Please use this identifier to cite or link to this item: http://hdl.handle.net/20.500.12323/3756
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dc.contributor.authorGhasemi, Parvin-
dc.contributor.authorSasani, Samira-
dc.contributor.authorNemati, Fatereh-
dc.date.accessioned2018-03-05T07:51:08Z-
dc.date.available2018-03-05T07:51:08Z-
dc.date.issued2018-
dc.identifier.citationKhazar Journal of Humanities and Social Sciencesen
dc.identifier.issn2223-2613-
dc.identifier.urihttp://hdl.handle.net/20.500.12323/3756-
dc.description.abstractLiterature, as a branch of Humanities, has a significant role in demonstrating the problems and the realities of a society. Therefore, the literary texts written in South Africa, had a major role in the victory of people against the policy of Apartheid, according to which the whites were segregated from non-whites. Harold Athol Lanigan Fugard is one of the writers, who showed his hatred and dissatisfaction to the world, with his plays. He is known for his deeply rooted and controversial anti-apartheid plays. His Blood Knot (1961) has been chosen in this study, in which the negative implications of colonialism and racism can be explored. Bhabha is one of the influential critics whose works give priority to the agency of colonized people. The relation between the colonizer and the colonized will be scrutinized subsequently according to what Bhabha mentioned in his influential book The Location of Culture.en
dc.language.isoenen
dc.publisherKhazar University Pressen
dc.relation.ispartofseriesVol. 21;№ 1-
dc.subjectPost -colonialismen
dc.subjectHomi Bhabhaen
dc.subjectAthol Fugarden
dc.subjectBlood Knoten
dc.subjectThird Spaceen
dc.subjectHybridityen
dc.subjectColonial Mimicryen
dc.titleThird Space, Hybridity, and Colonial Mimicry in Fugard's Blood Knoten
dc.typeArticleen
Appears in Collections:2018, Vol. 21, № 1

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