Colonial literature

""Volumul Andradei Fatu-Tutoveanu reuseste sa transforme marginalitatea tematica in centralitate, dovedind ca anumite calitati si valente simbolice asociate cu experienta intima a opiaceelor sunt strins legate de insasi configurarea unei noi conditii, a unui nou statut al literaturii in general si al poeziei in special. Nu putem sa nu mentionam noutatea indiscutabila a demersului. Desi literatura si critica literara de la noi nu au fost niciodata straine de experimentele narco-literare asupra carora se focalizeaza cercetarea Andradei Fatu-Tutoveanu, totusi tratarea subiectului a ramas pana acum la nivelul contributiilor punctuale si ocazionale. Caracterul sistematic al abordarii, amploarea si complexitatea acesteia, o singularizeaza, asadar, de indata in peisajul comparatisticii romanesti. Prin interesul temei, prin amploarea si insolitul materialului explorat, prin articularea si deschiderea interdisciplinara, prin deosebita calitate intelectuala a abordarii, lucrarea Andradei Fatu-Tutoveanu se inscrie cu toata claritatea si maturitatea intr-un dialog academic european.

Caius DOBRESCU""

Burmese women occupied a pivotal if not exactly central role in colonial narratives about Burma. With British travelers and authors routinely marveling at their comparative social autonomy, and marital and more temporary unions between European men and Burmese women remaining acceptable until the First World War, the country’s female population as presented in colonial literature was an object as fascinating as it was contentious. In reading the female Burmese characters in both Rudyard Kipling’s famed poem, “Mandalay”, and Bithia Mary Croker’s Anglo-Indian romance novel, The Road to Mandalay, different and to a degree competing visions of the British empire emerge. In Kipling, colonies such as Burma offer the colonizing man a sphere freed from the moral duties prescribed by the metropole, while in Croker, moral diligence is demanded as a safeguard against the perils inherent to non-British—that is to say, non-white—societies. In each case, the specter of the Burmese woman represents a different figuration of empire for the narrative’s protagonist, suggesting that this colonial archetype was imagined in terms that reflected the gendered roles of colonizing women and men.

Rudyard Kipling`s short story The Man Who Would be King is a typical colonial story that is based on White supremacist ideas that can be seen in the racial hierarchy that is present, the description of the natives as violent, barbaric and cruel people, the treatment of Kafiristan as a terra nullius waiting for Europeans to invade, colonize and rule over, the technological and religious superiority of the Westerners, the justification of their imperialist ambitions and actions, the implementation of the divide et impera policy and Kipling’s lack of criticism and idealization of this imperialist mission.

Rooted in traditional dirge singing and halo songs of the Anlo-Ewe community, particularly the works of Henino Vinoko Akpalu (b. 1888) and Komi Ekpe (b. 1897), Kofi Awoonor's poetry forms significant ecosystem of how ancient arts have influenced modern practice. An evitable theme of engagement in both practices is death. These have already been established in various critiques of Awoonor's works. However, not much attention has been given to how Awoonor (de) constructed death using his knowledge of the Anlo-Ewe mythology as a theory. This paper surveys four poems by Awoonor; Songs of Sorrow, The Journey Beyond, Rediscovery and On Gallows Once and seminally, synthesizes the theory of death and life thereafter. It also highlights the cyclic nature of the African's time, the poet's acceptance of transience of human life, his anticipation of it and the evolution of his voice.

This paper will describe how the concept of literary canon cannot hold a possibility of infinite readings. This is so because the mental acts of individuation, choosing concrete literary objects, and the cultural practice of reading, are components necessarily embedded in the western tradition that permit the creation both of a canonical corpus, as a delimited set of objects, and the existence of “canon” as an abstract and fluid concept. It is therefore not surprising that the composition of most of that canon is made of western works, as the concepts of literature, as related to a specific intellectual tradition, and canon are originally created in the West. Therefore, modern post-foucauldian worries on the risk of current efforts of re-canonization being also part of a regime of truth seem to miss the point, as the pre-conditions for the establishment of what we know as the literary, as well as the possibilities allowed by the establishment of the concrete canon itself - including literature, philosophy, and religious texts - is not only what allows the concept of truth and its pursuit, but also the sort of foucauldian or descontrutivist criticism of that concept. The paper will thus attempt to make a retrospect of the particular nodes of the canon that allow this, referencing contemporary critics such as Clementh Brooks, Harold Bloom, Foucault, Derrida and Gadamer.

Karen von Blixen-Finecke (1885-1962) aka Isak Dinesen’s Out of Africa (1937) is a document of her life as a colonial settler in Kenya where she establishes a coffee plantation in her prime. The novel, written through first person narration, recounts her seventeen-year-experience in Kenya as a plantation owner in which she describes the African population and landscape at length. Even though its content and its narrator-protagonist respectively render Out of Africa suitable for both postcolonial and autobiographical analysis, the present study examines the narrator-protagonist as the female colonizer within postcolonial framework. Much as Blixen’s novel is a memoir, she cannot avoid discursive colonization because she presents an exotic and romanticised view of Africa. When she helps the natives, she cannot hide her feeling of superiority. Even though she does not seem content with the colonial system running in Kenya, she does not take action to change the system. Therefore, this paper concludes that Karen Blixen acknowledges her presence in Kenya as a colonizer and regards the colonization process as a natural phenomenon.

With the beginning of the Pacific War in 1941, Japan seemed to be in full charge of its conquests and older colonies, Taiwan, Manchuria and Korea. Used as the premise for a comparison between writings of Korean and Japanese female writers, Ch’oe Chŏnghŭi`s Nogikushō (The Wild Chrysanthemum) is the main text analyzed in this article. The authors her work is compared with on the Japanese side are Sata Ineko, Hayashi Fumiko and Yoshiya Nobuko. The question the current article is trying to answer is why there are no good texts for comparison with Ch`oe`s work and offer a couple of hypotheses.

The  first two centuries of Spanish presence in the Philippines produced an extensive corpus of Spanish texts, which have not been widely studied by historians of literature. This corpus is defined as colonial Spanish Philippine literature, an original and unique body of work that has parallels as well as divergences with respect to its Spanish American analogue. Manila’s literary culture of this period can be succinctly reconstructed through the study of private libraries. A classification of this rich corpus’ four literary genres is presented: martyrdom reports, ecclesiastical chronicles and civil histories, accounts of events, and festivity books. Although the possibilities of reading in Manila were restricted by ecclesiastical censorship and the scarcity of books, there was an abundant textual production, which encouraged Filipinos to emerge as authors. Finally,  five literary works are presented for their literary and cultural value and which can be considered as forming part of the canon of colonial Spanish Philippine literature.

Sarojini Naidu (1879-1949) hailed as the “Nightingale of India” by Mahatma Gandhi is largely remembered today for her oratorical skills and her role in winning India freedom from British colonial rule. Her collections of poems, which she began to write in English and publish in magazines in London and New York from her early 20s, are largely forgotten. The first of these collections –– published under the enigmatic title The Golden Threshold appeared in 1905 –– seven years she had completed her education in Cambridge. This collection contains forty lyrical poems. Their subjects range from weavers to corn grinders and from the crumbling tombs of Golconda to the Buddha seated upon a lotus.
In this paper, I direct the sharp focus of my gaze upon this collection of poems and ask elementary questions about the performance of gender and the operation of knowledge and power inside and outside colonial contexts. First, what kind of India did Naidu fashion for her readers? Next, how did she negotiate the Orientalizing tendencies of some of her European readers and literary patrons, and power relations established by colonialism? Moreover, in offering vignettes of Sanskrit, Persian, and Arabic narratives ––popular in the late nineteenth-century in peninsular India where she grew up –– how did she reconfigure relationships between the folk and classical, local, regional, and transregional languages and literatures, their genres, aesthetics, and politics? Further, how did her oeuvre compare with that of her older contemporary Toru Dutt. Dutt, like Naidu was a Bengali woman who had studied in Cambridge and had published verses that she had composed in English and French. And finally, how did Naidu’s poems stand in relation to her energetic leadership in the nationalist movement? Was it purely serendipitous that The Golden Threshold was published in the very year that British colonial administrators partitioned Bengal along religious lines and nationalists responded by launching the Swadeshi movement?
My close reading of Naidu’s Golden Threshold complicates older assessments of her early writings as a “weak imitator” of Romantic classics and more recent reconsiderations of her work as specimens of “complicated mimicry.” My contentions are that Naidu’s early poems evince her skilled boundary-crossing instincts and her constant juggling among and between narratives, genres, metaphors, and ideals of the Indic and Islamicate worlds, and those of the European Romantic literary imaginare. In doing so I argue that Naidu self-consciously participated in imagining and imaging the Indian nation as a mother-goddess, produced a new national poetry, and helped relocate India from the waiting room of history to threshold of post-coloniality.

Table of Contents

""Woman and Empire"  is a  path-breaking work on gender and colonial India. Its six closely-argued chapters focus  on representations of women -- white, Indian and those belonging to the  mixed races. The first two chapters lay out the canvas of this discourse. It scrutinises  letters and sociological studies, as well as rarely-used sources from the colonial archives, such as journals (eg.'The Calcutta Review'), and colonial newspapers (eg.'The Pioneer', 'The Friend of India', 'The Englishman's Saturday Evening Journal', and 'The Madras Mail').
Three separate chapters examine the fiction of 'major' writers, viz. Philip Meadows Taylor, Flora Annie Steel and Rudyard Kipling and  offer fresh perspectives.
A particularly significant chapter, 'Gender and Imperial Citizenship'  recuperates forgotten nineteenth century Anglo-Indian fiction. It examines, among others,  H.S. Cunningham 's key colonial novel,'The Chronicles of Dustypore,' (1877), Alexander Allardyce's  'The City of Sunshine', (1877) and  F. Marion Crawford's  'Mr Isaacs' (1884).  Also discussed here are memsahib novelists, including Bithia Mary Croker, Florence Marryat, and Sara Jeannette Duncan. Explored here are issues such as colonial gender politics, racial hybridity as a threat to the imperial order, as well as the scripting of the gendered  'Other' in novels by these writers 
Arguing that sexuality intersects with gender, race and class in complex ways,  this monograph studies these issues against a canvas of social history and probes the larger agendas that they fed into."

BOOK REVIEWS:

" What a breath of fresh air Indrani Sen's 'Woman and Empire' is... Sen's book offers the most comprehensive account to date of how and why the gendered literary history of colonialism must be understood in order for us to appreciate the imperial cultural project as a whole."
            - Antoinette Burton, 'Biblio: A Review of Books', 9:1&2, 2004

"Historians and literary scholars will profit from reading this well-written and tightly-organised study, regardless of how well they are acquainted with Raj fiction of the nineteenth century,"
            Denys P. Leighton, The Indian Economic and Social History Review, 41: 3, 2004

"Woman and Empire" proves that the topic [of the memsahib and colonial discourse] is not exhausted, and she opens up new avenues of discussion"
        - Nalini Iyer, 'Contemporary South Asia, 13:1, 2004'
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The question of representation creates the backbone of postcolonial literary studies, since postcolonial literature came into fruition primarily as a reaction to the European portrayal of indigenous communities. Their literary representation in European fiction was often perceived as deformed and unjust. With the colonized subjects often portrayed in a non-individualized and dehumanized way, postcolonial literature set out to debunk those depictions by providing a fairer share of space and a more respectable approach to the presentation of the culture and the people of the extended imperial family. However, this paper seeks to argue that despite its effort to counterbalance the colonial discourse, early postcolonial fiction was far from being impartial. It seems to have suffered from a similar amount of stereotypization found in colonial writing and often failed to resist the temptation of ideological rhetoric. To illustrate the point, Joseph Conrad’s The Heart of Darkness, one of the most discussed literary texts produced by the empire, is read in conjunction with The River Between, a novel written by the prominent Kenyan writer Ngũgĩ wa Thiong'o. As the analysis demonstrates, in terms of characterization and portrayal, neither of them seems to be able to escape a certain extent of stereotypization and reductionism.

Born in Cambodia in 1887, George GROSLIER redefined the art, architecture, history and literature of his beloved birthplace. In "The Road of the Strong", Groslier gives readers a candid and intimate look at life in early 20th century colonial French Indochina.

This special edition in its first English translation includes an insightful foreword by Professor Henri Copin, publisher's notes, supplemental materials, the original French text, and a 75-page feature article by Tom Kramer: “Colonial Battambang Today—Revisiting George Groslier’s Setting for The Road of the Strong.”

Most readings of the colonial literary productions generated by the Rebellion of 1857 have foregrounded the ‘mutilated memsahib’. This paper shifts the focus to a hitherto ignored trope, viz. that of the 'loyal Indian woman ' which appears recurrently in the literary discourse of the Rebellion in the nineteenth century. It examines this trope through the figure of the devoted ayah, the loyal dancing girl, the faithful concubine/wife, as well as  inter-racial female friendship. This paper seeks to show how this figuration of gendered colonised  loyalty constituted one of the important discursive strategies and was shaped and reinforced by the exigencies of empire and post-Rebellion insecurities.

In this article, the biblical Rahab and I ‫؛‬ill pay a visit to Precious Rawiotswe f؛or a cup of ؛‬red bush tea. That is, the story of ‫؛‬Rahab will provide a reading grid by which to analyse a Botswana woman character:. Precious Ramotswe.  She was created and popularized by Alexander McCall Smiths'  The Number 1 Ladies' Detective Agency series. This postcolonial feminist reading, ‫ analyses the characterization of Mma Ramotswe through Rahab's prism, highlighting how McCall Smith's narrator serves as a spy who investigates, reports, and translates Botswana cultures for the Western world by using her as his mouth piece. The article explores how McCall Smith constructs a colonialising feminism through the paradigm 0‫ of saving brown women؛‬from brown men. The article highlights that such a  strategy depends on a colonial ؛‬ ideology of presenting black men as docile and over-sexed. While The Number 1 Ladies' Detective Agency series has won worldwide popularity, this article highlights its dependence on colonially-cultivated tastes of constructing Africa as the Other and a readership that still yearns ‫؛for such literature in the Western world. McCall Smith thus indulges in colonial images, metaphors, and narrative designs  of  ؛‬the Other and through them reactivates the latent colonial  appetites‫ of ‬millions of readers in the Western world.

Dans cet ouvrage, publié en 1911 et devenu introuvable, Cario et Régismanset souhaitent montrer comment le détail exotique – formé par « le souvenir vécu des pays lointains ou la vision imaginative des contrées exotiques » – a laissé sa trace dans la littérature de la métropole. Ce faisant, les auteurs posent la question de l’existence, ou non, du roman colonial français, cherchent à renouveler le roman français, et constatent l’importance d’un « exotisme nouveau ». Promouvoir l’œuvre coloniale est sans doute l’objectif principal de cet ouvrage. Au fond, L’Exotisme représente un texte clé pour ceux qui veulent comprendre cette notion, mais aussi le champ littéraire sous la IIIe République et le roman colonial, reconnu comme genre à part entière dans l’entre-deux-guerres.

Este artículo revisa las caracterizaciones que, desde la crítica y la bibliografía académica, han recibido las crónicas de Indias en sus semejanzas y diferencias con la crónica occidental –y con la española específicamente—, vinculadas desde sus orígenes con el poder gobernante. Propongo que este género discursivo, que proliferó entre los documentos de Indias, dio lugar oportunamente entre sus páginas al testimonio de un mundo que, desde la lejanía, se esperaba que fuera vencido por los hombres enviados a conquistar y colonizar el continente. Las crónicas de Indias se propusieron a sí mismas como testimonios de vista de un mundo desaparecido y, a la vez, esperanzador, nuevo y deseable. Cuestiono, además, el efecto de verdad de la reiteración gramatical del enunciador en primera persona de estos textos (el yo) para poner el acento, en cambio, en sus posibilidades discursivas de certificación del propio sujeto. Por último, propongo que, como en espejo, las visiones del testigo de vista están constituidas por algo conocido y algo nuevo a la vez; codificadas por tradiciones, pero también transformadas por el contexto transatlántico. En esto, lo maravilloso –lo novedoso sobrenatural indiano—jugó un rol fundamental, incluso, en sus formas amenazantes y perturbadoras, ajenas a lo milagroso y hasta a lo demoníaco.

In den Geschichtswissenschaften sowie in den historischen und ethnologischen Teildisziplinen der Musikwissenschaft gilt die umfangreiche Sammlung an Schallaufzeichnungen im Berliner Phonogramm-Archiv seit Langem als außerordentlicher Quellenfundus für heterogene historische Sprach-, Geräusch- und Musikzeugnisse. Davon zeugen diverse Auswahleditionen und Dokumentationen. Bisher wurde allerdings kaum der Versuch unternommen, die kolonialgeschichtlichen Bedingungen und Kontexte dieser phonographischen Aufzeichnungen näher zu untersuchen. Diese Qualifikationsschrift untersucht die deutsche Kolonialgeschichte anhand dieser medialen Repräsentationsform. Anhand der phonographischen Einspielungen, die der deutsche Kolonialbeamte Julius Smend zwischen 1905 und 1907 in der ehemaligen deutschen Kolonie Togo in Form von Wachswalzen erstellt hat analysiert die Arbeit die Bedeutung phonographischer Aufnahmen in wissenshistorischer Hinsicht im kolonialen Kontext. Behandelt werden die Fragen nach der Aufnahmesituation, dem Gebrauchskontext und den Entstehungsbedingungen der Tonaufnahmen. Überdies stellt die Arbeit Überlegungen zum Spannungsfeld zwischen Macht und Wissen im kolonialen Kontext.

Increasingly in the last decade France has defined its identity in terms of mixity. Its new vocation as a land of métissage is associated with the 'black, blanc, beur' theme of mixed identity. While the old ideal of the universalism of French values is now largely discredited, multiculturalism generally retains a negative association for the French: métissage, instead, is held up as a new ideal, indeed a new universal value. This article comments on the newly fashionable status of métissage by reading it in the context of the older, nightmare vision of racial mixing that dominated from the mid-19th to the mid-20th century. Despite this essentially negative view there were, it is suggested, some precedents for the current attempt at a political recuperation of métissage.

1 st year, 2 nd semester 2 After reading the book and watching the movie (A Passage to entitled the same, this paper aims to illustrate in board lines the importance of cultural aspects within the novel in correlation with some appropriate anthropological terms, and to enlighten how different aspects of culture are significant to cultural interaction. Regarding to culture, Cristina De Rossi, an anthropologist at Barnet and Southgate College in London, defined it as it follows: "Culture encompasses religion, food, what we wear, how we wear it, our language, marriage, music, what we believe is right or wrong, how we sit at the table, how we greet visitors, how we behave with loved ones, and a million other things" (Zimmermann, 2017).

Une présentation succincte de la littérature coloniale belge francophone. Une version légèrement modifiée a paru l'année suivante : «De la littérature “congolaise” des Belges», (2005), Montpellier, SIELEC, janvier 2006, URL :
http://www.sielec.net/pages_site/DESTINATIONS/AFRIQUE/Halen_litt_cong_bel/Halen_litt_cong_bel_1.html

In 1530s, Henry VIII broke Englands's bounds with the Roman Catholic Church in order to marry Anna Bolina, in want of a male heir. Since divorce was not permitted in Catholic belief, England became protestant and Henry became the leader of both the country and the church.

El presente volumen reúne las aportaciones de especialistas procedentes de distintas disciplinas humanísticas y de diferentes países y universidades del mundo, con el ánimo de profundizar en un mejor conocimiento de la América colonial. Esta perspectiva interdisciplinar sigue siendo crucial a la hora de analizar y desentrañar los discursos trazados por los protagonistas del proceso de descubrimiento y conquista del Nuevo Mundo. El libro presenta un total de 16 trabajos que pretenden dar cuenta de algunos de los múltiples enfoques desde los que se puede abordar el análisis de las Crónicas de Indias, un importante corpus de la literatura colonial en el que sigue habiendo muchos mundos por descubrir.

A mi padre, navegante, in memoriam, a mi madre, que siempre lo esperó, y a Jemellene Baluyot, ang aking asawa, bulaklak ng aking buhay 5 ÍNDICE Agradecimientos / 9 Introducción / 11 PRIMERA PARTE I. Límites de la literatura hispanofilipina colonial / 25 I. 1. Historia y ficción / 29 I. 2. Literatura iberoasiática / 34 I. 3. Literatura hispanofilipina colonial del siglo XVI / 39 II. Intentos previos de historización y estudio (estado de la cuestión) / 43 II. 1. Desde Retana hasta los años cincuenta / 44 II. 2. Desde los años sesenta hasta los noventa del siglo XX / 55 II. 3. Renacimiento de los estudios literarios hispanofilipinos / 72 II. 4. Reflexiones finales / 79 III. Una interpretación de la literatura hispanofilipina entre 1604 y 1809: los géneros literarios / 83 III. 1. Primeras bibliotecas personales en Manila / 84 III. 2. Relaciones de martirios / 87 III. 3. Crónicas eclesiásticas e historias civiles / 90 III. 4. Relaciones de sucesos / 96 III. 5. Libros de fiestas / 99 III. 6. Cinco propuestas para un canon / 103 III. 6.

The vast majority of novels and periodicals read by colonial Australian girls were written and published in Britain. ‘Daughters of the Southern Cross’ were more likely to have access to the Girl’s Own Paper by subscription or to imported fictions that had proven popular with British girl readers than any locally produced depictions of girlhood. From the 1880s, however, Australian authors produced several milestone fictions of girlhood for both adult and juvenile audiences. Rosa Praed's An Australian Heroine (1880) and Catherine Martin’s An Australian Girl (1890)  gave voice to the lived experience of Australia for young women, and their publication in Britain contributed to an emergent reciprocal transpacific flow of literary culture.

Two canonical Australian novels that focus on the maturation of girl protagonists who live on bush homesteads were also published in this period. Ethel Turner’s Seven Little Australians (1894) and Miles Franklin’s My Brilliant Career (1901) feature intelligent girls who are not able to be effectively socialised to embrace domesticity. Turner’s Judy Woolcot is distinct among her six siblings as a plucky girl who instigates trouble, while Franklin’s aspiring writer Sybylla Melvyn is informed that ‘girls are the helplessest, uselessest, troublesomest little creatures in the world.’

The 1890s saw an agricultural depression in Australia that only fuelled the urban perpet-uation of the idealised and nationalistic bushman myth in literary and popular culture. The ubiquity of the myth problematised any attempt to situate women heroically within the nation outside of the home. British fictional imaginings of Australian girls lauded their lack of conformity and physical abilities and often showed them bravely defending the family property with firearms. In contrast, Australian domestic fiction, this chapter argues, is unable to accommodate bracing female heroism, postulating ambiguous outcomes at best for heroines who deviate from the feminine ideal.

Judy’s grandmother describes her ‘restless fire’ as something that ‘would either make a noble, daring, brilliant woman of her’, or ‘would flame up higher and higher and consume her’. Turner does not allow Judy’s unconventionality to prosper. Instead, she is killed by a falling gum tree while saving the life of her brother, leaving the future fulfilment of the domestic ideal to her sister, Meg, whose subsequent story occupies Little Mother Meg (1902). Franklin’s Sybylla expresses her inability to be content with the simple pleasures of keeping a home, and this informs her decision to reject a marriage proposal from a wealthy suitor. The novel’s indeterminate conclusion does not allow fulfilment of Sybylla’s writing aspirations, situating her outside the feminine ideal yet not affirming the merits of her desire to reject married life.

While Sharyn Pearce suggests that Judy’s tragic end follows a narrative pattern that sup-ports the glorification of male heroes and renders ‘over-reaching women’ as ‘noble failures’, the novel might also productively be read within the context of other fictions featuring girl protagonists of the period, such as Praed and Martin's novels. This chapter makes the case that Turner and Franklin’s thwarted heroines critique the containment of Australian girls to the banalities of the home by exposing the negative and uncertain outcomes for those who desire the freedoms and aspirations permitted to boys and men. Unlike British fictions that champion adventurous girls, these Australian fictions critique the continuation of gendered restrictions in the colonies by proposing that girls who desire excitement and independence ‘should have been…boy[s]’ (as Sybylla’s mother remarks).

Francis Adams (1862-1893) first published ‘The Red Snake’ in the Christmas edition of the Brisbane Boomerang on 24 December 1888, and later revised it for inclusion in a collection of his short stories, Australian Life, which was published by Chapman and Hall in London in 1892. Adams’s careful selection, arrangement and revision of his stories enable Australian Life to work effectively as a retrospective collection for an English audience, but it is illuminating to look at the original versions in their Australian context. ‘The Red Snake’, which Adams chose to open Australian Life, is an enigmatic text. The original version makes unequivocal references to local people, places and events; in particular, it offers in Frank Melvil, a member of the ‘old original colonial school’, a thinly veiled representation of the infamous Frank Jardine of Somerset on Cape York Peninsula. However, Adams uses these ‘real life’ allusions also as a starting point for an exploration of larger questions of civilisation and modernity. The story recounts a brutal massacre, but makes no direct judgement of Melvil’s actions. There is a pervasive motif of homoerotic attraction, but the text’s signification of such desire is evasive in the manner of other fin de siècle texts. Technically, the story is innovative in the complexity of its first person narration, its interest in the fleeting moment, its anticipation of ‘stream of consciousness’ and its lack of closure. ‘The Red Snake’ holds up a mirror to colonial Queensland, but is also worth resurrecting as a fine early example of the modern short story.

The paper analyses how Bangla was in usage in schools and colleges of Oriya speaking areas, even after the British government’s decision to use vernacular languages and English in educational institutions. Further, it investigates the major personalities, both natives and the British, involved in the movement—either to save Oriya as a separate language or to replace it by Bangla. Among the important personalities and their efforts under our analysis are: T. E. Ravenshaw (the then Commissioner of Orissa), John Beames, Gourishankar Ray, Rajendralal Mitra, Kantichandra Bhattacharjee, Fakir Mohan Senapati, Madhusudan Das and Madhusudan Rao. This paper further explores the dominance of Bangla over Oriya language and its consequences. It will examine the growth of Oriya-consciousness among the natives resulting into “Oriya Language-Security Movement.” Subsequently, the victory of the Oriya language led to the formation of separate province of Orissa.

genre · Symbolism, colonial literature, adventure tale, frame story, almost a romance in its insistence on heroism and the supernatural and its preference for the symbolic over the realistic language · English time and place written · England, 1898-1899; inspired by Conrad's journey to the Congo in 1890 date of first publication · Serialized in Blackwood's magazine in 1899; published in 1902 in the volume Youth: A Narrative; and Two Other Stories publisher · J. M. Dent & Sons, Ltd. narrator · There are two narrators: an anonymous passenger on a pleasure ship, who listens to Marlow's story, and Marlow himself, a middleaged ship's captain. point of view · The first narrator speaks in the first-person plural, on behalf of four other passengers who listen to Marlow's tale. Marlow narrates his story in the first person, describing only what he witnessed and experienced, and providing his own commentary on the story. tone · Ambivalent: Marlow is disgusted at the brutality of the Company and horrified by Kurtz's degeneration, but he claims that any thinking man would be tempted into similar behavior. tense · Past setting (time) · Latter part of the nineteenth century, probably sometime between 1876 and 1892

Querry, o protagonista, é um arquitecto célebre, cuja fama lhe decorre em parte das igrejas e catedrais de que foi autor. Mundano, e agora sexagenário, está esgotado, percebeu que "Há um período da vida em que um homem, com um pouco de habilidade para representar, pode enganar-se até a si próprio" (174) e compreendeu a inanidade da representação. Segue sem sem fé na religião, sem fé no amor (do qual foi cultor), sem fé na profissão, sem fé em si mesmo. Está despojado.

El presente trabajo tiene un doble objetivo. En primer lugar, muestra una panorámica de las relaciones de sucesos filipinas del siglo XVIII y establece una tipología temática entre las que destacan aquellas que narran catástrofes naturales. En segundo lugar, se rescatan dos de estas raras relaciones: un impreso filipino, publicado por las prensas franciscanas, que relata las consecuencias del terremoto del territorio de Tayabas en enero de 1743, y un impreso mexicano de 1756 que narra los temblores del volcán Taal a lo largo de la segunda mitad de 1754. Ambos textos se presentan anotados con una introducción analítica.


    This article has two goals. First, to provide an overview of eighteenthcentury Philippine newsletters, or relaciones de sucesos, in order to categorise them by subject-matter. Accounts dealing with natural disasters stand out among these. Second, two extremely rare Philippine imprints are identified and discussed: the first one, printed on Franciscan presses, deals with the consequences of the January 1743 earthquake in the Tayabas area, while the second, printed in Mexico in 1756, describes the continuous eruptions of the Taal volcano during the second half of 1754. Both newsletters are reproduced here with notes and an analytical introduction.

The article displays the decisive role the Italian-Abessinian War played in forming the "Axis" and in the annexation of Austria. I focuss on the paradoxes propaganda literature had to deal with due to the very complex situation (Germany officially sided with the fascist 'comrades' while secretly importing weapons to Abessinia to prolong the war and thus devide Italy from the Western Powers).

Colonial literature related to Mozambique reproduced, up to the start of the 1950s, theories of history as a result of a “struggle of the races”, which were found as much at the centre of Arian racial mystification in general, as well as in Portuguese race-thinking in particular, from the first quarter of the 19th century. The influence of these theories would be decisive in the actions of the military commanders of the “generation of 1895” who were at the origin of the rapid progression of the campaigns of conquest and the establishment of a racial dictatorship in the territories annexed by Portuguese imperialism in Africa and in Asia. The genocide of Baruè people, meticulously orchestrated by Portuguese officers between 1917 and 1919, constituted one of the key moments of this territorial expansion in Mozambique. In the colonial literature produced between the 1920s and 1950s, the mass slaughter was concealed through the repetition of the lies about the “cannibalistic” atrocities of the savages. These appear closely linked to the aesthetic representation of colonial reterritorialization as the only possible way to overcome the barbarity. The falsification of the past thus allowed the institution of the “night of the secret” invoked by the philosopher Alexandre Koyré, that is, the concealment of the unspeakable reality of the physical suppression of the threatening “others” from the face of the earth, their land therefore transformed into imperial territory. The construction of the narrative identity of the savage, by the discursive formulation of a sub-human essentiality in the written accounts, directly opens the problematic on the very concept of writing, particularly in the terms of its enunciation by Jacques Derrida as logocentrism. At the same time, on the margins of the colonial narratives are perceptible the signs of the preservation by the colonized of one other memory, subterranean and indestructible, about which Barbara and Allen Isaacman could still compile oral testimonies.

A literatura colonial relacionada com Moçambique reproduz, até ao início dos anos 1950, as teorias da história como resultado de uma “luta das raças”, as quais se encontram tanto no centro da mistificação racial ariana, em geral, como do pensamento racial português, em particular, desde o primeiro quartel do século XIX. A influência destas teorias vai ser decisiva na ação dos chefes militares da “geração de 1895” que vão estar na origem da rápida progressão das campanhas de conquista e da instauração da ditadura racial nos territórios anexados pelo imperialismo português em África e na Ásia. O genocídio do povo baruè, meticulosamente orquestrado pelos oficiais portugueses entre 1917 e 1919, constitui um dos momentos-chave desta expansão territorial em Moçambique. Nas narrativas estéticas coloniais produzidas entre os anos 1920 e os anos 1950, os assassinatos em massa ficaram dissimulados no discurso através da repetição da mentira sobre as atrocidades “canibalescas” dos selvagens, estreitamente associada às representações da reterritorialização colonial como única forma possível de ultrapassar a barbárie. A falsificação do passado permite assim a  instituição da “noite do segredo”, evocada pelo filósofo Alexandre Koyré, isto é, a ocultação da realidade inominável da supressão física dos “outros” ameaçadores da face dessa terra transformada em território imperial. A construção da identidade narrativa do selvagem através da formulação discursiva de uma essencialidade infra-humana, nos registos escritos da memória, abre diretamente a problemática sobre o próprio conceito de escrita, em particular nos termos da sua enunciação por Jacques Derrida enquanto logocentrismo. Ao mesmo tempo, são percetíveis nas margens das narrativas coloniais os signos da preservação pelos colonizados de uma outra memória subterrânea e indestrutível, da qual Barbara e Allen Isaacman puderam ainda compilar os testemunhos orais.

Sur la base d'une étude consacrée à la littérature coloniale et exotique belge de langue française et à l'aide d'exemples empruntés à d'autres littératures, la communication a pour but de proposer une typologie définitoire du paysage exotique et du paysage colonial. Cette typologie doit permettre une redéfinition théorique du concept d'exotisme, en relation avec le concept d’antexotisme. Elle constitue aussi une contribution à l'étude du paysage, à la fois comme concept et comme réalisation historique. Elle précise au passage les notions d’« exotisme critique » et d’« exotisme colonial ». Enfin, à propos de celui-ci, elle envisage doublement la dimension spirituelle du paysage, à la fois comme eschatologie anticipée et comme arrêt contemplatif, ouvert sur l’altérité.