Modernist discourses centralize feminine sensuality as an indicator of a female’s autonomy; generally, they denounce religious or traditional constraints related to its expression. In particular, liberal feminism rejects normative constraints on female sensuousness, which are argued to enforce gendered restrictions. Amid these popular considerations, there has been a remarkable increase in interest in postcolonial women’s approach to sensuality. Being perceived as sensually submissive by their faith, the question which continually surfaces is: is the sensual ethics of postcolonial women shaped by their religion? Or are they shaped by the societal considerations and values of the society they are born into? This paper addresses this question by considering the varied choices of sensual behaviour adopted by female characters in the postcolonial text, Twilight in Delhi, written by Ahmad Ali. By approaching the decadent culture of Delhi in this novel from a feminist perspective, this paper analyses the feminine sensuality of the Indian women and considers their assumptions about what counts as an appropriate choice for them within the cultural context of Indian society. This paper concludes that the sensual inhibition of these women is conditioned by the cultural bias towards the female gender that connects shame and guilt with their sensual desires in a traditional Indian society.

This paper analyses the discursive representation of the Indian natives' resistance to British imperialism in Hyder's River of Fire. The violent resistance to British Empire by Indian natives has been termed as 'mutiny' by imperial discourses whereas postcolonial discourses term it the heroic 'war of independence'. In the backdrop of postcolonial theory and the concept of counter discourse, the discursivere presentation of violent resistance to British Imperialism is highlighted. Hyder has portrayed the events of 1857as a heroic response of vibrant culture to the cunning rulers of the British Empire.

The political debates are the major indicators to open a dialogue and to set the tone of politics in society. The elections' debates in Pakistan are directly linked with the nature of the state and its ideological and elite composition. The post-colonial state structure and its reflection in electoral politics is a dominant determining factor which led to induce order through objectifying in existing electoral status quo. The dominant forces on the electoral scene have the power to interpret the existing knowledge production and debate for their own interest. Both objectivities and subjectivities in which electoral debates operate are in control of the post-colonial state structure. This paper is an attempt to explore the articulation of electoral debates in academic knowledge production. Further, how does existing academic debate explain the nature of electoral politics? Why?The purposively selected academic debates on elections revolved around functionalist and interpretivist paradigms influenced by the existing debate between subjectivity and objectivity. The descriptive method has been applied in exploring a research question under study.

The oppressive British and chauvinistic Japanese colonialism imposed a hegemonic culture in Africa and China. Things Fall Apart by Achebe and Red Sorghum by Mo Yan demonstrate British and Japanese colonial misshaping of African and Chinese cultures respectively. In response, the indigenous writers sustain their identity and culture crumbling under colonial corrosion. Things Fall Apart deals with the bitterness of colonialism in Africa, while Red Sorghum deals with Chinese colonial experiences. This article addresses the question how these authors, despite their different spatial and temporal contexts, encounter the hegemonic administrative structures and discourse. The principles of intertextuality are exploited to unveil the colonial governance structure and the literary reassertion of the colonized. Postcolonial theory helps unearth the colonial strategies and retrieval of the colonized identity. Said’s ‘filiative’ and ‘affiliative’ principles help evaluate how these ‘liminal intellectual(s)’ encounter the oppressive ideology

The present study intends to thoroughly examine the Postcolonial feminist perspective in Arundhati Roys novel The God of Small Things by focusing on the theoretical approaches of Gaytri Spivak, Trinh T.Minha and Ania Loomba. The ambivalent personality of colonized women is tarnished due to subalternity imposed by the patriarchal culture of India. The destructive nature of the Western Imperialism forced the people to endure wild oppression by British colonizers. Postcolonialism paved the way for the double oppression of women. Women became the victim of not only British Imperialists but also native cultural patriarchy. Roy successfully intricates three generations of women i.e Baby Kochamma, Mammachi, Ammu, and Rahel into the fabric of the novel to acme the plight of women in the Third World Nations..

The epistemological shift from colonialism to postcolonialism refashioned the colonial conceptualization of gender, race, geopolitical locale and sexual orientation to focus on those processes theorized by Homi K. Bhabha as 'in-between spaces'. With the delimitation of Michael Ondaatje's The English Patient (1992), this research explores how these 'in-between spaces' led colonialism and its subjects to the postcolonial / post-World War II milieu. The colonizers were not psychologically resilient enough to survive the hybrid 'in-between space' that dismantled the binary of the self and the other. The post-colonial subject, like the colonial subject, is a collage, not stable or autonomous, because it exists in a hybrid space of the enunciation of two cultures which cannot sustain its independent identity: in The English Patient, the diaspora located at the cultural boundaries of the Europeans and their home countries merges and dissolves into the in-between spaces acquainted with their anxiety and passion of nationhood and the nationlessness.

One of the recent developments in South Asian historiography is the adoption of new approaches for each of its sub-disciplines. Historiographical scholarship has also discovered new avenues including exploration of the ignored and marginalized aspects of history. Muhammad Iqbal Chawla is one of such academicians who has left a strong mark on the field of historiography by making multifaceted and original contributions. These can be ascertained by a comprehensive assessment of his entire intellectual cum scholarly sojourn. Dr Chawla has attempted to create to put a new face in the varied field of historiography in Pakistan and he has largely succeeded in his endeavour. The main aim of this research paper is to assess his contribution. This objective can best be achieved by a thorough perusal of his contributions to historiography from multiple perspectives as the author has tried to do so in this article.

Paul Scott's Staying On (2005) is one of the few novels that depict the lives of British leftovers who decided to stay in India even after the Independence. Unlike The Raj Quartet (1965-75), Scott's Staying On (2005), highlights the struggle of the White and Euro-Asians in independent India. This paper will investigate the White Men and Women's burden by keeping the themes of identity crisis, socio-cultural displacement, and womanhood in view. Staying On (2005) uses alienation and mimicry to display the hybrid culture of India. It connects the story of the Quartet through the characters of Tusker and Lucy Smalley and how these British remainders struggled to maintain their identity in India. This paper will also study the residual impacts of the British Raj to display the inversion of the roles between the Occident (West) and the Orient (East).