后殖民批評(píng)與后殖民文學(xué)

1、Post-Colonialism and Post-Colonial Literature 后殖民批評(píng)與后殖民文學(xué)What is Colonialism Imperialism refers to the domination, usually by direct territorial acquisition or by political and economic control, of one society by another. Colonialism means more direct control by aggressive and military subjugation.

2、It started as early as 15th century with the emerging European nation-states(England, France, Portugal, Spain, etc). By late 19th and early 20th centuries the old empires and the new expansionist powers (Germany, the US, Japan and Russia) had colonized as much as 85% of Africa, America and Asia. Pos

3、t-Colonialism During the two world wars, the global colonial systems began to revolt as a result of the Russian Revolution and nationalistic movements. Until the early 1970s, decolonization was virtually completed. But the control of the former colonies by imperial powers continued in the form of ne

4、ocolonialism, characterized by domination of their economies by large transnational corporations and their dependence on the export of natural resources and the import of manufactured goods. The term neocolonialism has been used to refer to a variety of contexts since decolonization that took place

5、after World War II. Generally it does not refer to a type of direct colonization, rather, colonialism by other means. Specifically, neocolonialism refers to the theory that former or existing economic relationships, such as the General Agreement on Tariffs and Trade and the Central American Free Tra

6、de Agreement, created by former colonial powers are used to maintain control of their former colonies and dependencies after the colonial independence movements of the postWorld War II period.See the difference? The mark of the colonialism period is that the colonized countries were fully controlled

7、 by the colonists in politics, economy, culture and society, whereas that of the neo-colonialism is that the ex-colonized countries still could not broke clean free of the ex-colonized countries in politics and economy. When it comes to the post-colonialism, post-colonialism concentrates on the cult

8、ural, intellectual and spiritual realm. It may be easy to break away from the colonists politically and economically, but it is much too difficult to uproot the tangible or intangible control of culture. This is just what post colonialism is concerned about.Post-colonialism is continuation of decolo

9、nization. As a branch of humanities, it denotes a collection of “theoretical and critical strategies used to examine the culture (literary, politics, history) of former colonies of the European empires, and their relation to the rest of the world”.post-colonialism also denote the continuation of col

10、onialism by other means economic, cultural, and linguistic by the “Mother Country”, which are relationships of colonial Power that control the production and distribution of knowledge about the world.postcolonialism is, an engagement with and contestation of colonialisms discourses, power structures

11、, and social hierarchies. - Post-Colonial Drama (1996), Helen Gilbert and Joanne Tompkins “后殖民”概念的所指1.作為一個(gè)歷史分期歷史分期概念，它指西方殖民之后的歷史時(shí)期；2.“后殖民”概念的空間表述空間表述；3. 作為殖民話語(yǔ)的反話語(yǔ)，它代表一種針對(duì)殖民主義的抵抗與顛覆；4. 作為一種獨(dú)特文化再現(xiàn)形式，它指文學(xué)研究與文化批評(píng)領(lǐng)域的后殖民現(xiàn)象；5. 在全球化理論體系中，后殖民即后殖民狀況，它指向后殖民民族國(guó)家所面臨的文化經(jīng)濟(jì)矛盾。 趙一凡，張中載主編：西方文論關(guān)鍵詞 M ，外語(yǔ)教學(xué)與研究出版社，2006.

12、1，第201頁(yè)從時(shí)間概念看：從時(shí)間概念看：在原來(lái)的“殖民”前加上了一個(gè)“后”，使得“后殖民”這個(gè)術(shù)語(yǔ)不可避免地帶有“殖民主義”的親緣因素，表明兩個(gè)時(shí)代之間的繼承和嬗遞關(guān)系：它不僅僅是時(shí)間上的延續(xù)，更是一個(gè)時(shí)代的政治經(jīng)濟(jì)體制和文化價(jià)值觀在其后一個(gè)時(shí)代的延續(xù)和滲透?！昂笾趁裰髁x是指世界上那些在20世紀(jì)中葉以后，擺脫了歐洲帝國(guó)主義控制的國(guó)家所處的歷史階段，隨著帝國(guó)的瓦解，亞洲、非洲和加勒比需要修復(fù)它們?cè)诒坏蹏?guó)統(tǒng)治之前的文化，估價(jià)殖民體系所遺留的文化、語(yǔ)言、法律和經(jīng)濟(jì)影響，建立新的政府和民族身份?！?- Joseph Childers and Gary Hentzi “Columbia Diction

13、ary of Modern Literary and Cultural Criticism”“后殖民后殖民”概念表述概念表述從空間概念看：從空間概念看： 歐洲殖民者在第一次世界大戰(zhàn)以前，差不多擁有了全球85%的土地作為殖民地，對(duì)一些殖民地國(guó)家的統(tǒng)治長(zhǎng)達(dá)數(shù)世紀(jì)之久。被歐洲殖民者統(tǒng)治的國(guó)家大體上可以分為三類：殖民者國(guó)家或移民國(guó)家，如澳大利亞和加拿大；大多數(shù)的殖民地國(guó)家，如印度、牙買(mǎi)加和塞內(nèi)加爾；介于這兩者之間的國(guó)家，在這些國(guó)家中，殖民時(shí)期結(jié)束后仍有大量前殖民者定居下來(lái)并與當(dāng)?shù)氐耐林用窆餐瑯?gòu)成了新國(guó)家的統(tǒng)治階層，但隨著時(shí)代發(fā)展和政治嬗進(jìn)而逐步喪失統(tǒng)治地位，如南非和津巴布韋。后殖民空間概念呈現(xiàn)越來(lái)越

14、寬泛的趨勢(shì)后殖民空間概念呈現(xiàn)越來(lái)越寬泛的趨勢(shì) 值得一提的是，在實(shí)際研究中，后殖民的空間概念越來(lái)越寬泛，成為一種對(duì)世界文化生存狀態(tài)的批評(píng)。后殖民文化批評(píng)的視角除了被運(yùn)用于非洲、亞洲等前殖民地國(guó)家的政治、文化中以外，也被運(yùn)用于像美國(guó)、加拿大、澳大利亞等國(guó)家的文化社會(huì)現(xiàn)象和文學(xué)創(chuàng)作研究中，研究這些國(guó)家的族裔文學(xué)以及族裔人群的生活狀態(tài)。 可以說(shuō)，后殖民研究在寬泛的意義上是對(duì)20世紀(jì)后半葉殖民時(shí)代結(jié)束以后的社會(huì)文化的總體研究，“后殖民”的概念存在于不同文化，不同力量的對(duì)抗關(guān)系中，一切處于中心與邊緣的對(duì)抗關(guān)系都能在后殖民研究中找到拓展的語(yǔ)境。 全世界都是后殖民的。 -斯皮瓦克 “On the Politi

15、cs of Subaltern” 結(jié)論：結(jié)論：在此意義上的后殖民研究指對(duì)前殖民地在殖民時(shí)代結(jié)束以后的文化與社會(huì)的研究。雖然殖民時(shí)代結(jié)束了，殖民地國(guó)家也紛紛取得了政治上的獨(dú)立，但殖民統(tǒng)治時(shí)期留下的文化影響卻是深遠(yuǎn)的，它依然在語(yǔ)言、觀念和信仰等方面主宰著殖民地，影響著殖民地。具體說(shuō)來(lái)，后殖民研究的領(lǐng)域和后殖民研究的領(lǐng)域和課題主要有：課題主要有：殖民體系如何在反殖民的民族斗爭(zhēng)中解體；殖民地的歷史版圖；殖民者與殖民地人民之間語(yǔ)言文化以及宗教信仰的沖突；殖民制度如何影響殖民地人民，又如何反過(guò)來(lái)影響殖民者自身的文化；殖民統(tǒng)治者在如今已獨(dú)立了的前殖民地國(guó)家留下了哪些痕跡，這些因素又如何影響到這些國(guó)家的社會(huì)發(fā)

16、展和現(xiàn)代化過(guò)程；西方的語(yǔ)言與宗教，科學(xué)和技術(shù)如何影響殖民地的知識(shí)結(jié)構(gòu)；殖民體制解體后的前殖民地國(guó)家具有哪些政治、經(jīng)濟(jì)和文化特征。 1、1970s，Orientalism（Edward Said， 1935-2003）;2、1989，The Empire Writes Back: Theory and Practice in Post-Colonial Literatures （Bill Ashcroft, Gareth Griffiths, Helen Tiffin）3、1993, Colonial Discourse and Postcolonial Theory (Laura Chrism

17、an, Patrick Williams)The Rise of Post-colonialism Earlier Post-colonialism Theorists當(dāng)代后殖民研究的先驅(qū)當(dāng)代后殖民研究的先驅(qū)詹姆士詹姆士(Cyril Lionel Robert James, 1901-1989) 當(dāng)代后殖民研究之父當(dāng)代后殖民研究之父佛朗茨佛朗茨法農(nóng)法農(nóng)（Frantz Fanon, 1925-1961） The American historian C.L.R. James in the Black Jacobins (1938) charts the history of Haitian re

18、volution against French colonial rule at the end of the eighteenth century. It explores the relationship between European and colonial histories by showing how Haitian revolution drew on both African culture and the Enlightenment ideas that inspired the French revolution. Most importantly, Haitian s

19、laves are portrayed as “modern political agents rather than as victims of imperialism.” James anticipates the contemporary postcolonial critics in his exploration of how race and class “define one another both in Europe and in the Caribbean.”Cyril Lionel Robert James Frantz Fanon Frantz Fanon is dee

20、med as the father of contemporary post-colonialism. He was born to a middle-class family in a French colony and perceived himself as French in his student years. His personal experience as a black intellectual in a whitened world, especially the disorientation he had felt since his first encounter w

21、ith racism, “decisively marks his psychological theories” about colonial culture, mostly expressed in Black Skin, White Masks (1952), originally titled “An Essay for the Disalienation of Blacks.” This work has provided an intellectual framework from which post-colonial studies is to develop its basi

22、c hypotheses and working vocabulary. Fanons chief contribution is his delineation of the colonial subject as both “colonized” and “subject,” some “Others” who is unable to assume the necessary role as self. He argues that racism generates harmful psychological constructs that both blind the black to

23、 his subjection to a universalized white norm and alienate his consciousness. “A racist culture by definition prohibits psychological health in the black man.” More Theoretical Basis Antonio Gramsci (18911937) developed the theory of cultural hegemony Cultural hegemony is the philosophic and sociolo

24、gical concept, originated by the Marist philosopher Antonio Gramsci, that a culturally-diverse society can be ruled or dominated by one of its social classes. It is the dominance of one social group over another, i.e. the ruling class over all other classes. The ideas of the ruling class come to be

25、seen as the norm; they are seen as universal ideologies, perceived to benefit everyone whilst only really benefiting the ruling class. More Theoretical Basis Michel Foucault (1926-1984) (power and knowledge): The Archaeology of Knowledge. Post-colonial studies has also made extensive use of Foucault

26、s ideas. Empire, for instance, is built upon the imperial discourse. “Discourse,” according to Foucault, is a set of “rules” which determines the sorts of statements that can be made, “a system that defines the possibilities for knowledge,” or the criteria for truth. This determination is “power”, w

27、hich produces classifications of knowledge and defines our understanding. Power is not always prohibitive. It is productive as well. Power and discourse are two sides of a coin:“There is no power relation without the correlative constitution of a field of knowledge, nor any knowledge that does not p

28、resuppose and constitute at the same time power relations.” Contemporary Post-colonialism Theorists Edward Said (1935-2003), Palestinian American literary theorist, cultural critic, political activist, and he is regarded as a founding figure in postcolonial theory.Orientalism (1978) describes the “s

29、ubtle and persistent Eurocentric prejudice against Arabo-Islamic peoples and their culture.” It has had a significant impact on the fields of literary theory, cultural studies and human geography, and to a lesser extent on those of history and oriental studies.It is a critique of Orientalism: The We

30、st produced knowledge about other peoples in order to prove the “truth” of their “inferiority”.后殖民理論的主要任務(wù)之一，正如東方主義一書(shū)所做的那樣，就是徹底批判東方主義。 What is Orientalism?A. Orientalism constructs binary divisions: The Orient is conceived as being everything that the West is not. The Orient is the contrasting image

31、by which the West defines itself. （事物因比較而存在。）B. Orientalism is a Western fantasy. It is a fabricated construct, a series of images that come to stand as the Orients reality for those in the West. It imposes upon the Orient specifically Western views of its reality.Western depictions of the Orient co

32、nstruct an inferior world, a place of backwardness, irrationality, and wildness. This allows the West to identify themselves as the opposite of these characteristics; as a superior world that was progressive, rational, and civil. Binary Oppositions Diagram: Binary Oppositions Diagram: Deconstructing

33、 the Center Deconstructing the Center The Occident The Orient 文明的，理性的，先進(jìn)的，基督教的，強(qiáng)大的文明的，理性的，先進(jìn)的，基督教的，強(qiáng)大的/神秘的，落后的，迷信的，異教的，柔懦的神秘的，落后的，迷信的，異教的，柔懦的The Occident/The OrientStereotypes of the Occidental/the Orient Thus the Chinese or the Arabs are defined as cruel, sneaky, evil, cunning, dishonest, given to

34、sexual promiscuity and perversion, and the like. Citizens of the west then define themselves, in contrast to the imaginary oriental” they have created, as kind, straightforward, good, upright, honest, and moral. Self/the otherSelf/the other The colonizers saw themselves at he center of the world; th

35、e colonized were at the margins. The colonizers saw themselves as the embodiment of what a human being should be, the proper “self”; native peoples were “other”, different, and therefore inferior. “East is east, and West is West, and never the Twin shall meet!”“All the people like us are WeAnd every

36、one else is TheyWe live over the seaWhile they live over the way ”C. Orientalism can be discussed and analyzed as the corporate institution for dealing with the Orient-dealing with it by making statements about it, authorizing views of it, describing it, by teaching it, settling it, ruling over it:

37、in short, Orientalism as a Western style for dominating , restructuring, and having authority over the Orient. D. Orientalism is legitimizing. Orientalist representations function to justify the propriety of Western colonial rule of Eastern lands. C. Orientalism can be discussed and analyzed as the

38、corporate institution for dealing with the Orient-dealing with it by making statements about it, authorizing views of it, describing it, by teaching it, settling it, ruling over it: in short, Orientalism as a Western style for dominating , restructuring, and having authority over the Orient. D. Orie

39、ntalism is legitimizing. Orientalist representations function to justify the propriety of Western colonial rule of Eastern lands. Gayatri Chakravorty Spivak (1942- ) an Indian literary critic and theorist, known for her deconstructive method. In “Can the subaltern speak?” (1988), she talks about the

40、 suicide of a young Bengali woman who fails to “speak” outside normal patriarchal channels. But she questions the possibility if the Gramscian “subaltern” (“the lowest strata of the urban subproletariat” or “everything that has limited or no access to the cultural imperialism”) could have a voice wh

41、en the identity of the subaltern is its difference and their voice is heard through the academic discourses of Western metropolitan culture. （Ashcroft,1995:25-28）(The problem of subjectivity and representation.) “They cannot represent themselves, they must be represented. ”(The Eighteenth Brumaire o

42、f Louis Bonaparte. VII. Karl Marx 1852)“French Feminism in an International Frame” “Three Womens Texts and a Critique of Imperialism” Post-Colonial LiteratureWhat does postcolonial literary criticism do?Rethinking conventional modes of reading. Re-reading of canonical literature in order to examine

43、if past texts perpetuated or questioned the latent assumptions of colonial discourse. Enquiring into the representations of colonized subjects in a variety of colonial texts, not just literary ones. (Conrad, Defoe, Austen, Dickens, Thackeray, Forster, Hardy, Kipling, etc.)Sample:1、Joseph Conrads Hea

44、rt of Darkness. 2、Charlotte Brontes Jane Eyre. 3、E. M. Forsters A Passage to India. 后殖民批評(píng)與文學(xué)后殖民批評(píng)與文學(xué) 后殖民批評(píng)是一種從文學(xué)批評(píng)或歷史、哲學(xué)等經(jīng)典著作切入，進(jìn)而擴(kuò)展到政治、經(jīng)濟(jì)、社會(huì)、宗教等領(lǐng)域的文化批評(píng)。文學(xué)文本的分析和批評(píng)可以說(shuō)是后殖民文化批評(píng)的基礎(chǔ)。 “后殖民研究最令人感興趣的一個(gè)發(fā)展是對(duì)經(jīng)典的文化作品進(jìn)行重讀，其目的并非試圖貶低這些作品的價(jià)值，而是對(duì)他們的某些假定前提進(jìn)行重新審查，超越某種主義、奴隸式二元對(duì)立關(guān)系對(duì)他們的控制?！?-愛(ài)德華.薩義德 Joseph Conrad（1857-1

45、924）“黑暗的心把非洲描寫(xiě)另外一個(gè)世界，歐洲的對(duì)立面，因此也是文明的對(duì)立面?！?-欽努阿.阿契貝 這似乎不是人間的土地。我們看慣了被征服了的，鎖在鐐銬中的怪獸，在這兒，你可以看到如怪獸一般自由行走的生物，就好像不是在人的世界里。那些人-不，不能說(shuō)他們不屬于人類，是啊，懷疑他們不是人類是最糟糕的。這種懷疑會(huì)慢慢地涌上心頭。他們嗷叫著、跳躍著、旋轉(zhuǎn)著，做出可怕的鬼臉。 -Joseph Conrad. The heart of Darkness 我不時(shí)地看著那個(gè)燒蒸汽鍋爐的蠻人。他是個(gè)馴化了的物種。他能燒旺那個(gè)樹(shù)立著的蒸汽鍋爐。他就在我的下方。天哪，看著他猶如看到一條狗。模仿人穿著褲子，戴著羽毛裝

46、飾的帽子，用兩條后腿走路，這讓你大為感慨。 -Joseph Conrad. The heart of Darkness 剛果文化在黑暗的心中被另一個(gè)民族表述著，被放置到文明/野蠻、白人/黑人、人類/獸類的二元對(duì)立框架中加以評(píng)判。對(duì)西方女性主義經(jīng)典文本 簡(jiǎn)愛(ài)不同視角的解讀 傳統(tǒng)的觀點(diǎn)：傳統(tǒng)的觀點(diǎn)：簡(jiǎn)愛(ài)超越一切等級(jí)、容貌和財(cái)富等外在因素，表現(xiàn)了一種理想的愛(ài)情； 英美女性主義的解讀：英美女性主義的解讀：簡(jiǎn)和瘋女人伯莎為一個(gè)女性的兩面。瘋女人伯莎所具有的反抗精神和報(bào)復(fù)力正是簡(jiǎn)愛(ài)身上潛藏的對(duì)男性中心主義的反抗能力。瘋女人是簡(jiǎn)愛(ài)的另一面, 同時(shí)也象征著被壓抑的女性創(chuàng)造力； 參考書(shū)目：桑德拉吉爾伯特；蘇珊格

47、芭 閣樓上的瘋女人 斯皮瓦克后殖民視角的解讀：斯皮瓦克后殖民視角的解讀：According to Spivak, Brontes novel may well uphold its protagonist as a new feminist ideal, but it does so at the expense of Bertha, Rochesters Creole bride who functions as a colonial subject of other to legitimate Janes simultaneous ascent to domestic authority.

48、 簡(jiǎn)愛(ài)對(duì)女主人公簡(jiǎn)大加稱頌, 而對(duì)瘋女人伯莎進(jìn)行了妖魔化處理。這是作者文明 / 野蠻，西方/他者的二元對(duì)立思想在起作用。斯皮瓦克看來(lái)，羅徹斯特和伯莎的婚姻代表著合法家庭地位，而簡(jiǎn)愛(ài)與羅徹斯特之間的私情則代表著非法家庭地位。要如何讓簡(jiǎn)愛(ài)把伯莎從合法家庭地位上拉下來(lái)，活躍的帝國(guó)主義意識(shí)形態(tài)提供了地位轉(zhuǎn)換的可能性。 參考書(shū)目： G C 斯皮瓦克 三個(gè)女性的文本與帝國(guó)主義批判 屋子的那一頭，有一個(gè)身影在昏暗中來(lái)回跑著。那是什么呢？是野獸呢還是人？乍一看，看不清；它似乎在用四肢匍匐著；它像個(gè)奇怪的野獸一樣地抓著、嚎叫著；可是她又穿著衣服，密密的黑發(fā)中夾雜著白發(fā)，像馬鬃一樣蓬亂地遮住了它的頭和臉。 -Ch

49、arlotte Bronte. Jane Eyre“通過(guò)刻畫(huà)伯莎.梅森這個(gè)牙買(mǎi)加的克里奧爾人，勃朗特混淆了人與動(dòng)物的界限”。 -巴特穆?tīng)?吉爾伯特后殖民批評(píng) 屋子的那一頭，有一個(gè)身影在昏暗中來(lái)回跑著。那是什么呢？是野獸呢還是人？乍一看，看不清；它似乎在用四肢匍匐著；它像個(gè)奇怪的野獸一樣地抓著、嚎叫著；可是她又穿著衣服，密密的黑發(fā)中夾雜著白發(fā)，像馬鬃一樣蓬亂地遮住了它的頭和臉。 -Charlotte Bronte. Jane Eyre“通過(guò)刻畫(huà)伯莎.梅森這個(gè)牙買(mǎi)加的克里奧爾人，勃朗特混淆了人與動(dòng)物的界限”。 -巴特穆?tīng)?吉爾伯特后殖民批評(píng) The symbolic meaning in the

50、Marabar Caves The Marabar Caves have always been the focus in Foresters conception of the novel. In A Passage to India, The Marabar Caves are not merely a geographical place but a metaphorical one, which contains rich connotations of the novel. Regarded as the typical landscape of the whole country,

51、 the Caves exhibit the evasive and mysterious features that are metaphors for an inaccessible India. In the novel, these featureless, dark and mysterious Marabar Caves and the echoes they give build up an image, which symbolizes that India is an inaccessible and unidentifiable country. The Marabar e

52、xperience makes the two English ladies, Mrs. Moore and Adela, suffer a lot. The echo in the caves collapses Mrs. Moores faith and causes her mental crisis. She is terrified and also has no desire to communicate with anyone. Like Mrs. Moore, Adela has been disturbed by the echo, too. She has the hall

53、ucination that she has been sexually assaulted by Aziz. For Adela, only India should be blamed for her insanity. E. M. Forsters A Passage to India The symbolic meaning in the Marabar Caves Forster is at pains to approach India and tries to find a symbolic place which can represent India, but his representation of India means that he sill falls into the stereotyped portrayal of a large, strange and unexplainable Oriental mind, for the description is full of negative words which lead readers to the conclusion tha