This article examines the aesthetics of representing female sexuality within colonial narratives of the West–East encounter. I consider two literary works whose female characters challenge the gendered metaphors of empire that predominated in a tradition of colonial literature and its postcolonial rewriting: the short story “La femme adultère” by the French-Algerian writer Albert Camus, and the novel Wāḥat al-ghurūb by Egyptian writer Bahāʾ Ṭāhir. In each text, the standard heterosexual troping of imperial conquest as a male activity directed at or against a feminized other is inverted to place a European woman’s sexually aroused body at the center of the drama of colonial contact. Reading these two texts against the grain of the aesthetic formulas that they employ to contemplate the political stakes of cross-cultural intimacies in a colonial setting, I argue that the phenomenological immediacy of how the female protagonist in each is shown to experience the eroticism of colonial space introduces a break in these formulas. The loss of narrative plausibility in each text that follows from these erotic interludes, I propose, ultimately testifies to the irreducibility of the body to either enforcing or disputing the epistemologies of the colonial project.

This essay focuses on the racialising devices that characterise some Italian colonial novels. Specifically, it looks at two novels of the late 1920s – Enrico Cappellina's Un canto nella notte. Romanzo coloniale and Guido Milanesi's La sperduta di Allah – with the aim of highlighting the continuities and discontinuities between the racist models they endorse. A critical close reading of the texts reveals the degree of interconnection between segregationist and inclusivist interpretations of the cross-racial colonial encounter in the first half of the ventennio. With this perspective, the 1936 imperial turning point, even though critical on the institutional level, appears less so in the cultural field of racist production.

This article explores the role of Pan-Asian ideology in Japanese imperialism and how it is reflected in literary texts produced in Manchukuo. Through the analysis of Chinese and Japanese literary works this study examines the construction of ethnic identities and difference which was central to both Pan-Asian discourse and Manchukuo national identity. In both types of works the Japanese and Chinese characters use the concept of ethnicity or culture to reveal different realities of Manchukuo's ethnic politics. While the insoluble separation between the Japanese and the Chinese in Ushijima Haruko's “A Man Called Shuku” betrays the ethnic harmony proclaimed by the Manchukuo regime, Gu Ding's “A New Life” suggests a possibility of true harmony between the two ethnicities. Where the Japanese vice governor's distrust of his Chinese subordinate in Ushijima's story reflects the author's own fear and guilt about her privileged social position, the Chinese protagonist in Gu's story emphasizes the importance of Japanese modern medicine during a plague outbreak as well as his importance as a mediator between the colonizer and his countrymen in order to justify the author's association with Japanese imperialism.