By E. San Juan Jr. (auth.)
Opposing the orthodoxies of firm postcolonialism, past Postcolonial idea posits acts of resistance and subversion through humans of colour as vital to the unfolding discussion with Western hegemony. The stories and signifying practices of Rigoberta Menchu, C.L.R. James, a number of "minority" writers within the usa, and intellectuals from Africa, Latin the US, and Asia are counterposed opposed to the dogmas of contingency, borderland nomadism, panethnicity, and the ideology of identification politics and transcultural postmodern pastiche. Reappropriating rules from Gramsci, Bakhtin, Althusser, Freire, and others within the radical democratic culture, San Juan deploys them to get better the reminiscence of nationwide liberation struggles (Fanon, Cabral, Che Guevara) at the face of the triumphal march of globalized capitalism.
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Additional info for Beyond Postcolonial Theory
As the testimonios of the silenced multiply, I am confident that this genre is bound to neutralize any postcolonialludic machinery geared to destabilizing representation and obstructing communication. 5 In a formalist perspective, Linda Hutcheon has suggested that postmodernist representation bears an ambivalent politics: while it denaturalizes "realism's transparency and modernism's reflexive response," it retains "(in its typically complicitously critical way) the historically attested power ofboth" (1989: 34).
Something is left over, an excess, after so much disdosure. Counterpointing the postcolonial devaluation of the Cartesian unitary subject, Menchu's narrative may be interpreted as an act of reconstitution of a destroyed community. Like dream-work, it proceeds by means of displacement and condensation. Ir strives for a synthesis of the fragmented lives and the disintegrated families of the Guatemalan Indians, the Quiche people, as weil as the ladinos and other indigenous groups. Menchu asserts that her story is not just a private or purely personal confession; it speaks for "all poor Guatemalans" exploited and manipulated by the local elite and their foreign patrons.
Following the Marxian vision that capitalism begets its own gravediggers, James suggested that artists like Wilson Harris, St. John Perse, and Aime Cesaire, and others who broke away from the Eurocentric tradition, disavowed the premises but operated within the same parameters. It is an instance not of syncretic adaptation but of dialectical sublation, a simultaneous canceling and preserving of selected cultural materials. The process, however, occurs within the new horizon of an emancipatory agenda.