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Postcolonial romanticisms: Landscape...

Kamada, Roy Osamu, Jr.

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Postcolonial romanticisms: Landscape and the possibilities of inheritance in the work of Jamaica Kincaid, Garrett Hongo and Derek Walcott.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Postcolonial romanticisms: Landscape and the possibilities of inheritance in the work of Jamaica Kincaid, Garrett Hongo and Derek Walcott./
Author:	Kamada, Roy Osamu, Jr.
Description:	212 p.
Notes:	Source: Dissertation Abstracts International, Volume: 66-07, Section: A, page: 2573.
Contained By:	Dissertation Abstracts International66-07A.
Subject:	Literature, Modern. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3182499
ISBN:	9780542237331

Postcolonial romanticisms: Landscape and the possibilities of inheritance in the work of Jamaica Kincaid, Garrett Hongo and Derek Walcott.
Kamada, Roy Osamu, Jr.

Postcolonial romanticisms: Landscape and the possibilities of inheritance in the work of Jamaica Kincaid, Garrett Hongo and Derek Walcott. - 212 p.

Source: Dissertation Abstracts International, Volume: 66-07, Section: A, page: 2573.

Thesis (Ph.D.)--University of California, Davis, 2005.

Over the last half of the 20th century, the process of decolonization steadily transformed former imperial territories across the globe. However, the projects of decolonization have been frequently animated by jealously guarded essentialisms, which often simply reinscribe the power structures of imperialism under the guise of nationalist identities. Franz Fanon articulates this as the crisis of the native intellectual, who "has thrown himself greedily upon Western culture" (Wretched 218). Such a crisis assumes an over-determined homogeneity inherent in "Western culture," and ignores traditions from within Western culture which contest the coherence and modernizing thrust of European imperialism. This project articulates the heterogeneity of Western culture and resituates the postcolonial within a genealogy that allows for the possibilities of an inherited tradition of resistance already internal to the logic of the Western literary tradition. Postcolonial Romanticisms examines the methods of resistance that are achieved in the postcolonial literary text through a sometimes ironic appropriation and redeployment of the discourses of British romanticism, specifically the discourse of the romantic landscape. As critics of romanticism and empire such as Edward Said note, romanticism produced the "East" in terms that subordinated it to the imperatives of imperialism and European capitalism. However, as Saree Makdisi and Ian Baucom suggest, it is possible to read some of these romantic texts as capable of contesting the very systems of imperialism they were so much a part of inscribing. I argue that a number of postcolonial authors draw on the tropes of romanticism in a way that demonstrates the complexity of romanticism and its legacy. Writers such as Jamaica Kincaid, Garrett Hongo, and Derek Walcott radically reimagine and rewrite the various traditions that have figured their landscapes as unhistoricized, unoccupied, and marginal. Their island landscapes are historical and traumatic while still retaining the affect of the sublime. Postcolonial Romanticisms , informed by postcolonial theory, contemporary readings of romantic writers and also by theories of trauma, positions the romantic landscape as a historical and contemporary technology of intervention that, in its ambivalence between resistance and complicity, emerges as a trope truly indicative of the subjectivity of the postcolonial.

ISBN: 9780542237331Subjects--Topical Terms:

624011
Literature, Modern.

Postcolonial romanticisms: Landscape and the possibilities of inheritance in the work of Jamaica Kincaid, Garrett Hongo and Derek Walcott.
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520 $a Over the last half of the 20th century, the process of decolonization steadily transformed former imperial territories across the globe. However, the projects of decolonization have been frequently animated by jealously guarded essentialisms, which often simply reinscribe the power structures of imperialism under the guise of nationalist identities. Franz Fanon articulates this as the crisis of the native intellectual, who "has thrown himself greedily upon Western culture" (Wretched 218). Such a crisis assumes an over-determined homogeneity inherent in "Western culture," and ignores traditions from within Western culture which contest the coherence and modernizing thrust of European imperialism. This project articulates the heterogeneity of Western culture and resituates the postcolonial within a genealogy that allows for the possibilities of an inherited tradition of resistance already internal to the logic of the Western literary tradition. Postcolonial Romanticisms examines the methods of resistance that are achieved in the postcolonial literary text through a sometimes ironic appropriation and redeployment of the discourses of British romanticism, specifically the discourse of the romantic landscape. As critics of romanticism and empire such as Edward Said note, romanticism produced the "East" in terms that subordinated it to the imperatives of imperialism and European capitalism. However, as Saree Makdisi and Ian Baucom suggest, it is possible to read some of these romantic texts as capable of contesting the very systems of imperialism they were so much a part of inscribing. I argue that a number of postcolonial authors draw on the tropes of romanticism in a way that demonstrates the complexity of romanticism and its legacy. Writers such as Jamaica Kincaid, Garrett Hongo, and Derek Walcott radically reimagine and rewrite the various traditions that have figured their landscapes as unhistoricized, unoccupied, and marginal. Their island landscapes are historical and traumatic while still retaining the affect of the sublime. Postcolonial Romanticisms , informed by postcolonial theory, contemporary readings of romantic writers and also by theories of trauma, positions the romantic landscape as a historical and contemporary technology of intervention that, in its ambivalence between resistance and complicity, emerges as a trope truly indicative of the subjectivity of the postcolonial.
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