Beyond the Postcolonial: World Englishes Literature by E. Dawson Varughese

By E. Dawson Varughese

With the backdrop of latest worldwide powers, this quantity interrogates the nation of writing in English. Strongly interdisciplinary, it demanding situations the existing orthodoxy of postcolonial literary concept. An insistence on fieldwork and linguistics makes this publication scene-changing in its method of realizing and interpreting rising literature in English.

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This study recognizes that although the fieldwork and sourcing of new writing holds many advantages for 'reading' a country, it is also an approach which is far from being unproblematic in reading these countries' new fictions. The study is not suggesting that within the broader academy of literary studies we should consider 'stories as data' - in the sense that they tell the reality of the people and the Methodology and Overview of Findings: Stories as Data? 27 places in which they are writing - the idea is, of course, much more complicated, and this interface between literature and society has long been debated (see Leavis, 1952, pp.

Coding data does come with potential issues. Charmaz warns against the pitfalls of coding data - working with preconceived codes and categories, forcing our own preoccupations on to the data we code and moving from starting points about experiences which are personal and subjective (p. 67). 1 (Continued) • • • Love story • • Crimehorror • Bildungsroman • • • • • • Urbanpolitical • • Satirical • • • • Family relations • • • HIV Sexuality ! • (rape) • • Death Other 40 Days Long Gone (K) Square Peg, Round Hole (K) Innocent Guilt (K) Three Sides of a Coin (K) A Season of Pain (K) Recharge (K) Taking Care of Suzanna (K) Reality Cheque (K) Shaba Park (K) Screaming Thunder (K) The Last Supper (K) Kissing Gordo (K) Man of the House (K) The Naked Excellencies (U) Living Hope (U) 1 4 the Rd ..

It could be suggested that some of the genres are not genres per se, such as 'urban-political', 'family relations', 'HIV' (although much has been written as the HIV narrative - see Kruger (2004» and 'death', but as Stockwell explains above, these genres can be formulated variously. The genre classifications here are formulated from socially, politically, functionally and stylistically driven positions. The second, yet related, difficulty with this exercise is that the recognition of genre, and more specifically the establishment of 'new' terms of genre presented here (urban-political, HIV), are at risk of being subjective.

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