By Shalini Puri
Exploring the connection among discourses of cultural hybridity and initiatives for social equality, The Caribbean Postcolonial finds a miles higher variety of political and aesthetic practices of cultural hybridity than has been typically famous in postcolonial and cultural stories. It uncovers the logics in line with which a few different types of hybridity are enshrined and others disavowed within the Caribbean mind's eye and within the disciplinary mind's eye of postcolonial stories. Exploring cultural formations starting from mestizaje and creolization to mulatto and dougla aesthetics, from literature to tune, theater, Hosay, and carnival, it examines the resources of the attraction of cultural hybridity for either nationalist and postnationalist agendas. the 1st book-length examine to provide an explicitly comparative account of cultural hybridity within the postcolonial area, The Caribbean Postcolonial is a forceful argument for historicizing thought. It intervenes in key debates round well known company and cultural resistance, feminism and cultural nationalism, the kin among postmodernism and postcolonialism, and the prestige of nationalism in an period of globalization.
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Exploring the connection among discourses of cultural hybridity and tasks for social equality, The Caribbean Postcolonial finds a much higher variety of political and aesthetic practices of cultural hybridity than has been in most cases famous in postcolonial and cultural reports. It uncovers the logics in line with which a few sorts of hybridity are enshrined and others disavowed within the Caribbean mind's eye and within the disciplinary mind's eye of postcolonial experiences.
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Extra info for The Caribbean Postcolonial: Social Equality, Post-nationalism, and Cultural Hybridity
The tendency to abstract hybridity into an epistemological principle is clearly evident in Cultural Studies’ selective appropriations of Benedict Anderson’s Imagined Communities: Reflections on the Origin and Spread of Nationalism. According to Anderson, “[c]ommunities are to be distinguished not by their falsity or genuineness, but by the style in which they are imagined” (15). Anderson’s emphasis on subjectivity, his interest in styles of imagining, and his bracketing of the question of empirical truth make his work particularly appealing for Cultural Studies.
Common to the dominant articulations of cultural hybridity I have described earlier is a move in which the critique of totalizing knowledges and totalitarian nationalisms is unaccompanied by any comparable critique of a totalizing capitalism. Rather, as Alok Yadav observes, the “ ‘recognition’ of present realities [specifically, the powerful effects of global capitalism] is posited as a kind of superior insight, selfconsciousness, and political maturity which typically serve to distinguish ‘us’ from other parts of the world” (200).
Moreover, this negotiation cannot be read as proof of Gilroy’s claim about the oppressive power of the nation-state per se, since it is the national imaginary of THE POST-NATIONALIST MOMENT 29 black America that is crucial to his construction of a dissenting black Britishness: “The Caribbean, Africa, Latin America, and above all black America contributed to our lived sense of a racial self ” (109, emphasis added). Although the significance of this sentence could be minimized by reading it as a simple statement of autobiographical fact, the general claims of the book as a whole support it.