Skip to main content

What were the significant contributions of Spivak and Bhabha to their schools of literary criticism? Also, what contributions to criticism have...

Gayatri Spivak has been an influential figure in rethinking Marxism, postmodernism, and feminism in the context of post-colonial, transnational capitalism. Her most often cited texts are the essay “Can the Subaltern Speak?” and her book A Critique of Postcolonial Reason.Spivak’s notion of the “subaltern,” an underclass that exists independent of Marx’s proletariat, is an attempt to theorize classes of people, particularly women, who have been “erased” by the dominant culture and rendered unable to...

Gayatri Spivak has been an influential figure in rethinking Marxism, postmodernism, and feminism in the context of post-colonial, transnational capitalism. Her most often cited texts are the essay “Can the Subaltern Speak?” and her book A Critique of Postcolonial Reason. Spivak’s notion of the “subaltern,” an underclass that exists independent of Marx’s proletariat, is an attempt to theorize classes of people, particularly women, who have been “erased” by the dominant culture and rendered unable to “speak,” or be heard in public discourse.


Homi Bhabha is best known for his books Nation and Narration and The Location of Culture. Bhabha argues that traditional European notions of nationhood (that a nation can be defined by a single, coherent historical narrative) cannot apply to post colonial nations, and that instead national identity is “imagined” or produced through the interaction and conflict of many different cultural experiences. In fact, colonial rule itself produces the conditions for resistance through “mimicry” – the idea that by trying to instill European language and values on native populations, colonial rulers actually invite indigenous co-optation and inversion of official language.


Trauma theory seeks to understand the significance of past catastrophes or traumas. It is based on a few basic principles: first, that the trauma did happen; second, that the totality of the trauma is inaccessible to representation; third, that testimony about the trauma is a legitimate way to understand the importance of the trauma; fourth, the collective narrative created by testimony about the trauma can, through its incompleteness, provide “spaces” in which the significance of the trauma can be understood. Trauma theory provides a theoretical framework within which personal experience can be used to understand or construct the “reality” of historical trauma.


Taken together, Spivak and Bhabha, along with the trauma theorists, can be understood to be engaged in the same project: understanding and articulating the colonial experience – finding a way, either through Bhabha’s notion of “mimicry” or the “testimony” of trauma victims, to allow Spivak’s subaltern to finally speak.


Sources:


Berger, James. “Trauma and Literary Theory”. Contemporary Literature 38.3 (1997): 569–582. Web.


Simon, Jon, ed. From Agamben to Zizek: Contemporary Critical Theorists. Edinburgh: Univ. of Edinburgh Press. 2010. Print.

Comments

Popular posts from this blog

What is the meaning of "juggling fiends" in Macbeth?

Macbeth is beginning to realize that the three witches have been deceiving him since he first encountered them. Like jugglers, they have kept changing their forecasts in order create confusion. This is particularly apparent when the Second Apparition they raise in Act IV,   Scene 1 tells him that no man of woman born can overcome him in hand-to-hand battle--and then Macbeth finds himself confronted by the one man he has been avoiding out of a... Macbeth is beginning to realize that the three witches have been deceiving him since he first encountered them. Like jugglers, they have kept changing their forecasts in order create confusion. This is particularly apparent when the Second Apparition they raise in Act IV,   Scene 1 tells him that no man of woman born can overcome him in hand-to-hand battle--and then Macbeth finds himself confronted by the one man he has been avoiding out of a sense of guilt, and that man tells him: Despair thy charm. And let the angel whom thou still hast serve...

In Martel's Life of Pi, how does writing a diary help Pi Patel build on his leadership skills?

At the end of chapter 73, Pi first divulges the fact that he had started a diary after about a week alone at sea. Pi claims that he wrote about "practical stuff" (208) such as what he caught for food, foreseeable problems and solutions, Richard Parker, and reflections about specific events that occurred. In a sense, Pi is the captain of his ship; therefore, he must take responsibility for himself and his crew. He can... At the end of chapter 73, Pi first divulges the fact that he had started a diary after about a week alone at sea. Pi claims that he wrote about "practical stuff" (208) such as what he caught for food, foreseeable problems and solutions, Richard Parker, and reflections about specific events that occurred. In a sense, Pi is the captain of his ship; therefore, he must take responsibility for himself and his crew. He can do this by writing down events, problems and solutions, and reflections to look back on when confronted with repeated problems. It can ...

Why did Tybalt attack and kill Mercutio instead of Romeo, who he had originally been targeting?

Though Tybalt's quarrel is with Romeo, he begins the momentous duel in Act 3 by fighting with and killing Mercutio instead. Tybalt ultimately attacks Mercutio because the garrulous and hot-headed character insults Tybalt and goads him into a duel to protect Romeo's honor. From the beginning of the encounter in Act 3, Scene 1, it's clear that Mercutio is itching for a fight. For instance, when Tybalt signals that he wants to talk to Mercutio... Though Tybalt's quarrel is with Romeo, he begins the momentous duel in Act 3 by fighting with and killing Mercutio instead. Tybalt ultimately attacks Mercutio because the garrulous and hot-headed character insults Tybalt and goads him into a duel to protect Romeo's honor. From the beginning of the encounter in Act 3, Scene 1, it's clear that Mercutio is itching for a fight. For instance, when Tybalt signals that he wants to talk to Mercutio and Benvolio, Mercutio responds "And but one word with one of us?/ Couple it w...