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New topics in postcolonial literature
Features of postcolonial fiction
Features of postcolonial fiction
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Recommended: New topics in postcolonial literature
Post-Colonialism is one of the literary fields which subverts and disrupts the hegemony of the dominant and the supposed (?) superior of the social, political, economic, educational system. As the term suggests, it represents time and literature produced after a colonial reign of the erstwhile colonized nation. Colonization thus being the marker or the point of distinction based on which literature in this case is categorized. Colonization leaves an indelible mark on the colonized even after the colonial reign is politically over. This mark is seen in various fields with literature being no exception. It is probably in literature where the effect of colonization is most felt as literature, traditionally reflects the society at large. …show more content…
His trilogy which include books like ‘Things Fall Apart’, ‘Arrow of God’ and ‘No Longer at Ease’ was written as a response to Conrad’s ‘Heart of Darkness’ which portrayed the native Africans as ‘savages’ and ‘barbarous’ and ‘uncivilized’. In ‘Key Concepts in Post Colonial Studies’, by Ashcroft, Tiffin and Griffiths, explain the term ambivalence as “a discourse theory by Homi Bhabha, it describes the complex mix of attraction and repulsion that characterizes the relationship between colonizer and the colonized. The relationship is ambivalent because the colonized subject is never simply and completely opposed to the colonizer. Rather than assuming that some colonized subjects are ‘complicit’ and some ‘resistant’, ambivalence suggests that complicity and resistance exist in a fluctuating relation within the colonial subject. Ambivalence also characterizes the way in which colonial discourse relate to the colonized subject, for it may be both exploitative or represent itself as nurturing at the same time. Most importantly in Bhaha’s theory however ambivalence disrupts the clear- cut authority of the colonial domination because it disrupts the complex relationship between the colonizer and the colonized. Ambivalence is therefore an unwelcome aspect of colonial discourse for the colonizer. The problem for the colonial discourse is that it wants to produce subjects ‘mimic’ the colonizer. But instead it produces ambivalent subjects whose mimicry is not far from mockery…..The effect of this ambivalence is to produce a profound disturbance of authority of colonial
Post-colonialism is a discourse draped in history. In one point in time or another, European colonialism dominated most non-European lands since the end of the Renaissance. Naturally, colonialists depicted the cultures of non-Europeans incorrectly and inferior. Traditionally, the canon has misappropriated and misrepresented these cultures, but also the Western academia has yet to teach us the valuable and basic lessons that allow true representations to develop. Partly in response, Post-colonialism arose. Though this term is a broad one, Post-colonialists generally agree on certain key principles. They understand that colonialism exploits the dominated people or country in one way or another, evoking inequalities. Examples of past inequalities include “genocide, economic exploitation, cultural decimation and political exclusion…” (Loomba 9-10). They abhor traditional colonialism but also believe that every people, through the context of their own cultures, have something to contribute to our understanding of human nature (Loomba 1-20). This is the theme that Lewis prescribes in his, self described, “satirical fantasy”, Out of the Silent Planet (Of Other 77).
In Cry, the beloved country, Alan Paton tells the story of his journey across Africa, his experiences with the colonized Africa, and the destruction of the beautiful, pre-colonialism native land of Africa. Heart of Darkness also tells the story of a man and his experiences with colonialism, but a man who comes from a different time period and a very different background than Alan Paton’s Stephen Kumalo. Although, both Joseph Conrad and Alan Paton portray the colonized areas as very negative, death filled, and sinful places, it is when one analyzes the descriptions of the native lands of Africa that the authors reasons for their disapproval of colonialism are truly revealed. When comparing the writing styles of Alan Paton and Joseph Conrad, their descriptions of the land and the people in both works reveal their different attitudes and views towards colonialism. While Paton and Conrad ultimately oppose colonialism, Paton is concerned with the disappearance of African tribal tradition, whereas Conrad is concerned with the perceived corruption of the white colonists.
Cesaire and Conrad both have different methods and rhetoric to criticize colonization. Cesaire is more direct with his critiques. In contrast, Conrad is more reserved with ideas and his thoughts. Conrad attracts the reader into Marlow’s world where the experiences of Marlow and his thoughts, which are never direct, are where one can distinguish his critiques of colonialism. John Reed’s articles are descriptive and allows the reader to have a vivid picture of the reality that is present in the war.
By utilizing an unbiased stance in his novel, Things Fall Apart, Chinua Achebe promotes cultural relativity without forcibly steering his audience to a particular mindset. He presents the flaws of the Ibo tribe the same way he presents the assets—without either condescension or pride; he presents the cruelties of the colonizers the same way he presents their open mindedness—without either resentment or sympathy. Because of this balance, readers are able to view the characters as multifaceted human beings instead of simply heroes and victims. Achebe writes with such subtle impartiality that American audiences do not feel guilty for the cruel actions of the colonizers or disgusted by the shocking traditions of the tribesmen. The readers stop differentiating the characters as either “tribesmen” or “colonizers”. They see them simply as people, much like themselves. With this mindset, the audience starts to reflect upon their own cultural weaknesses. Conversely, the colonizers forcefully declare their religion onto the tribesmen instead of neutrally presenting their beliefs. Achebe prevails over his anger to present his opinion without forcefulness and with open-minded consideration. Yes, the colonizers succeed in converting many tribesmen into Christians; however, their success is subjective because they destroy African culture in the process. Ultimately, Achebe is successful in delivering his political views, but he does so by encouraging open-mindedness and cultural relativity instead of forcing his individual ideals upon his readers.
"I don't want to bother you much with what happened to me personally,' [Conrad] began, showing in this remark the weakness of many tellers of tales who seem so often unaware of what their audience would most like to hear" (Conrad, 9). Heart of Darkness, Joseph Conrad's best-known work, has been examined on many bases more than I can possibly list here, but including imperialism, colonialism, and racism. I would reason that all bases of analysis are perfectly acceptable through which to critique Conrad's novella, or any piece of writing. I would reason this, were some of these bases mainly, racism not taken to an extreme level. In arguing racism, many critics seem to take Heart of Darkness as Conrad's unwavering view on Africa, Africans, life, or whatever else one may please to take it as. I, therefore, propose that Heart of Darkness be taken for what it truly is: a work of fiction set in late 19th century Europe and Africa.
Generally, as expressed in Charles Bressler’s Literary Criticism: An Introduction to Theory and Practice (4th Edition), post-colonialism encompasses a study of literature written in countries that are or were at some point in time colonized by England or some other imperial power (235). This analysis of literature implies or assumes that the peoples of these texts experienced social, political, and economic influences from an outside force, and were made out to be the “other” right on their own homeland. While Frankenstein is by no means a tale of conquest, the concepts of isolation and oppression are eminent throughou...
Heart of Darkness by Joseph Conrad is one of the most widely recognized and acclaimed novellas written. But with fame and recognition comes controversy, which is clearly demonstrated by the broad interpretations of the book. Many people believe Heart of Darkness is racist, while others believe the book is perfectly civil. Chinua Achebe, one of Africa's most renowned novelists, strongly believes that the book is dehumanizing and racist; I agree with him, to a certain extent. Three of the most prominent ways that Achebe discusses Conrad’s racism is by the way the African people are portrayed, the African culture, and the comparison of Europe to Africa.
Acclaimed Nigerian author, Chinua Achebe’s 1958 novel, Things Fall Apart, is a story about Okonkwo, a man from the fictional village of Umuofia. Okonkwo’s attempt to form an idealized self-identity and the stress he experiences in living up to its image wears his life, and eventually destroys the very identity he so desperately sought. Okonkwo’s end is analogous to the end of his tribe and its culture—Achebe refers to the Igbo peoples’ culture as the Ibo culture in his book. Furthermore, Okonkwo’s end shows the pain experienced by the change in power balances as the rulers became the ruled, with the white man colonizing Africa. The Heart of Darkness hardly needs an introduction; Joseph Conrad, its writer, wrote the novella based on his experiences as a captain on the Congo. The protagonist is Charles Marlow, whose impression of the colonized Congo basins along with its tribal inhabitants and the raiding white men amidst the deep, dark, disease-infested forests of Congo form the basis of the story. Things Fall Apart and Heart of Darkness are both based around situations that instigate the awe-inspiring, and yet horrifying confluence of races and cultures. However, while the former tells the story from the colonized peoples’ perspective, the latter tells it from the colonizers’ perspective. This paper attempts to highlight the differences and similarities in these novels by exploring the underlying themes and unusual circumstances portrayed in them.
The lecture given at the University of Massachusetts in early 1975 was published as an essay in The Massachusetts Review, and later republished in The Norton Critical Edition Heart of Darkness. Achebe’s main theme within the essay is “the need—in Western psychology to set up Africa as a foil to Europe” (“Image” 252). Within the context of this theme he goes on to criticize what he considers a work of “permanent literature”, Conrad’s Heart of Darkness.
The finer details of the book are what can really be looked at in terms of post-colonial theory. The fact that a native Zulu, Stephen Kumalo, is a priest of Christianity and speaks English, communicates how the colonized are living. Neither of these practices are native to his land, but they are treated by all as if they were. Small sentences are woven into the plot to further this point, such as the reoccurring European greetings.
One of the most baffling aspects of European interest in African people is the civilizations collective distaste of and fascination with people of African descent. The initial journey into Africa, and the planning that preceded it, spawned many of the most enlightening theories about African people. These theories, usually in support of African savagery and inferiority and in favor of European superiority and civility were based in the colonial mentalities of that time. Of the most notable theories is the idea that African religious system was pagan and that African people were inferior because of their darker skin pigmentation and “beast-like” nature. These theories dispersed rapidly across the globe, and even today people of African-descent collectively, however subconsciously, grow into them. Moving forward, how are these theories presented in post-modern works of literature? Equally so, how do authors weave the colonial and post-colonial mentalities into the framework of certain texts. Charles Johnson’s Middle Passage advances both colonial mentalities as well as post-colonial perspectives. The novel sheds light on traditional European colonial notions African savagery, the inferiority of African people as sub-human and commodities, and—at the same instant—presents the post-colonial perspective of the archetypical American Negro serving as a “middle man” between Europeans and Africans.
In this paper feminist aspect of post colonization will be studied in “Season of Migration to the North” novel by Tayeb Salih. Postcolonial feminism can be defined as seeks to compute for the way that racism and the long-lasting economic, cultural, and political influences of colonialism affect non-white, non-Western women in the postcolonial world, according to Oxford dictionary. As it mentioned earlier about the application of Feminism theory in literature, the provided definition of postcolonial feminism also is not applicable in literature analysis. Therefore, Oxford defines another applic...
Every human being, in addition to having their own personal identity, has a sense of who they are in relation to the larger community--the nation. Postcolonial studies is the attempt to strip away conventional perspective and examine what that national identity might be for a postcolonial subject. To read literature from the perspective of postcolonial studies is to seek out--to listen for, that indigenous, representative voice which can inform the world of the essence of existence as a colonial subject, or as a postcolonial citizen. Postcolonial authors use their literature and poetry to solidify, through criticism and celebration, an emerging national identity, which they have taken on the responsibility of representing. Surely, the reevaluation of national identity is an eventual and essential result of a country gaining independence from a colonial power, or a country emerging from a fledgling settler colony. However, to claim to be representative of that entire identity is a huge undertaking for an author trying to convey a postcolonial message. Each nation, province, island, state, neighborhood and individual is its own unique amalgamation of history, culture, language and tradition. Only by understanding and embracing the idea of cultural hybridity when attempting to explore the concept of national identity can any one individual, or nation, truly hope to understand or communicate the lasting effects of the colonial process.
It is said that colonialism is the occupation and control of one nation by another. In this case it was the continent of Europe occupying Africa during the late 19th and 20th century. There were many justifications for this rule over Africa. Some of the justifications were that they would bring higher civilization, increase trade and economic prosperity for Africans, Christianity and the end of paganism, human rights and the end of slavery, women’s rights and the end of polygamy, the introduction of freedom and liberty, the benefits of modern medicine, better agriculture, and modernity.
Aschcroft, Bill, Gareth Griffiths and Helen Tiffin, eds. 'The Post-Colonial Studies Reader'. London; Routledge, 1995.