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ID:
086845
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| Publication |
2009.
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| Summary/Abstract |
This article discusses works of four Malay authors who deal with Malaya's colonial past through parody, and expressions of admiration and disillusion when portraying British characters or describing travel to Britain. It seems that only a few Malay authors have tried to 'write off' their colonial past in the very obvious way of depicting and subverting colonial masters and systems. This may be due to the use of the Malay language, which provides the authors with an 'easy way out' of tackling the perhaps sensitive issue head-on - a similar suggestion has been made in relation to Indonesia.
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| 2 |
ID:
162463
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| Summary/Abstract |
The term ‘vernacular modernism’ came into being amidst proliferating conceptual frameworks to explain the diverse paradigms of modernity as a global process. More specifically, ‘vernacular modernism’ as a category of analysis emerged in an effort to democratise the term ‘modern’ with respect to non-metropolitan cultural formations. However, this conceptual category does not necessarily encompass the complex elements of all non-metropolitan vernacular cultural formations; rather, it offers a complementary gesture towards a universal history of modernity. Historicising a debate on modernism in Assamese literary culture in the late nineteenth and early twentieth centuries, this paper grapples with the problematic that ‘vernacular modernism’ as a conceptual category represents.
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| 3 |
ID:
170471
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Written against the backdrop of Darjeeling’s 2017 Gorkhaland agitation, this essay chronicles the colonialisations—first British, now Bengali—that undergird this subnationalist struggle. The analysis challenges romanticised views of Darjeeling, presenting instead a case study of internal colonialism. As an exercise in post-colonial thought, it leverages the view from Darjeeling to explore a notable lacuna in our reckonings of subalternity. A place long thought to be ‘above it all’ here begs its own history from below. Heeding Gorkhaland’s call, the essay proposes ‘provincialising Bengal’ as a means to productively address the internal colonialism at hand, and therein rethink Bengal and its peripheries.
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| 4 |
ID:
181682
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| Summary/Abstract |
The senses play a crucial role in the poetry of Sarojini Naidu (1879–1949), both on the level of theme and on the level of aesthetics. Throughout this essay, I show how Naidu creates multisensorial sensescapes that evoke the Indian aesthetic principle of rasa, which literally translates into English as ‘juice, essence, or taste’ and which, in the context of aesthetic theory, denotes the emotive essence of and response to a piece of art. The early twentieth century saw a revival of classical Indian aesthetics, including rasa. Translating this ancient Indian aesthetic principle into modern poetry in English, Naidu harks back to a pre-colonial cultural idea(l) in order to form a national identity that is independent of the coloniser’s political and cultural imperialism.
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