Routledge Research in Postcolonial Literatures - Böcker

Asserting that Coetzee’s representation of the body as subject to dismemberment counters the colonial representation of the other’s body as exotic and erotically-charged, this study inspects the ambivalence pertaining to Coetzee’s embodied representation of the other and reveals the risks that come with such contrapuntal reiteration. Through the study of the narrative identity of the colonial other and her/his body’s representation, the book also unveils the author’s own authorial identity exposed through the repetitive narrative patterns and characterization choices.

Poetics and Politics of Shame in Postcolonial Literature provides a new and wide-ranging appraisal of shame in colonial and postcolonial literature in English. Bringing together young and established voices in postcolonial studies, these essays tackle shame and racism, shame and agency, shame and ethical recognition, the problem of shamelessness, the shame of willed forgetfulness. Linked by a common thread of reflections on shame and literary writing, the essays consider specifically whether the aesthetic and ethical capacities of literature enable a measure of stability or recuperation in the presence of shame’s destructive potential. The obscenity of the in-human, both in the colonial setting and in aftermaths that show little sign of abating, entails the acute significance of shame as a subject for continuing and urgent critical attention.

Postcolonial Animalities, co-edited by Suvadip Sinha and Amit R. Baishya, brings together ten essays to consider the interfaces between "human" and "animal" and the concrete presence of animals in postcolonial cultural production. This edited collection critiques monohumanist conceptions of the "human" and considers the co-constitutiveness of imaginaries of the human with grammars of animality. One of the central contributions of this volume is to decolonize existing conceptualizations of the human-animal relationship, and to consider the material representation of animals within the realm of colonial and postcolonial cultural production from the perspective of ethical alterity and alternative narratives of anticolonial and postcolonial politics. The volume also explores entanglements of race and species in colonial and neocolonial frameworks without transforming such inquiries into a zero-sum game that privileges one category over another. The essays in the volume, focusing on multiple geographical locations ranging from South Asia, Southeast Asia, post-Ottoman Turkey, the Caribbean, Australia, South Africa and Palestine/Israel, historicizes and understands multispecies, interspecies and transspecies encounters, affiliations and connections in and through their localized dimensions, and studies human-animal encounters in their varied and complex affective relationalities. Through such inquiries, the volume considers how modes of representing animals, including located forms of anthropomorphism and zoomorphism, help us think-with and be-with different animals.

Examining a range of contemporary Anglophone texts, this book opens up postcolonial and transcultural studies for discussions of visuality and vision. It argues that the preoccupation with visual practices in Anglophone literatures addresses the power of images, vision and visual aesthetics to regulate cultural visibility and modes of identification in an unevenly structured world. The representation of visual practices in the imaginative realm of fiction opens up a zone in which established orders of the sayable and visible may be revised and transformed. In 12 chapters, the book examines narrative fiction by writers such as Michael Ondaatje, Derek Walcott, Salman Rushdie, David Dabydeen and NoViolet Bulawayo, who employ word-image relations to explore the historically fraught links between visual practices and the experience of modernity in a transcultural context. Against this conceptual background, the examination of verbal-visual relations will illustrate how Anglophone fiction models alternative modes of re-presentation that reflect critically on hegemonic visual regimes and reach out for new, more pluralized forms of exchange.

This book works across established categories of modernism and postcolonialism in order to radically revise the periods, places, and topics traditionally associated with anti-colonialism and aesthetic experimentation in African literature. The book is the first account of Olive Schreiner as a theorist and practitioner of modernist form advancing towards an emergent postcolonialism. The book draws on and broadens discussions in and around the blossoming field of global modernist studies by interrogating the conventionally accepted genealogy of development that positions Europe and America as the sites of innovation. It provides an original examination of the relationships between metaphor, postcolonialism, and modernist experimentation by showing how politically and aesthetically innovative African forms rely on allegorical structures, in contrast to the symbolism dominant in Euro-American modernism. An original theoretical concept of the role of primitivism and allegory within the context of modernism and associated critical theory is proposed through the integration of postcolonial, Marxist, and ecocritical approaches to literature. The book provides original readings of Schreiner’s three novels, Undine, The Story of An African Farm, and From Man to Man, in light of the new theory of primitivism in African literature by directly addressing the issue of narrative form. This argument is contextualised in relation to the work of other Southern African authors, in whose writings the impact of Schreiner’s politics and aesthetics can be traced. These authors include J.M. Coetzee, Nadine Gordimer, Doris Lessing, Solomon T. Plaatje, and Zoe Wicomb, amongst others. This book brings the most current debates in modernist studies, ecocriticism, and primitivism into the field of postcolonial studies and contributes to a widening of the debates surrounding gender, race, empire, and modernism.

Bahriye Kemal's ground-breaking new work serves as the first study of the literatures of Cyprus from a postcolonial and partition perspective. Her book explores Anglophone, Hellenophone and Turkophone writings from the 1920s to the present.Drawing on Yi-Fu Tuan’s humanistic geography and Henri Lefebvre’s Marxist philosophy, Kemal proposes a new interdisciplinary spatial model, at once theoretical and empirical, that demonstrates the power of space and place in postcolonial partition cases. The book shows the ways that place and space determine identity so as to create identifications; together these places, spaces and identifications are always in production. In analysing practices of writing, inventing, experiencing, reading, and construction, the book offers a distinct ‘solidarity’ that captures the ‘truth of space’ and place for the production of multiple-mutable Cypruses shaped by and for multiple-mutable selves, ending in a 'differential’ Cyprus, Mediterranean, and world. Writing Cyprusoffers not only a nuanced understanding of the actual and active production of colonialism, postcolonialism and partition that dismantles the dominant binary legacy of historical-political deadlock discourse, but a fruitful model for understanding other sites of conflict and division

In this monograph Theodor Adorno’s philosophy engages with postcolonial texts and authors that emerge out of situations of political extremity – apartheid South Africa, war-torn Sri Lanka, Pinochet’s dictatorship, and the Greek military junta. This book is ground-breaking in two key ways: first, it argues that Adorno can speak to texts with which he is not historically associated; and second, it uses Adorno’s theory to unlock the liberatory potential of authors or novels traditionally understood to be "apolitical". While addressing Adorno’s uneven critical response and dissemination in the Anglophone literary world, the book also showcases Adorno’s unique reading of the literary text both in terms of its innate historical content and formal aesthetic attributes. Such a reading refuses to read postcolonial texts exclusively as political documents, a problematic (but changing) tendency within postcolonial studies. In short, the book operates as a two-way conversation asking: "What can Adorno’s concepts give to certain literary texts?" but also reciprocally, "What can those texts give to our conventional understanding of Adorno and his applicability?" This book is an act of rethinking the literary in Adornian terms, and rethinking Adorno through the literary.

This book critically examines the representational politics of women in post-millennial Afghanistan, Pakistan, and Iran across a range of literary, visual, and digital media. Introducing the conceptual model of remediated witnessing, the book contemplates the ways in which meaning is constructed, deconstructed, and reconstructed as a consequence of its (re)production and (re)distribution. In what ways is information re framed? The chapters in this book therefore analyse the reiterative processes via which Afghan, Pakistani, and Iranian women are represented in a range of contemporary media. By considering how Muslim women have been exploited as part of neo-imperial, state, and patriarchal discourses, the book charts possible—and unexpected—routes via which Muslim women might enact resistance. What is more, it asks the reader to consider how they, themselves, embody the role of witness to these resistant subjectivities, and how they might do so responsibly, with empathy and accountability.

Critical Branding: Postcolonial Studies and the Market provides an original answer to what Sarah Brouillette has called postcolonial studies’ ‘longstanding materialist challenge’, illuminating the relationship between what is often broadly called ‘the market’ and the practice and positionality of postcolonial critics and their field, postcolonial studies. After much attention has been paid to the status of literary writers in markets, and after a range of sweeping attacks against the field for its alleged ‘complicity’ with capitalism, this study takes the crucial step of systematically exploring the engagement of postcolonial critics in market practice, substituting an automatic sense of accusation (Dirlik), dread (Westall; Brouillette), rage (Young; Williams), or irony (Huggan; Ponzanesi; Mendes) with a nuanced exploration and critique. Bringing together concepts from business studies, postcolonial studies, queer studies, and literary and cultural studies in an informed way, Critical Branding sets on a thorough theoretical footing a range of categories that, while increasingly current, remain surprisingly obscure, such as the market, market forces, and branding. It also provides new concepts with which to think the market as a dimension of practice, such as brand narratives, brand acts, and brand politics. At a time when the marketisation of the university system and the resulting effects on academics are much on our minds, Critical Branding is a timely contribution that explores how diversely postcolonial studies and the market intersect, for better and for worse.

This is the first book on the fiction of Zoë Wicomb, a writer long at the forefront of the South African canon and whose international stature was firmly secured with the award of an inaugural Windham Campbell prize at Yale in 2013. It brings together interdisciplinary essays from the UK, USA, South Africa, and Australia, demonstrating Wicomb’s importance as a novelist, short-story writer, and critic. The central focus of the volume is the translocal, a term that navigates the complex and shifting relations between disparate localities, respecting the situatedness of each locality within its immediate geopolitical context, while investigating the connections and contrasts that operate between them. In Wicomb’s case, her work stems from a dual allegiance to two localities, both in her fiction as in her life: South Africa’s Western Cape and the west of Scotland. In tracking the relations, contemporary and historical, between these sites, her fiction reveals a consistent interest in and interrogation of home and belonging, space and place; it also offers telling insights into questions of race and gender. The historical processes of colonization and migration that have produced translocal connections of this kind are central to postcolonial studies, to which this book makes a significant contribution. Exploring the visual and cartographical, and extending debates on the transnational and cosmopolitan that are currently taking place across disciplines, including literary studies, geography, history, politics, and anthropology, the collection covers the range of Wicomb’s work. It also features an unanthologised essay by Wicomb herself, an interview, and a suite of photographs by Sophia Klaase, whose images of Namaqualand inspired Wicomb’s most recent novel, October.

This book examines representations of violence across the postcolonial world—from the Americas to Australia—in novels, short stories, plays, and films. The chapters move from what appear to be interpersonal instances of violence to communal conflicts such as civil war, showing how these acts of violence are specifically rooted in colonial forms of abuse and oppression but constantly move and morph. Taking its cue from theories in such fields as postcolonial, violence, gender, and trauma studies, the book thus shows that violence is slippery in form, but also fluid in nature, so that one must trace its movement across time and space to understand even a single instance of it. When analysing such forms and trajectories of violence in postcolonial creative writing and films, the contributors critically examine the ethical issues involved in narrating abuse, depicting violated bodies, and presenting romanticized resolutions that may conceal other forms of violence.

This is the first sustained study of the formal particularities of works by Bruce Pascoe, Kim Scott, Tara June Winch, and Alexis Wright. Drawing on a rich theoretical framework that includes approaches to relationality by Aboriginal thinkers, Edouard Glissant, and Jean-Luc Nancy, and recent work in New Formalism and narrative theory, the book illustrates how they use a broad range of narrative techniques to mediate, negotiate, and temporarily create networks of relations that interlink all elements of the universe. Through this focus on relationality, Aboriginal writing gains both local and global significance. Locally, these narratives assert Indigenous sovereignty by staging an unbroken interrelatedness of people and their land. Globally, they intervene into current discourses about humanity’s relationship with the natural environment, urging readers to acknowledge our interrelatedness with and dependence on the land that sustains us.

Caring for Community: Towards a New Ethics of Responsibility in Contemporary Postcolonial Novels focuses on four highly acclaimed publications in order to argue for a new understanding of community and its ethical framework in recent literary texts. Traditionally, community has been understood to function on the basis of individuals’ readiness to establish relationships of reciprocal responsibility. This book, however, argues that community and non-reciprocity need not be mutually exclusive categories. Examining works by leading contemporary postcolonial authors and reading them against Judith Butler’s post-9/11 concept of global political community, the book explores how concrete acts of responsibility can be carried out in recognition of various others, even and precisely when those others cannot be expected to respond. The literary analyses draw on a rich theoretical framework that includes approaches to care, hospitality and the ethical encounter between self and other. Overall, this book establishes that the novels’ protagonists, by investing in an ethics of responsibility that does not require reciprocity, acquire the agency to envisage new forms of community. By reflecting on the nature and effect of this agency and its representation in contemporary literary texts, the book also considers the role of postcolonial studies in addressing highly topical questions regarding our co-existence with others.

Using the aesthetic and political concerns of Parry’s oeuvre as a touchstone, this book explores new directions for postcolonial studies, Marxist literary criticism, and world literature in the contemporary moment, seeking to re-imagine the field, and alongside it, new possibilities for left critique. It is the first volume of essays focusing on the field-defining intellectual legacy of the literary scholar Benita Parry. As a leading critic of the post-structuralist turn within postcolonial studies, Parry has not only brought Marxism and postcolonial theory into a productive, albeit tense, dialogue, but has reinvigorated the field by bringing critical questions of resistance and struggle to bear on aesthetic forms. The book’s aim is two-fold: first, to evaluate Parry’s formative influence within postcolonial studies and its interface with Marxist literary criticism, and second, to explore new terrains of scholarship opened up by Parry’s work. It provides a critical overview of Parry’s key interventions, such as her contributions to colonial discourse theory; her debate with Spivak on subaltern consciousness and representation; her critique of post-apartheid reconciliation and neoliberalism in South Africa; her materialist critique of writers such as Kipling, Conrad, and Salih; her work on liberation theory, resistance, and radical agency; as well as more recent work on the aesthetics of "peripheral modernity." The volume contains cutting-edge work on peripheral aesthetics, the world-literary system, critiques of global capitalism and capitalist modernity, and the resurgence of Marxism, communism, and liberation theory by a range of established and new scholars who represent a dissident and new school of thought within postcolonial studies more generally. It concludes with the first-ever detailed interview with Benita Parry about her activism, political commitments, and her life and work as a scholar.

Drawing together the insights of postcolonial scholarship and cultural studies, Popular Postcolonialisms questions the place of ‘the popular’ in the postcolonial paradigm. Multidisciplinary in focus, this collection explores the extent to which popular forms are infused with colonial logics, and whether they can be employed by those advocating for change. It considers a range of fiction, film, and non-hegemonic cultural forms, engaging with topics such as environmental change, language activism, and cultural imperialism alongside analysis of figures like Tarzan and Frankenstein. Building on the work of cultural theorists, it asks whether the popular is actually where elite conceptions of the world may best be challenged. It also addresses middlebrow cultural production, which has tended to be seen as antithetical to radical traditions, asking whether this might, in fact, form an unlikely realm from which to question, critique, or challenge colonial tropes. Examining the ways in which the imprint of colonial history is in evidence (interrogated, mythologized or sublimated) within popular cultural production, this book raises a series of speculative questions exploring the interrelation of the popular and the postcolonial.

This interdisciplinary collection explores the confluence of American and British (neo)imperalism in the Pacific, as represented in various forms of Pacific discourse including literature, ethnography, film, painting, autobiography, journalism, and environmental discourse. It investigates the alliances and rivalries between these two colonial powers during the crucial transition period of the early-to-mid twentieth century, also exploring indigenous Pacific responses to Anglo-American imperialism during and beyond the decolonization period of the late twentieth century. While the relationship between Britain and the US has been analyzed through prominent forms of economic and cultural exchange between Europe, Africa, and the Americas, there is to date no sustained study of the relationship between British and US colonial expansion into the Pacific, which became central to ideas of developing ‘European’ modernity in the late eighteenth century and has played a pivotal in the history of Anglo-American colonialism, from the establishment of plantation economies and settler colonies in the nineteenth century to various forms of military imperialism during and beyond the twentieth century. The wide range of discursive and expressive modes explored in this collection makes for a rich and multifaceted analysis of representations of, and responses to, Anglo-American imperialism, and is in keeping with the current interdisciplinary turn in postcolonial studies.

Narrating Postcolonial Arab Nations significantly enhances the interface between postcolonial literary studies and the hitherto under-studied Arab world. Lindsey Moore brings together canonical and less familiar Arab novels and memoirs from the last half century to consider colonial continuities and consequences. Literary narratives are shown to oppose repressive versions of nationalism and to track desire lines toward more hospitable nations. The literatures discussed in this book enable a deeper historical understanding of twenty-first century Arab uprisings and their aftermaths.The book analyzes four rich sites of literary production: Egypt, Algeria, Lebanon, and Palestine. Moore explores ways in which authors critique particular nation-state formations and decolonizing histories, engage the general problematic of ‘the nation’, and redefine, repurpose, and transcend national literary canons. Chapter One contrasts Egyptian literary representations of popular revolt with official revolutionary discourse. Chapter Two addresses the enduring legacy of anti-colonial violence in Algeria and the place of Albert Camus in its literature. Chapter Three uses narratives of gender violence on the Beirut front line to reveal the divisibility and intersectional identity politics of postcolonial nation-states. Chapter Four emphasizes ways in which Palestinian memoirs insist upon remembering towards a postcolonial future. The book provides detailed analysis of literary narratives by Etel Adnan, Rabih Alameddine, Alaa al-Aswany, Rachid Boudjedra, Albert Camus, Rashid al-Daïf, Assia Djebar, Ghada Karmi, Naguib Mahfouz, Jean Said Makdisi, Edward Said, Boualem Sansal, Raja Shehadeh, Miral al-Tahawy, and Latifa al-Zayyat. It is an indispensable volume for students and scholars of Postcolonial, Arab, and World literatures.

This collection examines new comic-book cultures, graphic writing, and bande dessinée texts as they relate to postcolonialism in contemporary Anglophone and Francophone settings. The individual chapters are framed within a larger enquiry that considers definitive aspects of the postcolonial condition in twenty-first-century (con)texts. The authors demonstrate that the fields of comic-book production and circulation in various regional histories introduce new postcolonial vocabularies, reconstitute conventional "image-functions" in established social texts and political systems, and present competing narratives of resistance and rights. In this sense, postcolonial comic cultures are of particular significance in the context of a newly global and politically recomposed landscape. This volume introduces a timely intervention within current comic-book-area studies that remain firmly situated within the "U.S.-European and Japanese manga paradigms" and their reading publics. It will be of great interest to a wide variety of disciplines including postcolonial studies, comics-area studies, cultural studies, and gender studies.

In this monograph Theodor Adorno’s philosophy engages with postcolonial texts and authors that emerge out of situations of political extremity – apartheid South Africa, war-torn Sri Lanka, Pinochet’s dictatorship, and the Greek military junta. This book is ground-breaking in two key ways: first, it argues that Adorno can speak to texts with which he is not historically associated; and second, it uses Adorno’s theory to unlock the liberatory potential of authors or novels traditionally understood to be "apolitical". While addressing Adorno’s uneven critical response and dissemination in the Anglophone literary world, the book also showcases Adorno’s unique reading of the literary text both in terms of its innate historical content and formal aesthetic attributes. Such a reading refuses to read postcolonial texts exclusively as political documents, a problematic (but changing) tendency within postcolonial studies. In short, the book operates as a two-way conversation asking: "What can Adorno’s concepts give to certain literary texts?" but also reciprocally, "What can those texts give to our conventional understanding of Adorno and his applicability?" This book is an act of rethinking the literary in Adornian terms, and rethinking Adorno through the literary.

How is the city represented through literature from the post-colonies? This book searches for an answer to this question, by keeping its focus on India—from after Independence to the millennia. How does the urban space and the literature depicting it form a dialogue within? How have Indian cities grown in the past six decades, as well as the literature focused on it? How does the city-lit depart from organic realism to dissonant themes of “reclamation”? Most importantly—who does the city (and its narratives) belong to?Through the juxtaposition of critical theories, sociological data, urban studies and variant literary works by a wide range of Indian authors, this book is divided into four temporal phases: the nation-building of the 50–60s, the dictatorial 70s, the neoliberalization of the 80–90s and the early 2000s. Each section covers the dominant socio-political thematics of the time and its effect on urbanism along with historical data from various resources, followed by an analysis of contemporaneously significant literary works—novel, short stories, plays, poetry and graphic novel. Each chapter comments on how literature, perceived as a historical phenomenon, frames real and imagined constructs and experiences of cities. To give the reader a more expansive idea of the complex nature of city-lit, the literary examples abound not only “Indian Writings in English,” but vernacular, cult-works as well with suitable translations.With its focus on philosophy, urban studies and a unique canon of literature, this book offers elements of critical discussion to researchers, emergent university disciplines and curious readers alike.

This book is the first to examine gender and violence in Australian literature. It argues that literary texts by Australian women writers offer unique ways of understanding the social problem of gendered violence, bringing this often private and suppressed issue into the public sphere. It draws on the international field of violence studies to investigate how Australian women writers challenge the victim paradigm and figure women’s agencies. In doing so, it provides a theoretical context for the increasing number of contemporary literary works by Australian women writers that directly address gendered violence, an issue that has taken on urgent social and political currency.By analysing Australian women’s literary representations of gendered violence, this book rethinks victimhood and agency, particularly from a feminist perspective. One of its major innovations is that it examines mainstream Australian women’s writing alongside that of Indigenous and minoritised women. In doing so it provides insights into the interconnectedness of Australia’s diverse settler, Indigenous and diasporic histories in chapters that examine intimate partner violence, violence against Indigenous women and girls, family violence and violence against children, and the war and political violence.

This book is the first to focus exclusively on issues of gender and sexuality in a range of post-war novels from the Anglophone Caribbean. Concentrating on the 1950s to the mid 1970s, it highlights the period's diversity of sexual concerns. New readings of seminal figures like Samuel Selvon and George Lamming are offered, in tandem with discussion of innovative, lesser-studied authors such as Andrew Salkey, Oscar Dathorne and Rosa Guy. Whereas this body of work has tended to be characterised as minimally engaged with sexuality and overly reliant on patriarchal, heteronormative frameworks, the book takes a different approach. First, it unpacks the motivations behind the masculinist bent of much of this writing, emphasising the anxieties underlying such assertion. It exposes both the gendered and sexual imperatives of the nationalist project and the destabilising effects of migration on masculine performance. Second, it brings to life a range of critically neglected same-sex desires. Framing such longing as both narratively and nationally disruptive, it recovers the marginalised erotic relations that challenge fantasies of national cohesion. As a result, the book opens up existing mappings of Caribbean fiction. Drawing on queer theory, feminism and masculinity studies, it highlights the ways in which sex both exceeds and threatens the imagined unity on which the nationalist vision depends.

Extending current scholarship on South Asian Urban and Literary Studies, this volume examines the role of the discontents of the South Asian city. The collection investigates how South Asian literature and literature about South Asia attends to urban margins, regardless of whether the definition of margin is spatial, psychological, gendered, or sociopolitical. That cities are a site of profound paradoxes is nowhere clearer than in South Asia, where urban areas simultaneously represent both the frontiers of globalization as well as the deeply troubling social and political inequalities of the global south. Additionally, because South Asian cities are defined by the palimpsestic confluence of, among other things, colonial oppression, anticolonial nationalism, postcolonial governance, and twenty-first century transnational capital, they are sites where the many faces of empowerment and disempowerment are elaborated. The volume brings together essays that emphasize myriad critical approaches—geospatial, urban-theoretical, diasporic, subaltern, and others. United in their critical empathy for urban outcasts, the chapters respond to central questions such as: What is the relationship between the politico-economic narratives of globally emerging South Asian cities and the dispossessed? How do South Asian cities stand in relationship to the nation and, conversely, how might South Asians in diaspora construct these cities within larger narratives of development, globalization, or as sources of authentic ethnic identities? How is the very skeleton—the space, the territory—of South Asian cities marked with and by exclusionary politics? How do the aesthetic and formal choices undertaken by writers determine the potential for and limit to emancipation of urban outcasts from their oppressive circumstances? Considering fiction, nonfiction, comics, and genre fiction from India, Pakistan, Bangladesh, and Sri Lanka; literature from the twentieth and the twenty-first century; and w

This study contextualizes magical realism within current debates and theories of postcoloniality and examines the fiction of three of its West African pioneers: Syl Cheney-Coker of Sierra Leone, Ben Okri of Nigeria and Kojo Laing of Ghana. Brenda Cooper explores the distinct elements of the genre in a West African context, and in relation to:* a range of global expressions of magical realism, from the work of Gabriel Garcia Marquez to that of Salman Rushdie* wider contemporary trends in African writing, with particular attention to how the realism of authors such as Chinua Achebe and Wole Soyinka has been connected with nationalist agendas.This is a fascinating and important work for all those working on African literature, magical realism, or postcoloniality.

Contemporary Caribbean Women's Poetry provides detailed readings of individual poems by women poets whose work has not yet received the sustained critical attention it deserves. These readings are contextualized both within Caribbean cultural debates and postcolonial and feminist critical discourses in a lively and engaged way; revisiting nationalist debates as well as topical issues about the performance of gendered and raced identities within poetic discourse. Newly available in paperback, this book is groundbreaking reading for all those interested in postcolonialism, Gender Studies, Caribbean Studies and contemporary poetry.

This volume offers a unique contribution to both postcolonial studies and Austen scholarship by:* examining the texts to illumine nineteenth century attitudes to colonialism and the expanding Empire* revealing a new range of interpretations of Austen's work, each shaped by the critic's particular context* exploring the ways in which the study of Austen's novels raises fresh issues for post-colonial criticism.Bringing together work by highly-respected critics from four continents and a range of disciplines, this newly paperbacked volume allows sometimes surprising and always fascinating new insights into some of the most frequently studied - and best loved - novels in the English language.

This book marks an important contribution to colonial and postcolonial studies in its clarification of the African discourse of consciousness and its far-reaching analyses of a literature of animism. It will be of great interest to scholars in many fields including literary and critical theory, philosophy, anthropology, politics and psychoanalysis.

Tobias Döring uses Postcolonialism as a backdrop to examine and question the traditional genres of travel writing, nature poetry, adventure tales, autobiography and the epic, assessing their relevance to, and modification by, the Caribbean experience.Caribbean-English Passages opens an innovative and cross-cultural perspective, in which familiar oppositions of colonial/white versus postcolonial/black writing are deconstructed. English identity is thereby questioned by this colonial contact, and Caribbean-English writing radically redraws the map of world literature.This book is essential reading for students of Postcolonial Literature at both undergraduate and postgraduate level.

Contemporary women writers in these two societies are still writing about similar issues as did earlier generations of women, such as exclusions from discourses of nation, a problematic relationship to place and belonging, relations with indigenous people and the way in which women's subjectivity has been constructed through national stereotypes and representations. This book describes and analyses some contemporary responses to 'writing woman, writing place' through close readings of particular texts that explore these issues.Three main strands run through the readings offered in Writing Woman, Writing Place - the theme of violence and the violence of representational practice itself, the revisioning of history, and the writers' consciousness of their own paradoxical subject-position within the nation as both privileged and excluded. Texts by established writers from both Australia and South Africa are examined in this context, including international prize-winning novelists Kate Grenville and Thea Astley from Australia and Nadine Gordimer from South Africa, as well as those by newly-emerging and younger writers.This book will be of essential interest to students and academics within the fields of Postcolonial Literature and Women's Writing.