The postcolonial aesthetics of beauty, nature and form: Reading the glass palace, the hungry tide and the shadow lines by Amitav Ghosh

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dc.contributor.advisorMoolla, F. Fiona
dc.contributor.authorSingh, Nehna Daya
dc.date.accessioned2020-11-26T12:37:11Z
dc.date.accessioned2024-10-30T08:52:09Z
dc.date.available2020-11-26T12:37:11Z
dc.date.available2024-10-30T08:52:09Z
dc.date.issued2020
dc.descriptionMagister Artium - MAen_US
dc.description.abstractOne can think of an aesthetic as one’s artistic mode and purpose. The aesthetic is differently foregrounded in each of Ghosh’s three selected novels: in the first novel studied, aesthetic concerns are linked with beauty. Female beauty in particular, is the primary aesthetic focus in The Glass Palace since it is beauty that inspires love and appreciation. In the second novel, The Hungry Tide, the aesthetic explores techniques of writing that encompass environmental questions. This novel shows nature as its primary aesthetic since it is through the encounter with nature that its aesthetic is realised and an appreciation for all life forms are established.en_US
dc.identifier.urihttps://hdl.handle.net/10566/16435
dc.language.isoenen_US
dc.publisherUniversity of Western Capeen_US
dc.rights.holderUniversity of Western Capeen_US
dc.subjectAestheticsen_US
dc.subjectBeautyen_US
dc.subjectGhoshen_US
dc.subjectPostcolonialen_US
dc.subjectNatureen_US
dc.titleThe postcolonial aesthetics of beauty, nature and form: Reading the glass palace, the hungry tide and the shadow lines by Amitav Ghoshen_US

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