Academic literature on the topic 'Derek Walcott`s plays'
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Journal articles on the topic "Derek Walcott`s plays"
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BREINER, Laurence A. "The Impact of Japan on Derek Walcott’s Early Plays." Comparative Theatre Review 13, no. 1 (2013): 27–38. http://dx.doi.org/10.7141/ctr.13.27.
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Uddin, Md Abu Saleh Nizam. "Strengthening the Marginalized from Within: Derek Walcotts Poetic Mission." IIUC Studies 12 (December 10, 2016): 87–100. http://dx.doi.org/10.3329/iiucs.v12i0.30583.
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Caribbean poet Derek Walcott , in his commitment to the Caribbean and, of course, with artistic excellence, disappointingly finds his nation still confined to marginalization which is self-imposed, though it was colonially imposed during the colonial period. The issues contributing to this self-imposed marginalization, an otherwise colonial legacy, are the exigent factors Walcotts relentless poetic efforts address. This paper aims at exploring how Walcott s unalloyed poetic dedication of epistemological siginificance, with a view to strengthening the Antillean from within, concentrates on the marginalized nations unconscious, imprudent and self-centred thoughts and measures in the issues of Caribbean self, tourism, urbanization, governance, literary tradition and uniqueness of literature in a post-colonial context of agressive Euro-American economy and culture.IIUC Studies Vol.12 December 2015: 87-100
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Sheoran, Bharatender. "A dilemma of Caribbean Populace: Post-Colonial conflicts and Identity crisis in Derek Walcott’s Plays." SMART MOVES JOURNAL IJELLH 1, no. 5 (February 28, 2014): 6. http://dx.doi.org/10.24113/ijellh.v1i5.3046.
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Today, it is said that the colonial age is over, and the new age is called “postcolonial”. However, the traces of colonialism can still be observed in the postcolonial period, for colonialism opened a big wound in the psychology, culture and identity of the once colonized people. Thus, the major themes in the works written in the postcolonial period have been the fragmentation and identity crisis experienced by the once colonized peoples and the important impacts of colonialism on the indigenous. Nobel Prize laureate Derek Walcott, a victim of colonial legacy has represented these conflicts in reference to Caribbean region with depth and self-evaluation through his writings. In this paper I will examine the identity crisis and fragmentation undergone by West Indians in the postcolonial age with reference to selected works of Derek Walcott.
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Ramin, Zohreh, and Monireh Arvin. "The Validity of Hybridity in Derek Walcott’s A Branch of the Blue Nile." Journal of Language Teaching and Research 9, no. 1 (January 1, 2018): 97. http://dx.doi.org/10.17507/jltr.0901.12.
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With A Branch of the Blue Nile (1983) Derek Walcott makes a strong statement for the validity of a hybrid West Indian culture. He portrays the relation between European, specifically English, as well as American and African culture as one that should not be marked by a hierarchy, placing the central culture and languages at the top and African or mixed cultures/languages at the bottom. Walcott’s strategy here is to show that the so–called standards, Shakespeare’s ‘classical’ plays and their language are already of a hybrid nature, and any attempt to characterise them as homogenous entities and preserve them as such may ultimately result in their inertness. What threatens a civilisation or culture, according to Walcott, is not some form of hybridity, but rather the closing off or preservation of artistic forms from other foreign influences because it makes these artistic forms incapable of interacting with the surrounding cultural environment. The authors of this paper while appreciating all the orchestrated bonus of the existing relevant criticisms on hybridity towards Walcott’s A Branch of the Blue Nile intend to examine the use of Bakhtinian notions with regard to language exemplifying Bakhtin’s view of linguistic interanimation and his insights into the “polyglotic” and “heteroglotic” nature of the play. The purpose of this article is to provide the readers with a quest for the formation of Caribbean identity, beyond dualism, through the vernacular. Walcott portrays the vernacular as being capable of voicing the ideas necessary to define one’s identity.
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MATSUDA, Chihoko. "A Preface to the Issue on Derek Walcott’s National and Global Theatre." Comparative Theatre Review 13, no. 1 (2013): 16–18. http://dx.doi.org/10.7141/ctr.13.16.
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Nchia Yimbu, Emmanuel. "Oral Aesthetics and the Power of Symbols in the Plays of Derek Walcott and Bate Besong." Path of Science 2, no. 10 (October 30, 2016): 2.29–2.40. http://dx.doi.org/10.22178/pos.15-9.
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Stevens, Camilla. ""The Future of Old Trinidad": The Performance of National Cultural Identity in Two Plays by Derek Walcott." Modern Drama 46, no. 3 (September 2003): 450–69. http://dx.doi.org/10.3138/md.46.3.450.
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Berry, Sarah. "(Re)Embodying the Disembodied Voice of Lyric: The Radio Poems of Derek Walcott and Sylvia Plath." Twentieth-Century Literature 68, no. 3 (September 1, 2022): 295–322. http://dx.doi.org/10.1215/0041462x-10028083.
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Derek Walcott’s Harry Dernier and Sylvia Plath’s Three Women, two little-known, midcentury radio plays, cultivate characters who sound like the speaker of a lyric poem, even as they foreground the invisible bodies behind the voices. In offering us voices that both invite and obstruct lyric reading, Plath and Walcott make manifest a tension present in all lyric poetry—between the embodied individual, on the one hand, and the lyric speaker, on the other. Harry Dernier parodies prominent instances of poetic address, dramatizing the inadequacy of the Western literary tradition in the face of a real catastrophe. Three Women invites the audience to interpret its speakers lyrically, but then undermines the possibility of such interpretation by pointing to the ways that these voices belong to specific, gendered bodies. In this way, Plath highlights the ambiguity in how the term “voice” is used in relation to lyric and, in this, shapes a critique of lyric voicing.
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Kortenaar, Neil Ten. "BOOK REVIEW: Charles W. Pollard. NEW WORLD MODERNISMS: T. S. ELIOT, DEREK WALCOTT, AND KAMAU BRATHWAITE. Charlottesville: U of Virginia P, 2004." Research in African Literatures 37, no. 1 (March 2006): 162–63. http://dx.doi.org/10.2979/ral.2006.37.1.162.
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Gorjup, Branko. "Michael Ondaatje's reinvention of social and cultural Myths: In the Skin of a Lion." Acta Neophilologica 22 (December 15, 1989): 89–95. http://dx.doi.org/10.4312/an.22.0.89-95.
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From the beginning of his writing career in the early sixties until the recent publication of In the Skin of a Lian (1987), the Canada of Michael Ondaatje had represented one thing: a geographical locale which he has selected as his home but which, fundamentally, had failed to engage his imagination. The fictional worlds he created in The Collected Works of Billy the Kid, Coming Through Slaughter and Running in the Family, has been located outside of Canada, each corresponding to an actual place complete with historical and geographical references. For this very reason it has been impossible - as Sam Solecki noted in his introduction to Spider Blues, »a collection of reviews and essays on Ondaatje - to place this anomalous literary presence in Canada within »specifically Canadian tradition of writing ...«, a tradition that would»include and see relationships among figures as different as Roberts, Pratt, F. R. Scott, Purdy and Atwood ...« Ondaatje's »characters, landscapes, stories and themes resist any taxonomies based on overtly Canadian thematics.« In fact, Solecki further suggested that Ondaatje, like »V. S. Naipaul, Derek Walcott and Salmon Rushdie ..., compels a rethinking of the notion of a national tradition«. Similarly, another critic from the same collection described Ondaatje's position in the context of Canadian writing as unique - a position according to which »language or audience or the identity and the role of the poet are indeterminate. «
Dissertations / Theses on the topic "Derek Walcott`s plays"
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Sarkar, Nirjhar. "Translating legacies and re-imagining the alter /"native"cultural identity: a reading of Derek Walcott`s plays." Thesis, University of North Bengal, 2016. http://ir.nbu.ac.in/handle/123456789/2583.
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De, Mel Fyona Neloufer Sharain. "Responses to history : the re-articulation of post-colonial identity in the plays of Wole Soyinka and Derek Walcott 1950-1976." Thesis, University of Kent, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.587555.
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The thesis will discuss the plays of the Nigerian Wole Soyinka and St.Lucian Derek Walcott as sites in which the playwrights are engaged in a dialogue with their colonial history, and in response to its impositions, re-• articulate post-colonial identities. Soyinka and Walcott have been chosen as case studies of the post-colonial re-articulation of identity because they offer two important broad options available to the post-colonial today. Soyinka has recourse to a viable indigenous Yoruba culture which he posits as an alter/native tradition to the coloniser's. Walcott on the other hand, the victim of a far more deracinated saga, feels he has no such "native" tradition to recoup, and re-writes the history of the Caribbean through European metaphors. The thesis will show however that although the playwrights re- articulate their identities in radically different ways, their strategies for doing so are less divergent than they appear at first. Both Soyinka and Walcott negotiate their post-coloniality from within the coloniser's own discourse, with the references and paradigms of the European "Centre". In marking this, the thesis points to the fact that their work reflects the contradictions that constitute post-coloniality itself, for by challenging the coloniser's impositions of colonial identity through the coloniser's discourse they affirm that which they deny and deny that which they affirm, rehearsing the contradictions and complicities their post-colonial identities are predicated on. The thesis is in two parts. Part 1 begins with a general introduction to both playwrights in which their autobiographies Ake and Another Life are looked at to situate them in the context of their personal and larger histories. Chapters 2, 3 and 4 deal specifically with Soyinka. Myth, Literature and the African World is discussed as a site in which Soyinka is engaged in a de-colonizing project, constructing paradigms from the Ogun myth for the benefit of both a wider English speaking/reading audience and "alienated" African, after which A Dance of the Forests, The Strong Breed, Death and the King's Horseman and The Bacchae are read as texts which illustrate the paradigms constructed in Myth. Part 11 deals with Walcott. Chapter 5 discusses Walcott's essays on history against other articulations of identity such as Black Power, and his use of the Crusoe story as a paradigm for the West Indian experience is analyzed. Chapters 6, 7 and 8 discuss Henri Christophe, Sea at Dauphin, Ti- Jean and His Brothers and Dream on Monkey Mountain as plays informed by Walcott's central concerns on the nexus of history and identity in the West Indies.
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Nelson, John C. M. "The two antilles : power and representation in the West Indies /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/6693.
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Yeh, Yi-chun, and 葉怡君. "Women Characters as Heroines in Derek Walcott''s Omeros." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/2axypf.
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碩士國立中山大學
外國語文學系研究所
98
A stunning poem that draws the attention of the reading public, Omeros is often regarded as the most famous and most successful of Derek Walcott’s works. In one sense, Omeros is the Greek name for Homer, and Walcott chose it for the title of the poem to show his ambition to be a Caribbean Homer, a poet developing an epic from a West Indian perspective. With the epic form and resonant mythic Greek namesakes, Omeros is built upon Walcott’s innate love for St. Lucia. Structurally, the epic form provides the vast framework he needs to describe the multicultural Creole society. However, after a close reading of the text, we can actually find that it does not follow so much the conventions of a classical tradition, since it is not actually a heroic poem. Unlike the superhuman characters in Homeric epics, the male protagonists in Omeros are common people who endure the suffering of individual in exile and try to put down roots in a place where they think they belong. One famous critic, Robert D. Hamner, reads Omeros as an epic of the dispossessed, one in which each of its protagonists is a castaway in one sense or another. In this respect, the male characters are injured (either spiritually or physically). In contrast, the female characters in Omeros, though few in number, play the important roles of heroines to heal the wounds of the male protagonists and to help them trace their roots. This thesis will, therefore, analyze three female characters in the poem. Chapter 1 will focus on Ma Kilman, a black obeah woman. She embodies the memories of the past as well as the connection between African experience and West Indian culture. Through the practice of obeah, a holistic healing method different from Western diagnosis, she is capable of soothing wounds caused by past sufferings. Chapter 2 will examine Maud Plunkett, a white Irish housewife. She represents the physical link between Ireland and St. Lucia due to their inherent similarities –both are being colonized with St. Lucia being divided by race and class, while Ireland is split along religious and class lines. Maud’s existence symbolizes the alienation gap on the island; her death, at the end, bridges the gap and relieves historical traumas. Chapter 3 will deals with Helen, an ebony local woman. Appropriating mythical as well as historical allusions, Walcott gives new voice to this Caribbean Helen. She demonstrates her autonomy to male characters and becomes an unapproachable goddess that they attempt to possess. She reestablishes peace and achieves a new harmony in St. Lucia as a way of cross-cultural healing.
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Chang, Shu-ting, and 張舒婷. "Mimicry, Multiple Voices and the Construction of Cultural Identity in Derek Walcott''s The Haitian Trilogy." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/x6er4t.
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碩士國立中山大學
外國語文學系研究所
96
This thesis aims to interpret the construction of cultural identity of the Caribbean islands in Derek Walcott’s The Haitian Trilogy: Henri Christophe, Drums and Colours, and The Haitian Earth. To rely on the postcolonial and cultural critics’ study on mimicry, multiple voices and identity construction, I take the construction of cultural identity as a transitional process to fabricate a way to identify with the land that people live on. The colonial background and the postcolonial exploration in the Caribbean islands combined with its diverse racial components, the Caribbeans always experience the predicament in identity construction. Derek Walcott composes his writings from this complex environment and represents the identity formation through continuing observation and exploration. In Introduction, the historical context and the literary development in the Caribbean islands introduce the theme of history and cultural as the common consideration of Caribbean writers; therefore, among their writings, the construction of cultural identity situates a significant position in their writings. The Haitian Revolution plays a significant role in the cultural identity formation in the Caribbean literary writings, since it is the turning point to lead this area from colonization to postcolonial situation, and it inspires writers to review the historical incident and to rewrite the history that they, at this time, write by themselves. Derek Walcott’s The Haitian Trilogy comes not from a planned writing sequel, but from spontaneously reiterative consideration of the Haitian Revolution as a means to write the history of one’s own land and to construct the cultural identity from the self-articulation. Chapter Two—Henri Christophe examines the means of mimicry to loosen the colonial control over the colonized and furthermore subvert the colonial power. Chapter Three—Drums and Colours portrays the colonial and postcolonial subject relation by way of writing the colonial history and juxtaposing multiple voices of the different classes of characters. Chapter Four—The Haitian Earth aims to demonstrate the struggle to free from the colonization in order to construct the cultural identity from the identification with the land rather than with the remorse of the suffering past. The conclusion collocates the above discussion about the trilogy for the transitional process of the cultural identity formation and illuminates Walcott’s position on the construction of the cultural identity in the Caribbean islands and other similar areas.
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Wu, Kai-su, and 吳凱書. "Writing Survival: Death, Debt and Self in the Works of V. S. Naipaul, Derek Walcott and J. M. Coetzee." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/8wg86f.
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博士國立中山大學
外國語文學系研究所
103
What does it mean, “writing survival”? In what way does the fact of living after (or living over, or surviving) the significant others relate to writing? In posing these questions, this dissertation is interested in the dynamic convocation in which a writer approaches his legacy while he becomes a writer. In the works of three postcolonial writers, namely V. S. Naipaul, Derek Walcott, and J. M. Coetzee, this project looks into three different manners in which legacy is claimed and employed in the act of writing about oneself. It asks the basic question of what makes it necessary, with each author, to survive by way of writing? How, the query goes on, does writing provide its unique footage for them to deal with death, to turn dead death into living debt, to crack self from past as one cracks salt from earth? With Naipaul, writing survival involves a serial transfiguration of death into debt, and debt further into acts of reckoning that keeps turning the self around and eventually makes him whole. A House for Mr. Biswas (1961) is case in point of how writing is exactly the vocation in which “writing survival” is coterminous with “writing to survive.” Twenty years later, in “Prologue to an Autobiography” (1982), Naipaul reaffirms this aesthetics of transfiguration employed in his fiction with facts dug up from the life and times of his father. Even when this filial linearity of legacy turns somewhat awry when it goes transnational in The Enigma of Arrival (1987), survival in life still hinges around literary legacy for Naipaul. Chapters One and Two of this dissertation look into Naipaul’s take on how the matter of filiation on the personal level is congenial to that of affiliation on the transnational and transcultural level. Chapters Three and Four, on the other hand, study how Walcott takes issue with the conflict involved in both the fact of survival and the act of writing. If, as it is with Naipaul, writing is also the vocation in which the matter of survival is a lived experience, Walcott brings in a different set of factors that lend an elemental, material force to writing. In Another Life (1973), the divided child finds a congenial voice from the sea that promises healing to the heart of the writer who mourns. In Omeros (1990), the transatlantic site gives rise to a convocation of the multiple I in the narrative that, together with the legacy that is invoked and the venues around the seas that are visited, opens up a whole new horizon of reconciliation with the conflicts. The bard is the New World survivor who, with boost from the cosmopolitan ancestry he invokes, writes the vernacular larger than the local, contemporary life it appears to live. Chapter Five examines the many points of fleeing from the fixation with the sense of belonging that haunts Coetzee’s early life in two of his autobiographical work. Different from Naipaul’s filial piety and Walcott’s transatlantic linkage in his literary affiliation, Coetzee’s texts understand debt in ways of de-(af)filiation. In Boyhood (1997) John mourns for the life on the farm and in Youth (2002) he mourns for his aborted child. In both cases, home, like the nation that is called South Africa, is where the heart yearns to leave and to leave totally behind. The tales of fleeing in Boyhood and Youth are thus petite narratives of sort in which the self of the author can be written in exactly the manner in which he survives the totalizing dictation of the state apparatus. Writing, for these three authors, is an act of survival in an ethical sense because death is enunciated in the transfigured form of debt that they invoke, employ and make present in their writing. And survival, which always involves more than one self and more than one life, is therefore a unique mode of being in which writing can live up to the creative transformative enterprise it is.
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Barndollar, David Phillip Farrell John Philip Newton Adam Zachary. "The poetics of complexity and the modern long poem." 2004. http://repositories.lib.utexas.edu/bitstream/handle/2152/2124/barndollardp50540.pdf.
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Barndollar, David Phillip. "The poetics of complexity and the modern long poem." Thesis, 2004. http://hdl.handle.net/2152/2124.
Full textBooks on the topic "Derek Walcott`s plays"
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Figueroa, Victor. Not At Home In One's Home: Caribbean Self-Fashioning In the Poetry of Luis Palés Matos, Aimé Césaire, and Derek Walcott. Fairleigh Dickinson University Press, 2009.
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Westover, Daniel, and Thomas Alan Holmes, eds. The Fire That Breaks. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781942954361.001.0001.
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The Fire that Breaks traces Gerard Manley Hopkins’s continuing and pervasive influence among writers of the twentieth and twenty-first centuries. Not only do the essays explore responses to Hopkins by individual writers—including, among others, Virginia Woolf, Ivor Gurney, T. S. Eliot, Elizabeth Bishop, Seamus Heaney, Geoffrey Hill, Derek Walcott, Denise Levertov, John Berryman, Charles Wright, Maurice Manning, and Ron Hansen—but they also examine Hopkins’s substantial influence among Caribbean poets, Appalachian writers, modern novelists, and contemporary poets whose work lies at the intersection of ecopoetry and theology. Combining essays by the world’s leading Hopkins scholars with essays by scholars from diverse fields, the collection examines both known and unexpected affinities. The Fire that Breaks is a persistent testimony to the lasting, continuing impact of Hopkins on poetry in English.
Book chapters on the topic "Derek Walcott`s plays"
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Friedman, Rachel D. "Homeric Shadow, H/omeric Light." In Derek Walcott's Encounter with Homer, 263–304. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198802549.003.0008.
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Abstract This chapter provides an account of the processes by which the poem brings about the Poet’s multifaceted homecoming to the island and the fulfillment of his dream to become tribal poet. He moves from a diachronic to a synchronic relationship with Omeros and thereby becomes contemporary with him in all his incarnations—Greek bard, African griot, Sioux shaman. Throughout Omeros the blindness of these singers marks their highly refined inner vision, which gives rise to the authority of the tribal songs they sing. Walcott, drawing on the well-known ancient tradition that Homer was blind, expands the trope and plays with the name of the island—from the blinded saint whose own name was derived from the Latin word for “light,” lux, lucis. The poem effectively bypasses the Poet’s interrogation of Homeric metaphor. The real question for the Poet becomes not, When will I escape the obfuscating shade of Homer’s shadow?, but When will I achieve the clear sight of Omeros? This is a kind of vision which makes it possible to see, as he says, “the light of St. Lucia at last through her own eyes.” The H/omeric thus becomes for him not an obstacle but a vehicle for his clear seeing of his island and her people. In the descent through Soufrière, Omeros leads the Poet to the acquisition of the vision that will enable him to achieve the same status as the blind bard and to occupy the same temporal and creative space.
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Hayes, Patrick. "Autoethnography." In The Oxford History of Life-Writing, 155–90. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198737339.003.0007.
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The multilingualism of postcolonial life-writing brought new attention to how the self is situated within and between wider cultural frameworks not necessarily of one’s choosing, and a much sharper understanding of the relationship between language, identity and power. Yet at the same time, as various critics have been quick to observe, to emphasise non-translatable cultural differences is also to risk commodifying identity in a way that underlines (rather than transforms) historical legacies. This chapter explores the intricate and wide-ranging debates about language and identity that took place in this period between such figures as Ngũgĩ wa Thiong’o, Kamau Brathwaite, Grace Nichols, Wole Soyinka, Sally Morgan, Michelle Cliff, Daljit Nagra, Derek Walcott, V. S. Naipaul, and Arvind Krishna Mehrotra.