Writing India 1757 1990

This volume provides an analytic survey of the literature produced as a consequence of the long history of Britain's rule in India. It stretches from the establishment of British hegemony in the 1750's to the achievement of Indian independence in the postcolonial era almost two centuries later. Writing India concludes with a chapter on Salman Rushdie in order to suggest the complex relation of continuity as well as conflict between colonial and postcolonial constructions of India.

Dissenters and Mavericks reinvigorates the interdisciplinary study of literature, history, and politics through an approach to reading that allows the voices heard in writing a chance to talk back, to exert pressure on the presuppositions and preferences of a wide range of readers. Offering fresh and provocative interpretations of both well-known and unfamiliar texts--from colonial writers such as Horace Walpole and Edmund Burke to twentieth-century Indian writers such as Nirad Chaudhuri, V.S. Naipaul, and Pankaj Mishra--the book proposes a controversial challenge to prevailing academic methodology in the field of postcolonial studies.

Drawing Upon A Wide Range And Variety Of Literary And Non-Literary Sources Of Nineteenth Century British India, Woman And Empire Examines Perceptions Of Gender Over The 1858 1900 Period. The Book Focuses On Representations Of White And Indian Women, In Addition To Women Of Mixed Races, In Fiction As Well As In Colonial Newspapers And Journals.

Compromise and Resistance in Postcolonial Writing offers a new critical approach to E. M. Forster's legacy. It examines key themes in Forster's work (homosexuality, humanism, modernism, liberalism) and their relevance to post-imperial and postcolonial novels by important contemporary writers.

This two-volume reset edition draws together a selection of Anglo-Indian poetry from the Romantic era and the nineteenth century.

This two-volume reset edition draws together a selection of Anglo-Indian poetry from the Romantic era and the nineteenth century.

The Limits of Orientalism: Seventeenth-Century Representations of India challenges recent postcolonial readings of European, and particularly English, representations of India in the seventeenth century. The book critiques Edward Said's discourse of 'Orientalism' by destabilizing the notion of a homogeneous 'West': the English interest was commercial, unlike the colonially and religiously motivated Portuguese, and therefore instead of representing Mughals as barbaric 'others,' the English travelers drew parallels between the Mughals and themselves in their writings, associating with them as partners in trade and potential allies in war. The Europeans praised Muslims' civility and religious tolerance, yet tended to be more conflicted with the Hindus, but eventually their negative views underwent a transformation, questioning the Orientalist notion of the homogeneous 'Indian.' By historicizing the European representations of India, the book undercuts postcolonial analyses by critics such as Kate Teltscher, Jyotsna Singh, Nandini Bhattacharya, Balachandra Rajan, Gayatri Chakravorty Spivak, Shankar Raman and others.

Drawing together the insights of postcolonial scholarship and cultural studies, Popular Postcolonialisms questions the place of ‘the popular’ in the postcolonial paradigm. Multidisciplinary in focus, this collection explores the extent to which popular forms are infused with colonial logics, and whether they can be employed by those advocating for change. It considers a range of fiction, film, and non-hegemonic cultural forms, engaging with topics such as environmental change, language activism, and cultural imperialism alongside analysis of figures like Tarzan and Frankenstein. Building on the work of cultural theorists, it asks whether the popular is actually where elite conceptions of the world may best be challenged. It also addresses middlebrow cultural production, which has tended to be seen as antithetical to radical traditions, asking whether this might, in fact, form an unlikely realm from which to question, critique, or challenge colonial tropes. Examining the ways in which the imprint of colonial history is in evidence (interrogated, mythologized or sublimated) within popular cultural production, this book raises a series of speculative questions exploring the interrelation of the popular and the postcolonial.