1

Literally, postcolonialism refers to the period following the

decline of colonialism, e.g., the end or lessening of
domination by European empires.
Although the term postcolonialism generally refers to the
period after colonialism, the distinction is not always made. In
its use as a critical approach, postcolonialism refers to "a
collection of theoretical and critical strategies used to
examine the culture (literature, politics, history, and so forth)
of former colonies of the European empires, and their
relation to the rest of the world”.
Among the many challenges facing postcolonial writers are the
attempt both to resurrect their culture and to combat
preconceptions about their culture.
2
Edward Said, for example, uses the word Orientalism to
describe the discourse about the East constructed by the
West. Major figures include
Edward Said,
Homi Bhabha
Frantz Fanon
Gayatri Spivak
Chinua Achebe
Wole Soyinka
Salman Rushdie
Jamaica Kincaid
Buchi Emecheta.
3
Post-colonial theory deals with the reading and writing of
literature written in previously or currently colonized
countries, or literature written in colonizing countries which
deals with colonization or colonized peoples. It focuses
particularly on –
The way in which literature by the colonizing culture distorts
the experience and realities, and inscribes the inferiority, of
the colonized people.
On literature by colonized peoples which attempts to articulate
their identity and reclaim their past in the face of that past's
inevitable otherness.

4
Colonialism is about the dominance of a
strong nation over another weaker one
Acquisition of the colonist, by brute force, of
extra markets, extra resources of raw material
and manpower from the colonies.

5
The Colonized are Savages in need of education and
rehabilitation
The Culture of the Colonized is not up to the standard of the
Colonizer
The Colonized nation is unable to manage and run itself
properly, and thus it needs the wisdom and expertise of the
Colonizer.
The Colonized Nation embraces a set of religious beliefs
incompatible with those of the colonizer
The colonized people pose dangerous threat to themselves and
to the civilized world if left alone

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The total or partial erosion of the Colonized Culture
The Mediation of the identity and subjectivity of the
Colonized
The total rejection by some elements among the
Colonized of everything Western as a form of
reaction and protest against the Colonizer
The emergence of Bourgeoisie Classes in the
Colonies

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The categorization of the world into ranks, such as first world,
second world, the West and stereotyping that follows
The emergence of societies with a lot of contradictions and split
loyalties.
It brought to the colonized a new vision of life, mainly western
and advanced. It fostered a strong sense of national unity. It
brought industrialization and moder n economy to the
colonies; and above all it advanced cultural life where it
occoured

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Cultural Relativism – This means that the Colonialists’ defilement of
Culture is Socially, Morally and Politically incorrect.
The absurdity of Colonial Language and Discourses. A Careful study
of recent colonial narratives suggests that the colonialist is always
rendered short of expression to comprehend and fathom his
colonial experience.
Ambivalence towards authority.Thgis ambivalence is born out of
the struggle and conflict between native and settler with the
outcome of the settler’s disposal. The victory over the settler leads
the native to question all forms of authority.
Colonial Alienation. Colonialism leads to the alienation of the native
inn his own land.This is described as a traumatic experience that
erodes the individual's idenity.

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The imperialist expansion of Europe into
the rest of the world during the last
four hundred years in which a dominant
imperium or center carried on a
relationship of control and influence
over its margins or colonies. This
relationship tended to extend to social,
pedagogical, economic, political, and
broadly culturally exchanges often with
a hierarchical European settler class and
local, educated (compractor) elite class
forming layers between the European
"mother" nation and the various
i n d i g e n o u s p e o p l e s who w e r e
controlled. Such a system carried within
it inherent notions of racial inferiority
and exotic otherness.
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 Broadly a study of the effects
of colonialism on cultures and
societies.
It is concerned with both how
European nations conquered
and controlled "Third World"
cultures and how these groups
have since responded to and • an initial awareness of the social,
resisted those encroachments. p s y c h o l o g i c a l , and c ul tur al
Post-colonialism, as both a inferiority enforced by being in
body of theory and a study of a colonized state
political and cultural change, the struggle for ethnic, cultural,
and political autonomy
has gone and continues to go
a growing awareness of cultural
through three broad stages:
overlap and hybridity
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The ambiguous way in which
colonizer and colonized regard
one another. The colonizer
often regards the colonized as
both inferior yet exotically
other, while the colonized
regards the colonizer as both
enviable yet corrupt. In a
context of hybridity, this often
produces a mixed sense of
blessing and curse.

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 "the state of being other
or different"; the
political, cultural,
linguistic, or religious
other.
The study of the ways in
which one group makes
themselves different
from others.

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The voluntary or enforced
migration of peoples from
their native homelands.
Diaspora literature is often
concerned with questions
of maintaining or altering
identity, language, and
culture while in another
culture or country.

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the process by which a
colonizing power
assimilates either a
subaltern native elite or
a larger population to
its way of thinking and
seeing the world.

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The essence or "whatness" of
something. In the context of race,
ethnicity, or culture, essentialism
suggests the practice of various
groups deciding what is and isn't a
particular identity.
As a practice, essentialism tends to
overlook differences within
groups often to maintain the status
quo or obtain power.
Essentialist claims can be used by a
colonizing power but also by the
colonized as a way of resisting
what is claimed about them.
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A fusion of traits that
belong to a group-
shared values, beliefs,
norms, tastes,
behaviors, experiences,
memories, and
loyalties. Often deeply
related to a person's
identity.

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The process by which a cultural
practice is made stimulating
and exciting in its difference
from the colonializer's normal
perspective.
Ironically, as European groups
educated local, indigenous
cultures, schoolchildren often
began to see their native
lifeways, plants, and animals as
exotic and the European
counterparts as "normal" or
"typical."

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The power of the ruling
class to convince other
classes that their interests
are the interests of all,
often not only through
means of economic and
political control but more
subtly through the control
of education and media.

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New transcultural forms that
arise from cross-cultural
exchange. Hybridity can be
social, political, linguistic,
religious, etc. It is not
necessarily a peaceful mixture,
for it can be contentious and
disruptive in its
experience. Note the two
related definitions:
catalysis: the (specifically New
World) experience of several
ethnic groups interacting and
mixing with each other often in
a contentious environment that
gives way to new forms of
identity and experience
creolization: societies that
arise from a mixture of ethnic
and racial mixing to form a
new material, psychological,
and spiritual self-definition.
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The way in which an individual
and/or group defines itself.
Identity is important to self-
concept, social mores, and
national understanding. It
often involves both essentialism
and othering.

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"a system of values,
beliefs, or ideas shared
by some social group
and often taken for
granted as natural or
inherently true”

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 In the context of colonialism and
post-colonialism, language has
often become a site for both
colonization and resistance.
In particular, a return to the original
indigenous language is often
advocated since the language was
suppressed by colonizing forces.
The use of European languages is a
much debated issue among
postcolonial authors.

abrogation: a refusal to use the appropriation: "the process by which

the language is made to 'bear the
language of the colonizer in a burden' of one's own cultural
correct or standard way. experience."
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The adaptation of Western realist
m eth od s o f literature i n
describing the imaginary life
of indigenous cultures who
experience the mythical, magical,
and supernatural in a decidedly
different fashion from Western
ones.
A weaving together elements we
tend to associate with European
realism and elements we associate
with the fabulous, where these
two worlds undergo a "closeness
or near merging."

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The mapping of global space
in the context of
colonialism was as much
prescriptive as it was
descriptive. Maps were
used to assist in the process
of aggression, and they
were also used to establish
claims. Maps claims the
boundaries of a nation, for
example.
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"grand narratives," "master
narratives.” a large cultural
story that seeks to explain
within its borders all the little,
local narratives.
A metanarrative claims to be a
big truth concerning the world
and the way it works.
Some charge that all
metanarratives are inherently
oppressive because they decide
whether other narratives are
allowed or not.
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The means by which the
colonized adapt the culture
(language, education,
clothing, e t c . ) of the
colonizer but always in the
process changing it in
important ways. Such an
approach always contains it
in the ambivalence of
hybridity.

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The process (from the late
eighteenth century to the
present) by which "the Orient"
was constructed as an exotic
other by European studies and
culture.
Orientalism is not so much a
true study of other cultures as
it is broad Western
generalization about Oriental,
Islamic, and/or Asian cultures
that tends to erode and ignore
their substantial differences.
Orientalism is a term used by
art historians, literary,
geographers, and cultural
studies scholars for the
imitation or depiction of
aspects in Middle Eastern,
South Asian, African and East
Asian cultures (Eastern
cultures).These depictions are
usually done by writers,
designers, and artists from the
West.
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The social and/or
psychological ways in which
one group excludes or
marginalizes another group.
By declaring someone "Other,"
persons tend to stress what
makes them dissimilar from or
opposite of another, and this
carries over into the way they
represent others, especially
through stereotypical images.

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The division and classification of human beings by physical and
biological characteristics.
Race often is used by various groups to either maintain power or to
stress solidarity.
In the 18th and19th centuries, it was often used as a pretext by
European colonial powers for slavery and/or the "white man's
burden."

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A system of signs which one
knows what something is.
Cultural semiotics often
provide the means by
which a group defines
itself or by which a
colonializing power
attempts to control and
assimilate another group.

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space represents a geographic
locale, one empty in not being
designated.
Place, on the other hand, is
what happens when a space is
made or owned.
Place involves landscape,
language, environment,
culture, etc.

http://anilawad.blogspot.in/

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The lower or colonized
classes who have little
access to their own means
of expression and are thus
dependent upon the
language and methods of
the ruling class to express
themselves.

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the process by which a
person, family, culture,
or people is brought
into the dominant
Eurocentric/Western
global society.

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Edward Said
Bill Ashcroft, Gareth Griffiths, and Helen Tiffin
Gayatri Spivak
Chinua Achebe
Homi Bhabha
Chandra Talpade Mohanty
Frantz Fanon

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Edward Wadie Said 1 November 1935 – 25 September 2003) was a
Palestinian literary theoretician, professor of English, history and
comparative literature at Columbia University, and a public
intellectual who was a founder of post-colonialism.
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As a cultural critic, Said is known for the book Orientalism (1978),
a critical analysis of the culturally inaccurate representations that
are the bases of Orientalism — the Western study of the Eastern
world that presents how Westerners perceive and represent
Orientals.
The thesis of Orientalism (1978) proposes the existence of a
“subtle and persistent Eurocentric prejudice against Arabo–Islamic
peoples and their culture”, which derives from Western culture’s
long tradition of false and romanticized images of Asia, in general,
and the Middle East, in particular.
Said argued that such perceptions and consequent cultural
representations have served, and continue to serve, as implicit
justifications for the colonial and imperialist ambitions of the
European powers and of the U.S.

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The authors, three leading figures in post-colonial studies, open up
debates about the interrelationships of post-colonial literatures,
investigate the powerful forces acting on language in the post-
colonial text, and show how these texts constitute a radical
critique of Eurocentric notions of literature and language.
“Language becomes the medium through which conceptions of
"'truth"', "'order"', and "'reality"' become established. Such power
is rejected in the emergence of an effective post-colonial voice. For
this reason, the discussion of post-colonial writing by which the
language, with its power, and the writing, with its signification of
authority, has been wrested from the dominant European culture.”

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The Empire Writes Back: Theory and Practice in Post-Colonial
Literature is a 1989 non-fiction book on postcolonialism, penned
by Bill Ashcroft, Gareth Griffiths and Helen Tiffin. The Empire
Writes Back was the first major theoretical account of a wide
range of postcolonial texts and their relationship with bigger issues
of postcolonial culture, and is said to be one of the most significant
and important works published in the field of postcolonialism.
The writers debate on the relationships within postcolonial works,
study the mighty forces acting on words in the postcolonial text,
and proof how these texts constitute a radical critique of
Eurocentric notions of language and literature.
First released in 1989, this book had a second edition published in
2002.

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Gayatri Chakravorty Spivak (born February 24, 1942 in
Calcutta, British Raj) is an Indian-born scholar, teacher
and translator. She is University Professor at Columbia
University, where she is a founding member of the
school's Institute for Comparative Literature and
Society.
Spivak is the author of a number of books, including
Subaltern Studies: Deconstructing Historiography
(1985), In Other Worlds: Essays in Cultural Politics
(1987),Thinking Academic Freedom in Gendered Post-
Coloniality (1993), and ACritique of Post-Colonial
Reason:Toward a History of the Vanishing Present
(1999).

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Western academic thinking is produced in order to support
western economical interests.
Spivak holds that knowledge is never innocent and that it
expresses the interests of its producers.
For Spivak knowledge is like any other commodity that is
exported from the west to the third world for financial and
other types of gain.
Spibak claims that "research" or "knowledge" have served as a
prime justification for the conquest of other cultures and their
enslavement, as part of the European colonial project.

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Spivak points to the fact that the west is talking to itself, and in
its own language, about the other.
Like other commodities, data or raw material (ethnographical
,for example) is harvested in the third world country and
taken back to the west, to be produced and sold for the
benefit of the western readers and especially the western
writer.
Spivak wonders if under these conditions it can be possible for
the west to speak about the non-west without sustaining the
colonial discourse.
Spivak's answer to "Can the Subaltern Speak?" is no, they
cannot, not when the western academic field is unable to
relate to the other with anything other than its own paradigm.

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He gained worldwide attention for Things Fall Apart in the late
1950s; his later novels include No Longer at Ease (1960),
Arrow of God (1964), AMan of the People (1966), and
Anthills of the Savannah (1987). Achebe wrote his novels in
English and defended the use of English, a "language of
colonisers", in African literature. In 1975, his lecture An
Image of Africa: Racism in Conrad's "Heart of Darkness"
featured a famous criticism of Joseph Conrad as "a
thoroughgoing racist"; it was later published in The
Massachusetts Review amid some controversy.

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The novel tells the tragic story of Okonkwo, a famous Igbo
warrior at the turn of the 19th century, when British
colonizers and missionaries first arrived in Nigeria. Okonkwo
is a totally headstrong guy, and he does notsee eye-to-eye with
the English. As you can imagine, things don't turn out so well
for him. In fact, things fall apart.
Achebe wrote Things Fall Apart as a direct response to the
negative depiction of Africans he saw in a lot of European
literature. He wanted to write his own novel and show the
Europeans that Africans were not the "savages" they were
made out to be in European literature.

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Arrowof Godis a kind of sequel to Things FallApart,
tracing what happens a few decades after the events
that take place in the first novel. It tells the story of
Ezeulu, an Igbo priest in Nigeria who stands up to
colonizers and missionaries. It's all about the fight
between indigenous religion and values and
Christianity. And no, things don't stay together here,
either.

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"An Image of Africa: Racism in Conrad's Heart of
Darkness" is the published and amended version of the second
Chancellor’s Lecture given by Chinua Achebe at the University of
Massachusetts Amherst, in February 1975. The essay was included
in his 1988 collection, Hopes and Impediments. The text is
considered to be part of the postcolonial critical movement, which
advocates to Europeans the consideration of the viewpoints of non-
European nations, as well as peoples coping with the effects of
colonialism.
In "An Image of Africa: Racism in Conrad’s Heart of Darkness",
Achebe accuses Joseph Conrad of being "a thoroughgoing racist"
for depicting Africa as "the other world".

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According to Achebe, Conrad refuses to bestow
"human expression" on Africans, even depriving
them of language. Africa itself is rendered as "a foil
to Europe, as a place of negations at once remote
and vaguely familiar, in comparison with which
Europe's own state of spiritual grace will be
manifest". Conrad, he says, portrays Africa as " 'the
other world', the antithesis of Europe and therefore
of civilization", which Achebe attributes to Conrad's
"residue of antipathy to black people".

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Achebe quotes a passage from Conrad, as Conrad recalls his
first encounter with an African in his own life:
“Acertain enormousbucknigger encountered in Haiti fixed my
conception of blind, furious, unreasoning rage, asmanifested in the
human animal to the end of mydays. Of the nigger I used to dream
for years afterwards.”
Achebe asserts that while Conrad was not himself responsible
for the xenophobic "image of Africa" that appears in Heart of
Darkness, his novel continues to perpetuate the damaging
stereotypes of black peoples by its inclusion in the literary
canon of the modern Western world. His searing critique is
sometimes taught side-by-side with Conrad's work, and is
regularly included in critical editions of the text.

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Homi K. Bhabha (born 1949) is the Anne F. Rothenberg Professor of
English and American Literature and Language, and the Director
of the Humanities Center at Harvard University. He is one of the
most important figures in contemporary post-colonial studies, and
has developed a number of the field's neologisms (any newwordthat
has comeinto commonusage ) and key concepts, such as hybridity,
mimicry, difference, and ambivalence. Such terms describe ways in
which colonised peoples have resisted the power of the coloniser,
according to Bhabha's theory. In 2012, he received the Padma
Bhushan award in the field of literature and education from the
Indian government.

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Anil Awad’s Judgment on Literature
http://anilawad.blogspot.in/

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Mohanty, a postcolonial and transnational feminist theorist, has
argued for the inclusion of a transnational approach in
exploring women’s experiences across the world. She is
author of Feminism Without Borders: Decolonizing
Theory, Practicing Solidarity, and co-editor of Third
World Women and the Politics of Feminism (1991),
Feminist Genealogies, Colonial Legacies, Democratic
Futures (1997), Feminism and War: Confronting U.S.
Imperialism, (2008), and The Sage Handbook on
Identities (2010).

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Her work focuses on transnational
feminist theory, anti-capitalist feminist
praxis, anti-racist education, and the
politics of knowledge. Central to
Mohanty’s transnational mission is the
project of building a “non-colonizing
feminist solidarity across the borders,”
through an intersectional analysis of race,
nation, colonialism, sexuality, class and
gender.

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Frantz Omar Fanon (20 July 1925 – 6
December 1961) was a Martinique-born
Afro-Caribbean psychiatrist, philosopher,
revolutionary, and writer whose works are
influential in the fields of post-colonial
studies, critical theory, and Marxism. As an
intellectual, Fanon was a political radical,
and a Marxist humanist concerned with
the psychopathology of
colonization, and the human, social, and
cultural consequences of decolonization.
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He applied psychoanalysis and psychoanalytic theory to explain the
feelings of dependency and inadequacy that Black people
experience in aWhite world.
That the divided self-perception of the Black Subject who has lost his
native cultural origin, and embraced the culture of the Mother
Country, produces an inferiority complex in the mind of the Black
Subject, who then will try to appropriate and imitate the culture of
the colonizer.
Such behavior is more readily evident in upwardly mobile and
educated black people who can afford to acquire status symbols
within the world of the colonial ecumene, such as an education
abroad and mastery of the language of the colonizer, the white
masks

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Based upon, and derived from, the concepts of the
collective unconscious and collective catharsis, the
sixth chapter, “The Negro and Psychopathology”,
presents brief, deep psychoanalyses of colonized
black people, and thus proposes the inability of
black people to fit into the norms (social, cultural,
racial) established by white society.
“a normal Negro child, having grown up in a
normal Negro family, will become abnormal on the
slightest contact of the white world.”

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 unconscious mental training of black children is effected with
comic books and cartoons, which are cultural media that instil
and affix, in the mind of the white child, the society’s cultural
representations of black people as villains.
Moreover, when black children are exposed to such images of
villainous black people, the children will experience a
psychopathology (psychological trauma), which mental
wound becomes inherent to their individual, behavioral make-
up; a part of his and her personality.
That the early-life suffering of said psychopathology — black
skin associated with villainy — creates a collective nature
among the men and women who were reduced to colonized
populations.

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Salman Rushdie is the author of twelve novels: Grimus, Midnight’s
Children (which was awarded the Booker Prize in 1981), Shame,
The Satanic Verses, Haroun and the Sea of Stories,The Moor’s Last
Sigh,The Ground Beneath Her Feet, Fury, Shalimar the Clown and
The Enchantress of Florence, and Luka and the Fire of Life.
His most recent novel,TwoYears Eight Months and Twenty-Eight
Nights, was published in the English language in September 2015.
He is also the author of a book of stories, East,West, and four works
of non-fiction – Joseph Anton – A Memoir, Imaginary
Homelands, The Jaguar Smile, and Step Across This Line. He is the
co-editor of Mirrorwork, an anthology of contemporary Indian
writing, and of the 2008 Best American Short Stories anthology.

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Jean Rhys, CBE (24 August 1890 – 14 May 1979), was a mid-
20th-century novelist who was born and grew up in the
Caribbean island of Dominica, though she was mainly resident
in England from the age of 16. She is best known for her
novel Wide Sargasso Sea (1966), written as a prequel to
Charlotte Brontë's Jane Eyre.
Her work exemplifies postcolonial "counter-discourse."
She isn't afraid to stare the empire—Britain, in this case—in the
face and talk right back to it. Her work is all about the
underdog, and in Wide Sargasso Sea, her main character is a
victim of both colonialism and patriarchy.

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Wide Sargasso Sea is a 1966 postcolonial novel by Dominica-born
British author Jean Rhys.
The novel is written as a prequel to Charlotte Brontë's noted novel
Jane Eyre (1847), describing the background to the marriage that
Jane learns about after going to work for Mr. Rochester.
It is the story of Antoinette Cosway, a white Creole heiress, from
the time of her youth in Jamaica, to her unhappy marriage to a
certain English gentleman—he is never named by the author. He
renames her to a prosaic Bertha, declares her mad, and requires
her to relocate to England. Caught in an oppressive patriarchal
society in which she fully belongs neither to the white Europeans
nor the black Jamaicans, Cosway is Rhys' version of Brontë's
devilish "madwoman in the attic."
As with many postcolonial works, the novel deals with the themes of
racial inequality and the harshness of displacement and assimilation.
It is also concerned with power relations between men and
women..
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Jean Rhys's collection of short stories
about the Caribbean gives us a
panorama of Caribbean culture,
colonialism, and issues relating to
women and gender. It's not as well
known asWide Sargasso Sea, but it's
worth a read to get a broader picture
of Rhys's world and the culture that
influenced her.

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Here's a Colombian novelist who's considered to be among the
greatest of South American writers. Any book you pick up by
Márquez will teach you a whole lot about Colombia's— and
South America's—postcolonial identity.The book that made
him super famous was none other than One Hundred Years
of Solitude.
He developed and used the magical realist style to express the
"surreal" aspects of postcolonial reality in South America.

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One HundredYears of Solitude is a 1967 novel by Colombian
author Gabriel García Márquez that tells the multi-
generational story of the Buendía family, whose patriarch,
José Arcadio Buendía, founds the town of Macondo, the
metaphoric Colombia.
This is a novel on epic scale—and it has people who fly when
they drink hot chocolate, clouds that rain yellow flowers, and
an ageless gypsy.

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This novel explores the corrupting effects of power. It
focuses on a dictator who pretty much stands in for
all of the horrible dictators who came to power all
over the world after the end of colonialism. Lots of
big postcolonial themes here, including nationhood,
history and oppression.

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The recipient of the 1992 Nobel Prize in Literature, Derek Walcott
was born in Castries, Saint Lucia, the West Indies, on January 23,
1930.
The founder of the Trinidad Theater Workshop, Walcott has also
written several plays produced throughout the United States, The
Odyssey: AStage Version (1992); The Isle is Full of Noises (1982);
Remembrance and Pantomime (1980); The Joker of Seville and O
Babylon! (1978); Dream on Monkey Mountain and Other Plays
(1970); Three Plays: The Last Carnival; Beef, No Chicken; and A
Branch of the Blue Nile (1969). His play Dream on Monkey
Mountain won the Obie Award for distinguished foreign play of
1971. He founded Boston Playwrights’ Theatre at Boston
University in 1981.

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Walcott is so good, he not
only writes poetry, he
writes drama, too. Dream
on Monkey Mountain is a
play a man who has a
dream. It's an allegory
about Caribbean history,
culture, and colonialism.
This one is all about the
connections between the
Caribbean, Africa, and
Europe.

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