Hybridity In Bhabha's Loomba

Unfortunately, Rachel Price’s narrow-minded attitude remains stagnant into late adulthood. The Equatorial where Rachel’s “proudest achievement[s]” lie alludes to the imaginary line that divides up the world, establishing how Rachel’s accomplishments lie on a unjust foundation (462). Fittingly, her “own little world” (462) is upheld by her “standards of white supremacy” (28).The word “world” suggests to the reader the illustration of a European explorer charting the globe for unknown lands to redeem as his own. It frames the painting of colonialism and segregation to the reader, as Rachel “can run [her world] exactly however [she] please”, further alluding to the image of a white colonist dictating and exploiting the lives of “local boys” and “punish [them] with a firm hand” (462). Rachel’s self-appointed responsibility of policing her African staff with violence only gives more weight to her internalized ignorance, prolonged by her stay in the Congo and unwavered by the years. Unlike her siblings’ change of heart over the years, Rachel’s exposure to Africa only reiterates her initial belief of how “these people here can’t decide anything for themselves” (480), suggesting how she sees them as lesser than her, as a docile child who remains incapable of assertion. All in all, Rachel’s unfazed ignorance

The reader gets a rare and exotic understanding of a totally foreign and ancient culture experiencing the growing pains of colonial expansion during the British domination

During the study, the renowned anthropologist uses the local lingua franca “Neo-Melanesian” to collect his data from the Imbonggu villages. At first, the Wormsley finds himself as an object of competition as different communities wanted to stay with him. The men thought that Wormsley had come to collect the "head tax”, one of the renowned colonial payments that were subjected to men based on the number of women. In these communities, the author observes the culture of both men and women to collect his data. He notes how men are engaged in war, religion and politics (Wormsley, 1993). Women, on the other

Momaday's book collapses conventional divides between myth and history: by fusing the two he suggests that the conventional white conception of history as an enclosed and protected category is inherently suspect, and without speaking of politics makes a claim for other, equally valuable ways of knowing. However, in this sense his method of storytelling is political, because he suggests that the Indian ways of interpreting experience are just as valid as

Although Toundi held Father Gilbert in high regard, he was paraded around other Whites who visited the Mission as “his masterpiece” (Oyono 15). This demonstrates how Toundi was disregarded as an individual, rather he was treated as a pet worth admiring. Throughout his ordeal stage, Toundi is exposed to the true nature of the whites. They had no intention of incorporating the Africans into their society. Their identities, practices, and culture were being stripped away and replaced with a newfound religion. Through this novel we follow Toundi’s transformation from the naïve mentality of White colonialists to, according to Cajetan N. Iheka (2014), one that is “shocked to witness the violence, hypocrisy, and soulless attitudes of the Europeans” (para. 4). Toundi’s rites of passage reinforces the idea of White superiority and power over the subservient Africans.

In the African heritage they see the whole universe as scared, they also had many gods and different cults. Upon their arrival in to America in the early day’s ‘negroes’ were immediately stripped form their social heritage (Frazier,1964). They were now considered property of the whites and forced to be baptized in to Christianity, the white’s

The novel “The Old Chief Mshlanga” is a story about a 14-year-old girl who is growing up on her family’s African plain, who has quickly conformed to her parent’s racial behaviors. In her childhood, she only felt connected to England and never could really relate to the African landscape she has been growing

In the precolonial era, an individual’s identity was deeply rooted in their religious beliefs, if not a direct product thereof. For example, the Native Americans, though separate and distinct, generally viewed their entire world as sacred and significant and thus treated it as such (Goff & Harvey, 2004, p. 7). Conversely, precolonial Europeans saw sanctity much more limitedly than the Native Americans and, with the official religion being Christianity, were heavily reliant on an institutionalized church and its clergy to attain deliverance (Goff & Harvey, 2004, p. 9). Like the Native Americans, many West African tribes, which would soon be subjugated to the American slave trade, had commonalities amid their various religious beliefs, mainly, that there was one supreme god and many secondary gods. This theistic belief necessitated the worship of many deities in attempt to gain favor (Goff & Harvey, 2004, p. 8). Though these precolonial people varied greatly, their identities were all deeply embedded in their respective religions.

In a freezing class, two brilliant minds unlocked the fiery passion that is their talent one an artist the other a writer. Bringing to light a history long forgotten creating abstract thoughts arbitrary to our own. Komi Olaf the artist and Okey Ndibe the writer not only enlightening the class but also the world with each brush stroke and each word. Every creation stemming from the hands of these masters tell of issues at the heart of Africa from colonialism to existential dilemmas. Thru spoken word, hip-hop, art, music, poems and literature issues close at heart to the artists and to Africa are portrayed. This paper will focus on the art exhibit by Komi Olaf and Foreign Gods inc by Okey Ndibe as spoken by them during their discussion in the class on October 13th. Where the talks focused on the key course objectives being stereotypes, post-colonialism, youth culture, and resistance.

In Derek Walcott’s From in a Green Night: A Far Cry from Africa, the author explains and dives into the topic of colonialism and self-reflection through his own experiences of being trapped between his Kenyan and British descent. Similar to Fanon’s concept of complicity, Walcott also understands both sides of the story in an unbiased manner. In his poem, he uses imagery to describe the violent past in which Kenyans and British people have committed to each other, the ‘savage’ nature of humans during colonization, and his own internal speech where he himself is confused of his cultural and social identity. This paper will explore the core concepts of Walcott’s writing and further explain it through Fanon’s lens to amplify the meaning of the poem.

William Apess’s essay, An Indian’s Looking-Glass for the White Man, serves as a prime representation of this 19th century Pequot writer’s common theme - white man’s behavior contradicts the peace and equality their God promotes. Apess’s burning sense of betrayal by the white culture and faith he was raised beside is expressed through bold rhetorical strategy, imagery, stylistic tendencies, and his preacher-like tone. This tension builds throughout the essay, albeit important factors set the essay’s mood immediately in the first paragraph.

In literature, post colonialism is the study of post-colonial theories that ask the reader to notice the effects of colonization on people or the extension power into other nations. In post-colonial theories, the term subaltern is the nickname to populations which are far cry from the power of the colony that has hegemonic on social, political and geographical prevalence. The present research aims at analyzing Spivak's essay "Can the Subaltern Speak?" in the light of her question whether or not the possibility exists for any recovery of a subaltern

The author’s effort to display oral literature, including expressing Ghanaian English speaking and non-English speaking society, in her work reflects her own persona as a contemporary writer resembling the African oral traditions and art work. “Shall I go to Cape Coast, or to Elmina I don’t know, I can’t tell. I don’t know, I can’t tell,” (Aidoo) Language, mainly English, is promoted to throughly capture various backgrounds and events of the play. Aidoo tries to distinguish Eulalie’s American-English speech that instantly alienates her from the rest of the characters. The author also quite succeeds in reflecting Ato’s educated language with a hint of lecturing that proves he has been indeed abroad, as oppose to his Ghanaian family. It crucially exposes the impact of colonialism on communication between Africans with distinctive educational and social situations, as for instance, the married couple’s complexed struggle to not only fully accept their cultural differences but also keep and hold onto their own identities. Aidoo also catches the inflections and outcomes of oral literature by using simple songs, traditional proverbs and imagery, such as the interesting ones in the dialogue between the two old Ghanaian women. “1st W.:But you know, my sister, That my name is Lonesome. I

The desire to conquer land that was previously unexplored has existed throughout history. This desire forced many indigenous societies, who were usually dominated technologically, to adapt to the teachings and overall system of the ‘superior’ conqueror nation with destruction as the only alternative. This causes a major impact on how a certain society functions, even after seeking independence from the foreigners. The rise and fall of indigenous societies can be analyzed through various media. Chinua Achebe is a novelist specializing in African literature, and this essay deals with the themes regarding colonialism in one of his many novels. In

The S. Lucian poet, for a long time, tried to show the importance of his being “hybrid”. In one of the most famous and early poem “A Far Cry From Africa”, he ended this poem with a sequence of question regarded his roots, his being “divided into the vein “ with the blood of both culture, English and Africa. Questions at which he does not give a reply, by doing this “the being poison” it is bring a positive status. Does not choose or make predominate on culture than the other, it is acception of the condition of the “hybrid”. This mingles of culture put out the importance of a suitable poetic voice.