By Patrick Holm Cogan
In Empire and Poetic Voice Patrick Colm Hogan attracts on a large and certain wisdom of Indian, African, and eu literary cultures to discover the best way colonized writers reply to the delicate and contradictory pressures of either metropolitan and indigenous traditions. He examines the paintings of 2 influential theorists of id, Judith Butler and Homi Bhabha, and offers a revised evaluate of the $64000 Nigerian critics, Chinweizu, Jemie, and Madubuike. within the method, he offers a unique thought of literary id dependent both on fresh paintings in cognitive technological know-how and tradition reports. This idea argues that literary and cultural traditions, like languages, are solely own and merely seem to be an issue of teams because of our assertions of express id, that are finally either fake and unsafe.
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Additional resources for Empire and Poetic Voice
The responses to literary tradition considered thus far appear to have been largely a matter of self-conscious reflection and self-conscious decision. Certainly, Ali thought about the issue of tradition, and about his own relation to tradition. Indeed, he wrote directly about the topic in his dissertation, subsequently a book, on T. S. Eliot, one of the most influential theorists of tradition in the modern era. But Ali’s relation to the long history of the ghazal appears to have been almost entirely spontaneous.
Again, these are not the only ways in which an indigenous author can work to establish poetic voice in the face of colonial ideology. However, I believe these chapters set out the major components of that work. Many of the most common alternatives may be generated simply by joining these components in different configurations. For example, chapter 3 treats “writing through” subaltern metropolitan myth as one common strategy. Here and below, I use “writing through” to refer to a positive or enabling relation between a new author and a precursor; I have drawn the phrase in part from Virginia Woolf ’s famous statement that “a woman writing thinks back through her mothers” (101).
Despite the positive example of Chinweizu, Jemie, and Madubuike, critical treatments of postcolonization literary identity and literary tradition have been relatively few in number and limited in scope. Moreover, even those few works that do take up these topics have tended to conceive of them very narrowly. Individual critics have certainly considered a range of relations between individual authors from colonized groups and precursor traditions. Nonetheless, the general tendency of criticism and theory has been to ignore such relations or, when examining them, to focus on one of two topics: hybidity and resistance.
Empire and Poetic Voice by Patrick Holm Cogan