Abstract
This essay examines how Salman Rushdie appropriates the colonial linguistic medium (English) in Midnight’s Children and embeds resistance within its commonplace and seemingly innocent lexical interstices through the insertion of Hindi/Urdu terms in his wordplay. This lexical hybridity may be examined as a creative example of Homi Bhabha's exegetical “third space” that is postmodern in its disruption of semiotic stasis and postcolonial in its disruption of the primacy of English. This paper contextualizes Rushdie’s code-mixing of English and Hindi/Urdu lexical registers to produce multiple meanings and puns, maps select examples through L.G. Heller’s mode of linguistic diagramming, and provides an overview of the resultant ideological considerations.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callMore From: Pivot: A Journal of Interdisciplinary Studies and Thought
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
