By David Bradshaw(eds.)
Taking an leading edge and multi-disciplinary method of literature from 1947 to the current day, this Concise spouse is an vital advisor for a person looking an authoritative knowing of the highbrow contexts of Postcolonial literature and tradition.
- An imperative advisor for an individual looking an authoritative knowing of the highbrow contexts of Postcolonialism, bringing jointly 10 unique essays from prime foreign students together with C. L. Innes and Susan Bassnett
- Explains the information and practises that emerged from the dismantling of eu empires
- Explores the ways that those rules and practices inspired the period's keynote matters, comparable to race, tradition, and identification; literary and cultural translations; and the politics of resistance
- Chapters hide the fields of identification experiences, orality and literacy, nationalisms, feminism, anthropology and cultural feedback, the politics of rewriting, new geographies, publishing and advertising, translation reports.
- Features an invaluable Chronology of the interval, thorough basic bibliography, and courses to additional studying
Chapter 1 Framing Identities (pages 9–28): David Richards
Chapter 2 Orality and Literacy (pages 29–55): G. N. Devy and Duncan Brown
Chapter three The Politics of Rewriting (pages 56–77): C. L. Innes
Chapter four Postcolonial Translations (pages 78–96): Susan Bassnett
Chapter five kingdom and Nationalisms (pages 97–119): John McLeod
Chapter 6 Feminism and Womanism (pages 120–140): Nana Wilson?Tagoe
Chapter 7 Cartographies and Visualization (pages 141–161): David Howard
Chapter eight Marginality: Representations of Subalternity, Aboriginality and Race (pages 162–181): Stephen Morton
Chapter nine Anthropology and Postcolonialism (pages 182–203): Will Rea
Chapter 10 Publishing Histories (pages 204–228): Gail Low
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Additional resources for A Concise Companion to Postcolonial Literature
They have well developed theatre conventions of their own, strikingly different from the aesthetics of theatre based on written texts. Western dramatists and thinkers, such as Antonin Artaud and Bertolt Brecht, have felt attracted to the techniques developed by Indian folk theatre. These regional forms do not have a fixed and written text to support the performances. They are spontaneous and rely heavily on improvisation by the actors. In most cases, their plots are based on well known episodes from the Mahabharata or the Ramayana.
Oral poetry has also been linked for many years to trade union activity in South Africa, with reports, for example, going back to a praise poet (imbongi) named Hlongwe who, in the 1930s in Durban, performed praise poems to the Industrial and Commercial Workers’ Union (Sole 1987: 108). During the 1980s, poets such as Alfred Qabula and Mi S’dumo Hlatshwayo utilized the form of izibongo to mobilize support for the union movement, while Mzwakhe Mbuli – widely known as ‘the people’s poet’ – achieved acclaim for his poetry performances at mass meetings and political funerals.
Harmondsworth: Penguin. Senghor, Leopold Sedar (1964). Selected Poems. Translated by John Reed and Clive Wake. London: Oxford University Press. Sivanandan, A. (1999). ‘Globalism and the Left’. Race & Class, 40: 2–3, 5–19. Spivak, Gayatri Chakravorty (1974). Myself Must I Remake: The Life and Poetry of W. B. Yeats. New York: Thomas Y. Crowell. —— (1988). In Other Worlds: Essays in Cultural Politics. London: Routledge. 27 David Richards —— (1988). ’. In Cary Nelson and Larry Grossberg (eds) Marxism and the Interpretation of Culture (pp.
A Concise Companion to Postcolonial Literature by David Bradshaw(eds.)