Papers by Mikkel Guldager
What is love? What is hate? What is good, and what is evil? Those positions seem miles apart if c... more What is love? What is hate? What is good, and what is evil? Those positions seem miles apart if contrasted within the realm of theology and philosophy.
However, as this paper shows, the positions are indeed, if analyzed properly, highly compatible and commensurable.
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This paper deals with how Indian nationalism and sense of nationhood has interchangeably been pos... more This paper deals with how Indian nationalism and sense of nationhood has interchangeably been positioned as both an enabling and a disempowering discourse.
The topics are hermeneutically being discussed from the perspective of three relevant novels that address different forms of discursivity in terms of nationalism: Arundhati Roy’s The God of Small Things, Salman Rushdie’s Midnight’s Children and Amitav Ghosh’s The Shadow Lines.
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Hermeneutical and philosophical reflections upon how these two literary works across time, space ... more Hermeneutical and philosophical reflections upon how these two literary works across time, space and dominating ideologies can be reconciled in treating the human condition in terms of ontological and epistemological nihilism.
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This thesis analyzes how amalgamation and hybridization are, to some extent, incomplete as hermen... more This thesis analyzes how amalgamation and hybridization are, to some extent, incomplete as hermeneutical optics in relation to understanding the formation of culture and identity in postcolonial Hong Kong. This point will be underscored by analyzing Timothy Mo’s novel An Insular Possession (1986), Chris Thrall’s memoir Eating Smoke: One Man’s Descent into Drug Psychosis in Hong Kong’s Triad Heartland (2011), Paul Theroux’ Kowloon Tong (1997), and John Lanchester’s Fragrant Harbour (2003) in terms of postcolonial theory.
Moreover, selected literature from a Hong Kongese/Singaporean poet and from indigenous Hong Kongese poets will be scrutinized. It will first be argued that what may occur when cultures clash can also be termed as a bilateral cultural diffraction. In short, this relates in this thesis solely to Hong Kong, indicating that when Western culture met its opposing Hong Kongese culture,6 there was not always emulation or hybridization, but also the presence of one impeding the other and vice versa.
In parallel, it will be asked whether the hypothesis about bilateral cultural diffraction, tentatively and practically, can be held valid in compliance with postcolonial readings of the selected works. Also, in order to defend the concept of bilateral, or as it at times will be referred to, reciprocal cultural diffraction and its legitimacy, theories about hybridity will be juxtaposed, contested, and deconstructed as the hypothesis is developed.
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This paper suggests a contextual perspective on globalization in reading Moshin Hamid's The Reluc... more This paper suggests a contextual perspective on globalization in reading Moshin Hamid's The Reluctant Fundamentalist (2007), and it also proposes allusions in this particular work to Camus' The Fall (and thus per se implicitly to Dostoevsky’s Notes From Underground).
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Tracing the concept of hybridity in two of Salman Rushdie's most prominent works of magical reali... more Tracing the concept of hybridity in two of Salman Rushdie's most prominent works of magical realism, this paper argues that these two works represent an unambiguous transition in the way Rushdie advocates for hybridity.
Sermonizing first for imagination as a hybrid keystone, Rushdie subsequently opts for the multimedia art form combined with fantasy as a hybrid bedrock.
Elaborating on this idea, this paper discusses postcolonial ideas of hybridity in the context of the two Rushdie narratives, indeed much more diasporic and postcolonial that mere allegories or children’s books.
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Following the idea that in Lord Leighton’s works there was paradoxically both a slight hint of di... more Following the idea that in Lord Leighton’s works there was paradoxically both a slight hint of didacticism as well as the absence of narrative, this essay will pivot around Lord Leighton’s sculptural oeuvre which started out as a mere experiment: the Athlete.
Giving an in-depth analysis of the bronze cast Athlete in terms not of sentiment, but of magnitude, material, dimensions, surface anatomy, casting, and technique, I will start out by looking at what inspired Lord Leighton into sculpture, i.e. two selected works of his painting, or, to be precise, Daedalus and Icarus and The Daphnephoria.
My focus will be on technique, composition and didacticism. Along these lines, I will simultaneously try to give a brief account of Leighton’s sources of inspiration, and I will discuss to what extent he amounted to actually being an aesthete.
Moreover, I will thus elucidate why and how his own concerns regarding aestheticism are reflected in his works. Lastly, I will sum up my discoveries in a conclusion, opening a discussion about the significance of not neglecting the importance of artworks as well as artistic movements.
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Papers by Mikkel Guldager
However, as this paper shows, the positions are indeed, if analyzed properly, highly compatible and commensurable.
The topics are hermeneutically being discussed from the perspective of three relevant novels that address different forms of discursivity in terms of nationalism: Arundhati Roy’s The God of Small Things, Salman Rushdie’s Midnight’s Children and Amitav Ghosh’s The Shadow Lines.
Moreover, selected literature from a Hong Kongese/Singaporean poet and from indigenous Hong Kongese poets will be scrutinized. It will first be argued that what may occur when cultures clash can also be termed as a bilateral cultural diffraction. In short, this relates in this thesis solely to Hong Kong, indicating that when Western culture met its opposing Hong Kongese culture,6 there was not always emulation or hybridization, but also the presence of one impeding the other and vice versa.
In parallel, it will be asked whether the hypothesis about bilateral cultural diffraction, tentatively and practically, can be held valid in compliance with postcolonial readings of the selected works. Also, in order to defend the concept of bilateral, or as it at times will be referred to, reciprocal cultural diffraction and its legitimacy, theories about hybridity will be juxtaposed, contested, and deconstructed as the hypothesis is developed.
Sermonizing first for imagination as a hybrid keystone, Rushdie subsequently opts for the multimedia art form combined with fantasy as a hybrid bedrock.
Elaborating on this idea, this paper discusses postcolonial ideas of hybridity in the context of the two Rushdie narratives, indeed much more diasporic and postcolonial that mere allegories or children’s books.
Giving an in-depth analysis of the bronze cast Athlete in terms not of sentiment, but of magnitude, material, dimensions, surface anatomy, casting, and technique, I will start out by looking at what inspired Lord Leighton into sculpture, i.e. two selected works of his painting, or, to be precise, Daedalus and Icarus and The Daphnephoria.
My focus will be on technique, composition and didacticism. Along these lines, I will simultaneously try to give a brief account of Leighton’s sources of inspiration, and I will discuss to what extent he amounted to actually being an aesthete.
Moreover, I will thus elucidate why and how his own concerns regarding aestheticism are reflected in his works. Lastly, I will sum up my discoveries in a conclusion, opening a discussion about the significance of not neglecting the importance of artworks as well as artistic movements.
However, as this paper shows, the positions are indeed, if analyzed properly, highly compatible and commensurable.
The topics are hermeneutically being discussed from the perspective of three relevant novels that address different forms of discursivity in terms of nationalism: Arundhati Roy’s The God of Small Things, Salman Rushdie’s Midnight’s Children and Amitav Ghosh’s The Shadow Lines.
Moreover, selected literature from a Hong Kongese/Singaporean poet and from indigenous Hong Kongese poets will be scrutinized. It will first be argued that what may occur when cultures clash can also be termed as a bilateral cultural diffraction. In short, this relates in this thesis solely to Hong Kong, indicating that when Western culture met its opposing Hong Kongese culture,6 there was not always emulation or hybridization, but also the presence of one impeding the other and vice versa.
In parallel, it will be asked whether the hypothesis about bilateral cultural diffraction, tentatively and practically, can be held valid in compliance with postcolonial readings of the selected works. Also, in order to defend the concept of bilateral, or as it at times will be referred to, reciprocal cultural diffraction and its legitimacy, theories about hybridity will be juxtaposed, contested, and deconstructed as the hypothesis is developed.
Sermonizing first for imagination as a hybrid keystone, Rushdie subsequently opts for the multimedia art form combined with fantasy as a hybrid bedrock.
Elaborating on this idea, this paper discusses postcolonial ideas of hybridity in the context of the two Rushdie narratives, indeed much more diasporic and postcolonial that mere allegories or children’s books.
Giving an in-depth analysis of the bronze cast Athlete in terms not of sentiment, but of magnitude, material, dimensions, surface anatomy, casting, and technique, I will start out by looking at what inspired Lord Leighton into sculpture, i.e. two selected works of his painting, or, to be precise, Daedalus and Icarus and The Daphnephoria.
My focus will be on technique, composition and didacticism. Along these lines, I will simultaneously try to give a brief account of Leighton’s sources of inspiration, and I will discuss to what extent he amounted to actually being an aesthete.
Moreover, I will thus elucidate why and how his own concerns regarding aestheticism are reflected in his works. Lastly, I will sum up my discoveries in a conclusion, opening a discussion about the significance of not neglecting the importance of artworks as well as artistic movements.