Self-orientalism and Decadence
Chapter 3 explores how the end-of-century Indian-English poets Manmohan Ghose and the slightly later Sarojini Naidu, as well as Ghose’s Oxford contemporary Cornelia Sorabji, both anglicised, yet orientalized their writing, and the personas they presented to British society. They contributed to creating, though were also shaped by, the orientalist effects of 1890s Decadence and aestheticism. As in previous chapters, the accent lies on how Indians in Britain fell in line with, yet at the same time actively participated in, the cultural inscription of India that shaped the imperial cosmopolitanism of the time. An important feature of this self-orientalization (or reverse-orientalism) is how these Indian artists and writers, including Tagore in the 1910s, were inducted into their aesthetic preoccupations through close friendships with leading British men of letters and cultural critics—Laurence Binyon, Edmund Gosse, and Arthur Symons—as well as through their affiliation with the avant-garde circles, clubs, and groups that defined the era, such as W. B. Yeats’ Rhymers Club.
Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
If you think you should have access to this title, please contact your librarian.