Migrant Form examines the works of James Joyce, Salman Rushdie, and Satyajit Ray for the anti-colonial arguments in their unsettled, and unsettling, aesthetics. Among the questions it engages are the following: What are the aesthetic moves through which art expresses its resistance to dominance and demands for conformity? How can we define anti-colonial aesthetics? How do these aesthetics manifest themselves in different media such as literature and film? Contending that Joyce inaugurates an anti-colonial aesthetics of ...
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Migrant Form examines the works of James Joyce, Salman Rushdie, and Satyajit Ray for the anti-colonial arguments in their unsettled, and unsettling, aesthetics. Among the questions it engages are the following: What are the aesthetic moves through which art expresses its resistance to dominance and demands for conformity? How can we define anti-colonial aesthetics? How do these aesthetics manifest themselves in different media such as literature and film? Contending that Joyce inaugurates an anti-colonial aesthetics of reconstitution, the book mines such aesthetics in Ulysses and Finnegans Wake to propose a formal model for postcolonialism. It also draws on that exercise to consider how Rushdie extends a play with reconfigured forms into an overt politics in two of his novels ( Midnight's Children and The Satanic Verses ). Turning its attention to film, the book contests the common view of Ray as a gentle realist and examines a formal restlessness in Ray's earlier work, Charulata ( The Lonely Wife ), before demonstrating how Ray stages his preference for restlessness in his final film, Agantuk ( The Stranger ).
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Edition:
2010, Peter Lang Inc., International Academic Publishers
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2010, Peter Lang Inc., International Academic Publishers
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2010, Peter Lang Inc., International Academic Publishers
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Edition:
2010, Peter Lang Inc., International Academic Publishers
