Contradictions and Misunderstandings in the Literary Response To Colonial Culture in Nineteenth Century Gujarat

2000 ◽  
Vol 20 (2) ◽  
pp. 119-132 ◽  
Author(s):  
Françoise Mallison
Keyword(s):  
Nineteenth Century ◽  
Literary Response ◽  
Colonial Culture

Hybridity in the Vernacular: Nineteenth-Century Muslim Reform and Resistance

PMLA ◽  
2017 ◽  
Vol 132 (1) ◽  
pp. 171-178
Author(s):  
Maryam Wasif Khan
Keyword(s):  
Nineteenth Century ◽  
The State ◽  
Colonial Power ◽  
Large Collection ◽  
The Past ◽  
Colonial Culture ◽  
Colonial Experience ◽  
Theoretical Conception ◽  
Dark Space ◽  
Colonial Text

[W]hat attracted Nussooh's immediate attention was a cabinet of books. There was a large collection of volumes; but whether Persian or Urdu, all were of the same kind, equally indecent and irreligious. Looking to the beauty of the binding, the excellence of the lithography, the fineness of the paper, the elegance of the style, and the propriety of the diction, Kulleem's books made a valuable library, but their contents were mischievous and degrading; and after Nussooh had examined them one by one, he resolved to commit them also to the flames.—Nazir Ahmad, The Repentance of NussoohIn the past twenty-five years, no theoretical conception has summed up the complexity of the colonial experience, and the possibilities of its interpretation, as well as Homi K. Bhabha's “hybridity.” “he sign of the productivity of colonial power,” but also the “name for the strategic reversal of the process of domination through disavowal,” hybridity exposes the uncomfortable state in which colonial culture settled and expanded and, today, continues to beleaguer the state of being “postcolonial” (Bhabha 112). Signiied by the “discovery of the book,” hegemony was marked by the miracle of an object that was at once authoritative and unknowable, one that the supposedly unlettered native could hold in reverent hands (102). In the dark space of the native's hands and narrated within a native register, however, the “colonial text emerges uncertainly” (107). he intent to civilize and anglicize a body of social, religious, and aesthetic practices in the colony, then, is adulterated, perhaps even unconsciously resisted, once it is disseminated by way of the seemingly irrefutable book.

scholarly journals The Perpetuation of Myth: Ideology in Bone Tomahawk

2020 ◽  
Vol 68 (1) ◽  
pp. 21-35
Author(s):  
Matthew Carter
Keyword(s):  
Nineteenth Century ◽  
Classical Period ◽  
Horror Film ◽  
Captivity Narrative ◽  
Colonial Culture

AbstractThe contemporary Western Bone Tomahawk is in the tradition of the settler-versus-Indian stories from the genre’s ‘classical’ period. Its story is informed by one of white America’s oldest and most paranoiac of racist-psychosexual myths: the captivity narrative. This article reads Bone Tomahawk’s figuration of the racial anxieties that inhere within nineteenth-century settler-colonial culture in the context of post-9/11 America. It also considers that the film’s imbrication of Horror film conventions into its essential Western framework amplifies its allegorical representation of contemporary America’s cultural and political-ideological mindset. As well, the use of Horror conventions amplifies the racial anxieties generated by its use of a mythic binary construct of an adversarial relationship between whites and ‘Indians.’ To a lesser extent, the article suggests that the film also embodies certain uncontained ideological contradictions that, though undeveloped, could be said to contest its ideological coherence.

Colonial culture in the Pacific, in Robert Louis Stevenson and Jack London

Race & Class ◽  
2007 ◽  
Vol 48 (3) ◽  
pp. 63-82
Author(s):  
Lawrence Phillips
Keyword(s):  
Nineteenth Century ◽  
Jack London ◽  
Robert Louis Stevenson ◽  
Spanish American ◽  
Spanish American War ◽  
Old World ◽  
Colonial Culture ◽  
The Pacific ◽  
The Us ◽  
The Caribbean

One intriguing aspect of western colonisation at the turn of the nineteenth century in the South Pacific is the development within the US of a distinctly ‘Old World’ imperial imaginary. This happened after the Spanish-American War of 1898 through which the US acquired extra-territorial possessions in the Caribbean and the Pacific-the inspiration for Rudyard Kipling’s poem ‘The White Man’s Burden’. This essay explores this transition from one phase of colonialism to another through the work of two prominent authors who lived and worked in the region during this tumultuous period: Robert Louis Stevenson and Jack London.

Blurring Boundaries: The Limits of "White Town" in Colonial Calcutta

2000 ◽  
Vol 59 (2) ◽  
pp. 154-179 ◽  
Author(s):  
Swati Chattopadhyay
Keyword(s):  
Nineteenth Century ◽  
Spatial Analysis ◽  
Spatial Structure ◽  
Everyday Life ◽  
Critical Aspect ◽  
Black And White ◽  
Colonial Culture ◽  
Central Argument ◽  
Black Towns ◽  
The City

Scholars assume colonial Calcutta was a dual city split into "black" and "white" towns. The critical aspect of colonial Calcutta, however, did not lie in such divisions, but in the blurring of boundaries between the two. The rhetorical categories of "white" and "black" towns were used to sustain the British desire to maintain difference in a city in which everyday life compromised such distinctions. The central argument of this essay rests on an analysis of a clearly distinguishable "pattern" of nineteenth-century colonial buildings that borrowed from indigenous as well as foreign sources. It is only by juxtaposing the spatial analysis with written and pictorial documentation that we can understand how these spaces operated in everyday practice. The attempt is to bridge the gap between rhetoric and practice, and to suggest that the spatial structure of Calcutta, from the building scale to the city scale, spoke of the hybrid conditions of colonial culture-a hybridity that did not simply reside in the native body and the native city, but one that the colonizers themselves inhabited.

ARTFUL TALES OF ORIGINATION IN OLIVE SCHREINER'S THE STORY OF AN AFRICAN FARM

2004 ◽  
Vol 59 (1) ◽  
pp. 53-77 ◽  
Author(s):  
D. L. SHAPPLE
Keyword(s):  
Nineteenth Century ◽  
South African ◽  
The Novel ◽  
African Culture ◽  
Colonial Culture ◽  
The Uncanny ◽  
Colonial Art ◽  
At Home

Olive Schreiner's The Story of an African Farm (1883) has long been considered an anticolonial novel that nevertheless, because of its author's affiliation with a European colonial culture, neglects to investigate the problem of disenfranchised African labor in significant detail. In this essay I reassess Schreiner's anticolonialism by placing it in the context of her growing postcolonial aspirations. This rather paradoxical position of the colonist becoming a postcolonial manifests itself in the novel's central artist figure, Waldo, who, while descended from European colonists, manages to make himself at home in his South African environment. Employing nineteenth-century ethnological and aesthetic discourses in the construction of this curious figure (which I refer to as the colonial indigene), Schreiner establishes a connection among the novel, colonial art, and an indigenous South African culture. The novel's narrative present is set during a period of intense border struggle, and while indigenous artists like the San known to the colonists as the Bushmen) have disappeared from the novel's narrative present, Schreiner's colonial indigene takes their place. This imaginative displacement thus corresponds with a demographic one, while also manifesting itself in The Story of an African Farm through a fetishistic aesthetic and the uncanny return of a frequently overlooked African laborer.

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