Historical Representation and the Postcolonial Imaginary: Constructing Travellers and Aborigines endeavours to provide an overview of the role which oral history plays in the documentation, representation and subsequent empowerment of neglected and long-marginalised social groups, in this case: the cultural minorities that are the Irish Travellers and the Australian Aborigines. Oral history has proved paramount in enabling such groups to document their pasts, pasts which until recently had been occluded and often-ignored. This work explores the genre that is oral history through the prism that is the construction of the ‘Other’ in society and with particular reference to two minorities whose histories share a range of similar characteristics. In examining this process, it is possible to trace the transformation of folklore and storytelling into documented historical narrative.

The Oxford Handbook of Postcolonial Studies provides a comprehensive overview of the latest scholarship in postcolonial studies, while also considering possible future developments in the field. Original chapters written by a worldwide team of contritbuors are organised into five cross-referenced sections, 'The Imperial Past', 'The Colonial Present', 'Theory and Practice', 'Across the Disciplines', and 'Across the World'. The chapters offer both country-specific and comparative approaches to current issues, offering a wide range of new and interesting perspectives. The Handbook reflects the increasingly multidisciplinary nature of postcolonial studies and reiterates its continuing relevance to the study of both the colonial past—in its multiple manifestations— and the contemporary globalized world. Taken together, these essays, the dialogues they pursue, and the editorial comments that surround them constitute nothing less than a blueprint for the future of a much-contested but intellectually vibrant and politically engaged field.

The Postcolonial Historical Novel is the first systematic work to examine how the historical novel has been transformed by its appropriation in postcolonial writing. It proposes new ways to understand literary realism, and explores how the relationship between history and fiction plays out in contemporary African and Australasian writing.

"The Decolonial Imaginary is a smart, challenging book that disrupts a great deal of what we think we know... it will certainly be read seriously in Chicano/a studies." -- Women's Review of Books Emma Pérez discusses the historical methodology which has created Chicano history and argues that the historical narrative has often omitted gender. She poses a theory which rejects the colonizer's methodological assumptions and examines new tools for uncovering the hidden voices of Chicanas who have been relegated to silence.

This collection of essays foregrounds the work of filmmakers in theorizing and comparing postcolonial conditions, recasting debates in both cinema and postcolonial studies. Postcolonial cinema is presented, not as a rigid category, but as an optic through which to address questions of postcolonial historiography, geography, subjectivity, and epistemology. Current circumstances of migration and immigration, militarization, economic exploitation, racial and religious conflict, enactments of citizenship, and cultural self-representation have deep roots in colonial/postcolonial/neocolonial histories. Contributors deeply engage the tense asymmetries bequeathed to the contemporary world by the multiple,diverse, and overlapping histories of European, Soviet, U.S., and multi-national imperial ventures. With interdisciplinary expertise, they discover and explore the conceptual temporalities and spatialities of postcoloniality, with an emphasis on the politics of form, the ‘postcolonial aesthetics’ through which filmmakers challenge themselves and their viewers to move beyond national and imperial imaginaries. Contributors include: Jude G. Akudinobi, Kanika Batra, Ruth Ben-Ghiat, Shohini Chaudhuri, Julie F. Codell, Sabine Doran, Hamish Ford, Claudia Hoffmann, Anikó Imre, Priya Jaikumar, Mariam B. Lam, Paulo de Medeiros, Sandra Ponzanesi, Richard Rice, Mireille Rosello and Marguerite Waller.

Glissant has written extensively in French about the colonial experience in the Caribbean. Britton (French, Aberdeen U., Scotland) situates Glissant within ongoing debates in postcolonial theory, making connections between his novels and theoretical work and the work of Frantz Fanon, Gayatri Spivak, Homi Bhanha, and Henry Louis Gates, Jr. Focusing on language and subjectivity, discussion moves between analysis of Glissant's theoretical work and detailed readings of his novels. Major themes central to his writing, such as the reappropriation of history, standard and vernacular language, and the colonial construction of the Other, are addressed. Annotation copyrighted by Book News, Inc., Portland, OR

These contributions offer fundamental insights into how literary works address and reconceptualize issues of nationalism, groupism, belonging and denationalization in selected European contexts. Various critical perspectives are employed here to highlight modern social and political processes as registered and, to a certain extent, also fashioned by contemporary literary discourses. 'Reimagined communities' emerge from literary redescriptions of existing or imaginary sociopolitical configurations in several European states or regions. All the contributions share a heightened sensitivity to the individual as enmeshed in oppressive geopolitical circumstances. Thereby, literary expressions of how individuality is constrained by social pressures may offer inspiring blueprints for emancipation.