| |
| |
| Preface | |
| |
| |
| |
| Introduction | |
| |
| |
| |
| Overview | |
| |
| |
| |
| Beyond Binaries | |
| |
| |
| |
| Home and a Sense of Place | |
| |
| |
| |
| Migration and Displacement | |
| |
| |
| |
| Privilege | |
| |
| |
| |
| Homi Bhabha and Doubling | |
| |
| |
| |
| Artists of the Floating World | |
| |
| |
| |
| Multiculturalism and Postcolonialism: An Overview | |
| |
| |
| |
| The Floating World and Ukiyo | |
| |
| |
| |
| Borderlands, Contact Zones, In-Betweenness, Polyglossia, and Negative Capability | |
| |
| |
| |
| From James Joyce's Gabriel to Salman Rushdie's Gibreel | |
| |
| |
| |
| Narrative Tracks Across the Floating World: Kazuo Ishiguro's An Artist of the Floating World (1986) and The Remains of the Day (1989) | |
| |
| |
| |
| Narratives of Self and Nation | |
| |
| |
| |
| A Pale View of Hills (1982) | |
| |
| |
| |
| Paradigm Shifts | |
| |
| |
| |
| An Artist of the Floating World (1986) | |
| |
| |
| |
| The Remains of the Day (1989) | |
| |
| |
| |
| The Use of Narrative Tracks and the Construction of Self | |
| |
| |
| |
| The Construction of George Orwell | |
| |
| |
| |
| Recent Works by Ishiguro | |
| |
| |
| |
| The Construction of Kazuo Ishiguro | |
| |
| |
| |
| Framing the Floating World: Bessie Head's A Question of Power (1974) | |
| |
| |
| |
| Framing Reality | |
| |
| |
| |
| The Life of Bessie Head: From "No Frame of Reference" to "A Gesture of Belonging" | |
| |
| |
| |
| Susan Gardner and the "Truth" of Bessie Head's Life | |
| |
| |
| |
| Helene Cixous and "The Laugh of the Medusa" | |
| |
| |
| |
| A Question of Power (1973) | |
| |
| |
| |
| Breakdown and Dislocation | |
| |
| |
| |
| Recovery and Repair | |
| |
| |
| |
| Reframing the Floating World | |
| |
| |
| |
| Subalterns in the Floating World: Bharati Mukherjee's Jasmine (1989) and The Holder Of The World (1993) | |
| |
| |
| |
| Can the Subaltern Speak? | |
| |
| |
| |
| The Question of Patriarchy | |
| |
| |
| |
| Fluidity and Assimilation | |
| |
| |
| |
| Two-Way Transformations | |
| |
| |
| |
| Jasmine (1989) | |
| |
| |
| |
| The Holder of the World (1993) | |
| |
| |
| |
| Leave It To Me (1997), Desirable Daughters (2002), and The Tree Bride (2004) | |
| |
| |
| |
| The Middleman and Other Stories (1988) | |
| |
| |
| |
| Arundhati Roy | |
| |
| |
| |
| Terrorism and Subaltern-speak | |
| |
| |
| |
| The Word Versus Words: Salman Rushdie's The Satanic Verses (1988) | |
| |
| |
| |
| Salman Rushdie as Icon and Iconoclast | |
| |
| |
| |
| Subalterns, Frames, and Narrative Tracks in Midnight's Children (1980) | |
| |
| |
| |
| Shame (1983): The Rushdie Riddle | |
| |
| |
| |
| The Story of the Publication of The Satanic Verses (1988) | |
| |
| |
| |
| The Word Versus Words | |
| |
| |
| |
| Freedom of Expression and Adab | |
| |
| |
| |
| Haroun and the Sea of Stories (1990): An Allegory of Good and Evil | |
| |
| |
| |
| East, West (1994): Deconstructing the Sacred | |
| |
| |
| |
| Exuberant Secular Humanism: The Moor's Last Sigh (1995) and The Ground Beneath Her Feet (1999) | |
| |
| |
| |
| Stepping Across the Line: Fury (2001) | |
| |
| |
| |
| A Way Forward? | |
| |
| |
| |
| Conclusion | |
| |
| |
| |
| What Is the Role of the Artist in the Floating World? | |
| |
| |
| |
| Is Globalization a Viable Narrative for the Floating World? | |
| |
| |
| |
| Is English the Dominant Language of the Floating World? | |
| |
| |
| |
| Can Subaltern Voices Be Heard in the Floating World? | |
| |
| |
| |
| Is There a Dangerous Clash of Civilizations in The Floating World? | |
| |
| |
| |
| What Is The Responsibility of the Citizen in the Floating World? | |
| |
| |
| |
| Epilogue: Labor Day, 2005 | |
| |
| |
| |
| Web Resources | |
| |
| |
| Index | |