English 1210: 6:30 TTH February 2004 "Glory Box" Each townhouse was herded together in packs of eight‚ all exact replicas of one another. They were small and quaint and housed mostly two person families. The yards were bare and uncared for‚ except one. The address decals were bold and faux finished with gold and black tarnish that hung on a silver plaque that was hard to miss. The garden was practically professionally tidy and trimmed; there were Pansies‚ Columbine bushes‚ Tulips‚ and strawberry
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William Safran in his essay Diasporas in Modern Societies: Myths of Homeland and Return (1991) identifies six characteristics that feature the categorizing of diasporic communities. The first feature‚ as he mentions‚ is the ‘dispersal from center to periphery’‚ a creation of a collective memory‚ non-belonging to or indeed non-acceptance by the host country‚ a strong wish to return to the ideal homeland‚ a belief that the homeland will be peaceful‚ secure and prosperous and lastly a continuous relationship
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Hron (2010) demonstrates Immigrants are forced to pretend that nothing is happened wrong with them because of migration‚ they do pretend this before their relatives in the homeland and new people of the host country. They want to create a scenario so people think they are successful after immigration (p‚ xiv). This very pretending of making a suitable image of a successful immigrant leaves them nowhere. They feel totally shattered and isolated. They suffer for two times they deprive of both voice
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Rushdie uses many techniques in “Midnight’s Children” which involves magical reality‚ history and political issues. The oral narrative used by Saleem Sinai is the advanced technique‚ where he narrates his story of life to his beloved‚ called Padma. It is a story of two nations. Midnight’s Children is described as a national allegory. Neil ten Kortenaar argues that Saleem’s narrative is a narrative of India’s national Independence and it is for this reason that the story of Saleem Sinai in Midnight’s
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I was born in the city of Bombay… once upon a time. (Rushdie‚ pg 3) Proper London‚ capital of Vilayet‚ winked blinked nodded in the night. (Rushdie‚ pg. 4) To enter the Rushdian post– colonial space‚ the reader needs to be possessed of a vividly romantic and incisively theoretical imagination‚ for reading Rushdie is to imagine with him two different sets of post– colonial spaces— the homeland that is imagined through the medium of unreliable memories‚ and the Vilayet or the land of the white man
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Diaspora Literature - A Testimony of Realism By Shaleen Singh Diaspora Literature involves an idea of a homeland‚ a place from where the displacement occurs and narratives of harsh journeys undertaken on account of economic compulsions. Basically Diaspora is a minority community living in exile. The Oxford English Dictionary 1989 Edition (second) traces the etymology of the word ’Diaspora’ back to its Greek root and to its appearance in the Old Testament (Deut: 28:25) as such it references. God’s
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displacement. The present anthology examines the works of key writers‚ many now based across the globe in Canada‚ Denmark‚ America and the UK – V.S. Naipaul‚ Salman Rushdie‚ Balachandra Rajan‚ M.G. Vassanji‚ Jhumpa Lahiri‚ Gautam Malkani‚ Shiva Naipaul‚ Tabish Khair and Shauna Singh Baldwin‚ among them – to show how they exemplify both the diasporic imaginary and the respective traumas of Indian diasporas. Corelating the concept of diaspora – literally dispersal or the scattering of a people – with the historical
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Ameer Abdullah Dr. James D. Lesueur HIST Radical Islam 425 February 25‚ 2013 Daniel Pipes: The Rushdie Affair The British novelist Salman Rushdie has produced various works that have been considered to teeter the line of appropriate and inappropriate to the public view. However‚ Rushdie’s work the “Satanic Verses” which presented a satirical outlook of Islam‚ prevailed to be the most controversial and contentious of his line of works. Many Muslims argued that Rushdie’s book demeaned the
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THE POST-9/11 WORLD IN SALMAN RUSHDIE’S SHALIMAR THE CLOWN ABDELAZIZ EL AMRANI* Abstract. The present paper attempts to address the issue of “nonidentity” and “glocalization” in the post-9/11 context in Salman Rushdie’s Shalimar the Clown. In other words‚ we are going to investigate the representation of and the relationship between the distant and the close‚ the local and the global‚ and the foreign and the exotic in the post-9/11 world‚ through an in-depth analysis of Salman Rushdie’s Shalimar the
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Theme: Diaspora Dr Jamaluddin Bin Aziz PPBL‚ FSSK‚ UKM Definition Greek = ‘to disperse’ Refers to any people of ethnic population forced or induced to leave their traditional ethnic homelands‚ being dispersed throughout other parts of the world‚ and the ensuing developments in their dispersal and culture migration‚ sojourning and colonisation. Definition Hebrew ‘exile’ Refers to the populations of Jews exiled from Judea in 586 BC by the Babylonians‚ and Jerusalem in 135 AC by the Roman Empire
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