Empire and Poetic Voice , livre ebook

301

pages

English

Ebooks

2012

Écrit par
Patrick Colm Hogan

Publié par
State University of New York Press

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301

pages

English

Ebooks

2012

Lire un extrait

Obtenez un accès à la bibliothèque pour le consulter en ligne En savoir plus

Publié par

State University of New York Press

Date de parution

01 février 2012

EAN13

9780791485699

Langue

English

Poids de l'ouvrage

1 Mo

In Empire and Poetic Voice Patrick Colm Hogan draws on a broad and detailed knowledge of Indian, African, and European literary cultures to explore the way colonized writers respond to the subtle and contradictory pressures of both metropolitan and indigenous traditions. He examines the work of two influential theorists of identity, Judith Butler and Homi Bhabha, and presents a revised evaluation of the important Nigerian critics, Chinweizu, Jemie, and Madubuike. In the process, he presents a novel theory of literary identity based equally on recent work in cognitive science and culture studies. This theory argues that literary and cultural traditions, like languages, are entirely personal and only appear to be a matter of groups due to our assertions of categorical identity, which are ultimately both false and dangerous.

Acknowledgments

Introduction: Decolonizing Cultural Identity

1. Ideological Ambiguities of "Writing Back": Anita Desai and George Lamming in the Heart of Darkness

2. Revising Indigenous Precursors, Reimagining Social Ideals: Tagore's The Home and the World and Valmeki's Ramayana

3. Subaltern Myths Drawn from the Colonizer: Dream on Monkey Mountain and the Revolutionary Jesus

4. Preserving the Voice of Ancestors: Yoruba Myth and Ritual in The Palm-Wine Drinkard

5. Outdoing the Colonizer: Homer, Virgil, Dante, Milton, Walcott

6. Indigenous Tradition and the Individual Talent: Agha Shahid Ali, Laila/Majnoon, and the Ghazal

Afterword: "We Are All Africans": The Universal Privacy of Tradition

Notes

Glossary of Selected Theoretical Concepts

Works Cited

Index

Voir

Publié par

State University of New York Press

Date de parution

01 février 2012

EAN13

9780791485699

Langue

English

Poids de l'ouvrage

1 Mo

India Africa

E M P I R E A N D P O E T I C V O I C E

SUNY series

EXPLORATIONS in POSTCOLONIAL STUDIES

Emmanuel C. Eze and Arif Dirlik, editors

E M P I R E A N D P O E T I C V O I C E

Cognitive and Cultural Studies of Literary Tradition and Colonialism

P A T R I C K C O L M H O G A N

S t a t e U n i v e r s i t y o f N e w Yo r k P r e s s

Published by State University of New York Press, Albany

Printed in the United States of America

No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher.

For information, address State University of New York Press, 90 State Street, Suite 700, Albany, NY 12207

Production by Christine L. Hamel Marketing by Michael Campochiaro

Library of Congress CataloginginPublication Data

Hogan, Patrick Colm. Empire and poetic voice : cognitive and cultural studies of literary tradition and colonialism / by Patrick Colm Hogan. p. cm. — (SUNY series, explorations in postcolonial studies) Includes bibliographical references and index. ISBN 0-7914-5963-2 (alk. paper)— ISBN 0-7914-5964-0 (pbk. : alk. paper) 1. Commonwealth literature (English)—History and criticism. 2. English literature—20th century—History and criticism. 3. Postcolonialism—English-speaking countries. 4. Influence (Literary, artistic, etc.) 5. Imperialism in literature. 6. Colonies in literature. I. Title. II. Series.

PR9080.H646 2003 820.9'9171241—dc21

10 9 8 7 6 5 4 3 2 1

2003045838

In memory of Agha Shahid Ali

4 February 1949 – 8 December 2001

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Acknowledgments

Contents

Introduction DecolonizingLiteraryIdentity 1. Ideological Ambiguities of “Writing Back”: Anita Desai and George Lamming in the Heart of Darkness 2. Revising Indigenous Precursors, Reimagining Social Ideals: Tagore’sThe Home and the Worldand Va\lmêki’sRa\ma\yan≥a

Subaltern Myths Drawn from the Colonizer: Dream on Monkey Mountainand the Revolutionary Jesus Preserving the Voice of Ancestors: Yoruba Myth and Ritual inThe Palm-Wine Drinkard Outdoing the Colonizer: Homer, Virgil, Dante, Milton, Walcott

6. Indigenous Tradition and the Individual Talent: Agha Shahid Ali, Laila/Majnoon, and the Ghazal Afterword “We Are All Africans”: The Universal Privacy of Tradition Notes Glossary of Selected Theoretical Concepts Works Cited Index

vii

125

157

197

227 237 243 257 275

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Acknowledgments

Parts of the introduction and chapter 5 were presented at the 2000 Modern Language Association convention in Washington, D.C. An earlier version of portions of chapter 1 was presented at the 1995 Modern Language Associa-tion convention in Chicago. A few paragraphs of chapter 2 appeared previ-ously in “Historical Economies of Race and Gender in Bengal: Ray and Tagore on the Home and the World,”Journal of South Asian Literature28.1/2 (1993): 23–43. I am grateful to Professor Surjit Dulai for permission to reprint. An earlier version of part of chapter 4 appeared in “Understanding The Palm-Wine Drinkard,”Ariel: A Review of International English Literature 31.4 (2000): 33–58. I am grateful to the Board of Governors, University of Calgary, Calgary, Alberta, for permission to reprint. I am indebted to Paula Richman for information on variants of the Ra\ma story, to Tapan Roy for his invaluable help with the Bengali original of Tagore’s novel, and to Lalita Pandit for cogent comments on one chapter and for suggesting the glossary of theoretical terms. Two anonymous readers for the State University of New York Press gave insightful comments that have improved the book substantively. Jane Bunker, my editor at SUNY, handled the manuscript expertly, just as I expected from working with her onColo-nialism and Cultural Identity. Finally, I am grateful to Christine Hamel and all those involved in the production process for their fine work.

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