Amitav Ghosh's Experimentation With Historiographic Metafiction, Languages And Dialects In Ethics And Ideology

Abstract

Amitav Ghosh's Ibis Trilogy at a glance is no doubt a historical fictional work that reinvents the murky opium trade flanked by British India and China which concludeshooked onthefull-blown war amongst England and China.The postmodernism is an eon of rebellion which demands for vicissitudes in every walk of life with all disciplines of knowledge, experience such as philosophy, literature, and science. The Postmodernism not only castoffs modernism but also amends and overlaps modernism.Nevertheless, the three novelsthe shadow lines, glasspalace, an antique land, Sea of Poppies, River of Smoke and Flood of Fire likewisesocial, commercial, explores political and linguistic intricacies of postmodernism or early colonial period. The Historiographic metafiction is paradoxical term that entails of two diverse genres of metafiction and history. Henceforth, historiographic metafiction is termed double self-reflexive for the reason that the historiographic metafictional writings imitate their own realistic over and above fictional status. These categories of writings realize readers that they are relishing realistic and fictional texts. This paper steadily analyses the confirmations of the emphasizes the historiographic metafictional and also historiographic metafiction features as imbedded in novels of Amitav Ghosh. Ghosh’snovels such as The Glass Palace and In An Antique Land are only recreation of history with some fictional background, characters and their stories. This article observes how Dr Amitav Ghosh throughout over-1600 pages of his abundant acclaimed trilogy investigated with at best 23 other languages and dialects, at backdrop of vast seascape of the Indian Ocean all over from Cape Town to Hong Kong Opium War amongst the British Empire and China in1839.