This book took birth in my mind when I had three essays which explore three different perspectives of de-coloniality and connect to each other with the underlying theme. It conceives a major section of my thoughts and ideas associated with the element of de-coloniality and I hope it will be of great help for the scholars who are newly venturing into this field.
Table of Contents
Preface
De-linking Epistemology: Unlearning to Relearn
Rethinking Contemporaneity: Ushering a Neo-dynamic Society
De-colonizing the Screen: The Margins Act Back
Introduction: Decolonization
Decolonizing The Screen
Conclusion
Objectives & Themes
The primary objective of this work is to explore the possibilities of de-linking epistemology from Western-centric structures through the processes of unlearning and relearning. The author critically examines how colonial constructs continue to influence contemporary thought, identity, and socio-political structures in post-colonial nations like India, advocating for a shift towards border thinking and indigenous knowledge systems.
- Critique of Eurocentric epistemology and modern coloniality.
- Deconstruction of the "nation" and "contemporaneity" as colonial constructs.
- Exploration of indigenous knowledge, oral traditions, and the "Layer Theory."
- Application of de-colonial perspectives to Indian cinema and stage performance.
Excerpt from the Book
De-linking Epistemology: Unlearning to Relearn
Vidyā Dadāti Vinayaṁ Vinayād Yāti Pātratām| Pātratvāddhanamāpnoti Dhanāddharmaṁ Tataḥ Sukham (Knowledge gives humility, from humility one attains character From character one acquires wealth, from wealth good deeds, Follows then happiness) The above mentioned adage has been imbibed from an ancient Indian text which applauds the universal constructive quality of knowledge and its system. Since ages the globe has undergone multi-dimensional geopolitical shifts largely motivated by the exertion and channelizing of power across and over. The world has consistently been invaded by different segments of political thoughts and ideas since the pre-colonial times and has largely been maneuvered through different violent tactics but the epistemological insurgence and influence can never be left ignored.
Power and Knowledge indeed exists in symbiosis with each other and it has been variously defined by intellectuals across the world. The formats and designs of power execution across ages varies from one place to another in terms of the nomos within which a society or community is confined but the system of knowledge plays functions as the central motivational force towards formulating and executing the multifarious theoretical and philosophical compartmentalization like pre-colonial, colonial, postcolonial, anti-colonial or de-colonial.
There has been endless controversies and debates associated with the execution of these terms which has undergone endless redefinitions and manipulations with respect to individual or collective discourses. I have always felt strongly that the entire grammar of our existence and pursuance is largely influenced by the entangled system of knowledge execution which encapsulates us entirely.
Summary of Chapters
Preface: The author introduces the book as a collection of three interconnected essays exploring different perspectives on de-coloniality and the overarching theme of unlearning colonial structures.
De-linking Epistemology: Unlearning to Relearn: This chapter critically examines the relationship between power and knowledge, arguing for the necessity of disentangling indigenous thought from Eurocentric frameworks and the "colonial episteme."
Rethinking Contemporaneity: Ushering a Neo-dynamic Society: The author analyzes the concept of "contemporaneity" as a construct of globalization and capitalism, proposing the "Layer Theory" to excavate and restore marginalized indigenous perspectives.
De-colonizing the Screen: The Margins Act Back: This section applies de-colonial theory to Indian cinema, tracing its historical transition from colonial mimicry to a potential space for indigenous, localized expressions and resistance.
Keywords
De-coloniality, Epistemology, Colonialism, Eurocentrism, Border Thinking, Layer Theory, Indigenous Knowledge, Post-colonialism, India, Contemporaneity, Power and Knowledge, Decolonization, Cinema, Orality, Modernity.
Frequently Asked Questions
What is the primary focus of this work?
The work focuses on the de-linking of epistemology from Western colonial structures, arguing that current global knowledge systems are heavily influenced by Eurocentric frameworks that marginalize indigenous perspectives.
What are the central thematic fields explored?
The central fields include de-colonial studies, epistemological critique, cultural history, the philosophy of knowledge, and the analysis of social and political structures in post-colonial India.
What is the primary research goal or question?
The goal is to explore how individuals and nations can "de-link" from Western-imposed ideologies and reconstruct their existence through self-assertion, border thinking, and the revitalization of indigenous traditions.
Which scientific or theoretical methods are applied?
The author employs a trans-disciplinary approach, utilizing postmodern theory, post-colonial discourse analysis, semiotics, and sociological perspectives (including the work of Maturana, Mignolo, and Fanon) to critique current power structures.
What is covered in the main body of the work?
The main body critiques the "colonial episteme," discusses the "Layer Theory" for uncovering repressed indigenous histories, and provides a case study on the decolonization of Indian cinema and performing arts.
Which keywords characterize the work?
Key terms include De-coloniality, Epistemology, Border Thinking, Colonialism, Eurocentrism, and Layer Theory.
What is the "Layer Theory" proposed by the author?
The Layer Theory is a framework for slicing and excavating the multiple, often contradictory, layers of existence (social, religious, political) that have been distorted by colonial and modern pressures, in order to reveal and restore the core indigenous identity.
How does the author characterize the role of cinema in this context?
The author views Indian cinema as a potential site of resistance where marginalized "margins" can act back by reclaiming indigenous myths and narrative forms, challenging the superficial commercialization of the industry.
What is the significance of the distinction between "India" and "Bharat"?
The author uses "Bharat" to represent the ancient, traditional, and indigenous ideational landscape of the region, whereas "India" is treated as a colonial construct that has been heavily shaped and distorted by Western interests.
- Quote paper
- Sayan Dey (Author), 2016, De-colonial Thoughts. De-linking Epistemology, Rethinking Contemporaneity and De-colonizing the Screen, Munich, GRIN Verlag, https://www.grin.com/document/316856
