importance to the premises of main theorist in this field. Postcolonial literary texts like Roy’s are rewritings