Letteratura scientifica selezionata sul tema "Colonies – oceania – fiction"

The southern Indian Ocean constitutes a distinct oceanographic region that offers useful links, connections, and perspectives as an area of inquiry, in the domain of colonial and postcolonial literature but also more widely. The region is both particularly oceanic and particularly southern, making it a key part of the ‘oceanic South’, a formulation which overlays the postcolonial poverty of the Global South with its oceanicity. As an area of inquiry it complicates Indian Ocean studies by drawing its purview into colder, wilder, more oceanic regions; centralizes questions of the global - and oceanic - South; and encourages a focus on the ocean itself. The article describes the material characteristics of the southern Indian Ocean, places it within the oceanic South, and as an example reads a work of historical fiction - Dan Sleigh’s Islands (2005) - within this particular oceanic, political, and literary geography.

Decolonial thinkers have stressed that to decolonise is not to reject the colonial legacy, but to deal with it, and to centre First Nations’ perspectives in its critique and in decolonising knowledge. As a critical relationship of a text – with itself, other texts, literature, and culture – metatextuality is a literary device operationalized in contemporary novels to resist persisting colonial powers. In this paper, we present three works of fiction by Indigenous writers of Oceania, and analyse their political use of metatextuality: L’île des rêves écrasés (Island of Shattered Dreams), by Tahitian author Chantal Spitz (1991); The Yield, by Aboriginal Wiradjuri novelist Tara June Winch (2019); and After Story, by Aboriginal Eualeyai/Kamillaroi writer Larissa Behrendt (2021). Centred on First Nations’ characters from Tahiti and Australia, these novels expose how they are racialised, marginalised, and constructed as inferior in postcolonising societies; and how, at the same time, these Indigenous characters are legitimate knowers and storytellers, reflecting on Western literature (often ironically), on their own marginality, and on their ancestral knowledges and languages. Borrowing from decolonial theorists Tlostanova and Mignolo’s (2012) ‘border thinking’, we propose that these novels deploy a ‘writing from the border’.

Indian English fiction writers have made their particular assertions about tribals which are incomplete therefore; we do not find much reality in their novels. In the novels like The Strange Case of Billy Biswas, The Princess, The White Tiger and The English August, we find the unauthentic representation of the tribal life. In every novel, tribal life and characters are shown dependable on mainstream heroes for the help. Novelist’s tribal women and man, surrender to mainstream sophisticated social arrangements. In most of the novels, they consider the non-tribal person as god and savior for them who is outsider of their tribal territory. This is a kind of internal orientalism. The political victimization of the tribal is the colonial phenomena. Mainstream writers assume that the tribals are the uncivilized and no need of cultivation hence tribals are the community for political victimization. Mainstream literatures have never depicted their victimization on ground realities and given place in mainstream canonical literature. This research article tries to examine the displacement and distortion of Adivasi life in the selected novels written in Indian English.

Mahashweta Devi was a legend in the regional adivasi literature writings. In a true sense, she had taken the responsibilities to give the voices to the marginalized adivasi who were suppressed from the centuries. Her translated novel Chotti Munda and His Arrow was the pathbreaking novel in the field of regional translation. For the first time Birsa Munda, the legendary martyr and adivasi icon of whole Adivasis in India was known through her magnificent novel. During the colonial ruling, the adivasi territory was interrupted by the Britisher’s tax policies and the oppressive treatment of the landlords. The present novel shows the realism of the adivasi struggle. Present research article tries to examine the issues of subalternity, migration, resistance and search for existential issues of the indigenous communities who stood against the internal colonization of the feudal lords in Indian society.

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Barry Unsworth’s Sacred Hunger and Amitav Ghosh’s Sea of Poppies develop cognitive-affective maps of empire that reveal its totalizing ambitions. They deploy realist techniques to do so while displaying an intense self-consciousness about such techniques’ limitations. The maps they draw link the Atlantic world (and slavery) with the Indian Ocean (and indentured servitude). This angle of vision moves the historical novel’s frame of reference beyond both the nation and the mono-oceanic paradigms that have emerged as alternatives to nation-based understandings. Finally, and drawing especially on the work of Dipesh Chakrabarty, the chapter shows that the novels retrieve from historicist time the inassimilable, heterotemporal residues of utopian alternatives to the colonial, which draw upon while radically refashioning “premodern” and pre-secular modes of affinity.

From the perspective of Anglophone literature, the South Atlantic has been something of a blank—in colonial maritime fiction, a prefatory space leading up to the Cape of Storms or on the journey home, a fast-forward space as the ship hurries to the metropole. This article suggests that one way to fill this blank is to focus on the subantarctic islands of the South Atlantic and the Indian Ocean. This insular world played a key role in the scramble for the Antarctic and reproduces the role of islands in imperial expansion elsewhere. The article examines two contrasting literary representations of these island worlds: H. Rider Haggard’s novel Mary of Marion Isle and Yvette Christiansë’s collection of poetry Imprendehora.