This book analyses black Atlantic studies, colonial discourse analysis and postcolonial theory, providing paradigms for understanding imperial literature, Englishness and black transnationalism. Its concerns range from the metropolitan centre of Conrad's Heart of Darkness to fatherhood in Du Bois's The Souls of Black Folk; from the marketing of South African literature to cosmopolitanism in Achebe; and from utopian discourse in Parry to Jameson's theorisation of empire.
Postcolonial Manchester offers a radical new perspective on Britain's devolved literary cultures by focusing on Manchester's vibrant, multicultural literary scene. This book presents the North West of England as quintessential 'diaspora space' and contributes to a better understanding of the region in social, cultural and aesthetic terms. It examines the way in which stories, poems and plays set in locales such as 'the Curry Mile' and Moss Side, have attempted to reshape Manchester's collective visions. The book features a broad demographic of authors and texts emanating from different diasporic communities and representing a wide range of religious affiliations. Manchester's black and Asian writers have struggled to achieve recognition within the literary mainstream, partly as a result of exclusion from London-centric, transnational publishing houses. Manchester's unfortunate reputation as one of Britain's 'crime capitals' is analysed by the use of fiction to stretch and complicate more popular explanations. A historical overview of Manchester's literary anthologies is presented through a transition from a writing that paid tribute to political resistance to more complex political statements, and focuses on the short story as a literary mode. The book combines close readings of some of the city's best-known performance poets such as Lemn Sissay and SuAndi with analysis of the literary cultures that have both facilitated and challenged their art. The book affords readers the opportunity to hear many of the chapter authors 'in their own words' by reflecting on how they themselves in terms of the literary mainstream and their identities.
This book provides a sense of the continuing debates about postcolonialism while seeking to anchor some of its key themes and vocabularies securely. It takes as its primary focus, the various reading practices which distinguish and characterise much of the field - practices which for the purpose of this book attend chiefly to literary texts, but which can be applied beyond a strictly literary context to other cultural phenomena. The book introduces some major areas of enquiry within postcolonialism, as well as offers concrete examples of various kinds of relevant reading and writing practices. It provides a brief historical sketch of colonialism and decolonisation, providing the intellectual contexts and development of postcolonialism. The book approaches various attitudes towards nationalist representations in literary and other writings during the busy period of decolonisation in the 1950s and 1960s. It then deals with national traditions and national history, and the conflict between national liberation and imperialist domination. Divisions within the nation such as ethnicity, language, gender and eliteness which threaten the realisation of its progressive ideals are discussed, with attention on Partha Chatterjee's narrative of Indian nationalism and Chinua Achebe's novel Anthills of the Savannah. Other discussions include the re-reading of literary 'classics', the re-writing of received literary texts by postcolonial writers, postcolonial feminist criticism, and migration and diaspora in the context of decolonisation. The 'STOP and THINK' section in each chapter identify focal points of debate for readers to pursue critically.
Despite the well-documented difficulties in production, distribution and exhibition that it has faced over the last fifty years, African cinema has managed to establish itself as an innovative and challenging body of filmmaking. This book represents a response to some of the best of those films. It is the first introduction of its kind to an important cross-section of postcolonial African filmmakers from the 1950s to the present. The book brings together ideas from a range of disciplines, film studies, African cultural studies and, in particular, postcolonial studies, to combine the in-depth analysis of individual films and bodies of work by individual directors with a sustained interrogation of these films in relation to important theoretical concepts. It provides both an overview of the director's output to date, and the necessary background to enable readers to achieve a better understanding of the director's choice of subject matter, aesthetic or formal strategies, ideological stance. The book focuses on what might loosely be called the auteur tradition of filmmaking, closely associated with Francophone African cinema, which explicitly views the director as the 'author' of a work of art. The aim is to re-examine the development of the authorial tradition in Africa, as well as the conception of both artist and audience that has underpinned it at various stages over the past fifty years. The works of Youssef Chahine, Ousmane Sembene, Med Hondo, Djibril Diop Mambety, Souleymane Cissé, Flora Gomes, Idrissa Ouédraogo, Moufida Tlatli, Jean-Pierre Bekolo, and Darrell James Roodt are discussed.
The book analyses why religious and racial minorities in Britain and France are unable to integrate into the nation-state. By examining their religious and cultural integration as well as their postcolonial status, I make the argument that historical attitudes towards postcolonial minorities make it very hard for them to be integrated into national life even as they become legal citizens.
The habit of self-critique
This concluding chapter is designed to allow us to revisit some of the comments we made when defining postcolonialism in Chapter 1 , and to think again about the problems and possibilities of the term in the light of some of the ideas we have encountered throughout Beginning Postcolonialism while meeting some new ones too. We will have an opportunity, then, to reflect critically upon the beginnings we have made. Ultimately, the purpose of this chapter (if not Beginning Postcolonialism as a whole) is to assist you in reaching
The purpose of this chapter is to approach a flexible but solid definition of the word ‘postcolonialism’. In order to think about the range and variety of the term, we need to place it in two primary contexts. The first regards the historical experiences of decolonisation that have occurred chiefly in the twentieth century. The second concerns relevant intellectual developments in the latter part of the twentieth century, especially the shift from the study of ‘Commonwealth literature’ to ‘postcolonialism’. After looking at each, we will be in a
Postcolonial feminist criticism is extensive and variable. Its analyses range across representations of women in once-colonised countries and in Western locations. Some critics have concentrated on the constructions of gender difference during the colonial period, in both colonial and anti-colonial discourses; while others have concerned themselves with the representations of women in postcolonial discourses, with particular reference to the work of women writers. At the level of theory, postcolonial feminist critics have raised a number of
Robert Young and the ironic authority
of postcolonial criticism
When I chanced on postcolonial scholar Robert Young’s Textual Practice
review of Gayatri Chakravorty Spivak’s Outside in the Teaching Machine, I
was startled to find an attack on Benita Parry among its pages.1 It comes
early on, when Young is preparing the ground for a detailed exposition of
Spivak’s book by comparing Spivak’s general critical standing with that of
Edward Said and Homi Bhabha (who together create Young’s chief constellation of postcolonial
Postcolonial minorities and securitization
Public attitudes towards minorities, especially Muslim minorities, in Britain and
France have changed rapidly since the events of 2001 and 2007. Groups that
were defined as “immigrants” or by their country of origin – Pakistan, India,
etc. – have been collapsed under a cultural–religious nomenclature of Islamic or
Muslim, while no such categories have been created for Hindus or Christians.
Hyphenated generational identities have lost their nuanced status. While the
larger argument of this book explains