This is a critical introduction to the fictional and non-fictional writings of one of the most celebrated and significant literary voices to have emerged from India in recent decades. Encompassing all of Amitav Ghosh's writings to date, it takes a thematic approach that enables in-depth analysis of the cluster of themes, ideas and issues that Ghosh has steadily built up into a substantial intellectual project. This project overlaps significantly with many of the key debates in postcolonial studies and so this book is both an introduction to Ghosh's writing and a contribution to the development of ideas on the ‘postcolonial’ — in particular, its relation to postmodernism.
Public Culture , 24 : 1:66 ,
157 – 84 .
R. ( 2009 ), ‘ Social and Public
Experiments and New Figurations of Science and Politics in Postcolonial
Africa’ , PostcolonialStudies ,
12 : 44 ,
423 – 40 .
Corporations, Celebrities and the Construction of the Entrepreneurial
Annika Bergman Rosamond and Catia Gregoratti
Li , T.
M. ( 2007 ),
The Will to Improve: Governmentality, Development, and the Practice
of Politics ( Durham, NC :
Duke University Press ).
Ling , L. H.
M. ( 2017 ),
‘ Postcolonial-Feminism: Transformative Possibilities
in Thought and Action, Heart and Soul ’,
PostcolonialStudies , 19 : 4
The need for a single public culture - the creation of an authentic identity - is fundamental to our understanding of nationalism and nationhood. This book considers how manufactured cultural identities are expressed. It explores how notions of Britishness were constructed and promoted through architecture, landscape, painting, sculpture and literature, and the ways in which the aesthetics of national identities promoted the idea of nation. The idea encompassed the doctrine of popular freedom and liberty from external constraint. Particular attention is paid to the political and social contexts of national identities within the British Isles; the export, adoption and creation of new identities; and the role of gender in the forging of those identities. The book examines the politics of land-ownership as played out within the arena of the oppositional forces of the Irish Catholics and the Anglo-Irish Protestant ascendancy. It reviews the construction of a modern British imperial identity as seen in the 1903 durbar exhibition of Indian art. The area where national projection was particularly directed was in the architecture and the displays of the national pavilions designed for international exhibitions. Discussions include the impact of Robert Bowyer's project on the evolution of history painting through his re-representation of English history; the country houses with architectural styles ranging from Gothic to Greek Revivalist; and the place of Arthurian myth in British culture. The book is an important addition to the field of postcolonial studies as it looks at how British identity creation affected those living in England.
Salman Rushdie is one of the world's most important writers of politicised fiction. He is a self-proclaimed controversialist, capable of exciting radically divergent viewpoints; a novelist of extraordinary imaginative range and power; and an erudite, and often fearless, commentator upon the state of global politics today. This critical study examines the intellectual, biographical, literary and cultural contexts from which Rushdie's fiction springs, in order to help the reader make sense of the often complex debates that surround the life and work of this major contemporary figure. It also offers detailed critical readings of all Rushdie's novels, from Grimus through to Shalimar the Clown.
This book explains theoretical work in postcolonial and postsocialist studies to
offer a novel and distinctive insight into how Yugoslavia is configured by, and
through, race. It presents the history of how ideas of racialised difference
have been translated globally in Yugoslavia. The book provides a discussion on
the critical race scholarship, global historical sociologies of 'race in
translation' and south-east European cultural critique to show that the
Yugoslav region is deeply embedded in global formations of race. It considers
the geopolitical imagination of popular culture; the history of ethnicity; and
transnational formations of race before and during state socialism, including
the Non-Aligned Movement. The book also considers the post-Yugoslav discourses
of security, migration, terrorism and international intervention, including the
War on Terror and the refugee crisis. It elaborates how often-neglected aspects
of the history of nationhood and migration reveal connections that tie the
region into the global history of race. The book also explains the linkage
between ethnic exclusivism and territory in the ethnopolitical logic of the
Bosnian conflict and in the internationally mediated peace agreements that
enshrined it: 'apartheid cartography'. Race and whiteness remained
perceptible in post-war Bosnian identity discourses as new, open-ended forms of
post-conflict international intervention developed.
New configurations of Frenchness in contemporary urban fiction
past, which is still taboo in many aspects of French
society – whether it be history books or just public debate – in order to shed
new light on contemporary social issues like unemployment or racism. At the
same time, postcolonialstudies began to blossom in France, notably because
historians started to establish a continuum between the colonial era and
the present post(-)colonial situation, in which the banlieue itself can be seen
as an internal colony. In this chapter, I wish to establish a parallel between
18 Reimagining North African immigration
collective and individual. In the following sections I lay out some of
the general contours of this historical anthropology project; they in
turn will illuminate some of the principal theoretical and
methodological concerns and interventions underpinning this body of
Colonial and postcolonialstudies: ‘provincializing’ Portugal
individual directors (Pfaff 1984 ; Signaté 1994 ; Murphy 2000a ; Fawal 2001 ; Wynchank 2003 ). 1 Building on
the best of this criticism, this volume will bring together ideas from a
range of disciplines – film studies, African cultural studies and, in
particular, postcolonialstudies – in order 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
consciousness and giving rise to a new
As Achour suggests, Fanon is a relatively minor figure in France
and Algeria. However, Achour glosses over the fact that this marginal
character came from the outside (from the margins of colonial France)
to occupy a central role in Anglo-American critical circles. It was
predominantly in English, cultural studies and postcolonialstudies
programmes that he emerged as a global figure in the 1980s. Homi
Bhabha’s Foreword to the publication of the 1986 edition of Fanon’s
Black Skin, White Masks marked a revival in Fanonian