Culture and Imperialism

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Culture and Imperialism

Culture and Imperialism

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which is Kipling’s way of demonstrating that natives accept colonial rule so long as it is the right kind.

But we kind of still feel great about invading brown folks’ countries to change their governments, economies and cultural practices. kim absolutely has its place within this discourse, but--as ahmad notes--it's an odd move to treat kipling as though he holds the same position in the literary canon as those authors when that simply isn't the case? He argues that imperialism has played a significant role in shaping Western culture, and that many works of art and literature can be seen as reflections or products of imperialism.

Said was born in 1935 in Jerusalem, raised in Jerusalem and Cairo, and educated in the United States, where he attended Princeton (B. Besides his academic work, he wrote a twice-monthly column for Al-Hayat and Al-Ahram ; was a regular contributor to newspapers in Europe, Asia, and the Middle East; and was the music critic for The Nation .

To see them as reflective of, and even generative, of attitudes is to make them more interesting, to see them in their totality. Consequently, exposing ideologies about territorial control as well as the “primacy of geography” to the “interpellation of culture” by empire are central to Said’s project (78). I was particularly attuned to his discussions of geography in relationship to empire in the texts he discusses. He traces the themes of 19th- and 20th-century Western fiction and contemporary mass media as weapons of conquest and also brilliantly analyzes the rise of oppositional indigenous voices in the literatures of the "colonies. He makes countless citations of literary work from different parts of the world, and he analyzes the literature so seriously that it almost seems like he’s the only one in class paying attention.In a wonderful metaphor, he sees the existence of anti-colonial revolt, the dissent of the Third World, and the "discrepant experiences" of the 'natives'- who would not have recognized themselves in Western accounts of the 'inferior races'- as introducing polyphony into the music of Western self-conception and identity.

While imperialism is: “Now we (the colonizer) own you (the colonized), your land and we will be exploiting your economic resources to our benefit using culture and language alongside nuanced force. To answer such questions you must have independence and detachment of someone whose homeland js ‘sweet’, but whose actual condition makes it impossible to recapture that sweetness and even less possible to derive satisfaction from substitutes furnished by illusion or dogma, whether deriving from pride in one’s heritage or from certainty about who ‘we’ are. To the British and to the French in Algeria empire was embraced, each colony a necessary part of the nation enlarged, accepted with pride along with the seemingly unquestionable facts that the people of the colonies were both inferior and beneficiary to white Europeans.

moving beyond nativism does not mean abandoning nationality, but it does mean thinking of local identity as not exhaustive, and therefore not being anxious to confine oneself to one's own sphere, with its ceremonies of belonging, its built-in chauvinism, and its limiting sense of security. There are many Booker and Nobel Prize-winning authors on the Vintage list such as Kingsley Amis, A S Byatt, J M Coetzee, Ismail Kadare, Ian McEwan, Salman Rushdie, Anne Enright, Iris Murdoch, Roddy Doyle and Ben Okri, to name a few. But this also means not trying to rule others, not trying to classify them or put them in hierarchies, above all, not constantly reiterating how “our” culture or country is number one (or not number one, for that matter). One of the key messages here is that “power” is not really measured by the tanks and weapons but more importantly by literature and science. Regard experiences then as if they were about to disappear: what is it about them that anchors them or roots them in reality?

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