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Joseph Conrad's novella "Heart of Darkness" (1899) is taught and read all over the world. Everywhere, novelists and travel writers respond to it in their own creative work. I discuss 30 responses, or rewritings, from Africa, India, the Caribbean, Australia, Europe and the US. Their perspectives include those of groups who identify with Conrad's Europeans and groups who feel close to his Africans, and increasingly those of groups who situate themselves between these two extremes in various ways. I identify world-wide developments as well as themes, strategies and paradigm shifts that correlate with different geopolitical situations. Rewriters address the contribution Conrad has made to the identities of his very different readers, and the patterns he has suggested for encounters. In ever more intense dialogues, people from all backgrounds work through images of themselves and of each other. However, like Conrad's narrator, they also become aware of limits of language and communication. Rewriters act as rereaders of the many layers of meaning in "Heart of Darkness," and thus imply that the reader's experience is as important as the author's. This approach is increasingly developing into a use of discourse-analytical methods in non-theoretical texts. Rewritings can bring "Heart of Darkness" close to the readers' lives. Rewriters champion processes of highly personal learning and unlearning as well as political and social approaches, and can thus help readers rework their own cultural backgrounds. Accordingly, I both use close-reading methods and take into account political and didactic intentions. In conclusion, I recommend reading "Heart of Darkness" together with one or more of its rewritings, and outline some ideas for teaching such combinations. After comprehensive introductions to "Heart of Darkness" and to the theory of rewritings, I discuss works by the following authors in a convenient handbook format: Ford Madox Ford (Hueffer), Leonard Woolf, W. Somerset Maugham, Andre Gide, Louis-Ferdinand Celine, Graham Greene, Charlotte Jay, Patrick White, Chinua Achebe, Wilson Harris, Ngugi wa Thiong'o, Tayeb Salih, Arun Joshi, J.M. Coetzee, V.S. Naipaul, Robert Silverberg, Caryl Phillips, David Dabydeen, Marlene NourbeSe Philip, David Malouf, Mineke Schipper, Abdulrazak Gurnah, Urs Widmer, Redmond O'Hanlon, Arundhati Roy, Barbara Kingsolver and Jeffrey Tayler.
This book is about books that recount the story of encountering another book. There are various versions of the story told and retold from the heyday of imperialism up to the present day (Homi Bhabha calls it the trope of 'the discovery of the English book'); by considering each of these versions carefully, we may also give an alternative account of twentieth-century 'English literature' as the site of an intercultural discourse. This project is very much inspired by debate on postcolonial theory, namely, the debate between Said and Bhabha. Part I is devoted to the discussion of Conrad, especially of Heart of Darkness, and investigates how the novella has continually been reproduced to the extent that it represents 'the English Book' of colonial/postcolonial literatures. The chapter on Hugh Clifford (Ch.3) is virtually the first intensive critique of his novels, such as Saleh (1908), with a particular focus on their intertextual relations with Conrad's texts. Part II examines how the story of the English Book is repeated and revised in the texts of the following authors: Joyce Cary, Isak Dinesen, V. S. Naipaul, Kaiko Takeshi, and Ngũgĩ wa Thiong'o.
This study of Joseph Conrad's influential work "Heart of Darkness" presents for the first time the German-language reception of this reference text in the debate on postcolonialism. The spectrum ranges from Conrad's contemporaries (like Kafka) to many canonical authors of the 20th century (including Thomas Mann, Ernst Jünger, Christa Wolf) to the most recent names in literature (i.e. Christian Kracht und Lukas Bärfuss). Beyond the readings of their works, the study contributes to the study of cultural transfers as well as to Conrad philology, and it expands the theory of intertextuality with parameters that capture the complex factor of power in postcolonial relations.
Drawing on a vast archive of world history, anthropology, geography, cultural theory, postcolonial studies, gender studies, literature, and art, Susan Stanford Friedman recasts modernity as a networked, circulating, and recurrent phenomenon producing multiple aesthetic innovations across millennia. Considering cosmopolitan as well as nomadic and oceanic worlds, she radically revises the scope of modernist critique and opens the practice to more integrated study. Friedman moves from large-scale instances of pre-1500 modernities, such as Tang Dynasty China and the Mongol Empire, to small-scale instances of modernisms, including the poetry of Du Fu and Kabir and Abbasid ceramic art. She maps the interconnected modernisms of the long twentieth century, pairing Joseph Conrad with Tayeb Salih, E. M. Forster with Arundhati Roy, Virginia Woolf with the Tagores, and Aimé Césaire with Theresa Hak Kyung Cha. She reads postcolonial works from Sudan and India and engages with the idea of Négritude. Rejecting the modernist concepts of marginality, othering, and major/minor, Friedman instead favors rupture, mobility, speed, networks, and divergence, elevating the agencies and creative capacities of all cultures not only in the past and present but also in the century to come.
Barbara Kingsolver's books have sold millions of copies. The Poisonwood Bible was nominated for the Pulitzer Prize, and her work is studied in courses ranging from English-as-a-second-language classes to seminars in doctoral programs. Yet, until now, there has been relatively little scholarly analysis of her writings. Seeds of Change: Critical Essays on Barbara Kingsolver, edited by Priscilla V. Leder, is the first collection of essays examining the full range of Kingsolver's literary output. The articles in this new volume provide analysis, context, and commentary on all of Kingsolver's novels, her poetry, her two essay collections, and her full-length nonfiction memoir, Animal, Vegetable, Miracle: A Year of Food Life. Professor Leder begins Seeds of Change with a brief critical biography that traces Kingsolver's development as a writer. Leder also includes an overview of the scholarship on Kingsolver's oeuvre. Organized by subject matter, the 14 essays in the book are divided into three sections tha deal with recurrent themes in Kingsolver's compositions: identity, social justice, and ecology. The pieces in this ground-breaking volume draw upon contemporary critical approaches—ecocritical, postcolonial, feminist, and disability studies—to extend established lines of inquiry into Kingsolver's writing and to take them in new directions. By comparing Kingsolver with earlier writers such as Joseph Conrad and Henry David Thoreau, the contributors place her canon in literary context and locate her in cultural contexts by revealing how she re-works traditional narratives such as the Western myth. They also address the more controversial aspects of her writings, examining her political advocacy and her relationship to her reader, in addition to exploring her vision of a more just and harmonious world. Fully indexed with a comprehensive works-cited section, Seeds of Change gives scholars and students important insight and analysis which will deepen and broaden their understanding and experience of Barbara Kingsolver's work.
This book examines how ideas about place and space have been transformed in recent decades. It offers a unique understanding of the ways in which postcolonial writers have contested views of place as fixed and unchanging and are remapping conceptions of world geography, with chapters on cartography, botany and gardens, spice, ecologies, animals and zoos, and cities, as well as reference to the importance of archaeology and travel in such debates. Writers whose work receives detailed attention include Amitav Ghosh, Derek Walcott, Jamaica Kincaid, Salman Rushdie, Michael Ondaatje and Robert Kroetsch. Challenging both older colonial and more recent global constructions of place, the book argues for an environmental politics that is attentive to the concerns of disadvantaged peoples, animal rights and ecological issues. Its range and insights make it essential reading for anyone interested in the changing physical and human geography of the contemporary world.
Semiotic Encounters: Text, Image and Trans-Nation aims at opening up scholarly debates on the contemporary challenges of intertextuality in its various intersections with postcolonial and visual culture studies. Commencing with three theoretical contributions, which work towards the creation of frameworks under which intertextuality can be (re)viewed today, the volume then explores textual and visual encounters in a number of case studies. While (a) the dimension of the intertextual in the traditional sense (as specified e.g. by Genette) and (b) the widening of the concept towards visual and digital culture govern the structure of the volume, questions of the transnational and/or postcolonial form a recurrent subtext. The volume’s combination of theoretical discussions and case studies, which predominantly deal with ‘English classics’ and their rewritings, film adaptations and/or rereadings, will mainly attract graduate students and scholars working on contemporary literary theory, visual culture and postcolonial literatures.
Despite the understanding of scholars that masculinity, far from being a natural or stable concept, is in reality a social construction, the culture at large continues to privilege an idealized, coherent male point of view. The Privilege of Crisis draws on the work of authors such as H. Rider Haggard, Rudyard Kipling, and Joseph Conrad--as well as contemporary postcolonial writers such as J. M. Coetzee, Hanif Kureishi and Zadie Smith--to show how recurrent references to a "crisis" of masculinity or the decline of masculinity serve largely to demonstrate and support positions of male privilege.
Richard Lane explores the themes surrounding the postcolonial novel written in English.
This volume comprises sixteen essays, preceded by an introductory chapter focusing on the diverse modalities of textual, and more widely, artistic transfer. Whereas the first Rewriting-Reprising volume (coord. by C. Maisonnat, J. Paccaud-Huguet & A. Ramel) underscored the crucial issue of origins, the second purports to address the specificities of hypertextual, and hyperartistic (Genette, 1982) practices. Its common denominator is therefore second degree literature and art. A first section, titled “Pastiche, Parody, Genre and Gender,” delineates what amounts to a poetics of rewriting/reprising, by investigating a whole range of authorial stances, from homage – through a symphonic play of intertexts – to varying degrees of textual deviance, or dissidence. Some genres, like the fairy tale or the Gothic, through their very malleability, are indeed more apt to lend themselves to rewriting/reprising. However, hypertextuality is not merely ornamental, or purely aesthetic; its subversive potential is perceptible notably through its many attempts at emancipating the genre from the ideological fetters of gender. Over the past two decades, Victorian literature and culture has become an inescapable field of investigations to any study on intertextuality in the English-speaking world. In a second part, diversity has been preferred to any single, specific angle to approach the Victorian/neo-Victorian tropism. The purpose is to provide as complete a spectrum as is reasonably possible in such a volume. The practice of rewriting in the Victorian age is thus studied alongside contemporary appropriations of the Victorian canon. The question is raised of whether literary fetishism may not result in a form of counterfeit classicism, while the more challenging neo-Victorian rewritings would make a claim for the need to choose one’s literary heritage and ancestors. This is where the post-colonial agenda comes in. Precisely, the third part investigates the question of rewriting-reprising as a way of writing back. The myth of Frankenstein’s creature bent on wreaking vengeance on his creator is of course seminal as it offers a myth of transgression which, in its turn, becomes a “foundation myth.” Not only are post-colonial responses to their (disclaimed) parent-texts highly theory-informed, but they also evince an awareness of such contemporary issues which are direct consequences of the colonial past. In the last section of this volume, the scope of what comes within the range of intertextuality per se is widened to cover artistic dialogism. In the exchanges between theatrical texts, reprise may be construed as a metaphor standing for the pleasure inherent in the process of recreation. The interaction between embedded paintings and the embedding canvas offers yet another variation on the reprise motif, as does the meta-aesthetic discourse of the critic on the work of art. What begins as mere repetition is soon colored by the personal inflections of the interpreter. In operatic performances, updating a classical text to make it suitable to contemporary audiences, and in close harmony with the role assigned to music, is liable to spur on the creativity of recreation.