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Gender and narrative in the postcolonial nation

Why is the nation in a post-colonial world so often seen as a motherland? This study explores the relationship between gender icons and foundational fictions of the nation in different post-colonial spaces. The author's work on the intersections between independence, nationalism and gender has already proved canonical in the field. This book combines her keynote essays on the mother figure and the post-colonial nation with new work on male autobiography, ‘daughter’ writers, the colonial body, the trauma of the post-colony and the nation in a transnational context. Focusing on Africa as well as South Asia, and sexuality as well as gender, the author offers close readings of writers ranging from Chinua Achebe, Ben Okri and Nelson Mandela to Arundhati Roy and Yvonne Vera, shaping these into a critical engagement with theorists of the nation such as Fredric Jameson and Partha Chatterjee. Moving beyond cynical deconstructions of the post-colony, the book mounts a reassessment of the post-colonial nation as a site of potential empowerment, as a ‘paradoxical refuge’ in a globalised world. It acts on its own impassioned argument that post-colonial and nation-state studies address substantively issues hitherto raised chiefly within international feminism.

Open Access (free)
Elleke Boehmer

which appear inimical to women’s investment in the postcolonial nation? And, second, how do they set about writing the erased or marginalised role of the daughter, indeed of the daughter-writer, into the male-authored national family script? How do they locate a (writerly and/or actual) national home? Even if preoccupied with the personal, interstitial and apparently microcosmic, these chapters suggest writers such as Flora Nwapa and Buchi Emecheta, as well as Christina Stead, Shashi Deshpande and Carol Shields, self-consciously work in resistance to the exclusions of

in Stories of women
Helena Grice

containing an embedded narrative of the mother; the daughter/writer as a subject attempts to speak to her mother as a subject rather than about her as an object. 33 Thus, women’s feminist life-writing praxis comes to mirror women’s conversational practices , as a form of group identification and affirmation. Malin’s ideas here also mirror Rita Felski’s influential formulation of feminist confessional practices in her study, Beyond Feminist Aesthetics (1989). 34 Felski identifies feminist confession as a narrative or life-writing mode of

in Maxine Hong Kingston