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Download Colonialism, Modernity, and Literature: A View from India by Satya P. Mohanty PDF

By Satya P. Mohanty

Mohanty has assembled an cutting edge quantity of essays positioned on the intersection of not less than 3 multi-disciplinary fields: postcolonial and subaltern conception; comparative literary research, in particular with a South Asian and transnational concentration; and the research of “alternative” and “indigenous” modernities. This definitive new paintings grounds the political insights of postcolonial and subaltern concept in shut textual research and demanding situations readers to imagine in new methods approximately international modernity and native cultures.

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17 The fact that Senapati’s novel does not strictly work through written prose but also through oral modes is important in considering the type of knowledge validated, as I will demonstrate shortly. Here I would like to stress its conversational tone. Frequently, the narrator directly addresses various readers, and in one instance he18 tells the reader “your face reveals everything,” implying that his audience is, in fact, physically present (88). The ability of the narrator to interpret the reader’s facial expressions evokes the sense that the narrator is not writing the story in private but telling his tale before a listening audience.

There is not a single line in my novels that is not based in reality” (36–37, translation mine). The scene is based on the United Fruit Company massacre in Ciénaga, Colombia, in 1928. The same General Carlos Cortés Vargas named in the novel was the military leader in charge of putting down the strike. See note 35. Many literary scholars have analyzed the massacre episode; see, for example, Alvarez Gardeazábal, Angulo, BellVillada, Janes, Martin, Mena, and Saldívar. The idea of alternative modernities has been articulated by a number of scholars in different disciplines using a variety of terms.

Com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-04-15 Narrative Transculturation in the Novel Jennifer Harford Vargas in the master’s bedroom” (35). The laborer Jaga’s knowledge, which is disseminated as gossip, challenges Mangaraj’s exemplary moral status. Though the narrator hedges the evidence provided by Jaga— purportedly condemning it on the basis of there being no witnesses physically present in the room to confirm Mangaraj’s breaking of the fast—the reader is from the very outset presented with a spoken chain of alternative meanings.

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