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Satyajit Ray’s The Chess Players and Postcolonial TheoryTowards a Theory of Subaltern and Nationalist Genres: The Post-1857 Lakhnavi Tall Tales and Their Nationalist Appropriation in Premchand’s “The Chess Players” (1924)

Satyajit Ray’s The Chess Players and Postcolonial Theory: Towards a Theory of Subaltern and... [Modern studies of Indian nationalism make frequent reference to the literary-cultural genres of Indian nationalism as sources or texts, yet the implicit assumption made by these scholars of nationalism is that one can gain access to nationalist literatures without theorizing the literary-rhetorical conventions that govern each of the literary forms associated with nationalism. This is a serious drawback, given that Indian nationalism began as literature before it assumed the form of political theory. Cultural production pre-dates the political phase of Indian nationalism; nationalism emerges in the nineteenth century primarily as cultural-social movements and only later constitutes itself as anti-colonial political movements.1 While the tropes, mythologies and narrative structures of Indian nationalist historiography and political thought have received careful attention, the dominant tendency in the analysis of nationalist literatures is to treat the literary text as a historical document unmediated by genre conventions, a transparent vehicle of discourses and ideologies.2] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

Satyajit Ray’s The Chess Players and Postcolonial TheoryTowards a Theory of Subaltern and Nationalist Genres: The Post-1857 Lakhnavi Tall Tales and Their Nationalist Appropriation in Premchand’s “The Chess Players” (1924)

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Publisher
Palgrave Macmillan UK
Copyright
© Palgrave Macmillan, a division of Macmillan Publishers Limited 2005
ISBN
978-1-349-52353-5
Pages
85 –129
DOI
10.1057/9780230509665_3
Publisher site
See Chapter on Publisher Site

Abstract

[Modern studies of Indian nationalism make frequent reference to the literary-cultural genres of Indian nationalism as sources or texts, yet the implicit assumption made by these scholars of nationalism is that one can gain access to nationalist literatures without theorizing the literary-rhetorical conventions that govern each of the literary forms associated with nationalism. This is a serious drawback, given that Indian nationalism began as literature before it assumed the form of political theory. Cultural production pre-dates the political phase of Indian nationalism; nationalism emerges in the nineteenth century primarily as cultural-social movements and only later constitutes itself as anti-colonial political movements.1 While the tropes, mythologies and narrative structures of Indian nationalist historiography and political thought have received careful attention, the dominant tendency in the analysis of nationalist literatures is to treat the literary text as a historical document unmediated by genre conventions, a transparent vehicle of discourses and ideologies.2]

Published: Sep 25, 2015

Keywords: Chess Player; East India Company; British Empire; Colonial Discourse; Colonial Domination

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