Culture Has No Colour Analysis
Culture has no colour: Cultural Amalgamation of Cosmopolitanism
*M.Kalai Nathiyal and **Dr V.Malarkodi
Abstract
This paper surveys and critically reviews of the major research works on Culture has no colour, a brief study of cultural amalgamation of cospmopolitanism.This paper analyze Cultural amalgamation which describes not only about race and culture apart from that it also focuses on intexuality on language and indigenous and international cultures. Cultural amalgamation happened when two cultures mix to for a new culture. Cosmopolitanism which involves unpacking the two entangled concepts, universality and personal experience equally recounts with African American literature
Introduction
African American poetry and cosmopolitanism …show more content…
She introduces her cosmopolitan poetic in the figure of the cultural mulatto. It is a collection of poems dealing with an assortment of terms and experiences such as Cosmopolitanism, adolescence, romantic encounters, and sights into slave history. It was acknowledged well by most critics and wedged the attention of her peers. Cosmopolitanism supposed to create mutuality. The aim of cosmopolitanism is at coming common ground despite differences. Robbins who speaks about cosmopolitanism says if cosmopolitanism cannot deliver an explicitly and it leads directly political …show more content…
The house is our corner of the worlds. The house has always been seen as Universe, a real cosmos of the world which is described in Poetics of Space as: ‘A house constitutes a body of images that give mankind proofs or illusions of stability. We are constantly re-imagining its reality: to distinguish all these images would be to describe the soul of the house; it would mean developing a veritable psychology of the house. To bring order into these images … we should consider two principal connecting themes: 1) A house is imagined as a concentrated being. It appeals to our consciousness of centrality . . . Verticality is ensured by the polarity of cellar and attic . . . they open up two different perspectives for a phenomenology of the imagination.” (Poetics of Space,
*M.Kalai Nathiyal and **Dr V.Malarkodi
Abstract
This paper surveys and critically reviews of the major research works on Culture has no colour, a brief study of cultural amalgamation of cospmopolitanism.This paper analyze Cultural amalgamation which describes not only about race and culture apart from that it also focuses on intexuality on language and indigenous and international cultures. Cultural amalgamation happened when two cultures mix to for a new culture. Cosmopolitanism which involves unpacking the two entangled concepts, universality and personal experience equally recounts with African American literature
Introduction
African American poetry and cosmopolitanism …show more content…
She introduces her cosmopolitan poetic in the figure of the cultural mulatto. It is a collection of poems dealing with an assortment of terms and experiences such as Cosmopolitanism, adolescence, romantic encounters, and sights into slave history. It was acknowledged well by most critics and wedged the attention of her peers. Cosmopolitanism supposed to create mutuality. The aim of cosmopolitanism is at coming common ground despite differences. Robbins who speaks about cosmopolitanism says if cosmopolitanism cannot deliver an explicitly and it leads directly political …show more content…
The house is our corner of the worlds. The house has always been seen as Universe, a real cosmos of the world which is described in Poetics of Space as: ‘A house constitutes a body of images that give mankind proofs or illusions of stability. We are constantly re-imagining its reality: to distinguish all these images would be to describe the soul of the house; it would mean developing a veritable psychology of the house. To bring order into these images … we should consider two principal connecting themes: 1) A house is imagined as a concentrated being. It appeals to our consciousness of centrality . . . Verticality is ensured by the polarity of cellar and attic . . . they open up two different perspectives for a phenomenology of the imagination.” (Poetics of Space,