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KEY TERMS OF POSTCOLONIALISM.
Ø Prepared by: KAVITABA P. GOHIL
Ø Roll No: 19
Ø Batch: 2017-19
Ø Email: kavitabaprahaladsinhjigohil@gmail.com
Ø Enrollment No: 2069108420180018
Ø M.A (English): SEM -3
Ø Paper – 11: THE POSTCOLONIAL LITERATURE
Ø Submitted to: Smt .S. B Gardi, Department of English, MK Bhavnagar University.
Ø Words count: -
#INTRODUCTION:
The field Postcolonial studies gas been gaining romance since the 1970s. The growing currency within the academy of the term “Postcolonial” was consulted by the appearance in 1989 of the empire writer back. Theory and practice in the postcolonial literature by Bill Ashcroft, Gareth Griffiths, and Holon Stiffen. The debate surrounding the status of settler countries as Postcolonial suggests that issues in Postcolonial studies often transcend the boundaries of strict definition, the formation of the colony through the various mechanism of control and the various stages in the development of scholars in the field.
#SELECTED KEY TERMS:
#ABROGATION:
Abrogation refers to the rejection by post-colonial writers of a normative concept of ‘correct’ or ‘standard’ English used by certain ABROGATION classes or groups, and of the corresponding concepts of inferior ‘dialects’ or ‘marginal variants’. The concept is usually employed in conjunction with the term appropriation, which describes the processes of English adaptation itself, and is an important component of the post-colonial assumption that all language use is a ‘variant’ of one kind or another (and is in that sense ‘marginal’ to some illusory standard). Thus abrogation is an important political stance, whether articulated or not and even whether conscious or not, from which the actual appropriation of language can take place.
In arguing for the parity of all forms of English, abrogation offers a counter to the theory that use of the colonialist’s language inescapably imprisons the colonized within the colonizer’s conceptual paradigms – the view that ‘you can’t dismantle the master’s house with the master ‘stools’. Abrogation implies rather that the master’s house is always adaptable and that the same tools offer a means of conceptual transformation and liberation. Although abrogation has been used to describe the rejection of a standard language in the writing of post-colonial literature, it can, like appropriation be used to describe a great range of cultural and political activities – film, theatre, the writing of history, political organization, modes of thought and argument. Individuals who are involved in these things may abrogate any centralizing notion of the ‘correct’, or standard, the way of doing things and re-define the practice in a different setting.
#ANTI COLONIALISM:
The political struggle of colonized peoples against the specific ideology and practice of colonialism Anti-signifies the point at which the various forms of opposition become articulated as a resistance to the operations of colonialism in political, economic and cultural institutions. It emphasizes the need to reject colonial power and restore local control. Paradoxically, anti-colonialist movements often expressed themselves in the appropriation and subversion of forms borrowed from the institutions of the colonizer and turned back on them.
Thus the struggle was often articulated in terms of a discourse of anti-colonial ‘nationalism’ in which the form of the modern European nation-state was taken over and employed as a sign of resistance Anti-colonialism has taken many forms in different colonial situations; it is sometimes associated with an ideology of racial liberation, as in the case of nineteenth-century West African nationalists such as Edward Wilmot. In the second half of the twentieth century, anti-colonialism was often articulated in terms of a radical, Marxist discourse of liberation, and in constructions that sought to reconcile the internationalist and anti-elitist demands of Marxism with the nationalist sentiments of the period, in the work and theory of early national liberationist thinkers.
Anti colonialism the movement that oppose colonialism. Anti colonial struggle the opinion war through film more lasted from 1839 to 1842 it begin because the British kept trafficking opium through India into the China. China in British were doing this because they really wanted to trade Chinese birth cake new opium was only product that China could not produce for itself, so the British wanted to trade with China. China site no we already have everything we need and then the British said oh wait but we have got this opinion in China said we don't really want either but the British food traffic it through India and then into China and threaded there even through .
# Commonwealth literature:
Commonwealth literature does not exist by Salman Rushdie but he is one of the key representatives of contemporary commonwealth literature. As an Indian-British novelist, he is world famous for his novel Midnight’s Children (1981) which won the booker prize. Most of his books are set in India and have a particular emphasis on history.
What is commonwealth? The original phrase “the commonwealth” or “the common weal” comes from the old meaning of “wealth” which is “well-being”. The term literary, mean “common well-being”. Commonwealth means British nation and political community founder for the common good. It deals with public welfare. Commonwealth literature was generally used to refer to the literatures of colonies, former colonies and dependencies of Britain excluding the literature of England, commonly it shows the nationality. Therefore, after all we can say that commonwealth literature means master slave relationship. It means inferior nations are in under the powerful nation.
# POST-COLONIALISM:
Broadly a study of the effects of colonialism; on cultures and societies. It is concerned with both how European nations conquered, and controlled "Third World" cultures and how these groups have since responded to and resisted those encroachments. Post-colonialism, as both a body of theory and a study of political and cultural change, has gone and continues to go through three broad stages:
‘An initial awareness of the social, psychological, and cultural inferiority enforced by being in a colonized state the struggle for ethnic, cultural, and political autonomy a growing awareness of cultural overlap and hybridity.’
Postcolonial literature is the writings produced by members of the indigenous cultures or by settlers (and their descendents) who have ties to both the invading culture and the oppressed one. (Agreement about the inclusion of the latter is not universal.) In English-speaking nations, the term usually refers to the literature of former colonies of the British Empire.
Postcolonial literary criticism refers to the analysis that looks to uncover the colonialist or ant colonialist ideologies in the text. It means Post colonialism is the study of a culture after the physical and/or political withdrawal of an oppressive power.
#Hybridity:
However, Young himself offers a number of objections to the indiscriminate use of the term. He notes how influential the term ‘hybridity’ was in imperial and colonial discourse in negative accounts of the union of disparate races – accounts that implied that unless actively and persistently cultivated, such hybrids would inevitably revert to their ‘primitive’ stock. Hybridity thus became, particularly at the turn of the century, part of a colonialist discourse of racism. Young draws our attention to the dangers of employing a term so rooted in a previous set of racist assumptions, but he also notes that there is a difference between unconscious processes of hybrid mixture, or creolization, and a conscious and politically motivated concern with the deliberate disruption of homogeneity. He notes that for Bakhtin, for example, hybridity is politicized, made contestatory, so that it embraces the subversion and challenge of division and separation. Bakhtin’s hybridity ‘sets different points of view against each other in a conflictual structure, which retains “a certain elemental, organic energy and open-endedness”. It is this potential of hybridity to reverse ‘the structures of domination in the colonial situation’, which Young recognizes, and that Bhabha articulates. ‘Bakhtin’s intentional hybrid has been transformed by Bhabha into an active moment of challenge and resistance against a dominant colonial power . . . depriving the imposed imperialist culture, not only of the authority that it has for so long imposed politically, often through violence, but even of its own claims to authenticity’. Young does, however, warn of the unconscious process of repetition involved in the contemporary use of the term. According to him, when talking about hybridity, contemporary cultural discourse cannot escape the connection with the racial categories of the past in which hybridity had such a clear racial meaning. Therefore ‘deconstructing such essentialist notions of race today we may rather be repeating the past than distancing ourselves from it, or providing a critique of it.
This is a subtle and persuasive objection to the concept. However, more positively, Young also notes that the term indicates a broader insistence in many twentieth-century disciplines, from physics to genetics, upon ‘a double logic, which goes against the convention of rational either/or choices, but which is repeated in HYBRIDITY 110 science in the split between the incompatible coexisting logics of classical and quantum physics’. In this sense, as in much else in the structuralist and poststructuralist legacy, the concept of hybridity emphasizes a typically twentieth-century concern with relations within a field rather than with an analysis of discrete objects, seeing meaning as the produce of such relations rather than as intrinsic to specific events or objects.
Whilst assertions of national culture and of pre-colonial traditions have played an important role in creating anti-colonial discourse and in arguing for an active decolonizing project, theories of the hybrid nature of post-colonial culture assert a different model for resistance, locating this in the subversive counter-discursive practices implicit in the colonial ambivalence itself and so undermining the very basis on which imperialist and colonialist discourse raises its claims of superiority.
Hybridity/syncretism is the quality of cultures that have characteristics of both the colonizers and the colonized. Marked by conflicts and tensions, they are continually changing and evolving.
#REFRENCES:
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