By Shirley Chew, David Richards
Taking an cutting edge and multi-disciplinary method of literature from 1947 to the current day, this Concise significant other is an integral advisor for someone looking an authoritative realizing of the highbrow contexts of Postcolonial literature and tradition. An quintessential advisor for somebody looking an authoritative realizing of the highbrow contexts of Postcolonialism, bringing jointly 10 unique essays from top overseas students together with C. L. Innes and Susan BassnettExplains the information and practises that emerged from the dismantling of ecu empiresExplores the ways that those principles and practices encouraged the period's keynote matters, akin to race, tradition, and identification; literary and cultural translations; and the politics of resistanceChapters conceal the fields of identification experiences, orality and literacy, nationalisms, feminism, anthropology and cultural feedback, the politics of rewriting, new geographies, publishing and advertising and marketing, translation studies.Features an invaluable Chronology of the interval, thorough normal bibliography, and publications to extra studying
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Extra info for A Concise Companion to Postcolonial Literature (Concise Companions to Literature and Culture)
As such it is difficult to say if a given set of historical or economic conditions will necessarily bring a given oral tradition close to becoming a tradition of written literature. Besides, given the rapidity with which ‘soft copy’ writing has been replacing the conventional mode of writing with a pen or pencil on paper, and the speed with which the digital conversion of voice into virtual signs is becoming possible, it is uncertain if literature will retain writing as the most evolved form of linguistic creativity.
The well-defined conventions of gesture and the simplified story structure which were favoured by Bharata indicate that there had been before him a long tradition of folk performances. Drama flourished in India for over eight centuries following Bharata. Dramatic texts were produced for performances at court by Shudraka, Kalidasa, Bhavabhuti and Harsha. But never was a play written in ancient India which did not make use of folk elements and folk dialects. At the same time, the folk forms of drama in India drew freely upon elite conventions, theology, philosophy and poetry.
Kalidasa’s celebrated literary work, Raghuvamsha, is the best known example of mainstream literature using the epics. One may, therefore, say that the two epics functioned as the unifying link between the elite and the folk. The Vedas are the oldest work of literature known in Indian history. No definite information on their authorship is available; and, as such, they are considered to have a divine origin. A total of seventytwo meters were used in them. The musical element in the Vedic verses was so overpowering that they were believed to be vested with extraordinary magical powers.