Negotiating the tropes of travel writing: William Dalrymple’sFrom the Holy Mountainas a counter-narrative

2018 ◽  
Vol 22 (4) ◽  
pp. 389-405
Author(s):  
Ajie George
Author(s):  
Komal Yadav ◽  

The theory revolution and the counter-traditional wave in humanities in the 1980s have garnered attention towards new localism by positing alternatives to the great tradition. In this, Travel writing has proved adaptable and responsive to post-colonial and Globalization studies, thereby shaking off its ‘middlebrow’ status. Keeping in mind the relevance of travel writing in Global politics, the paper aims to engage with In an Antique Land: History in the Guise of a Traveller’s Tale (1992) by Amitav Ghosh to delineate the question of History, Travel and Narrative in Indian English Travel Writing. The paper contends that Ghosh uses the Hybrid non-fiction space of the travelogue to write a counter-narrative to the Eurocentric discourse of Travel writing. It seeks to foreground that the reverse Grand tour of Amitav Ghosh problematizes the western hegemonic hold on the field of Ethnography and History. The paper is divided into two parts- the first part will establish In an Antique Land as Resistive subaltern history, followed by the second part, which focuses on Ghosh’s privileging of third world ethnography to write an alternative narrative.


2016 ◽  
Vol 46 (2) ◽  
pp. 260-274 ◽  
Author(s):  
James Little

This essay analyses J.M. Synge's construction of domestic and institutional space in his debut play The Shadow of the Glen. The Richmond Asylum and Rathdrum Union Workhouse, the two institutions of confinement which are mentioned in the play, are seen as playing important roles in constructing a threatening offstage space beyond the cottage walls. The essay reads Nora's departure from the home at the end of the play as an eviction into this hostile environment, thereby challenging the dominant interpretation of The Shadow as a woman's choice between her home and the road. By drawing on historical research and Synge's travel writing to delineate contemporary attitudes towards the asylum and the workhouse, the essay aims to provide a deeper understanding of the play's dynamics of place.


Author(s):  
Kathryn A. Sloan

Popular culture has long conflated Mexico with the macabre. Some persuasive intellectuals argue that Mexicans have a special relationship with death, formed in the crucible of their hybrid Aztec-European heritage. Death is their intimate friend; death is mocked and accepted with irony and fatalistic abandon. The commonplace nature of death desensitizes Mexicans to suffering. Death, simply put, defines Mexico. There must have been historical actors who looked away from human misery, but to essentialize a diverse group of people as possessing a unique death cult delights those who want to see the exotic in Mexico or distinguish that society from its peers. Examining tragic and untimely death—namely self-annihilation—reveals a counter narrative. What could be more chilling than suicide, especially the violent death of the young? What desperation or madness pushed the victim to raise the gun to the temple or slip the noose around the neck? A close examination of a wide range of twentieth-century historical documents proves that Mexicans did not accept death with a cavalier chuckle nor develop a unique death cult, for that matter. Quite the reverse, Mexicans behaved just as their contemporaries did in Austria, France, England, and the United States. They devoted scientific inquiry to the malady and mourned the loss of each life to suicide.


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