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Within postcolonial studies, Britain's long contact with India has been read generally only within the context of imperialism to inform our understanding of race, gender, identity, and power within colonialism. Such postcolonial interpretations that focus on single dimensions of identity risk disregarding the sense of displacement, discontinuities, and discomforts that compromised everyday life for the British in India—the Anglo-Indians—during the Raj. Imperialism as Diaspora reconsiders the urgencies, governing principles, and modes of being of the Anglo-Indians by approaching Britain's imperial relationship with India from new, interdisciplinary directions. Moving freely between the disciplines of literature, history, and art this new work offers readers a more nuanced and comprehensive understanding of the lives of Anglo-Indians. Focussing on the years between the Indian Mutiny of 1857 and Independence in 1947—the period of the British Raj in India—Imperialism as Diaspora at once sets in motion the multidisciplinary fields of cultural and social history, art and iconography, and literary productions while carefully maintaining the tension between imperialism and diaspora in a ground-breaking reassessment of Anglo-India. Crane and Mohanram examine the seamless continuum between cultural history, the semiotics of art, and Anglo-Indian literary works. Specifically, they focus on the influence of the Sepoy Mutiny on Anglo-Indian identity; the trope of duty and the white man's burden on the racialization of Anglo-India; the role of the missionary and the status of Christianity in India; and gender, love and contamination within mixed marriages.

This book examines fictional representations of India in novels, plays and poetry produced between the years 1772 to 1823 as historical source material. It uses literary texts as case studies to investigate how Britons residing both in the metropole and in India justified, confronted and imagined the colonial encounter during this period.

Discusses the production and circulation of animal narratives in colonial India in order to investigate the constructs of animals played into a variety of forms of othering that took place in England during its imperial venture.

This book addresses the idea of'civility'as a manifestation of the fluidity and ambivalence of imperial power as reflected in British colonial literature and culture. Discussions of Anglo-Indian romances of 1880-1900, E.M. Forster's The Life to Come and Leonard Woolf's writings show how the appeal to civility had a significant effect on the constitution of colonial subject-hood and reveals'civility'as an ideal trope for the ambivalence of imperial power itself.

Dissenters and Mavericks reinvigorates the interdisciplinary study of literature, history, and politics through an approach to reading that allows the voices heard in writing a chance to talk back, to exert pressure on the presuppositions and preferences of a wide range of readers. Offering fresh and provocative interpretations of both well-known and unfamiliar texts--from colonial writers such as Horace Walpole and Edmund Burke to twentieth-century Indian writers such as Nirad Chaudhuri, V.S. Naipaul, and Pankaj Mishra--the book proposes a controversial challenge to prevailing academic methodology in the field of postcolonial studies.

The continual, unpredictable, and often violent'traffic'between identities in colonial and postcolonial India is the focus of Parama Roy's stimulating and original book. Mimicry has been commonly recognized as an important colonial model of bourgeois/elite subject formation, and Roy examines its place in the exchanges between South Asian and British, Hindu and Muslim, female and male, and subaltern and elite actors. Roy draws on a variety of sources—religious texts, novels, travelogues, colonial archival documents, and films—making her book genuinely interdisciplinary. She explores the ways in which questions of originality and impersonation function, not just for'western'or'westernized'subjects, but across a range of identities. For example, Roy considers the Englishman's fascination with'going native,'an Irishwoman's assumption of Hindu feminine celibacy, Gandhi's impersonation of femininity, and a Muslim actress's emulation of a Hindu/Indian mother goddess. Familiar works by Richard Burton and Kipling are given fresh treatment, as are topics such as the'muscular Hinduism'of Swami Vivekananda.Indian Traffic demonstrates that questions of originality and impersonation are in the forefront of both the colonial and the nationalist discourses of South Asia and are central to the conceptual identity of South Asian postcolonial theory itself.The continual, unpredictable, and often violent'traffic'between identities in colonial and postcolonial India is the focus of Parama Roy's stimulating and original book. Mimicry has been commonly recognized as an important colonial model of bourgeois/el