Post‐Colonial Melancholy: An Examination of Sadness in Amitav Ghosh's <i>The Shadow Lines</i>

Almond, İan

doi:10.1111/j.0105-7510.2004.00798.x

Cited by 6 publications

(2 citation statements)

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“…Amitav Ghosh's writings are self-consciously metafictional and related, presenting historical references and personages. It's a narrative in which the narrator shows himself as a character as well as a narrator who symbolises Historiographic Metafiction [2]. Sciences (IJMTS), ISSN: 2581-6012, Vol.…”

Section: Historiographic Metafictionmentioning

confidence: 99%

Redefining Nationhood and Nationality through Historiographic Metafiction in the Shadow Lines

Nayana

Manjula

2022

IJMTS

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Purpose: Postmodernism is a general movement that developed in the late 20th century across the arts, philosophy, art, architecture, and criticism, marking a disappearance from modernism. The term has been more often used to describe a historical age which followed after modernity. Postmodernism is a period of uprising which refers to ups and downs in each walk of life and the different disciplines of knowledge be it literary work, philosophy, or science. Postmodern literature revokes some modern literary methods by transforming them. Historiographic Metafiction is a contradictory term that consists of two opposite categories such as history and metafiction. It is having dual representations because such writings reflect the reality as well as fictional position. An attempt is made by the Post-colonial Indian English writers to liberate Indian English literature from the foreign bondage. Historical events such as agitations, migration, movements, refugees, colonial hegemony; social-economic and cultural problems like encounter of the east-west, caste, and class became the concerns of the writers. Design/Methodology/Approach: This paper is prepared by making a study of Primary source and accumulating secondary data from educational websites and written publications. This qualitative research is carried out by studying and interpreting the existing knowledge on the subject. The paper tries to analyze the historiographic metafictional features as depicted in The Shadow Lines by Amitav Ghosh. Findings/Result: After reviewing many articles, books and thesis it has been found that the paper aims to study Amitav Ghosh's notions like ‟ Nationhood and National distinctiveness in "The Shadow Lines” as a reminiscence novel, highlights a few historical happenings like the Second World War, the Swadeshi movement, and the Partition of India in 1947 and communal uprisings in Bangladesh and India. The ardent nationalism upheld by the protagonist that is the narrator’s grandmother is questioned and re-analysed. Ghosh searches for appropriateness of traditional identity such as nation and nationalism. Originality/Value: This paper makes a study of the major character Thamma with special reference to her concerns of Nationhood and Nationality. The identity of Thamma in the novel is given prominence being a woman she stands for her thoughts and identifies her as an individual who faced tragedy but still who had the courage to raise her voice till the end. Paper Type: Analytical Research paper.

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Section: Historiographic Metafictionmentioning

confidence: 99%

Redefining Nationhood and Nationality through Historiographic Metafiction in the Shadow Lines

Nayana

Manjula

2022

IJMTS

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“…Black, Indigenous, feminine, and queer bodies that are out of place, out of time, or speak back are threats to the order of coloniality. Post-colonial aesthetics, for example, introduce melancholia and ‘unbelonging’ as disruptive tropes (Almond 2004; Collingwood-Whittick 2007). These tropes disrupt the triumphalist and white-supremacist fantasy of a unified national body into which all are fully integrated and of which all are accepting.…”

Section: Rescaling the Peripherymentioning

confidence: 99%

Rescaling the global borderlands: Transperipheral projections from ‘the heart of the Amazon’

Windle

Lopes

2021

Lang. Soc.

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This article examines semiotic resignifications undertaken in ‘peripheral’ cultural production through an ethnographic analysis of the trajectory of the Amazonian artist, Jaloo. Jaloo occupies multiple positions of marginality in Brazilian society and artistic scenes, which he connects to other global peripheries in his performances, aesthetics, and self-narratives. Building on anthropological and sociolinguistic scholarship, we show how ‘peripheral’ status is managed by Jaloo in the context of a growing and politicised audience for outsider and alternative cultural production. We theorise Jaloo's negotiation of his relationship with audiences and the media as rescaling. Further, we argue that this rescaling entails the ordering of semiotic resources into a social imaginary that reconfigures peripheral territories and identities, which we consider in terms of a transperipheral chronotope. (Inequality, chronotopes, indexicality, race, coloniality, scales, periphery)

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Taşra, Temporality, and Melancholia in Orhan Pamuk’s Istanbul

Özselçuk

2022

The Provincial and the Postcolonial in Cultural Texts From Late Modern Turkey

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Post‐Colonial Melancholy: An Examination of Sadness in Amitav Ghosh's The Shadow Lines

Cited by 6 publications

References 1 publication

Redefining Nationhood and Nationality through Historiographic Metafiction in the Shadow Lines

Redefining Nationhood and Nationality through Historiographic Metafiction in the Shadow Lines

Rescaling the global borderlands: Transperipheral projections from ‘the heart of the Amazon’

Taşra, Temporality, and Melancholia in Orhan Pamuk’s Istanbul

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