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LEMOS, GISELE CARDOSO DE. "ANGLO-INDIAN AND BRAZILIAN POSTCOLONIAL LITERATURES: PROFANE AND SACRED QUESTIONS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=13364@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
Este trabalho objetivou investigar como se caracteriza a identidade e a nação para escritores pós-coloniais em situação de deslocamento prolongado, através de suas obras, e como essas questões são geradas por meio dos encontros culturais que ocorrem em dois âmbitos: o real e o transcendente. Para a sua realização, procedeu-se à seleção de material teórico sobre os tópicos acima citados. Além do referido material bibliográfico, esta pesquisa também contou com um corpus de uma obra intitulada A doçura do mundo, de Thrity Umrigar, e outra de nome De olho nas penas, de Ana Maria Machado. Nesse sentido, o presente trabalho estruturou-se da seguinte forma: na introdução, delimita-se o tema e explica-se a motivação para este estudo; o capítulo 2 faz um breve percurso histórico que conecta a América Latina à Índia por meio do imaginário dos descobrimentos e outras condições subalternas em relação ao centro europeu; o capítulo 3 traz algumas teorias relacionadas às problemáticas da identidade e nação desde o período colonial até o período pós-colonial, contemplando seu fenômeno característico - o deslocamento prolongado; o capítulo 4 proporciona algumas teorias relacionadas ao estudo de mística e cultura, abordando as questões pós-coloniais estudadas no capítulo anterior, porém, em um nível transcendente; o quinto capítulo refere-se à análise da obra A doçura do mundo; no capítulo 6, consta a análise da obra De olho nas penas; e, finalmente, no capítulo 7, tem-se as conclusões obtidas com a realização deste estudo.
This paper aims investigating the concept of nation and identity which are characterized to the postcolonial writers in lingering displacement condition, through their work, and how these questions are generated by cultural encounters which happen in two levels - the real ambit and the transcendent one. To make it, there was the selection of the theoretical material. Beyond the mentioned bibliographic material, this research has also a corpus of two works called If today be sweet, by Thrity Umrigar, and another called De olho nas penas, by Ana Maria Machado. In this sense, the current work has been structured as following: in the introduction, the theme is delimited and the motivation to this study is explained; in chapter two a brief historical route connecting Latin American to India is built through the imaginary of the discoveries and other subaltern conditions in regard to the European center; in chapter three some theories regarded to the identity and the nation problematic is shown, since the colonial period until the postcolonial period, contemplates its characteristic phenomenon  the lingering displacement from the original land; in chapter four some theories regarded to the mystic studies and culture are provided, showing the postcolonial questions studied in the previous chapter, however, in a transcendent level; the fifth chapter refers to the analysis of the work If today be sweet; chapter six, consists of the analysis of the work De olho nas penas; and, finally, the chapter seven presents the conclusions achieved with this study.
Este trabajo buscó investigar como se caracteriza la identidad y la nación para los escritores postcoloniales en situación de traslado prolongado, a través de sus obras, y como esas cuestiones son obtenidas por medio de los encuentros culturales que ocurren en dos ámbitos: lo real y lo trascendente. Para su conclusión, hubo la selección del material teórico sobre los tópicos anteriormente citados. Además de lo referido material bibliográfico, esta investigación también presenta un corpus de una obra titulada A doçura do mundo, de Thrity Umrigar, y otra de nombre De olho nas penas, de Ana Maria Machado. En ese sentido, el presente trabajo fue estructurado de la siguiente forma: en la introducción, se delimita el tema y se explica la motivación para este estudio; el capítulo 2 hace un breve recorrido histórico que conecta Latinoamérica con India por medio del imaginario de los descubrimientos y otras condiciones subalternas en relación al centro europeo; el capítulo 3 proporciona algunas teorías relacionadas a las problemáticas de la identidad y la nación desde el período colonial hasta el período postcolonial, contemplando su fenómeno característico - el traslado prolongado; el capítulo 4 presenta algunas teorías relacionadas al estudio de la mística y la cultura, abordando las cuestiones postcoloniales estudiadas en el capítulo anterior, pero, en un nivel trascendente; el quinto capítulo se refiere al análisis de la obra A doçura do mundo; en el capítulo 6, consta el análisis de la obra De olho nas penas; y, por fin, en el capítulo 7, hay las conclusiones obtenidas con la realización de este estudio.
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Marshall, Rosalie Dempsy. "On being West Indian in post-war metropolitan France : perspectives from French West Indian literature." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3334/.
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Most research into contemporary French West Indian literature focuses on writing that stresses the significance of the plantation and urban cultures of the islands in the early to mid-twentieth century or, more recently, on the desire of some writers to explore broader trans-national influences or environments. Despite the prominence of migration in post-war French West Indian history, however, less has been said about the engagement of French West Indian literature with migration to metropolitan France. Although commentators have recently begun to discuss the work of a handful of writers in connection with migration to the métropole, this thesis offers a full-length analysis of the issue, bringing writers, texts and literary and cultural theories together with the cultural and sociological context of migration to metropolitan France. I comment on a variety of well-known authors and texts, while also presenting writers and writing that have frequently been neglected in other studies. I also consider the reasons for what I believe to be both the slow development of a literature of migration, as well as the low profile of this issue within Francophone literary studies. Part One, ‘French and West Indian: Historical and Sociological Contexts’, considers the broad context of migration, reflecting on how that context impacts on the West Indians and their descendants in the métropole. Part Two, ‘Theory and the French West Indian Diaspora’, looks at colonisation, postcolonial criticism, and the current scholarship devoted to them, as these concern the issues of migration and identity in sociological and literary terms. Part Three, ‘Patterns of Discourse: Reflections of the Métropole’, takes recurrent themes that have appeared in the works of a variety of less well-known writers, including writers of West Indian origin born in the métropole. In Part Four, ‘Siting the Métropole’, I examine three successful yet very different writers and consider their contributions to the literature of migration, in the light of the reflections made and the patterns uncovered earlier in this thesis. My conclusion unites the themes of inclusion and exclusion that this subject brings to the fore, and suggests potential literary and scholarly developments for the future.
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Roy, Mantra. ""Speaking" Subalterns: A Comparative Study of African American and Dalit/Indian Literatures." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3441.
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“Speaking Subalterns” examines the literatures of two marginalized groups,African Americans in the United States and Dalits in India. The project demonstrates how two disparate societies, USA and India, are constituted by comparable hegemonic socioeconomic-cultural and political structures of oppression that define and delimit the identities of the subalterns in the respective societies. The superstructures of race in USA and caste in India inform, deform, and complicate the identities of the marginalized along lines of gender, class, and family structure. Effectively, a type of domestic colonialism, exercised by the respective national elitists, silence and exploit the subaltern women and emasculate the men. This repression from above disrupts the respective family structures in the societies, traumatizes the children, and confuses the relationships between all the members of the families. While African American women, children, and men negotiate their national identities in USA, Dalits, the former Untouchables, attempt to realize their national identities guaranteed by the Indian Constitution. While successful resistance to oppression informs the literatures written by these historically marginalized peoples, thereby giving voice to the silenced subalterns, I argue that it is equally important to be attentive to the simultaneous silencing that has not ended. Moreover, we must be skeptical about the power seemingly achieved by the subalterns in articulating their claims to legitimate rights because re-presentation of subaltern resistance by the elite intellectualsand by subalterns themselves becomes a critical inquiry.
Thus, while some subaltern women claim agency through representation, their narratives may not be exempt from hegemonic control. Others are thoroughly misrepresented by elitists. While some subaltern mothers undertake outlaw mothering by defying normative patriarchal motherhood, responsible representation can re-cover these tales which are silenced when these mothers succumb to their children and community’s disparagement. While some subaltern children may survive disastrous experiences, others may be traumatized into silence. Representation bears witness to these traumatic silences and the silencing processes. While historically emasculated subaltern men may vent and represent their rightful frustration and wrath against the oppressors, they may be simultaneously silencing their own doubly-oppressed women.
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Dewey, Janice Laraine. "The myth of the Amazon woman in Latin American literatures and cultures." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185579.
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This study explores evocations of the concept of the "Amazon Woman" and her female tribe, from cross-continental prehistoric sources to contemporary ritual practice within native amerindian belief systems of the rain forests of South America. The designation "Amazon" for the world's largest river has often been considered a grand "mistake" made by sixteenth century explorers; imaginative portrayals of Amazons had invigorated the reports of numerous early travelers, including Marco Polo, Columbus, and Hernan Cortes. This analysis establishes the importance of a reconsideration of the Amazon "mistake," or the idea that Europeans were projecting the fantastical worlds and dramatic personae of classical Greek legends and later romances of chivalry onto the realms of New World daily experience. The deep roots of prehistoric and historic civilizations carry the fragmentary genesis of matristic views of the world--the Mother, deified as Warrior, is a constant sign and symbol interplaying within the semiotics of the Amazon. The amazons of the New World were both ancient sister kin and actual tribal homosocial units who played vital roles in sacred religious beliefs and clan organization. I read the corpus of chronicles on, and studies of, the question of Amazons through a multi-faceted and multidisciplinary lense: archeology, history, anthropology, ethnography, mythology, literary criticism, and the sciences all intertwine to provide a more wholistic view of the subject. The text of the Amazons is clarified here by the consideration of prehistoric fragment upon fragment, reuniting five tribal narratives from the rain forests of South America, which reconstitutes the overall corpus of the Amazon mythos in Latin America. An autobiographical opening juxtaposes the continuum between the personal and cultural microstructures of my own approach to this subject with the macrostructures of the socio-symbolic order generally, and keeps a double focus constantly at play throughout the entire analytical text. Finally, Amazons are defined as evocations of natural phenomena and the diversity of animal and human behaviors as represented in mythical, cultural, and social spheres. This thesis comprises a literary analytical process I define as "ecotextuality": the reading of biotic diversity through its multiple languages, not excluding the "I" of the reader/writer.
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Burford, Arianne. "Between Women: Alliances and Divisions in American Indian, Mexican American, and Anglo American Literatures of Protest to Colonialism." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/195349.
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Between Women: Alliances and Divisions in American Indian, Mexican American, and Anglo American Literatures of Protest to Colonialism investigates nineteenth- and twentieth-century women writers' negotiation of women's rights discourses. This project examines the split between nineteenth-century women's rights groups and the Equal Rights Association to assess how American Indian, Mexican American, Anglo women, and, more recently, Chicana writers provide theoretical insights for new directions in feminisms. This study is grounded historically in order to learn from the past and continue efforts toward "decolonizing feminisms," to borrow a phrase from Chandra Mohanty. To that end, current feminist theories about alliances and solidarity are linked to ways that writers intervene in feminisms to simultaneously imagine solidarity against white male colonialist violence and object to racism on the part of Anglo women. Like all the writers in this study, Sarah Winnemucca's Life Among the Piutes: Their Wrongs and Claims (1883) challenges Anglo women to not be complicit with Anglo male colonialist violence. Winnemucca's testimony illuminates the history of alliances between Anglo and Native women and current debates amongst various Native women activists regarding feminism. Between Women traces how Anglo American writer Helen Hunt Jackson's Ramona (1884) protests effects of U.S. colonialism on Luiseno people and her negotiation of feminisms compared with Winnemucca's writing and Maria Amparo Ruiz de Burton's The Squatter and the Don (1885) and Who Would Have Thought It? (1872), novels that protest the effects of U.S. colonialism on Mexican Americans, particularly women. It then compares Ruiz de Burton's writing to Helena Maria Viramontes's Under the Feet of Jesus (1995) and Cherrie Moraga's Heroes and Saints (1994), texts that acknowledge the difficulties of forming alliances between women in the context of exploitation, pesticide poisoning of Chicanas/os, and border policies. The epilogue points to Evelina Lucero's Night Sky, Morning Star (2000), demonstrating how an understanding of the history that Winnemucca engages elucidates American Indian literature in the twenty-first century. By looking deeply at how nineteenth-century conflicts effect us in the present, scholars and activists might better assess tactics for feminisms in the twenty-first century that enact an anti-colonialist feminist praxis.
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Allen, Chadwick 1964. "Blood as narrative/narrative as blood: Constructing indigenous identity in contemporary American Indian and New Zealand Maori literatures and politics." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/289022.
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Following the end of World War II and the formation of the United Nations organization, indigenous minorities who had fought on behalf of First World nations--including record numbers of New Zealand Maori and American Indians--pursued their longstanding efforts to assert cultural and political distinctiveness from dominant settler populations with renewed vigor. In the first decades after the War, New Zealand Maori and American Indians worked largely within dominant discourses in their efforts to define viable contemporary indigenous identities. But by the late 1960s and early 1970s, both New Zealand and the United States felt the effects of an emerging indigenous "renaissance," marked by dramatic events of political and cultural activism and by unprecedented literary production. By the mid-1970s, New Zealand Maori and American Indians were part of an emerging international indigenous rights movement, signaled by the formation and first general assembly of the World Council of Indigenous Peoples (WCIP). In "Blood As Narrative/Narrative As Blood," I chronicle these periods of indigenous minority activism and writing and investigate the wide range of tactics developed for asserting indigenous difference in literary and political activist texts produced by the WCIP, New Zealand Maori, and American Indians. Indigenous minority or "Fourth World" writers and activists have mobilized and revalued both indigenous and dominant discourses, including the pictographic discourse of plains Indian "winter counts" in the United States and the ritual discourse of the Maori marae in New Zealand, as well as the discourse of treaties in both. These writers and activists have also created powerful tropes and emblematic figures for contemporary indigenous identity, including "blood memory," the ancient child, and the rebuilding of the ancestral house (whare tipuna). My readings of a wide range of poems, short stories, novels, essays, non-fiction works, representations of cultural and political activism, and works of literary, art history, political science, and cultural criticism lead to the development of critical approaches for reading indigenous minority literary and political activist texts that take into account the complex historical and cultural contexts of their production--local, national and, increasingly, global.
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Durdana, Benazir. "Muslim India in Anglo-Indian fiction /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487944660930967.
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Ramos, Regiane Corrêa de Oliveira. "Amitav ghoshs Sea of poppies (2008): a web of gender, cultural and mythic relations in the nineteenth-century colonial India." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-09082016-093021/.
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This doctoral dissertation focuses on Amitav Ghoshs Sea of Poppies (2008) to investigate, from a postcolonial perspective, the way in which the writer deconstructs gender in the nineteenth-century India. In Chapter I, I analyze men and women within the Indian familial space in the nineteenth century, demonstrating how both are subjected to the disempowering effects of traditional rituals (such as sati), structures of Brahminical morality and patriarchal violence. The main character pair Deeti and Kalua is an example of how the persons are sexually assaulted (rape) and then silenced by an oppressive system. Chapter II, I examine men and women within the British colonial space, indicating how they are effected by the opium cultivation in the Indian hinterland. The peripheral characters peasants, eurasian and convicts are highlighted to show how they are uprooted from homeland and forced to be taken across the seas by the colonial administration to work as indentured labour. In Chapter III, I investigate the gender roles ascribed to Indians by the British colonizers. The secondary character pair Nob Kissin and Taramony shows how Ghosh deconstructs gender with the use of Indian mythology and storytelling. In the conclusion, I point out how Indian mythology is retrieved as an instrument of resistance.Esta tese de doutorado tem como objetivo investigar, sob a luz do questionamento póscolonial, como Amitav Ghosh em Sea of Poppies (2008) desconstrói a narrativa colonial sobre gênero na Índia colonial no século XIX. No Capítulo I, analiso homens e mulheres dentro do espaço familiar indiano, demonstrando como ambos estão sujeitos aos efeitos de desempoderamento dos rituais (como sati), da moralidade bramânica e da violência patriarcal. As personagens Deeti e Kalua exemplificam como os sujeitos, vítimas de violência sexual (estupro), são silenciados pelo sistema opressor. No Capítulo II, examino homens e mulheres dentro do espaço colonial britânico, indicando como os indivíduos são afetados pelo cultivo do ópio na Índia. As personagens periféricas camponeses, anglo-indianos e condenados servem de exemplo para destacar como essas pessoas são arrancadas de seu país e forçadas a migrar para as colônias inglesas. No Capítulo III, investigo como os ingleses inferiorizam os indianos. As personagens secundárias Nob Kissin e Taramony mostram como o conceito de gênero é desconstruído através da mitologia. Concluo argumentando que Amitav Ghosh faz uso da mitologia indiana como um instrumento de resistência.
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Ramos, Regiane Corrêa de Oliveira. "Entre Oriente e Ocidente: as vozes das travessias em Amitav Ghosh." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-20092011-093307/.
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A literatura indiana de lingua inglesa desenvolveu uma identidade própria desde que o gênero romance foi levado para o subcontinente indiano pelos ingleses no século XIX. O encontro desse romance com as narrativas orais e as tradições locais favoreceu um tratamento diferente do tempo e do espaço nas obras. Esta disertação tem por objetivo analisar dois romances de Amitav Ghosh, The Shadow Lines (1988) e The Hungry Tide (2004), tendo como foco as questões relativas ao tempo e ao espaço, às fronteiras, às grandes e perquenas narrativas e às figuras femininas nelas retratadas. Ao ultrapassar os limites impostos pelos ideais nacionalistas e patriarcais, a mulher dos romances de Amitav Ghosh cruza as fronteiras culturais e sociais, rompendo com os padrões atribuídos a ela. Sua capacidade de transformar um espaço, vista antes como uma tribuição do homem, é folcalizada nas duas obras estudadas. Se Ghosh questiona as grandes narratibas em contraponto com as pequenas, as quais retratam as pessoas excluídas da historiografia oficial, e redefinem o papel da mulher na sociedade que atua, quais são os conflitos gerados por esse contraponto? O ato de cruzar das fronteiras é um espaço simbólico das transformações e rupturas originadas pela ação feminina ou elas não dependem da mulher? Na nossa apreciação, a agência política da mulher propicia tais transformações, devido às rupturas ligadas ao processo do deslocamento, e acontecem em dois níveis: no sujeito, na busca identitária do pertecimento, analisada no primeiro capítulo com o romance The Shadow Lines, e no da prática social pela agência do próprio sujeito, assim como apresentado no romance The Hungry Tide. Um dos tópicos analisados na dissertação é a representação da mulher como agente dessas rupturas por meio dos diferentes recursos textuais usados pelo narrador. Desde uma perspectiva da teoria pós -colonial, destacamos nas duas obras o uso de paralelismos históricos e sociais como via de entendimento dos dramas e lutas pessoais. Tendo a consciência de que todas as narrativas, sejam oficiais ou secundárias, caminham lado a lado estabelecendo relações conflituosas, ressaltando o papel das personagens femininas, cujos recorrentes deslocamentos questionam e problematizam os paradigmas sociais vigentes e constroem espaços simbólicos que se configuram pelo cruzamento de fronteiras geográficas e sócio-culturais.Indian literature in english has developed its own identity since the genre novel was taken to the Indian subcontinent by the British in the 19th century. The encounter of the novel with the oral narratives and the local traditions made different ways of dealing with space and time in the works possible. The main purpose of this dissertation is to analyse two of Amitav Ghosh\'s novels, The Shadow Lines (1988) and The Hungry Tide (2004), focusing on the questions related to time and space, frontiers, history, and stories and the female characters depicted in them. Crossing the borders imposed by nationalist and patriarcal ideals, woman ideals, womam in Ghosh\'s novels crosses cultural and social frontiers, breaking stereotypes and social patterns given to them. Her ability to transform a space, normally dominated by men, is studied in the two novels. If Ghosh questions history as opposed to stories which depict peopel excluded from national historiography, redefining the woman\'s role in the society where she lives, which are the conflicts that spring from this opposition? Is the act of crossing borders a symbolic space of transformation and ruputures caused by female action, or do these ruptures not depend on the women? According to our view, woman\'s political agency provides these transformations, due to the broken bonds resulting from the process of dislocation, and they happen on two levels: the level of the subject , in her desire for bellonging, analyzed in the first chapter with the novel The Shadow Lines, and the level of social practice by the subject agency, as represented in the novel The Hungry Tide. Onde of the themes analyzed in this dissertation is the representation of woman as the agent of these ruptures through different literary approaches used by the narrator.Following the post-colonialtheory, we highlight in the two novels the use of historical and social parallelisms as a means of understanding the dramas and human predicaments. Being aware that all narratives, primary or secondary, have the same background, establishing conflicting relations, we point out the role of female characters, whose various displacements question and challenge the existing social paradigms and construct symbolic spaces which are built up by crossing geographical, social and cultural frontiers.
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Colpitts, George. "Vice, virtue and profit in the Indian trade, trade narrative and the commercialization of Indians in America, 1700-1840." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ59571.pdf.
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Chowdhury, Khairul Haque. "Three Bangladeshi plays considered in postcolonial context." Access E-Book Access E-Book, 1999. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20010919.141455/index.html.
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Lindström, Cecilia. "Prejudice Within Native American Communities : - a literary study of the prejudice expressed in Love Medicine and The Absolutely True Diary of a Part-Time Indian." Thesis, Högskolan i Gävle, Engelska, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-23858.
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The Native American characters in Love Medicine and The Absolutely True Diary of a Part-Time Indian experience prejudice from other Native Americans and suffer from internalized norms and values. This study examines whether or not the prejudice the fictional characters in Love Medicine and The Absolutely True Diary of a Part-Time Indianexperience and express as Native Americans unite them as a community or not. It also investigateshow they view white society andif the Native American characters have prejudice against the members of their own tribal community. The analysis is partially based on postcolonial theory and focuses on terms such as internalisation, acculturation and prejudice. The thesis found that the communitiesare united on the premises that they conform to the Native American norms but any deviation from these norms has the potential to divide them.
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Usbeck, Frank. "Fighting Like Indians. The "Indian Scout Syndrome" in American and German War Reports of World War II." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2016. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-195491.
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Whether invoking the noble—or the cruel—savage, the image of Native Americans has always included notions of war and fighting. Non-Natives have attributed character traits to them such as cunning, stealth, endurance, and bravery; and they have used these im ages to denounce or to idealize Native Americans. In the U.S., a prolon ged history of frontier conflict, multiplied by popular frontier myths, has resulted in a collective memory of Indians as fighters. While images of fighting Indians have entered American everyday language, Germans have had no significant collective history of American frontier settlement and conflicts with Native Americans. Nevertheless, they have acquired a number of idioms and figures of speech relating to Indian images due to the romanticized euphoria for Native themes, spurred by popular nove ls and Wild West shows.
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Chakraborty, Thirthankar. "Samuel Beckett and Indian literature." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/59865/.
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Godot ke Intezar Mein (Hindi), Godor Pratikshay (Bengali), Eppo Varuvaru (Tamil), Kalpo Ke Kalpana Mari Parvari Chhe (Gujarati), Edin Ahibo Teu (Assamese), Su Yee (Kashmiri): these are just some of the translations and adaptations of Samuel Beckett's Waiting for Godot into Indian languages. They reveal how Beckett's chef d'oeuvre has reached every corner of the country, from Tamil Nadu in the South, to Kashmir in the North, Assam in the East, and Gujarat in the West. Just as Honoré de Balzac's fictitious Godeau returns prosperously from 'Les Indes' in Le Faiseur (1848), Beckett's Godot gains from the remarkable dissemination through a multilingual, multicultural, social, and political space of post-independence India. This thesis, divided into three parts, is a comparative study of the relation between Samuel Beckett's works and Indian prose fiction, drama, and cinema, from the moment when Beckett's oeuvre was first introduced in India. Engaging with recent debates on the concept of world literature, it assesses three phases that are pertinent to the three parts and the circulation of Beckett's works through India: 1) the topical-planetary phase: Beckett's influence on Anglo Indian novelists, starting with Salman Rushdie; 2) the world-making phase: the circulation of Beckett's works amongst Indian playwrights, based on themes, writing techniques and style; and 3) the canonical phase: Beckett's pervasive presence rather than direct influence in Indian mainstream and experimental cinema. Put together, these three parts form a three-phase evolution, and a conceptual framework for world literature. In exploring Beckett's influence, circulation, and pervasive presence in Indian literature, alongside adaptations and re-creations of Beckettian motifs, characters, and stylistic techniques, this thesis not only re-conceives of Beckett's place in world literature today, but it also presents a process by which his works achieve canonicity. Starting with the works of Rushdie, the thesis charters new territories where Beckett's works have found a place, while the comparative approach draws attention to the heterogeneous and complex nature of modern Indian literature.
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Usbeck, Frank. "Fighting Like Indians. The "Indian Scout Syndrome" in American and German War Reports of World War II." Universitätsverlag Winter, 2012. https://tud.qucosa.de/id/qucosa%3A29199.
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Whether invoking the noble—or the cruel—savage, the image of Native Americans has always included notions of war and fighting. Non-Natives have attributed character traits to them such as cunning, stealth, endurance, and bravery; and they have used these im ages to denounce or to idealize Native Americans. In the U.S., a prolon ged history of frontier conflict, multiplied by popular frontier myths, has resulted in a collective memory of Indians as fighters. While images of fighting Indians have entered American everyday language, Germans have had no significant collective history of American frontier settlement and conflicts with Native Americans. Nevertheless, they have acquired a number of idioms and figures of speech relating to Indian images due to the romanticized euphoria for Native themes, spurred by popular nove ls and Wild West shows.
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Shalom, Naama. "Ends of the Mahābhārata." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:eef9d82e-859c-40f1-afc5-c0a9041c011b.
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The assertion that the Mahābhārata (MBh) narrative is innately incapable of achieving a conclusion has attained the status of a disciplinary truism in the epic’s study. My thesis challenges this prevalent assumption by proposing an un-investigated path of inquiry into the philological, historical, literary and semantic aspects of the epic. The thesis discusses the ending of the MBh, the Svargārohaṇa parvan (SĀ) by exploring several trajectories: the study of the SĀ in epic scholarship; its reception in the later tradition in Sanskrit literature; and finally, the problematic aspects of the SĀ and its relation to the rest of the narrative. It first points out that in comparison to other MBh episodes, the SĀ has been received with significant disregard or suppression in the literature commenting on the epic. Second, it characterizes the nature of the suppression of the SĀ in each of the three literary strands commenting on the MBh (epic scholarship, Sanskrit adaptations and theoretical discourses). It argues that all of these considerations, which are external to the MBh, have tended, in various modes, to suppress, ignore or overlook the importance of the SĀ. The thesis then proceeds to argue that on the most significant and internal level of the text itself, the SĀ is intrinsically consistent with the rest of the MBh narrative, and that this makes it thematically integral to the text as a whole. This argument derives from the importance with which this study addresses the moment of the condemnation of dharma in the SĀ, and is furthered by a philological and semantic study, as well as textual analyses of the multiple occurrences of the Sanskrit verb garh throughout the MBh. The use of this verb by the epic protagonist, Yudhiṣṭhira, in condemning his father, Dharma, at the last scenes of the SĀ comprises a key moment that bears significant and myriad implications upon the understanding of this pivotal concept (dharma), to which the entire epic is devoted.
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Rampaul, Giselle A. "The carnivalesque in West Indian literature." Thesis, University of Reading, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406623.
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Nandi, Swaralipi. "Narrating The New India: Globalization And Marginality In Post-Millennium Indian Anglophone Novels." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1342390183.
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Potts, Henry M. "Native American values and traditions and the novel : ambivalence shall speak the story." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26754.
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The commitment to community shared by Native American authors such as N. Scott Momaday, James Welch, and Louise Erdrich is partially evinced by each author's readiness to inscribe in novel form the values and traditions of the tribal community or communities with which he/she is closely associated. Many students of the novel will attest to its pliant, sometimes transmutable nature; nevertheless, as this study attempts to make clear, there are some reasons why Native American authors should reconsider using the novel as a means to express their tribal communities' values and traditions. Unambivalent prescriptions, however, seem more suited to the requirements of law or medicine; and so this study also examines some of the reasons why Native American authors should continue to embrace this relatively "new" art form persistently termed the novel.
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BALDI, ROBERTA GIOVANNA. "I "Departmental Ditties" di Rudyard Kipling: dalla serie del 1886 apparsa sulla Civil and Military Gazette alla sequenza inglese del 1890." Doctoral thesis, Università Cattolica del Sacro Cuore, 2007. http://hdl.handle.net/10280/164.
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La tesi investiga i Departmental ditties' di Rudyard Kipling.
Il capitolo uno delinea in particolare la permanenza dell'autore in India come sub-editor' della Civil and Military Gazette, che tra il febbraio e l'aprile del 1886 pubblica la serie dei Departmental Ditties'. Il capitolo due esamina i dieci microtesti originari. Il capitolo tre discute le maggiori alterazioni testimoniate dalla sequenza poetica nelle sue prime quattro edizioni in Departmental ditties and other verses (1886, 1888 E 1890).The dissertation investigates Rudyard Kipling's 'Departmental Ditties'. Chapter One refers in particular to Kipling's sojourn in India as sub-editor of the Civil and Military Gazette, which between February and mid-April 1886 published the 'Departmental Ditties' series. Chapter Two investigates the ten original poems. Chapter Three discusses the main alterations of the sequence by comparing its first four editions in the poetic collection departmental ditties and other verses (1886, 1888 and 1890).
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Osborne, Stephen D. "Indian-hating in American literature, 1682-1857 /." Thesis, Connect to this title online; UW restricted, 1989. http://hdl.handle.net/1773/9484.
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Monroe, Suzanne Stolz. "Images of Native American female protagonists in children's literature, 1928-1988." Diss., The University of Arizona, 1988. http://hdl.handle.net/10150/184580.
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The purpose of this study has been to determine prevalent images of Native American female protagonists in Children's Literature from 1928-88, and to note trends in images during the past 60 years. A content analysis of 60 picture books and chapter books has been completed and presented in a descriptive and interpretative format. The most prevalent image of Native American female protagonists in children's literature is a traditional one. This image is consistent throughout the literature from 1928-88, and appears to be represented by both Native American and non-Native American authors and illustrators. Traditional-transitional images appeared between 1957 and 1967, while contemporary images first appeared in the 1970s. In general, the Native American female protagonists in this population of books are presented as strong and positive characters expressing a wide range of emotions. They are named, identified by tribe, and depicted as having multiple skills and interests. They are active and most often appear in rural and outdoor settings within the context of the extended family. Many protagonists are of Southwestern heritage, often depicted as Navajo or Pueblo girls of ages 4-13. Although female protagonists in this population of books are generally characterized as strong and positive, there are still too few books representing strong female Native American images in the whole of children's literature. This research confirms previous findings that Native American male protagonists outnumber female protagonists approximately 10 to 1. Native American authors and illustrators have created approximately one-third of the books in this population. There are 19 Native American authors and 21 Native American illustrators. The earliest books were published by large press; Native press has increased publication since 1975. This research confirms the need for more books featuring Native American female protagonists; more books depicting protagonists from diverse tribal backgrounds, in contemporary settings, urban environments and literate contexts; more books building on the oral tradition and legends of the Southwestern tribes; more involvement of Native American authors, illustrators and publishers in children's literature; and more mentoring of Native American developing authors.
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Chattopadhyay, Sayan. "Foreign selves : Indian self-fashioning as European and twentieth-century Indian English literature." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648897.
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Erll, Astrid. "Prämediation - Remediation : Repräsentationen des indischen Aufstands in imperialen und post-kolonialen Medienkulturen (von 1857 bis zur Gegenwart)." Trier WVT Wiss. Verl. Trier, 2007. http://www.wvttrier.de/top/Beschreibungen/ID513.html.
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Wattenbarger, Melanie. "Reading Postcolonialism and Postmodernism in Contemporary Indian Literature." Ohio Dominican University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=odu1351102017.
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Farrington, Tom Joseph William. "'Breaking and Entering' : Sherman Alexie's urban Indian literature." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/10589.
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This thesis reads the fiction and poetry of Spokane/Coeur d’Alene writer Sherman Alexie as predominantly urban Indian literature. The primary experience of the growing majority of American Indians in the twenty-first century consists in the various threats and opportunities presented by urban living, yet contemporary criticism of literature by (and about) American Indians continues to focus on the representations of life for those tribally enrolled American Indians living on reservations, under the jurisdiction of tribal governments. This thesis provides critical responses to Alexie’s contemporary literary representations of those Indians living apart from tribal lands and the communities and traditions contained therein. I argue that Alexie’s multifaceted representations of Indians in the city establish intelligible urban voices that speak across tribal boundaries to those urban Indians variously engaged in creating diverse Indian communities, initiating new urban traditions, and adapting to the anonymities and visibilities that characterise city living. The thesis takes a broadly linear chronological structure, beginning with Alexie’s first published collection of short stories and concluding with his most recent works. Each chapter isolates for examination a distinct aspect of Alexie’s urban Indian literature, so demonstrating a potential new critical methodology for reading urban Indian literatures. I open with a short piece explaining my position as a white, British scholar of the heavily politicised field of American Indian literary studies, before the introductory chapter positions Alexie in the wider body of Indian literatures and establishes the historical grounds for the aims and claims of my research. Chapter one is primarily concerned with the short story ‘Distances’, from The Lone Ranger and Tonto Fistfight in Heaven (1993), and the Ghost Dance religion of the late nineteenth century, reading Alexie’s representations of this phenomenon as explorations of the historical and political tensions that divide those Indians living on tribal lands and those living in cities. Chapter two discusses the difficulties of maintaining a tribal identity when negotiating this divide towards the city, analysing the politics of indigenous artistic expression and reception in Alexie’s first novel, Reservation Blues (1995). Alexie’s second novel, Indian Killer (1996), signals the relocation of his literary aesthetics to the city streets, and chapter three detects and unravels the anti-essentialist impulse in Alexie’s (mis)use of the distinctly urban mystery thriller genre. Grief, death and ritual are explored in chapter four, which focusses on selected stories from Ten Little Indians (2003), and explains Alexie’s characters’ need for new, urban traditions with reference to an ethics of grieving. Chapter five connects the politics of time travel to the representation of trauma in Flight (2007), and addresses Alexie’s representations of violence in Ten Little Indians and The Toughest Indian in the World (2000), proposing that it is the structural violences of daily life, rather than the murder and beatings found throughout his work, that leave lasting impressions on urban Indian subjectivities. My conclusion brings together my approaches to Alexie’s urban Indian literature, and suggests further areas for research.
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Benavidez, Zachary. "Shaping an audience in American Indian women's literature." Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/457179114/viewonline.
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Salles, Juliana Almeida. "Empowering natives through autobiographical writing: Lee Maracles Bobbi Lee indian rebel and Leslie Marmon Silkos The turquoise ledge: a memoir." Universidade do Estado do Rio de Janeiro, 2014. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=7043.
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Esta dissertação trata de duas obras autobiográficas escritas por autoras nativas que ganharam reconhecimento na década de 70: Bobbi Lee Indian Rebel (1975), da nativo-canadense Lee Maracle, e The Turquoise Ledge: a Memoir (2010), da nativo-americana Leslie Marmon Silko. A importância destas autoras para a Renascença Nativo-Americana/Canadense é inegável, e cada uma delas contribuiu fazendo uso de estratégias diferentes: enquanto Maracle começou sua carreira com Bobbi Lee Indian Rebel, de cunho autobiográfico, Silko esperou mais de trinta anos para publicar The Turquoise Ledge. A problematização de se ver estas obras pelo olhar estritamente ocidental, ou estritamente nativo, é discutida, assim como o aparentemente inevitável tom político dessas narrativas. Ainda que mais de três décadas separem a publicação das obras selecionadas, perguntas como: Estas obras podem ser consideradas literatura?, Elas têm como principal propósito engrandecer feitos pessoais das autoras?, ou Como essas narrativas contribuem para o empoderamento do povo Nativo? podem nunca chegar a serem respondidas, mas, de fato, incitaram a escrita desta dissertação e nortearam nossa análiseThis dissertation brings to the fore two autobiographical works by Native women authors who first gained recognition in the 1970s: Bobbi Lee Indian Rebel (1975), by Native-Canadian Lee Maracle and The Turquoise Ledge: a Memoir (2010), by Native-American Leslie Marmon Silko. These womens undeniable importance to the Native American/Canadian Renaissance is clear, and each of these authors decided to contribute to Native literature using different strategies: while Maracle started her career with Bobbi Lee Indian Rebel, an autobiographical work, Silko waited over thirty years to publish her The Turquoise Ledge. The problematization of seeing either works strictly through Western or strictly through Native perspectives is also addressed here, along with the apparently inevitable political tone present in both narratives. Despite the fact that the two selected works have been written over three decades apart, questions such as: Can these works be considered literature?, Do they have as main purpose to highlight the authors personal accomplishments? or How do they work to empower the Native people? may never be answered, but they did incite the writing of this dissertation and guided our analysis
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Stigter, Shelley, and University of Lethbridge Faculty of Arts and Science. "Double-voice and double-consciousness in Native American literature." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Sciencec, 2005, 2005. http://hdl.handle.net/10133/288.
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This thesis follows the interaction of "double-voicing" and "double-consciousness" in Native American literary history. It begins with surviving records from the time of colonial contact and ends with works by Leslie Marmon Silko and Thomas King, two contemporary authors of the Native American Literary Renaissance. "Double-voicing" is a common feature found in many works preserved by early anthropologists from various Native American oral traditions. However, after colonial contact this feature largely disappears from literary works written by Native American authors, when it is replaced by the societal condition "double-consciousness." With the revitalization of cultural knowledge in the mid-twentieth-century, Native authors also revitalize their rhetorical techniques in their writing and the "double-voice" feature reemerges coupled with a bicultural awareness that is carried over from "double-consciousness."vi, 98 leaves ; 29 cm.
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McHodgkins, Angelique Melitta. "Indian Filmmakers and the Nineteenth-Century Novel: Rewriting the English Canon through Film." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1130955416.
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Thesis (M.A.)--Miami University, Dept. of English, 2005.Title from first page of PDF document. Document formatted into pages; contains [2], 52 p. Includes bibliographical references (p. 51-52) and filmography (p. 50).
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Ohnuma, Reiko. "Head, eyes, flesh, and blood : giving away the body in Indian Buddhist literature /." New York, NY : Columbia Univ. Press, 2007. http://www.loc.gov/catdir/toc/ecip0615/2006019767.html.
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Ellasante, Ian, and Ian Ellasante. "Bridges Between Me: Liminality, Authenticity, and Re/integration in American Indian Literature." Thesis, The University of Arizona, 2013. http://hdl.handle.net/10150/293493.
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With both its inherent alienation and freedom, the experience of liminality, or the occupation of transitional spaces, is in many ways universally human. However, by nature of their bicultural liminality and the oppressive and pervasive demand for what Paula Gunn Allen terms "Indianness" American Indian authors must also confront and negotiate questions of authenticity. In so doing, many have taken the opportunity to subvert those demands, to juxtapose their actual multifaceted identities against them, to make meaning from the contrast, and to create from that re/integrated space. This thesis elucidates these points as an introduction to the body of poems that follow. The poems, often instruments of my own liminality, explore the broad themes of place, family, and identity.
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Kanjilal, Sucheta. "Modern Mythologies: The Epic Imagination in Contemporary Indian Literature." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6875.
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This project delineates a cultural history of modern Hinduism in conversation with contemporary Indian literature. Its central focus is literary adaptations of the Sanskrit epic the Mahābhārata, in English, Hindi, and Bengali. Among Hindu religious texts, this epic has been most persistently reproduced in literary and popular discourses because its scale matches the grandeur of the Indian national imagining. Further, many epic adaptations explicitly invite devotion to the nation, often emboldening conservative Hindu nationalism. This interdisciplinary project draws its methodology from literary theory, history, gender, and religious studies. Little scholarship has put Indian Anglophone literatures in conversation with other Indian literary traditions. To fill this gap, I chart a history of literary and cultural transactions between both India and Britain and among numerous vernacular, classical, and Anglophone traditions within India. Paying attention to gender, caste, and cultural hegemony, I demostrate how epic adaptations both narrate and contest the contours of the Indian nation.
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Treece, David Helier. "The indian in Brazilian literature and ideas (1500-1945)." Thesis, University of Liverpool, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.386768.
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Schein, Marie-Madeleine. "The Evolution of Survival as Theme in Contemporary Native American Literature: from Alienation to Laughter." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278840/.
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With the publication of his Pulitzer Prize winning novel, House Made of Dawn. N. Scott Momaday ended a three-decade hiatus in the production of works written by Native American writers, and contributed to the renaissance of a rich literature. The critical acclaim that the novel received helped to establish Native American literature as a legitimate addition to American literature at large and inspired other Native Americans to write. Contemporary Native American literature from 1969 to 1974 focuses on the themes of the alienated mixed-blood protagonist and his struggle to survive, and the progressive return to a forgotten or rejected Indian identity. For example, works such as Leslie Silko's Ceremony and James Welch's Winter in the Blood illustrate this dual focal point. As a result, scholarly attention on these works has focused on the theme of struggle to the extent that Native American literature can be perceived as necessarily presenting victimized characters. Yet, Native American literature is essentially a literature of survival and continuance, and not a literature of defeat. New writers such as Louise Erdrich, Hanay Geiogamah, and Simon Ortiz write to celebrate their Indian heritage and the survival of their people, even though they still use the themes of alienation and struggle. The difference lies in what they consider to be the key to survival: humor. These writers posit that in order to survive, Native Americans must learn to laugh at themselves and at their fate, as well as at those who have victimized them through centuries of oppression. Thus, humor becomes a coping mechanism that empowers Native Americans and brings them from survival to continuance.
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Ocita, James. "Diasporic imaginaries : memory and negotiation of belonging in East African and South African Indian narratives." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80354.
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Thesis (PhD)--Stellenbosch University, 2013.ENGLISH ABSTRACT: This dissertation explores selected Indian narratives that emerge in South Africa and East Africa between 1960 and 2010, focusing on representations of migrations from the late 19th century, with the entrenchment of mercantile capitalism, to the early 21st century entry of immigrants into the metropolises of Europe, the US and Canada as part of the post-1960s upsurge in global migrations. The (post-)colonial and imperial sites that these narratives straddle re-echo Vijay Mishra‘s reading of Indian diasporic narratives as two autonomous archives designated by the terms, "old" and "new" diasporas. The study underscores the role of memory both in quests for legitimation and in making sense of Indian marginality in diasporic sites across the continent and in the global north, drawing together South Asia, Africa and the global north as continuous fields of analysis. Categorising the narratives from the two locations in their order of emergence, I explore how Ansuyah R. Singh‘s Behold the Earth Mourns (1960) and Bahadur Tejani‘s Day After Tomorrow (1971), as the first novels in English to be published by a South African and an East African writer of Indian descent, respectively, grapple with questions of citizenship and legitimation. I categorise subsequent narratives from South Africa into those that emerge during apartheid, namely, Ahmed Essop‘s The Hajji and Other Stories (1978), Agnes Sam‘s Jesus is Indian and Other Stories (1989) and K. Goonam‘s Coolie Doctor: An Autobiography by Dr Goonam (1991); and in the post-apartheid period, including here Imraan Coovadia‘s The Wedding (2001) and Aziz Hassim‘s The Lotus People (2002) and Ronnie Govender‘s Song of the Atman (2006). I explore how narratives under the former category represent tensions between apartheid state – that aimed to reveal and entrench internal divisions within its borders as part of its technology of rule – and the resultant anti-apartheid nationalism that coheres around a unifying ―black‖ identity, drawing attention to how the texts complicate both apartheid and anti-apartheid strategies by simultaneously suggesting and bridging differences or divisions. Post-apartheid narratives, in contrast to the homogenisation of "blackness", celebrate ethnic self-assertion, foregrounding cultural authentication in response to the post-apartheid "rainbow-nation" project. Similarly, I explore subsequent East African narratives under two categories. In the first category I include Peter Nazareth‘s In a Brown Mantle (1972) and M.G. Vassanji‘s The Gunny Sack (1989) as two novels that imagine Asians‘ colonial experience and their entry into the post-independence dispensation, focusing on how this transition complicates notions of home and national belonging. In the second category, I explore Jameela Siddiqi‘s The Feast of the Nine Virgins (1995), Yasmin Alibhai-Brown‘s No Place Like Home (1996) and Shailja Patel‘s Migritude (2010) as post-1990 narratives that grapple with political backlashes that engender migrations and relocations of Asian subjects from East Africa to imperial metropolises. As part of the recognition of the totalising and oppressive capacities of culture, the three authors, writing from both within and without Indianness, invite the diaspora to take stock of its role in the fermentation of political backlashes against its presence in East Africa.
AFRIKAANSE OPSOMMING: Hierdie studie fokus op geselekteerde narratiewe deur skrywers van Indiër-oorsprong wat tussen 1960 en 2010 in Suid-Afrika en Oos-Afrika ontstaan om uitbeeldings van migrerings en verskuiwings vanaf die einde van die 19e eeu, ná die vestiging van handelskapitalisme, immigrasie in die vroeë 21e eeu na die groot stede van Europa, die VS en Kanada, te ondersoek, met die oog op navorsing na die toename in globale migrasies. Die (post-)koloniale en imperial liggings wat in hierdie narratiewe oorvleuel, beam Vijay Mishra se lesing van diasporiese Indiese narratiewe as twee outonome argiewe wat deur die terme "ou" en "nuwe" diasporas aangedui word. Hierdie proefskrif bestudeer die manier waarop herinneringe benut word, nie alleen in die soeke na legitimisering en burgerskap nie, maar ook om tot 'n beter begrip te kom van die omstandighede wat Asiërs na die imperiale wêreldstede loods. Ek kategoriseer die twee narratiewe volgens die twee lokale en in die volgorde waarin hulle verskyn het en bestudeer Ansuyah R Singh se Behold the Earth Mourns (1960) en Bahadur Tejani se Day After Tomorrow (1971) as die eerste roman wat deur 'n Suid-Afrikaanse en 'n Oos-Afrikaanse skrywe van Indiese herkoms in Engels gepubliseer is, en die wyse waarop hulle onderskeidelik die kwessies van burgerskap en legitimisasie benader. In daaropvolgende verhale van Suid-Afrika, onderskei ek tussen narratiewe at hul onstaan in die apartheidsjare gehad het, naamlik The Hajji and Other Stories deur Ahmed Essop, Jesus is Indian and Other Stories (1989) deur Agnes Sam en Coolie Doctor: An Autobiography by Dr. Goonam deur K. Goonam; uit die post-apartheid era kom The Wedding (2001) deur Imraan Covadia en The Lotus People (2002) deur Aziz Hassim, asook Song of the Atman (2006) deur Ronnie Govender. Ek kyk hoe die verhale in die eerste kategorie spanning beskryf tussen die apartheidstaat — en die gevolglike anti-apartheidnasionalisme in 'n eenheidskeppende "swart" identiteit — om die aandag te vestig op die wyse waarop die tekste sowel apartheid- as anti-apartheid strategieë kompliseer deur tegelykertyd versoeningsmoontlikhede en verdeelheid uit te beeld. Post-apartheid verhale, daarenteen, loof eerder etniese selfbemagtiging met die klem op kulturele outentisiteit in reaksie op die post-apartheid bevordering van 'n "reënboognasie", as om 'n homogene "swartheid" voor te staan. Op dieselfde manier bestudeer ek die daaropvolgende Oos-Afrikaanse verhale onder twee kategorieë. In die eerste kategorie sluit ek In an Brown Mantle (1972) deur Peter Nazareth en The Gunny Sack (1989) deur M.G. Vassanjiin, as twee romans wat Asiërs se koloniale geskiedenis en hul toetrede tot die post-onafhanklikheid bedeling uitbeeld (verbeeld) (imagine), met die klem op die wyse waarop hierdie oorgang begrippe van samehorigheid kompliseer. In die tweede kategorie kyk ek na The Feast of the Nine Virgins (1995) deur Jameela Siddiqi, No Place Like Home (1996) deur Yasmin Alibhai en Migritude (2010) deur Shaila Patel as voorbeelde van post-1990 verhale wat probleme met die politieke teenreaksies en verskuiwings van Asiër-onderdane vanuit Oos-Afrika na wêreldstede aanspreek. As deel van die erkenning van die totaliserende en onderdrukkende kapasiteit van kultuur, vra die drie skrywers – as Indiërs en as wêreldburgers – die diaspora om sy rol in die opstook van politieke teenreaksie teen sy teenwoordigheid in Oos-Afrika onder oënskou te neem.
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Pauley-Gose, Jennifer H. "IMPERIAL SCAFFOLDING: THE INDIAN MUTINY OF 1857, THE MUTINY NOVEL, AND THE PERFORMANCE OF BRITISH POWER." Ohio : Ohio University, 2006. http://www.ohiolink.edu/etd/view.cgi?ohiou1147108754.
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Hasseler, Theresa A. ""Myself in India" : the memsahib figure in colonial India /." Thesis, Connect to this title online; UW restricted, 1995. http://hdl.handle.net/1773/9364.
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Rodriques, Janelle Alicia. "Narratives of Obeah in twentieth-century Anglophone West Indian literature." Thesis, University of Newcastle upon Tyne, 2016. http://hdl.handle.net/10443/3463.
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This thesis examines representations of Obeah, the name given to a range of African-inspired, syncretic Caribbean religious practices, in novels and short stories written by authors born in the former British West Indies. Ranging from the late 1920s to the late1980s, these texts’ plots all systematically engage with these practices in their narrations of West Indian nation and national identity. My study focuses on how each of these texts narrates Obeah vis-à-vis the wider concerns of modernity, cultural identity, nationhood and colonial alienation, and realigns the discussion of Obeah aesthetics with debates around what has been designated ‘the folk’ in Caribbean literary criticism. Through detailed, comparative readings of the works of several authors, this study not only recovers the neglected trope of Obeah in West Indian fiction, but also argues Obeah’s integrity to the elaboration of a uniquely regional literary and cultural aesthetic. Chapter One examines the use of Obeah in barrack-yard fiction, and its implications for the myth of a unified, homogenous nation. Chapter Two explores the representation of Obeah in short stories of the late 1930s into the 1950s, and their concerns with Obeah’s place in the new nations they imagine. Chapter Three reads Jean Rhys’ Wide Sargasso Sea (1966) and Claude McKay’s Banana Bottom (1934) as critiques of the primitive/modern aesthetic and cultural binary; I argue that Obeah is narrated, in these novels, from the threshold of these extremes. Chapter Four examines three novels written around Independence, featuring single male protagonists whose negotiations of Obeah are analogous for national negotiations of selfhood. Chapter Five focuses on Erna Brodber’s Myal (1988), which manipulates ‘African’ spirituality in its ‘quarrel with history.’ These novels all, in addressing Obeah, reimagine these practices as integral to, while also challenging, the idea of West Indian nationhood and identity.
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Sargent, Marilyn Jane. "Indian English: Is it "bad" or "baboo" or is it Indianized so that it is able to deal with the unique subject matter of India?" CSUSB ScholarWorks, 1990. https://scholarworks.lib.csusb.edu/etd-project/563.
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Isoppo, Valéria. "Noturno indiano." Florianópolis, SC, 2010. http://repositorio.ufsc.br/xmlui/handle/123456789/93928.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em LiteraturaMade available in DSpace on 2012-10-25T04:46:23Z (GMT). No. of bitstreams: 0
Este texto se escreve no intuito de conhecer, pontuar e discutir criticamente a questão do enigma como expediente estratégico de desmonte identitário e singularização subjetiva em alguns percursos escriturais de Antonio Tabucchi. O rébus, figura enigmática de origem barroca, é aqui relacionado alegoricamente à escritura tabucchiana de Notturno indiano e de outros três contos que glosam o mote deste romance, bem como a algumas ideias de pensadores da modernidade e do neobarroco: a de enigma e momento egípcio em Mario Perniola, a de alegoria, imagem dialética e anacronia histórica em Walter Benjamin e George Didi-Huberman, a de analogia em Enzo Melandri e Giorgio Agamben e a de elipse em Remo Bodei, no intuito de entrelaçá-las e propô-las como mecanismos de ação estética, artística, filosófica e ética na tentativa de superar o binarismo da lógica identitária sem abdicar de uma escritura do presente e da busca da felicidade com o outro. A escritura de Tabucchi, como aqui analisada, apresenta e "presentifica" o enigma da arte e da vida.
The aim of this work is to know, point out and critically discuss the enigma issue as an strategic resource to carry out an identitary processes and a subjective singularization in some of Antonio Tabucchi's written passages. Rebus, an enigmatic figure whose origin is baroque, is allegorically related to Tabucchi#s Notturno Indiano and to other three stories that gloss the motto of this novel, as well as to some ideas of modern and neo-Baroque thinkers: to enigma and Egyptian moment in Mario Perniola, to allegory, dialectic image and historical anacron in Walter Benjamin and George Disi-Huberman, to analogy in Enzo Melandri and Giorgio Agamben and to ellipsis in Remo Bodei. Our goal is to interlace and propose them as mechanisms of esthetic, artistic, philosophical and an ethical action, as an attempt to overcome the binarism of the identitary logic without renouncing to the searching for writing in the present and happiness with the other one. Tabucchi's writing, as it has been read and analysed here, introduces and personifies the enigma of art and life.
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Barber, Jennifer P. "Indian chick-lit : form and consumerism /." Electronic version (PDF), 2006. http://dl.uncw.edu/etd/2006/barberj/jenniferbarber.pdf.
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Shantz, Valerie. "Yvette Nolan, playwright in context." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0003/MQ28909.pdf.
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Chater, Nancy. "Technologies of remembrance, literary criticism and Duncan Campbell Scott's Indian poems." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0003/MQ45483.pdf.
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Amundsen, Kaja Vollan. ""The Resource Curse in India" : Can the Resource Curse Literature Explain the Divergent Economic Growth Among the Indian States? A Time-Series Cross-Section Analysis of 15 Indian States from 1980 to 2009." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for sosiologi og statsvitenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-25787.
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Holt, Amy-Ruth. "Shiva's divine play art and literature at a South Indian Temple /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1196129102.
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Ross, Oliver Paul. "Same-sex desire and syncretism : 'homosexualities' in Indian literature and film." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609810.
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Kendall, George Henry. "The healing power : mythology as medicine in contemporary American Indian literature." Master's thesis, University of Cape Town, 1998. http://hdl.handle.net/11427/20184.
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Bibliography: pages 124-132.This study explores the symptoms of alienation witnessed in Indian characters and the healing they achieve through myth in three contemporary American Indian novels. In James Welch's historical novel, Fools Crow, I explore the methods through which Welch tells the story of Fools Crow. I draw comparisons between oppositions such as oral and written language, oral and written history, and history and narrative. I examine the ideas of many theorists, including Walter J. Ong's Orality and Literacy and Hayden White's inquiry into historiography in Tropics of DiscouT'Se. My conclusions suggest that myth is the foundation of history and that Welch effectively uses myth to rehabilitate Fools Crow. Leslie Marmon Silko's Ceremony presents its main character, Tayo, as alienated. He operates in a confusing world of dualities whereby the hegemonic culture brutalizes a feminine universe, and the counter-culture embraces a feminine universe. This study of Ceremony necessitates exploring the differences between Indian and Euro-American perceptions of landscape. Greta Gaard's studies on ecofeminism and Michel Foucault's History of Sexuality help to focus the theories v presented in this chapter. In addition, I consider the opposition between European patriarchal and American Indian matriarchal cultures, a difference that may affect the way the two cultures perceive the landscape. Finally I look at the Laguna captivity narrative that heals Tayo and compare the Laguna captivity genre to Euro-American captivity tales. The juxtaposition of cultural captivity narrative types reveals further differences in Laguna and Euro-American perceptions of the land. Annette Kolodny's theories on landscape and feminism prove useful in focusing my conclusions. N. Scott Momaday's The Ancient Child explores the parameters of representation and struggles with the question of how an Indian author can effectively describe the condition of an alienated American Indian to an audience who is, for the most part, Euro-American. This novel ties together many of the themes explored in Fools Crow and Ceremony. Momaday shows myth as originating in oral language and oral language as invented by vision: The story's main character, Set, has to overcome his alienation by understanding the origin of a myth which exists in his 'racial memory.' As an Indian, Set must discover the importance of non-textual spatiality and not the spaces contained within and influenced by written texts such as the very one Momaday creates to depict this character. The term non-textual spatiality refers to the imaginative space created by oral language and myth and the notion of non-textual spatiality opens a path for Set's healing. W.J.T. Mitchell's Picture Theory and Nelson Goodman's Languages of A rt are the main critical studies I use to amplify theories that grow out of The Ancient Child.
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Holt, Amy-Ruth. "Shiva’s divine play: art and literature at a South Indian Temple." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1196129102.
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Rudd, Andrew John. "Sentimental imperialism : British literature and India, 1770-1830." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.440619.
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