The Empire Writes Back

Ashcroft, Bill; Griffiths, Gareth; Tiffin, Helen

doi:10.4324/9780203402627

Cited by 714 publications

(54 citation statements)

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“…Nesse sentido, procuramos observar como a autora, em especial no tocante às questões de gênero, subverte os valores dominantes, pois, conforme apontam Ashcroft et al (2002), a descolonização é um processo que invoca uma dialética entre sistemas centristas hegemônicos e sua subversão periférica. Ainda segundo os autores, as inversões pós-coloniais das formações imperiais subvertem ou invertem o dominante para questionar os fundamentos de ontologias e sistemas epistemológicos que veriam tais estruturas binárias como inescapáveis.…”

Section: ) a Etnia Como Ideologia E A Discriminação éTnica Nos Estadunclassified

Nas Intermitências Do Dizer Do Outro: Olhares Sobre O Gênero Em the Bluest Eye, De Toni Morrison

Sousa¹,

Silveira²

2015

escrita

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Section: ) a Etnia Como Ideologia E A Discriminação éTnica Nos Estadunclassified

Nas Intermitências Do Dizer Do Outro: Olhares Sobre O Gênero Em the Bluest Eye, De Toni Morrison

Sousa¹,

Silveira²

2015

escrita

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“…L'écriture postcoloniale est largement présentée dans la littérature scientifique comme une forme d'autotraduction (Rushdie, 1982;Ojo, 1986;Ashcroft et al, 1989;Bandia, 1996;Sévry, 1998;Tymoczko, 1999a;Gyasi, 2006). Buzelin (2005) précise que l'écriture postcoloniale représente une traduction aux sens sémiotique, culturel et linguistique, tandis que Bandia, à la suite d'Adejunmobi (1998) parle de « compositional translation » qu'il définit comme « the writing of African orature 2 in European languages » (2008, p. 167).…”

Section: Littératures Orales Et Romans Europhones En Afrique : Quelquunclassified

Les motifs sonores dans la littérature africaine europhone : exemple et jalons théoriques dans une perspective traductive1

Jay-Rayon

2010

ttr

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Si personne ne conteste le fait que les littératures africaines sont hybrides, ni qu’elles reflètent une situation de diglossie, on ne s’intéresse encore que partiellement à l’esthétique de l’oralité dans ces littératures. Il est clair, cependant, que cette esthétique est ancrée dans des pratiques socioculturelles et linguistiques et qu’elle peut constituer un geste politique. Dans cet article, il sera question des enjeux esthétiques d’un texte hybride dans une perspective traductive, à partir du cas particulier deSardines, quatrième roman de Nuruddin Farah, auteur somalien d’expression anglaise. Plus précisément, l’objectif consistera à montrer de quelle manière la langue orale et ses composantes formelles traditionnelles informent l’écriture de l’auteur. Une réflexion s’articulera ensuite autour de la réactivation de cette oralité dans son acception de « dimension sonore », que je propose d’envisager comme vecteur de signifiance, au sens bermanien du terme. À cette fin, le concept de traduction cratyléenne proposé par Ryan Fraser sera examiné.

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“…Childs and Williams (1996) explain that "the obvious implication of the term post-colonial is that it refers to a period coming after the period of colonialism" (p. 1). Ashcroft, Griffiths, and Tiffin (2004) maintain that the "semantic basis of the term 'post-colonialism' might seem to suggest a concern only with the national culture after the departure of the imperial power" (p. 1). Instead, they use the term "to cover all the culture affected by the imperial process from the moment of colonization to the present day" (p. 1).…”

Section: Introduction and General Backgroundmentioning

confidence: 99%

“…By means of their postcolonial literature, the writers of the decolonized countries reply to the imperial powers' misrepresentation of their indigenous culture. In the words of early theorists of postcolonialism, they "write back to the center" of the empire with a view to forming and establishing their national identity after decolonization (Fanon, 1983;Ashcroft, Griffiths, and Tiffin, 2004). Postcolonialism tries to critique the argument of imperial powers and establish new relationships between what used to be the colonizer and the colonized.…”

Section: Introduction and General Backgroundmentioning

confidence: 99%

Postcolonialism Revisited: Representations of the Subaltern in Fadia Faqir’s Pillars of Salt

Yousef¹

2016

SUET

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Postcolonial theory is a well-established critical approach that addresses issues such as the quest for identity, the significance of land, homelessness, resistance, and the encounter between the colonized and the colonizers. This paper examines the postcolonial elements utilized by the Anglo-Jordanian novelist Fadia Faqir in her novel Pillars of Salt. It discusses the novel's themes and techniques associated with postcolonialism as a literary theory and as a critical approach. Being a postcolonial text, the novel shows the writer's attempt at writing back in response to the colonial past with its power structures and social hierarchies. Thematically, the novel is analyzed with special reference to such topics as the subaltern, Anglo-Jordanian ties, language, otherness, and identity. The paper also traces the continuity of postcolonial discourse in Faqir's novel and gives a short survey of the historical events that provide the background to the main events in this essentially postcolonial work.

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The Empire Writes Back

Cited by 714 publications

References 0 publications

Nas Intermitências Do Dizer Do Outro: Olhares Sobre O Gênero Em the Bluest Eye, De Toni Morrison

Nas Intermitências Do Dizer Do Outro: Olhares Sobre O Gênero Em the Bluest Eye, De Toni Morrison

Les motifs sonores dans la littérature africaine europhone : exemple et jalons théoriques dans une perspective traductive1

Postcolonialism Revisited: Representations of the Subaltern in Fadia Faqir’s Pillars of Salt

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