Decolonising the Mind of the Antipodean Author: Gothic Tropes and Postcolonial Discourse in Peter Carey’s My Life as a Fake

This article analyses Peter Carey’s novel My Life as a Fake (2003) through the lens of genre fiction, focusing on how the Gothic mode combines with key concepts in postcolonial studies. Intertextual references to Mary Shelley’s Frankenstein, or The Modern Prometheus (1818) and analogies with Stephen King’s The Dark Half (1990) and “The Importance of Being Bachman” (1996) are investigated to contextualise Carey’s postcolonial Gothic. Furthermore, taking a cue from Frantz Fanon and Oswaldo de Andrade’s theoretical studies, I argue that the main characters of this novel display attitudes that allegorically reflect the stages through which the national literature of a former settler colony is shaped.

NARRATIVE GENIUS AND THINKING IN TWO MALAY ORAL LITERATURE

In Malaysia, oral literature which is conveyed through a storyteller is the most ancient and instinctive art. Through the recording of the oral literature, which is then printed and marketed, the people today can enjoy the heritage of oral literature that narrates the structure of the society as well as various issues and conflicts of its time. In oral literature, it contains the genius of narrative and the genius thought of the nation’s storyteller, especially Pawang Ana through his masterpieces namely Hikayat Malim Dewa and Hikayat Anggun Che Tunggal. Both stories, recorded around 1886, narrate the voyage of a group of Malay warriors to Portugal to counter-attack the western colonists and gain victory. These two works of oral literature not only contain elements of ethnocentrism but are laden with postcolonial thinking, about seven decades ahead of postcolonial discourse by modern scholars that began to emerge around the 1950s.

Otherness in Buchi Emecheta’s Second-Class Citizen: A Postcolonial Rendering

In postcolonial discourse, the concept of the “Other” represents someone who carries dark human traits such as stigmatization, subjugation, domination, socio-political or cultural misrepresentation. The “Other” represents one of the main postcolonial concepts in literary studies because there is indisputable evidence that the term is a colonial construct. In essence, colonialism has left a permanent mark in the minds of the colonized people and this imprint has significantly manifested in literature. This analysis, thus, aims to explore how the colonial “Other” is represented in Second-Class Citizen (1974), one of the prominent postcolonial novels written by Buchi Emecheta, an author from the colonized African society. This study adopts textual analysis in which context-oriented technique is used to understand the character traits of the colonial “Other” in the two selected texts. The analysis draws upon Postcolonial theory, particularly Edward Said’s Orientalist approach. We show that Emecheta represents the colonial “Other” as backward, inferior, and of lower social class. Also, this representation is based on economic and socio-cultural differences as well as conflictual relationships between African indigenous people and British citizens.

The History of the Short Story in New Zealand

<p>The thesis will be an investigation of the history of the short story in New Zealand, attempting to shift the focus away from a (implicitly hierarchical) sequence of writers who specialised in short stories to a consideration of the ascendancy of type in short fiction at certain times (for example the domination of nineteenth century short fiction by oral narratives and romance); the preoccupations of groups of writers who share a collective identity (especially Maori and women); and the recurrence of some kinds of narratives (for example Pakeha writers writing about the Maori). I propose to explore both the construction of 'reality' and 'New Zealand' in the short story, demonstrating how race, gender, and sometimes class/wealth figure in that construction, and generally suggest that the short story's dominance in New zealand's fiction makes it both a significant medium for cultural identity, and a context for a postcolonial discourse characterized by recurring questions about origin and subjectivity.</p>

The History of the Short Story in New Zealand

<p>The thesis will be an investigation of the history of the short story in New Zealand, attempting to shift the focus away from a (implicitly hierarchical) sequence of writers who specialised in short stories to a consideration of the ascendancy of type in short fiction at certain times (for example the domination of nineteenth century short fiction by oral narratives and romance); the preoccupations of groups of writers who share a collective identity (especially Maori and women); and the recurrence of some kinds of narratives (for example Pakeha writers writing about the Maori). I propose to explore both the construction of 'reality' and 'New Zealand' in the short story, demonstrating how race, gender, and sometimes class/wealth figure in that construction, and generally suggest that the short story's dominance in New zealand's fiction makes it both a significant medium for cultural identity, and a context for a postcolonial discourse characterized by recurring questions about origin and subjectivity.</p>

Postcolonialism and translation: the dialectic between theory and practice

Postcolonial intercultural writing has been likened to translation both in terms of the writing practice and the nature of the postcolonial text, which often involves multiple linguistic and cultural systems. To highlight the significance of this view of translation as a metaphor for postcolonial writing and its impact on current translation theory, this paper attempts to lay the groundwork for defining the linguistic and cultural status of postcolonial discourse and to establish parallels between the translation process and some strategies for crafting the postcolonial text. The ontological relation between translation theory and practice is discussed in the light of post- colonial translation practices which have broadened the scope of research in translation studies to include issues of ideology, identity, power relations, and other ethnographic and sociologically based modes of investigation.

Lucky Philip Dube: The Artiste in Search of a New Jurisprudence and Subaltern Redemption

Most musicians, in their songs, portray their philosophical vision of life as could be seen in the case of Lucky Philip Dube, the black South African reggae musician. His songs show that he adheres to the principle of ethical humanism and portrays him as a crusader of social justice. Thus, this essay shows the link between musical art and law by examining the commitment of Dube’s lyrical composition in fighting for a just legal system in his society. This essay therefore, analyses some of his lyrical productions in order to expound on the philosophical ideas underneath the songs and how they tie with the search of an alternative jurisprudence and humanism in postcolonial discourse and the liberation of the subaltern. From the perspective of natural law theory, this essay postulates that Dube’s songs criticise the injustice of the legal philosophy in his society and quest for an impartial jurisprudence – that of equality and justice in his society.

A decolonial biblical perspective on Jesus inspired by Fanon and Biko

This paper makes an original contribution against the background of relevant postcolonial discourse by means of the methods of postcolonial and social-scientific biblical exegesis from the perspective of critical correlation. The main aim of the paper is to bring into dialogue the insights of Frantz Fanon and Steve Biko, with the latest insights in biblical scholarship on the parables. This study finds that the New Testament can be read critically through the lens of core ideas of Fanon and Biko in critical correlation with understandings of Jesus as reacting against Roman Imperial domination and exploitation. The paper concludes with the suggestion that postcolonial reading scenarios, like the ones we have suggested in this paper, be used in theological training to relate New Testament Exegesis to contemporary challenges around decoloniality in South Africa.Contribution: The main contribution of this paper is providing key insights into decolonial and postcolonial readings of Jesus as an agent of change reacting against Roman imperial domination and exploitation, addressing the agenda of the special HTS collection of essays focused on the reception of biblical discourse in Africa.

Misrepresentation of Orientals in Dave Eggers’s A Hologram for The King

This study deals with the colonial perspectives in Dave Eggers’s A Hologram for The King (2012), according to the postcolonial approach. Although colonialism era is over by now, colonial perspectives remain strong in some literary works. Since its advent in the second half of the twentieth century, postcolonial theory confronts colonial attitudes and experiences as colonialism has been justified in many works of Western writers and scholars who have distorted the real image of non-Europeans and non-Westerners via different means and techniques in masquerade of orientalism. Postcolonial discourse opposes the misrepresentation of non-Europeans and argues that such falsification is driven by political, social, religious and economic motives. In the current study, the researcher aims at explaining the notions of colonialism, otherization and other falsified images of non-Westerners in A Hologram for the King. This paper mainly questions Eggers’s portrayal of the protagonist, Alan Clay, who after bankruptcy and failure at home, flies to Saudi Arabia and capitalizes on the physical and moral assets of the Orientals in this country to convert his story of failure to a success. The characterization of the oriental world and its setting show Eggers’s being biased against the Eastern world and ironically mirror clear hints of colonialism and eurocentrism.

Postcolonial Dimension of Venus Khoury-Gata’s Novel Les Fiancées du Cap Ténès

The article aims to analyze a novel by the Franco-Lebanese writer Venus Khoury-Gata Les Fiancées du Cap Ténès (1995) in the light of the postcolonial discourse. The text is viewed through the lens of the writer’s irony, carnival and travesty as essential components of the writing, as well as of rereading History within postmodernism. The paper illustrates how the writer’s ironic representation serves to question imperialistic patterns, whereas the strategies of carnivalization and travesty appear as powerful tools for the novel’s heroines to take revenge against the colonial patriarchal reality and, ultimately, mystify History written by men.