Jonna Urpilainen

Tunne ja genre jälkikolonialistisessa kirjallisuudessa

Introduction

Tunne ja genre jälkikolonialistisessa kirjallisuudessa. Tutki tunteen ja genren roolia jälkikolonialistisessa kirjallisuudessa. Patrick Colm Hoganin teos syventyy kolonialismin ja kirjallisuuden affektiiviseen narratologiaan.

Abstract

Patrick Colm Hogan 2025: Colonialism and Literature. An Affective Narratology. Lincoln: University of Nebraska Press, 293 s.

Review

This paper, titled "Tunne ja genre jälkikolonialistisessa kirjallisuudessa" (Emotion and Genre in Postcolonial Literature), signals an ambitious exploration into a rich and complex interdisciplinary field. The title itself promises a critical engagement with how emotional registers and generic conventions intertwine within the vast landscape of postcolonial literary production. What makes this paper particularly intriguing, and indeed, central to its interpretation, is the provided "abstract," which is not an abstract for the paper itself, but rather a bibliographic entry for Patrick Colm Hogan’s forthcoming 2025 book, *Colonialism and Literature: An Affective Narratology*. This suggests that the paper is either a comprehensive review of Hogan’s anticipated work, a critical engagement with its theoretical framework, or an application of his "affective narratology" to specific postcolonial texts, thereby positioning itself at the forefront of contemporary scholarship linking affect theory, narratology, and postcolonial studies. If the paper functions as a review of Hogan’s *Colonialism and Literature*, its primary strength would lie in offering an early and critical assessment of a significant new theoretical contribution. Given Hogan’s reputation, a paper that unpacks his affective narratology – especially in relation to colonialism – would be invaluable for scholars eager to understand and apply his insights. Alternatively, if the paper applies or critically engages with Hogan's framework, it holds the potential to yield novel insights into how postcolonial authors navigate, represent, and evoke emotions through various literary genres. This could involve examining how generic forms (e.g., the novel, poetry, drama, memoir) are adapted or subverted to convey the emotional impact of colonial trauma, resistance, hybridity, or decolonization, thereby enriching our understanding of both literary form and the affective dimensions of postcolonial experience. Ultimately, this paper appears poised to make a timely and substantial contribution to several intersecting fields. Its potential to either introduce and critically evaluate Hogan’s new theoretical model or to creatively apply his concept of "affective narratology" to illuminate the intricacies of postcolonial literature is highly compelling. The critical apparatus for such an endeavor would require a nuanced understanding of both literary theory and specific postcolonial contexts. Scholars in literary studies, postcolonial theory, affect studies, and narratology would undoubtedly find this work relevant, offering a crucial bridge between theoretical innovation and its practical application to the study of emotional and generic landscapes in postcolonial texts.

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