Because it depends on post-structural theory, and the theory of exile offers a valuable model for postcolonial criticism. His theory of exile enlivens in all of his works from his earliest literary criticism to his later theoretical texts. By exile, Said mentions to the experience of peoples who have displaced from their homes for political conditions and to the experience of knowledgeable homelessness that a critic has to be free of the restrictions of cultural and ideological. Though, he claims that exile is a painful experience that does not lead to perfection but to a greater awareness of the possibility of human
Cabrera is ‘a self-conscious interrogation of the nature and function of communication’ (53). She finds that ‘a large number of modernist writers (many of the also translators) were “foreigners” who sought to express the articulation of alternative identities through a radical new language’ (53). Though English is not a radical new language for Nabokov it is radical enough expressed through his own sense of lacking linguistic and literary devices in the newer language. By moving and being in new languages and cultures you also develop alternative identities that is then expressed with this foreignness as present in Lolita with the European and American tradition as well as the heritage of Humbert having parents of mixed descent (Nabokov 9). This is evident of exile and refugees that brought into a new union create a foreign experience.
of the adze. (4) These examples attest to the fact that, in Faulkner’s view, the performativity of language is contingent on the enhancement of its graphic quality. Through a radical experiment with language in the novel, Faulkner created a kind of foreign
Heart of Darkness is an important example of modernist novel in English literature. It is full of symbols. A symbol is used to imply a hidden meaning behind the surface. When we look at symbols, we can understand the meaning attached to them. Through the story, places, and characters mentioned in the novel, Joseph Conrad wants to show the truth of colonialism and its effect on both white and black people.
Gilbert Ndi Shang observes that the novel is an exposition of “disturbed movement” of historical “progression” in the post colony wherein the new era of hope often carries shades of the past and seeds of future disillusionment. But in this present study, explanations are made that the peculiar language and style as used by Ngugi are distinct linguistic thumb-prints which can be applied in many national transformational agenda in Africa so as to avert the impending collapse of instituted democratic settings which have done little or nothing to ameliorate the ugly trends of neo-colonialism, ineptitude leadership, lack-luster political system and enthroned injustice in many poverty stricken African
“I know about whom I was writing; but for whom was I writing?” asks Ngugi Wa Thiang’O fictional in this case – in the context of post-colonial pluralism of cultures. This is the paradox: knowledge of one’s milieu or rather increasing awareness of one’s indigeneity as the controlling centre of one’s creativity juxtaposed with heterogeneous diaspora of its critical reception. The criteria range from using the generic roots of the novel as Western specific through its Euro-American variations to the aesthetic hinterland of narrative imbedded in the culture of former colonies. Every great work of art is a perfect unity of words and images. Just as a poet is brought up to speak and write one particular language, he is also brought up in one particular religion of culture.
There is this perceived need to stand up for African and other previously colonized indigenous cultures. In this project, I endeavour to critically analyse Chinua Achebe's exploration of colonialism and its impacts on the African society, particularly referring to his first novel, his seminal work, Things Fall Apart. The Igbo society, as depicted in the novel, going through the throes of change due to colonialism becomes symbolic of the entire Africa itself. Analysing the novel closely, I shall look into the contradictory sets of critical views that have come the writer's way, where some critics look at his novel as a simple depiction of a certain society without providing any critique whatsoever while the others appreciate this very style of writing as critiquing the hitherto set Western ideas regarding literary works and their reception. I have also tried to understand Achebe's novel better by studying his non-fictional discourse on colonialism--- essays and interviews, for instance, which have been discussed further in the chapters mentioned.
The Sense of Self and Place in Postcolonial Fiction in J.M. Coetzee’s Waiting for the Barbarians and Nadine Gordimer’s Burger’s Daughter Abstract – Postcolonial literature has created a voice for the oppressed and powerless, it was born out of people’s hope, fears, frustrations, as well as dreams for the future and their need for a personal identity. Even more, postcolonial South African writing involves a firm reaction against the unfavourable stereotypes which were composed during the colonial period, and battles with the highly political matter of the apartheid regime in the country. J.M. Coetzee and Nadine Gordimer, both postcolonial writers from South Africa, present their key issues of transculturation and diaspora to their readers in
Abstract: Chokher Bali is an outcome of immense sensitivity on the part of the novelist, Rabindranath Tagore, who was interested in documentation of human psychology in his novels. Tagore could no longer take delight in dead metaphors of idealism, at a time when he perceived that the whole world around him was rapidly changing. Written during the phase of cultural transition, the novel presents the confusing state of slippages from moral line, which Tagore has considered more obvious than sinful. It was almost like beating the same line, if the novelists sought to preserve in their novels moral ideals and virtues in traditional style. Tagore, in Chokher Bali also, like in his other novels portrays human beings in the light of their idiosyncrasies,
DevanuraMahadeva is a significant Dalit writer of modern Kannada literature. Mahadeva is known for his innovations in the narrative style, which has its roots in the traditional folk narratives. Mahadeva while allowing himself to be a product of social change, has a strong inclination to fall back on the cultural memory as the sure way of enhancing the self-respect and forging new identity for the humiliated communities. Odalala, a novelette, is an important work of Mahadeva. The story has an archetypal character as its protagonist.