Modernism And The Post Colonial

This book considers the shifts in aesthetic representation over the period 1885-1930 that coincide both with the rise of literary Modernism and imperialism's high point. Peter Childs argues that modernist literary writing should be read in terms of its response and relationship to events overseas and that it should be seen as moving towards an emergent post-colonialism instead of struggling with a residual colonial past. Each of the core chapters focuses on one key writer and discuss a range of others, including: Conrad, Lawrence, Kipling, Eliot, Woolf, Joyce, Conan Doyle and Haggard.

Provides a fresh account of modernist writing in a perspective based on the reading strategies developed by postcolonial studiesNeither modernity nor colonalism (and likewise, neither postmodernity nor postcoloniality) can be properly understood without recognition of their intertwined development. This book interprets modernity as an asymmetrically global phenomenon complexly connected to the course of Western imperialism, and demonstrates how the impact of Western modernism produced new developments in writing from all the former colonies of Europe and the US. These developments constitute the afterlife of Western modernism.The various ways in which the aesthetic ideologies and writing strategies of Western modernism have been adapted, transposed and modified by some of the most innovative writers of the twentieth century is demonstrated in the book through a set of case studies, each of which juxtaposes a canonical modernist text with a postcolonial text that shows how modernist modes metamorphosed in interaction with the turbulent and volatile realities of colonies and new nations struggling to arrive at a modernity of their own in contexts marked by colonial histories. Thus Kafka's allegories are juxtaposed with the use of allegory in writers like Salman Rushdie and J.M.Coetzee; the gendered modernity of Virginia Woolf is juxtaposed with the disturbing and powerful fictions of writers such as Jean Rhys and Katherine Mansfield; the intellectualized and urbanized spirituality of T.S. Eliot's The Waste Land is re-read in the revisionist contexts created by the brilliant and troubled urban spirituality of writers such as Arun Kolatkar from India and a text such as The Woman Who Had Two Navels, from the Philippines.

Written by one of the foremost scholars of African art and featuring 129 color images, Postcolonial Modernism chronicles the emergence of artistic modernism in Nigeria in the heady years surrounding political independence in 1960, before the outbreak of civil war in 1967. Chika Okeke-Agulu traces the artistic, intellectual, and critical networks in several Nigerian cities. Zaria is particularly important, because it was there, at the Nigerian College of Arts, Science and Technology, that a group of students formed the Art Society and inaugurated postcolonial modernism in Nigeria. As Okeke-Agulu explains, their works show both a deep connection with local artistic traditions and the stylistic sophistication that we have come to associate with twentieth-century modernist practices. He explores how these young Nigerian artists were inspired by the rhetoric and ideologies of decolonization and nationalism in the early- and mid-twentieth century and, later, by advocates of negritude and pan-Africanism. They translated the experiences of decolonization into a distinctive "postcolonial modernism" that has continued to inform the work of major Nigerian artists.

This anthology collects developing scholarship that outlines a new decentred history of global modernism in architecture using postcolonial and other related theoretical frameworks. By both revisiting the canons of modernism and seeking to decolonize and globalize those canons, the volume explores what a genuinely "global" history of architectural modernism might begin to look like. Its chapters explore the historiography and weaknesses of modernism's normative interpretations and propose alternatives to them. The collection offers essays that interrogate transnationalism in new ways, reconsiders the agency of the subaltern and the roles played by infrastructures, materials, and global institutions in propagating a diversity of modernisms internationally. Issues such as colonial modernism, architectural pedagogy, cultural imperialism, and spirituality are engaged. With essays from both established scholars and up-and-coming researchers, this is an important reference for a new understanding of this crucial and developing topic.

In less than half a century, the Socialist Federal Republic of Yugoslavia successfully defeated Fascist occupation, fended off dominating pressures from the Eastern and Western blocs, built a modern society on the ashes of war, created its own form of socialism, and led the formation of the Nonaligned Movement. This country's principles and its continued battles, fought against all odds, provided the basis for dynamic and exceptional forms of art. Drawing on archival materials, postcolonial theory, and Eastern European socialist studies, Nonaligned Modernism chronicles the emergence of late modernist artistic practices in Yugoslavia from the end of the Second World War to the mid-1980s. Situating Yugoslav modernism within postcolonial artistic movements of the twentieth century, Bojana Videkanic explores how cultural workers collaborated with others from the Global South to create alternative artistic and cultural networks that countered Western hegemony. Videkanic focuses primarily on art exhibitions along with examples of international cultural exchange to demonstrate that nonaligned art wove together politics and aesthetics, and indigenous, Western, and global influences. An interdisciplinary book, Nonaligned Modernism highlights Yugoslavia's key role in the creation of a global modernist ethos and international postcolonial culture.

This book works across established categories of modernism and postcolonialism in order to radically revise the periods, places, and topics traditionally associated with anti-colonialism and aesthetic experimentation in African literature. The book is the first account of Olive Schreiner as a theorist and practitioner of modernist form advancing towards an emergent postcolonialism. The book draws on and broadens discussions in and around the blossoming field of global modernist studies by interrogating the conventionally accepted genealogy of development that positions Europe and America as the sites of innovation. It provides an original examination of the relationships between metaphor, postcolonialism, and modernist experimentation by showing how politically and aesthetically innovative African forms rely on allegorical structures, in contrast to the symbolism dominant in Euro-American modernism. An original theoretical concept of the role of primitivism and allegory within the context of modernism and associated critical theory is proposed through the integration of postcolonial, Marxist, and ecocritical approaches to literature. The book provides original readings of Schreiner’s three novels, Undine, The Story of An African Farm, and From Man to Man, in light of the new theory of primitivism in African literature by directly addressing the issue of narrative form. This argument is contextualised in relation to the work of other Southern African authors, in whose writings the impact of Schreiner’s politics and aesthetics can be traced. These authors include J.M. Coetzee, Nadine Gordimer, Doris Lessing, Solomon T. Plaatje, and Zoe Wicomb, amongst others. This book brings the most current debates in modernist studies, ecocriticism, and primitivism into the field of postcolonial studies and contributes to a widening of the debates surrounding gender, race, empire, and modernism.

Africa -- Asia -- The Caribbean -- Ireland -- Australia/New Zealand -- Canada

This book considers the shifts in aesthetic representation over the period 1885-1930 that coincide both with the rise of literary Modernism and imperialism's high point. If it is no coincidence that the rise of the novel accompanied the expansion of empire in the eighteenth-century, then the historical conditions of fiction as the empire waned are equally pertinent. Peter Childs argues that modernist literary writing should be read in terms of its response and relationship to events overseas and that it should be seen as moving towards an emergent post-colonialism instead of struggling with a.