In the postcolonial context, language represents one of the crucial tools of cultural communication and is therefore often a subject of heated discussion. Since language constitutes the framework of cultural interaction, postcolonial authors often challenge the privileged position of Standard English within their writing by modifying and substituting it with new forms and varieties. The Trinidad-born writer Sam Selvon belongs to a handful of Caribbean authors who initiated linguistic experiments in the context of Caribbean literature and is considered one of the first Caribbean writers to employ dialect in a novel. His 1956 novel The Lonely Londoners reflects the possibilities of vernacular experimentation and thus communicates the specific experience of a particular cultural group in an authentic way.
. 2008. London: Vintage Classics.
Lotman, Juri M. 1990. Universe of the Mind, A semiotic Theory of Culture. Great Britain: Indiana University Press, Bloomington and Indianapolis, translated by Ann Shukman, Introduction by Umberto Eko.
Louis, H. 2018. “Tools for Text and Image Analysis: An Introduction to Applied Semiotics.” p. 49 – 50. Available at: http://www.signosemio.com/documents/Louis-Hebert-Tools-for-Texts-and-Images.pdf
Louis, H., 2006. “The Actantial Model.” In: Signo’s Website, n.d Available at: http
In its essence, postcolonial literature evolved as an opposition to colonial discourse and ideological representation of the colonized subject inherent in colonial narratives. Springing out of the need to reconceptualize and reconstitute their communities, postcolonial writers often addressed the pressing historical and political issues of that time in their writing. In its early stages, postcolonial literature was therefore often marked by a strong sense of nationalism, interweaving fictional stories with the public narrative of pre-independence ideology. The paper seeks to explore the border between the public and the private in the early novels of the Kenyan writer Ngũgĩ wa Thiong'o. Just as his contemporaries in other colonized countries, Ngũgĩ wa Thiong'o tends to utilize literature as a powerful tool for raising national awareness. The pre-independence period, in which Ngũgĩ’s novels are set, is marked by a certain degree of romanticism and idealism, yet there is also an underlying sense of doom. Drawing on the cultural roots and mythology of his community, the writer steers his narrative in the direction of a larger, public discourse, suggesting that “the individual finds the fullest development of his personality when he is working in and for the community as a whole”. Therefore, the public/private dichotomy stands at the very centre of his writing, proving the rootedness of the individual in the public space.
Aesthetic distance is a phenomenon that has attracted a considerable amount of attention, especially since the first works of postmodernism came to light. Aesthetic distance is based on creating such works which - using certain artistic tools and techniques - break the illusion and thus inhibit readers from immersing themselves in the literary world portrayed in the work they read. As a result, aesthetic distance creates a liminal space, or an invisible but consciously perceivable border between reality, i.e. the world we live in and fiction, i.e. the world we want to relocate to and enjoy during the reading process. The paper is based on an article by Bjorn Thomassen, in which he presents several types of liminality and states that the typology is not final. My aim is to prove that liminality can occur in literature as well, particularly in works built on aesthetic distance. In this matter, I focus on the reception theory of Wolfgang Iser, who studies literary texts from three perspectives: the text, the reader and the communication between the two. The theory is applied to selected short stories of American literature, which contain illusion-breaking features and thus may be viewed as liminal spaces.
This paper will address the notion of desire in Ken N. Kamoche’s “Secondhand Wife” and Nuruddin Farah’s A Naked Needle; it will be centered on the idea of men’s and women’s sexual desire as caught between being controlled and willing to be free. Desire will be studied as being controlled by the tribe in Kenya and Somalia, which channels men’s and women’s desire into pre-made forms. These channels of desire approved by the tribe are contested in Kenya and Somalia by both men and women. Desire is then situated between collective manipulation and individual freedom. On the one hand, desire will be linked to the idea of power relations that is desire as a tool to establish and support the power of the tribe. Desire is no longer a matter of natural instinct and feeling but that of a constructed dialectic of power. On the other hand, desire under the tribe is also about a refusal of the tribal control of desire and a yearn for liberating desire, which manifests itself in different manners such as the refusal of restrictions on marriage with non-Muslims in Somalia, the rejection of arranged marriage for both men and women, or prostitution as the body avenging itself through itself.
.). Researching Audio Description New Approaches. Palgrave Macmillan: London, pp. 11-33.
Holmqvist, K., Nyström M., Andersson R., Dewurst R., Jarodzka H., Van de Weijer J. 2015. Eye tracking: A Comprehensive Guide to Methods and Measures. Oxford: Oxford University Press.
Jiménez Hurtado, C., Seibel, C., Soler Gallego, S. and Herrero Díaz, S. 2012. Museums for All: Translation and Interpreting for Multimodal Spaces As a Tool for Universal Accessibility. Universitat d’Alacant. Available at: <http://hdl.handle.net/10045/26955>. [Accessed 15 October