Post-Colonialisms (II)Post-Colonialisms (II)

(Post-)Colonial Identities and Strategies of Resistance

1. Colonialism, Orientalism and Racism 3. Nation and Narration]

Starting QuestionsStarting Questions

Any questions about your readings? Any questions about your readings? What have you learned so far re. What have you learned so far re.

colonialism and postcolonialism? colonialism and postcolonialism?

OutlineOutline

A Review and Overview Colonial Identities Postcolonial Identities

Post-Colonialism: A Review and Overview

1. Colonialisms & Racism Definitions Cultural Imperialism (Orientalism) & examples Racism –Stereotypes (chap 4 p. 208-); Containment

and Appropriation. (chap 4 p. 94) Colonial Identities: The Tempest The Tempest e.g. Prospero,

Caliban, Ariel and Miranda Mimicry and the Subaltern

2. Post-Colonial Identities

A.A. Starting with Starting with The Tempest The Tempest B. Language C. History D. Identity Construction

Strategies Examples of ‘identity politics’

Race: DefinitionRace: Definition Are racial attributes (e.g. what being a Are racial attributes (e.g. what being a

“Chinese” means) naturally born, or socially “Chinese” means) naturally born, or socially acquired?acquired?

The classification of humans into races is now The classification of humans into races is now widely regarded as arbitrary from a biological widely regarded as arbitrary from a biological viewpoint because viewpoint because actual genetic differences actual genetic differences between racial groups are trivial. between racial groups are trivial.

However, However, racial groupsracial groups are real in a sociological are real in a sociological sense insofar as people with different skin sense insofar as people with different skin colour, etc., are commonly colour, etc., are commonly treatedtreated differently. differently. ((www.soc-canada.com/ppp/ch09.pptwww.soc-canada.com/ppp/ch09.ppt) )

In other words, race is now not In other words, race is now not ‘essentially’‘essentially’ defined, but more of a defined, but more of a social-historical social-historical construction. construction. strategic use of essentialism strategic use of essentialism (3: 214) or ethnicity (4: 195) (3: 214) or ethnicity (4: 195)

Race: Different definitionsRace: Different definitions

new racismnew racism -- involves the belief -- involves the belief that the races are inherently that the races are inherently different from one another in a different from one another in a cultural and behavioural sense, and cultural and behavioural sense, and problems result when they try to problems result when they try to live together. (textbook chap 4 --94)live together. (textbook chap 4 --94)

Different definitions of race in different Different definitions of race in different nations; e.g. race related to nationality in nations; e.g. race related to nationality in UK and in Taiwan, but not in the U.S. UK and in Taiwan, but not in the U.S.

Subtler forms of racism: containment Subtler forms of racism: containment and appropriation. and appropriation.

Colonial Texts/Identities and their Revisions

Major Texts frequently revised: Major Texts frequently revised: The TempestThe Tempest, --17th c. –usurpation and , --17th c. –usurpation and

abandonment; (Caliban)abandonment; (Caliban) Robinson CrusoeRobinson Crusoe – 18th c. –a colony – 18th c. –a colony

established (Friday)established (Friday) Jane EyreJane Eyre, -- 19th c – a woman brought , -- 19th c – a woman brought

back home. (Other in the Self; Bertha)back home. (Other in the Self; Bertha) Heart of DarknessHeart of Darkness. --20th c.—material . --20th c.—material

pursuit/spiritual disintegration (Self pursuit/spiritual disintegration (Self discovery; black mistress and the discovery; black mistress and the intended.)intended.)

The Tempests

““Shakespeare didn’t invent Caliban; Shakespeare didn’t invent Caliban; Caliban invented Shakespeare” (Russell Caliban invented Shakespeare” (Russell Hoban qtd in Zabul 9). Hoban qtd in Zabul 9). What does this What does this mean?mean?

The Tempest –The Tempest –revised by revised by

1.1. Postcolonialists; Postcolonialists;

2.2. Postfeminists Postfeminists

3.3. Postmodernists (Zabus 1)Postmodernists (Zabus 1)

The Tempests

Contemporary revisions: (general trends)Contemporary revisions: (general trends)

ProsperoProspero De-privileged De-privileged

MirandaMiranda(actually the most (actually the most

powerless)powerless)

Supported by sisters; Supported by sisters;

Gang-rapedGang-raped

ArielAriel Queered Queered

CalibanCaliban Rise to power; Rise to power; queered; queered;

Present, with her Present, with her magicmagicSycorax

The Tempests—Postcolonial Interpretations (1)

1.1. Ethnopsychiatry (D. O. Mannoni)Ethnopsychiatry (D. O. Mannoni) Caliban complex –that of inferiority and Caliban complex –that of inferiority and

dependencydependency “When thou cam'st first,

Thou strok'st me and made much of me; wouldst give meWater with berries in't; and teach me howTo name the bigger light, and how the less,That burn by day and night: and then I lov'd thee,And show'd thee all the qualities o' th' isle,The fresh springs, brine-pits, barren place, and fertile.

. . . and here you sty meIn this hard rock, ”

Ethnopsychiatry: Ethnopsychiatry: Caliban complex Caliban complex

––that of inferiority and that of inferiority and dependencydependency

1. Gifts with self-interest return of love and Dependency betrayal or demands of more gifts from the colonized

2. Another interpretation by F. Fanon in The Wretched of the Earth

Caliban needs to use violence --cathartic violence to cleanse him of his inferiority complex.

Ethnopsychiatry: (2)Ethnopsychiatry: (2) Prospero complex Prospero complex

––that of inferiority and vocationthat of inferiority and vocation

1. Hidden in the assumptions of the superiority of European culture

2. Inability to adapt to reality flight from home or with a desire to travel;

3. Excessive idealism. “Prospero anxiety” (over Caliban’s rebellion)

and “sexual guilt” (over the possibility of incest thus feeling threatened by both Ferdinand and Caliban in their confidence in their sexual appeal.) (Zabus 22-23)

Ethnopsychiatry: (3)Ethnopsychiatry: (3) Prospero complex Prospero complex

Do you agree with this interpretation? Can you find examples of people with Caliban complex

or Prospero complex? There are variations in the interpretation of these two

prototypes. But Prospero—for whatever reasons—attempts to subject the Other, and the two are caught in a master-slave mutual dependency.

How about Ariel and Miranda? --What types do they fit into? Intellectual Go-between (messenger) and Woman?

Type-casting can always be limiting and simplifying, despite the truths they reveal about “some” people.

Colonial Identities: Colonial Identities: Mimicry and the Subaltern (textbook 206-14)

Between the colonizer and the colonized: Between the colonizer and the colonized: Self defined in terms of the Other: the two Self defined in terms of the Other: the two

are thus inseparable and mutually are thus inseparable and mutually dependent; dependent;

Uncertainty of the colonizers Uncertainty of the colonizers – –revealed through their repetition (in revealed through their repetition (in

stereotyping or control) stereotyping or control) Undermined by Undermined by mimicry (which is all the same mimicry (which is all the same

but not quite). but not quite). Hybrid Hybrid Two possible critiques of this view: Two possible critiques of this view:

armchair theory, not realistic; armchair theory, not realistic; too general and abstract. (p. 210) too general and abstract. (p. 210)

E.g. E.g. A Passage to IndiaA Passage to India –the Bridge Party –the Bridge Party scene scene

Colonial Identities: Mimicry and the Subaltern

(textbook 206-14)

The Subaltern cannot speak (Spivak).

C center

Colonial Mimicry:

All the same but not quite-- Indian gentleman or Indian celebration of U.K.’s national day.

e.g. Taiwanese Imitation of Madonna

DiffDifféérancerance

Colonial Identities: Colonial Identities: the Subaltern: G. Spivak G. Spivak

(textbook 206-14) Spivak focuses on racial, gender and class Spivak focuses on racial, gender and class

differences, acknowledging her position as a differences, acknowledging her position as a third-world intellectual. third-world intellectual.

Unlike the intellectuals, the Subaltern can not Unlike the intellectuals, the Subaltern can not speak. –The colonized who are not given the speak. –The colonized who are not given the language to speak, language to speak, or whose voices are not or whose voices are not heardheard, leave no mark in official history., leave no mark in official history.

e.g. Sati and a woman killing herself at a time e.g. Sati and a woman killing herself at a time not proper for Sati (not proper for Sati ( 寡婦殉夫寡婦殉夫 ). P. 213). P. 213

Possible criticism: the subaltern can speak and Possible criticism: the subaltern can speak and have been expressing themselves a lot. have been expressing themselves a lot.

Postcolonial Identities —I. Postcolonial Revisions The Tempests (1)

AimAiméé C Céésaire’s saire’s Une TempUne Tempêêtete – – Caliban (black) vs. Ariel (mulatto)—Caliban (black) vs. Ariel (mulatto)—

Caliban as close to Earth; Ariel –airy Intellect Caliban as close to Earth; Ariel –airy Intellect Caliban vs. Prospero Caliban vs. Prospero

Caliban: “You didn’t teach me a thing! Except to Caliban: “You didn’t teach me a thing! Except to jabber in your own language so that I could jabber in your own language so that I could understand your orders: chop wood, wash the understand your orders: chop wood, wash the dishes, fish for food, plant vegetables, because dishes, fish for food, plant vegetables, because you were too lazy to do it yourself.” (qtd Zabus you were too lazy to do it yourself.” (qtd Zabus 45)45)

EndingEnding: Prospero stays “aged and weary” and : Prospero stays “aged and weary” and then dies. Caliban is free. then dies. Caliban is free.

Postcolonial Identities —I. Postcolonial Revisions The Tempests (2)

II. Miranda –postpatriarchal readingII. Miranda –postpatriarchal reading – – Canadian version (develops to a full-grown Canadian version (develops to a full-grown

woman-artist wrestling her way out of woman-artist wrestling her way out of patriarchal bounds (husband, lover, father or patriarchal bounds (husband, lover, father or foster-father); foster-father);

-- Caribbean version – away from the mother -- Caribbean version – away from the mother (and the patriarchal society she supports). (and the patriarchal society she supports).

III. Postmodern Prospero –e.g. Jarman’s film: III. Postmodern Prospero –e.g. Jarman’s film: -- the use of the Gothic -- the use of the Gothic renders Prospero’s renders Prospero’s

mind unstable; mind unstable; --excessive physicality of Caliban as a parody of --excessive physicality of Caliban as a parody of

an Edwardian butler; an Edwardian butler; -- homoerotic aura around Stephano/Trinculo. -- homoerotic aura around Stephano/Trinculo. history as masquerade – or ‘camp.’ history as masquerade – or ‘camp.’

Postcolonial Identities —II. Language

1. “The Caliban legacy” to give up using the master’s language; to claim English as their own language and change it englishes;

2. For Afro-Americans, Australians and Canadians, English is their only language.

Postcolonial Identities —II. Language (2) --Strategies

1. Preserving and developing one’s mother tongues with romanization, etc.

2. Changing or reversing or confusing the language hierarchy

e.g. the use of Taiwanese and Hakka in Taiwan 客家話

3. mixing languages: (Three stages of the use of colonizer’s

language: Adopt, Adapt, Adept) e.g. “My Man Bovanne”

Postcolonial Identities —

III. Re-Visioning History Re-Visioning History Re-writing: Re-writing: e.g. Japanese rule--e.g. Japanese rule-- 《《無言的山丘》無言的山丘》 ; mainland ; mainland

Chinese soldiers to Taiwan--Chinese soldiers to Taiwan-- 《《香蕉的天堂》香蕉的天堂》 Re-Visioning: Re-Visioning:

Japanese rule--Japanese rule-- 《《阿爸的情人》、 《戲夢人生》阿爸的情人》、 《戲夢人生》228 -- 228 -- 《《悲情城市》、 《高砂百合》 悲情城市》、 《高砂百合》 White Terror -- White Terror -- 《《好男好女》、好男好女》、The American Armies in Taiwan -- The American Armies in Taiwan -- 《太平天國》

(our example) 、、〈〈莎優拉娜．再見莎優拉娜．再見〉〉、、〈〈小寡婦小寡婦〉〉、、〈〈玫瑰玫瑰我愛你玫瑰玫瑰我愛你〉〉、 、 〈〈蘋果的滋味蘋果的滋味〉〉等等

Postcolonial Identities —

III. Identity and StrategiesIdentity and Strategies IdentityIdentity Separatism Separatism

(Nativism),(Nativism),

Integration, Active Integration, Active participation, participation,

Assimilation.Assimilation.

StrategiesStrategies Essentialist Essentialist

ConstructionConstruction Re-Creation, Re-Creation, Cultural Cultural

Syncreticism, Syncreticism, Conscious MimicryConscious Mimicry

MimicryMimicry

Duality and Hybridity

(Against Multiculturalism)(Against Multiculturalism) Cultural Difference: with gaps and Cultural Difference: with gaps and

fissures in need of constant fissures in need of constant negotiation.negotiation.

““Culture as a strategy of survival Culture as a strategy of survival is both is both transnational and transnational and translationaltranslational. ” (Homi Bhabha). ” (Homi Bhabha)

Postcolonial Identities —III. Hybridity –different kinds

(textbook4: 202)

Conscious MimicryConscious Mimicry

Yong Soon Min Make Me, 1989Yong Soon Min Make Me, 1989

Conscious Mimicry/ParodyConscious Mimicry/Parody

Ken ChuKen Chu I Need some More Hair Products (1988)I Need some More Hair Products (1988)

‘Identity Politics’ ::““My Man BonvanneMy Man Bonvanne””

Toni Cade BambaraToni Cade Bambara (1939 - 1995),(1939 - 1995), author of “The author of “The Lesson”Lesson”

the narrator, Miss Hazel Peoplesthe narrator, Miss Hazel Peoples her language: Black English her language: Black English

(ebonics)(ebonics) her style: wig, cornroll (25)her style: wig, cornroll (25)

““My Man BonvanneMy Man Bonvanne””

The setting? The setting? Why does Miss Hazel dance so closely Why does Miss Hazel dance so closely

with Bonvanne? What role does she with Bonvanne? What role does she play in her relationship with play in her relationship with Bonvanne? Bonvanne? (p. 23 (p. 23 ""Wasn't about tits.”; p. 26)Wasn't about tits.”; p. 26)

Her children’s disagreement and Ms. Her children’s disagreement and Ms. Hazel’s response (Task, Elo, and Joe Hazel’s response (Task, Elo, and Joe Lee)Lee)

What does the last bathing ritual What does the last bathing ritual mean? mean?

““My Man BonvanneMy Man Bonvanne””

the Activists or intellectuals. vs. “Grass the Activists or intellectuals. vs. “Grass Roots” People Roots” People

Identity politics Identity politics 1. Focus too much on their cause and ignore 1. Focus too much on their cause and ignore

a real contact with the ‘people’ they a real contact with the ‘people’ they should care about.should care about.

2. In the children’s criticism of their mother, 2. In the children’s criticism of their mother, they assume the need of proper dress, they assume the need of proper dress, proper “Black” appearance and proper proper “Black” appearance and proper things to do for the elderly, ignoring their things to do for the elderly, ignoring their really needs (emotional and material). really needs (emotional and material).

You have learned . . . You have learned . . .

A. Colonialism 1. More examples of race and Racism (e.g.

Containment and Appropriation) 2. Colonial Types (Prospero complex and Caliban

complex) in The Tempest The Tempest 3. Mimicry and the Subaltern 2. Post-Colonial Identities

A.A. Revisions of Revisions of The Tempest --e.g. The Tempest --e.g. Caliban, Caliban, MirandaMiranda

B. Language and IdentityC. Different ways of constructing Colonial

History D. Identity Construction – positions

(Separatism/Nativism Active participation, Separatism/Nativism Active participation, Assimilation), Assimilation), and strategies (Re-Creation, Re-Creation, Cultural Syncreticism, Mimicry)Cultural Syncreticism, Mimicry)

You will talk more about . . . You will talk more about . . .

Nation and Narration Nation and Narration Essentialism vs. ConstructionismEssentialism vs. Constructionism Globalization & Multiculturalism—its Globalization & Multiculturalism—its

different forms. different forms.

ReferenceReference

Tempests After ShakespeareTempests After Shakespeare. . Chantal Zabus. Palgrave Macmillan, Chantal Zabus. Palgrave Macmillan, 2002. 2002.