TAYEB SALIH’S SEASON OF MIGRATION TO THE NORTH AS A POSTCOLONIAL TEXT
First published in Beirut in 1966 and regarded as one of the most significant Arabic novels of the 20th century, Tayeb Salih’s gorgeous novel Season of Migration to the North is the story of two postcolonial subjects who lived as Arab and Muslim expatriates for a considerable amount of time in Engla...
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| Formato: | article |
| Lenguaje: | DE EN FR TR |
| Publicado: |
Fırat University
2019
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| Materias: | |
| Acceso en línea: | https://doaj.org/article/294cec483fb04e45bc76b00ebabed6e4 |
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| Sumario: | First published in Beirut in 1966 and regarded as one of the most significant Arabic novels of the 20th century, Tayeb Salih’s gorgeous novel Season of Migration to the North is the story of two postcolonial subjects who lived as Arab and Muslim expatriates for a considerable amount of time in England and then returned to their postcolonial land Sudan. Considering the Sudanese writer Tayeb Salih’s Season of Migration to the North from colonial and postcolonial perspective, this paper aims at investigating the ways in which the novel contributes to the concepts and objectives of the postcolonial literature, and it attempts to trace postcolonial references in the novel. Season of Migration provides a critical look on migration and intercultural exchanges between Africa and England by referring to the cosmopolitan London of the 1920s and the rural countryside of northern Sudan through the narrator Meihemed and the protagonist Muhammed Sa’eed’s personal experiences, observations and analysis of two different cultures. The novel directly or indirectly makes a criticism of colonialism and displays how colonialism is responsible from “the germ of violence inflicted on victims who fight back against colonialism with the same pyschological counter attack. Focusing on the problem of immigration and its inevitable effects on the migrants, Season of Migration presents Mustafa Sa’eed as an attacker on the western culture by his sexual exploits as a form of revenge and the narrator Meihemed as a passive defender of the eastern culture who discovers his place has been taken by Mustafa Sa’eed during his years of study abroad. Through the end of the novel we clearly see that every character strives to create their own world by death or rebirth in a patriarchal society on the verge of modernization. In the creation of a postcolonial world Hosna’s defying tradition, Sa’eed’s idea of reversing colonialism and Meihemeed’s objective position between two different cultures and his intensive feelings about his homeland in his imagination as well as his passive role in the face of frustrating patriarchal Arab world restricting women’s rights and freedom all bear great significance. Maybe, Ngugi’s well-known phrase “decolonising the mind”, and living not in an enforced culture will be perfect solutions to sow the seeds of a more modern society based on in |
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