it is a position that is mainly rooted in fear of extinction.” You rarely see people on the right rooting their positions within a biblical theology or ecclesiastical tradition. “The earlier culture war really was about secularization, and positions were tied to theologies and justified on the basis of theologies,” says Hunter. But, today, as that conflict has grown, “instead of just culture wars, there’s now a kind of class-culture conflict” that has moved beyond the simple boundaries of religiosity. What changed? In the latter half of the 20th century, the culture war was, on some level, a “cultural conflict that took place primarily within the white middle class,” says Hunter, who now leads the University of Virginia’s Institute for Advanced Studies in Culture. They don’t necessarily lead to a shooting war, but you never have a shooting war without a culture war prior to it, because culture provides the justifications for violence.” “Culture wars always precede shooting wars. Capitol in an attempt to overthrow the results of the 2020 election. And part of what’s troubling is that I’m beginning to see signs of the justification for violence,” says Hunter, noting the insurrection on January 6, when a mob of extremist supporters of Donald Trump stormed the U.S. And indeed, Achebe notes, the novel portrays Africans as a pre-historic mass of frenzied, howling, incomprehensible barbarians." (Tyson 374-375).“Democracy, in my view, is an agreement that we will not kill each other over our differences, but instead we’ll talk through those differences. But post-colonial theorists and authors might disagree with this perspective: ".as Chinua Achebe observes, the novel's condemnation of European is based on a definition of Africans as savages: beneath their veneer of civilization, the Europeans are, the novel tells us, as barbaric as the Africans. Western critics might consider Heart of Darkness an effective critique of colonial behavior.
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Moreover, the authors included in the canon often reinforce colonial hegemonic ideology, such as Joseph Conrad. So, for example, a post-colonial critic might question the works included in "the canon" because the canon does not contain works by authors outside Western culture. This critique includes the literary canon and histories written from the perspective of First World cultures. The terms "First World," "Second World," "Third World" and "Fourth World" nations are critiqued by post-colonial critics because they reinforce the dominant positions of Western cultures populating First World status. Post-colonial criticism also questions the role of the Western literary canon and Western history as dominant forms of knowledge making. In turn, Achebe points out the negative effects (and shifting ideas of identity and culture) caused by the imposition of Western religion and economics on Nigerians during colonial rule. Rather than glorifying the exploratory nature of European colonists as they expanded their sphere of influence, Achebe narrates the destructive events that led to the death and enslavement of thousands of Nigerians when the British imposed their Imperial government. For example, in Things Fall Apart, Achebe details the strife and devastation that occurred when British colonists began moving inland from the Nigerian coast.
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Seminal post-colonial writers such as Nigerian author Chinua Achebe and Kenyan author Ngugi wa Thiong'o have written a number of stories recounting the suffering of colonized people. Post-colonial criticism also takes the form of literature composed by authors that critique Euro-centric hegemony. In addition, post-colonial theory might point out that ".despite Heart of Darkness's (Joseph Conrad) obvious anti-colonist agenda, the novel points to the colonized population as the standard of savagery to which Europeans are contrasted" (Tyson 375).
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Therefore, a post-colonial critic might be interested in works such as Daniel Defoe's Robinson Crusoe where colonial ".ideology manifest in Crusoe's colonialist attitude toward the land upon which he's shipwrecked and toward the black man he 'colonizes' and names Friday" (Tyson 377). Post-colonial theory looks at issues of power, economics, politics, religion, and culture and how these elements work in relation to colonial hegemony (Western colonizers controlling the colonized).
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Specifically, post-colonial critics are concerned with literature produced by colonial powers and works produced by those who were/are colonized. Post-colonial criticism is similar to cultural studies, but it assumes a unique perspective on literature and politics that warrants a separate discussion. This resource will help you begin the process of understanding literary theory and schools of criticism and how they are used in the academy.