By C. Okonkwo
This publication explores via thought and in-depth textual feedback how novelists from previously colonised societies have exploited indigenous codes and conventions of aesthetic illustration to remodel the radical into a good medium for cultural and political resistance to (neo)colonialism. targeting novels written among the past due Nineteen Forties and early Nineties in Africa, Polynesia, and the West Indies, it deals a clean mode of postcolonial critique which takes account of the ideological impulses at the back of the novelists' interpretation of the colonial adventure.
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Additional info for Decolonization Agonistics in Postcolonial Fiction
46 In Barthes' famous conclusion to 'The Death of the Author'- 'the birth of the reader must be at the cost of the death of the Author' - 'reader' is only a convenient public mask for the self-anointing theorist. Putting the matter mildly, Dominic Strinati has pointed out that: The postmodern popular culture produced by certain occupational groups within the cultural industries is clearly not just concerned with a celebratory populism or a know-nothing relativism. The quotes and references that are part of this process are meant to appeal to those 'clever' enough to spot the source of the quote or reference.
I put aside your construction of me as speaking for the third world ... I have put in a great deal of time precisely assimilating, and so listen to me not as some sort of self-agonizing Caliban, but as one of you, you know ... I am not the Other, capital 0. I am part of the Same, with a difference. 52 A related tendency is at work in the North American phenomenon of 'Minority Discourse', defined by Abdul R. JanMohamed and David Lloyd as' a theoretical articulation of the political and cultural structures that connect different minority cultures in their subjugation and opposition to the dominant culture'.
65 The issues raised by Ketu Katrak are engaged in the present study. 2 The Politics of Form: Ideology, Form and Technique THE ORAL BACKGROUND Decolonization agonistics begins with a search for adequate form to embody the novelist's vision of history and the universe. In Africa, Polynesia and the West Indies, the existence of a rich indigenous tradition of literature, albeit an oral tradition, means that novelists' first and formative aesthetic experience comes from the indigenous culture. Many novelists have therefore generally begun by looking inwards to their own myths, epics, legends, folktales, songs, riddles and proverbs, and other literary performances.