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Femilial Cartography: The Hybrid Aesthetic as Decolonial Practice / NASIA SARWAR-SKUSE

Swansea University Author: NASIA SARWAR-SKUSE

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DOI (Published version): 10.23889/SUThesis.71474

Abstract

This thesis includes a creative work, Femilial Cartography, and a critical exegesis, The Hybrid Aesthetic as Decolonial Practice, both of which explore how the hybrid aesthetic functions as a decolonial methodology, challenging dominant epistemologies and offering alternative ways of narrating self,...

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Published: Swansea University 2026
Institution: Swansea University
Degree level: Doctoral
Degree name: Ph.D
Supervisor: Farebrother. R.
URI: https://cronfa.swan.ac.uk/Record/cronfa71474
first_indexed 2026-02-20T15:26:02Z
last_indexed 2026-02-21T05:25:57Z
id cronfa71474
recordtype RisThesis
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spelling 2026-02-20T15:35:43.3736582 v2 71474 2026-02-20 Femilial Cartography: The Hybrid Aesthetic as Decolonial Practice 776920ba01246e428c67891f34b71ba6 NASIA SARWAR-SKUSE NASIA SARWAR-SKUSE true false 2026-02-20 This thesis includes a creative work, Femilial Cartography, and a critical exegesis, The Hybrid Aesthetic as Decolonial Practice, both of which explore how the hybrid aesthetic functions as a decolonial methodology, challenging dominant epistemologies and offering alternative ways of narrating self, history, and community.Femilial Cartography, a formally innovative work, begins as an intimate exploration of a mother-daughter relationship and unfolds into a broader meditation on memory, identity, and inheritance. Through a fragmented, non-linear structure, the narrative traverses time, borders, family, history, to unearth stories buried by colonialism, migration, and gendered silence.Disrupting singular historical accounts, it asks how the legacies of empire shape national identity, cultural expectation, and personal memory.Assembling and interpreting a family archive, I uncover subjugated histories and reconstruct personal and collective memory, tracing how ordinary lives are entangled with colonialism, Partition, migration, and inherited identity. This engagement becomes a way of challenging dominant epistemologies rooted in colonial logics. Through opacity, affect, and the fragment, my creative methodology resists these frameworks, reimagining the archive as a living, unstable, generative space.Femilial Cartography also considers how memory is transmitted, fractured, and reshaped across generations, revealing the entanglement of family narratives with broader political forces. The work links the enduring influence of Indian colonisation to contemporary Pakistani norms around nationhood, motherhood, and the gendered expectation that women act as custodians of cultural identity.The critical exegesis theorises the strategies of the creative text, articulating a hybrid aesthetic as decolonial practice. Drawing on Édouard Glissant’s concept of opacity, it defends fragmentation, non-linearity as aesthetic refusals of dominant epistemologies and a disruption of narratives that demand clarity and categorisation. It introduces the new critical termfemilial to describe the nuanced mother-daughter dynamic. Unlike familial, which generalises kinship ties, femilial emphasises the specifically gendered and affective dimensions of the relationship. E-Thesis Swansea University Creative and Critical Writing 18 2 2026 2026-02-18 10.23889/SUThesis.71474 Due to Embargo and/or Third Party Copyright restrictions, this thesis is not available via this service. COLLEGE NANME COLLEGE CODE Swansea University Farebrother. R. Doctoral Ph.D Swansea University Research Excellence Scholarship Swansea University Research Excellence Scholarship 2026-02-20T15:35:43.3736582 2026-02-20T15:16:58.7205877 College of Arts and Humanities English Literature and Creative Writing NASIA SARWAR-SKUSE 1
title Femilial Cartography: The Hybrid Aesthetic as Decolonial Practice
spellingShingle Femilial Cartography: The Hybrid Aesthetic as Decolonial Practice
NASIA SARWAR-SKUSE
title_short Femilial Cartography: The Hybrid Aesthetic as Decolonial Practice
title_full Femilial Cartography: The Hybrid Aesthetic as Decolonial Practice
title_fullStr Femilial Cartography: The Hybrid Aesthetic as Decolonial Practice
title_full_unstemmed Femilial Cartography: The Hybrid Aesthetic as Decolonial Practice
title_sort Femilial Cartography: The Hybrid Aesthetic as Decolonial Practice
author_id_str_mv 776920ba01246e428c67891f34b71ba6
author_id_fullname_str_mv 776920ba01246e428c67891f34b71ba6_***_NASIA SARWAR-SKUSE
author NASIA SARWAR-SKUSE
author2 NASIA SARWAR-SKUSE
format E-Thesis
publishDate 2026
institution Swansea University
doi_str_mv 10.23889/SUThesis.71474
college_str College of Arts and Humanities
hierarchytype
hierarchy_top_id collegeofartsandhumanities
hierarchy_top_title College of Arts and Humanities
hierarchy_parent_id collegeofartsandhumanities
hierarchy_parent_title College of Arts and Humanities
department_str English Literature and Creative Writing{{{_:::_}}}College of Arts and Humanities{{{_:::_}}}English Literature and Creative Writing
document_store_str 0
active_str 0
description This thesis includes a creative work, Femilial Cartography, and a critical exegesis, The Hybrid Aesthetic as Decolonial Practice, both of which explore how the hybrid aesthetic functions as a decolonial methodology, challenging dominant epistemologies and offering alternative ways of narrating self, history, and community.Femilial Cartography, a formally innovative work, begins as an intimate exploration of a mother-daughter relationship and unfolds into a broader meditation on memory, identity, and inheritance. Through a fragmented, non-linear structure, the narrative traverses time, borders, family, history, to unearth stories buried by colonialism, migration, and gendered silence.Disrupting singular historical accounts, it asks how the legacies of empire shape national identity, cultural expectation, and personal memory.Assembling and interpreting a family archive, I uncover subjugated histories and reconstruct personal and collective memory, tracing how ordinary lives are entangled with colonialism, Partition, migration, and inherited identity. This engagement becomes a way of challenging dominant epistemologies rooted in colonial logics. Through opacity, affect, and the fragment, my creative methodology resists these frameworks, reimagining the archive as a living, unstable, generative space.Femilial Cartography also considers how memory is transmitted, fractured, and reshaped across generations, revealing the entanglement of family narratives with broader political forces. The work links the enduring influence of Indian colonisation to contemporary Pakistani norms around nationhood, motherhood, and the gendered expectation that women act as custodians of cultural identity.The critical exegesis theorises the strategies of the creative text, articulating a hybrid aesthetic as decolonial practice. Drawing on Édouard Glissant’s concept of opacity, it defends fragmentation, non-linearity as aesthetic refusals of dominant epistemologies and a disruption of narratives that demand clarity and categorisation. It introduces the new critical termfemilial to describe the nuanced mother-daughter dynamic. Unlike familial, which generalises kinship ties, femilial emphasises the specifically gendered and affective dimensions of the relationship.
published_date 2026-02-18T05:32:47Z
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score 11.453587

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