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Yao, Kouadio Dieudonné. "Mythes et discours postcolonial : approche comparée de quelques romans postcoloniaux." Electronic Thesis or Diss., Université Côte d'Azur, 2024. http://www.theses.fr/2024COAZ2011.
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S'inscrivant dans une perspective à la fois interdisciplinaire et interdiscursive, cette étude établit un rapports entre Mythe (élément anthropologique) et littérature - relevant de la création - (discours postcolonial). Ce rapport, en se basant sur le mythe en tant que référentiel ancré principalement dans l'inconscient d'une communauté et transcendant les différences tant sociétales qu'historiques est appréhendé en tant que dénominateur commun des discours littéraires développés par les écrivains postcoloniaux réunis dans un corpus très diversifié et représentatif des différentes situations postcoloniales. On y retrouve en effet Maurice Bandaman (Le Fils de-la-femme-mâle), Achebe Chinua (Le Monde s'effondre), Nadine Gordimer (Un Monde d'étrangers), Tahar Ben Jelloun (La Nuit sacrée), Salman Rushdie (Les Versets sataniques) et Patrick Chamoiseau (Les Neuf Consciences du Malfini). L'outil d'investigation sollicité est principalement la mythocritique, dont les approches incarnées respectivement par Pierre Brunel et Gilbert Durand se voient sollicitées tant dans leur communauté d'orientation que dans leur complémentarité réciproque. Aussi, d'un point de vue de la pensée postcoloniale, la confrontation des « maîtres » colons et de « l'autochtone humilié » telle que l'évoque Hubert Félix Thiéfaine est l'opposition essentielle autour de laquelle s'est construite notre démarche. Ce travail est ainsi périodiquement ponctué par d'autres citations de Thiéfaine qui offrent un contrepoint évocateur aux réflexions développées dans les différents chapitres. Il s'agit alors de déterminer dans quelle mesure l'incorporation du mythe apparaît comme un élément obligé de la constitution d'un discours postcolonial, la substitution de celui-ci au discours colonial s'articulant à travers le recours à un legs mythique qui combine réappropriations du legs culturel véhiculé par le colonisateur et renouvellement du fonds mythique local, avec des accentuations différentes selon la localisation du texte et de son auteur en Afrique noire, au Maghreb ou en Inde. On aboutit ainsi tant à la constatation de divergences marquantes dans le choix des éléments mythiques à privilégier qu'au diagnostic d'une convergence des modalités de leur sollicitation dans le discours postcolonial, dont ils constituent dans tous les cas étudiés un ingrédient essentiel. Ainsi est-il apparu que plusieurs éléments afférents au mythe manifestent leur présence dans les textes littéraires postcoloniaux qui ont fait office de terrain d'analyse dans le cadre de notre étude. Il s'agit notamment de symboles et mythèmes qui ont plus d'un rapport avec la résurgence de figures mythiques anciennes, marquant leur éternel retour. En dehors de ces structures symboliques, l'exploitation des textes a montré qu'en contexte postcolonial, les figures mythiques telles que celles de Prométhée et de Dionysos sont des configurations d'images plausibles qui de par la rupture entre elles opèrent une sorte de transition dans la transmission des valeurs et systèmes de pensée qu'elles véhiculent et qui sous-tendent du même coup les faits colonial et postcolonial. Après analyse des catégories fondamentales dans les romans de notre corpus, il convient de souligner un dynamisme de ces catégories romanesques commandé par le contexte postcolonial qui lui-même subit le dynamisme des structures mythiques qui sous-tendent la pensée des peuples et qui subséquemment constituent le substrat des créations littéraires et artistiques qui sont en accord avec les préoccupations du moment. Dès lors, notre étude postule, in fine, la possibilité d'un discours mythique commun à ces textes. Il s'agit d'une projection d'imaginaires de la transition en contexte postcolonial s'enracinant dans l'eschatologie pour déboucher sur de nouvelles cosmogoniesBased on an interdisciplinar and interdiscursive perspective, this study creates a relationship between Myth as an anthropological element and Literature - falling as such in the category of creation - in the form of postcolonial discourse. By considering myth as a framework having its origin in the inconscious background of a human community and being as such able to transcend both societal and historical differences, this relationship is described as a common denominator of the literary discourses practized by the postcolonial writers who are brought together, building so a wide-ranged corpus that reflects the different postcolonial situations. We find here Maurice Bandaman (The Son of the Male Woman), Chinua Achebe (Things Fall Apart), Nadine Gordimer (A World of Strangers), Tahar Ben Jelloun (The Sacred Night), Salman Rushdie (The Satanic Verses) and Patrick Chamoiseau (The Malfini's Nine Consciences). The most used investigative tool is the mythocritical approach, especially represented by the studies of Pierre Brunel and Gilbert Durand taken into account both in their common research orientation and in their reciprocal complementarity. From the perspective of postcolonial world view, our approach is focused of the essential antagonism that consists in the confrontation between « masters » (i.e. the colonists) and the « humiliated autochton » described by Hubert Félix Thiéfaine. In the same way, this study is periodically punctuated by other quotes from Thiéfaine's texts, which provide a suggestive counterpoint to the views exposed in the different chapters. One has to determine to what extent the incorporation of mythical elements actually appears as a key part by the emergence of a postcolonial discourse, while the shift from colonial to postcolonial discourse occurs through the recourse to a mythical legacy which combines reappropriations of the cultural legacy brought by the colonisators and renewal of the local mythic background, in this case with differents accentuations depending on the localisation of the text and its author in Black Africa, Maghreb or India. The recognition of significant divergences concerning the selection of the most important mythical elements goes in fact hand in hand with a large similarity in the treatment modalities concerning their integration in the poscolonial discourse, of which they are an essential part in all the cases studied. Several elements belonging to the mythical domain appear thus to be present in the poscolonial literary texts analysed in the present study. We find in particular symbols and mythems related to the resurgence of very old mythical figures and revealing in this way their eternal return. Apart from those symbolical structures, the investigation of the texts shows that mythical figures like Prometheus or Dionysos appear in postcolonial context as acceptable configurations of representations whose disruptive potentialities contain the possibility of a transition in the transmission of the values and systems of thoughts they convey and that underlie in the same way both the colonial and postcolonial facts. The investigation of the main categories in the novels building our corpus allows to describe the specific dynamics inherent to those novelistic categories and determined by the postcolonial context, which stays itself under the influence of the dynamics inherent to the mythical structures that underlies the thinking of people and also appears as the substrate of the literary and artistic achievements which are in touch with current concerns of our time. Henceforth our study postulates as a last result the presence of a mythical discourse common to all those texts. It appears as a projection of imaginary representations of transition in postcolonial context, grounded in eschatology and tending to the emergence of new cosmologies
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Crunfli, Édina Pereira. "Postcolonial Lawrence." Florianópolis, SC, 2006. http://repositorio.ufsc.br/xmlui/handle/123456789/89431.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente.Made available in DSpace on 2012-10-22T20:51:55Z (GMT). No. of bitstreams: 1 235226.pdf: 788758 bytes, checksum: 791ddf088b3ce2d0e6278bb4383aa23d (MD5)
Este trabalho lida com a produção de D.H.Lawrence enquanto o escritor inglês residia no México em 1923 e 1924, o romance The Plumed Serpent e os ensaios da coleção Mornings in Mexico, analisados de uma perspectiva pós-colonial. O projeto parte do pressuposto de que é tarefa do crítico pós-colonial, como Edward Said argumenta, tornar visível a ideologia contida nos textos imperiais e canônicos. Seria reducionista, no entanto, alegar que o material aqui analisado, em que pesem as estruturas coloniais que Lawrence necessariamente habita, seja "uniformemente imperialista". A complexidade do romance The Plumed Serpent reside precisamente no fato de que se pode observar uma ambivalência problemática: por um lado, um esforço inegável de Lawrence para tomar o partido das vítimas da Conquista Espanhola, o que leva o escritor a assumir uma postura "anti-imperialista", ainda que platônica, quando reverte papéis de figuras do episódio histórico, quais sejam, a figura de Hernán Cortés (criando um protagonista nativo mexicano que promove a reinstalação da religião Asteca, banindo o Cristianismo do México) e a figura de Malinche (amante e intérprete de Cortés); por outro lado, como qualquer sujeito imbricado em sua cultura, ele é inexoravelmente incapaz de atravessar o abismo que o separa do outro mexicano, e a questão da incomensurabilidade cultural se apresenta de forma infinitamente mais complexa do que ele poderia ter sonhado. O resultado de sua tentativa é que quanto mais ele verbaliza suas posições anti-eurocêntricas, mais o eurocentrismo se manifesta em seu discurso. Esse fenômeno é cuidadosamente analisado no capítulo sobre a questão racial (no qual investigo a relação entre Kate e Juana), também no capítulo intitulado "Utopian politics of resistance/orientalism", e ainda no capítulo que chamei "Barbaric Mexico". O capítulo III, "Pattern of role reversals: Fickle attempt of deconstruction" apresenta uma análise sistemática dos papéis históricos que Lawrence reverte em sua ficção. Por fim, o capítulo V apresenta uma análise rigorosa do contexto social do México enquanto Lawrence lá residiu e como ele se reflete no romance. A conclusão do trabalho aponta, à luz dos capítulos anteriores, para a dupla condição de Lawrence: por um lado, seu desejo de "desaprender a Europa" e sua vontade de resgatar "histórias esquecidas", seu genuino esforço, ainda que perturbado, de explorar diferença cultural; e, por outro lado, sua intensa dependência de construções históricas da própria cultura ocidental que ele tenta desafiar, e quão pouco consciente de suas limitações, enquanto sujeito de seu tempo e de sua cultura, ele foi. Como uma pessoa não-estabelecida e dividida, ele envereda pela tentativa de resistência a aspectos da ideologia imperialista, mas simultaneamente não consegue evitar as armadilhas da retórica do colonialismo.
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Kew, Thomas. "The postcolonial Midlands." Thesis, University of Leicester, 2017. http://hdl.handle.net/2381/40575.
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This thesis aims to demonstrate the advantages of shifting the focus of literary criticism about postcolonial and post-war British writing towards regional literary cultures. London has long hosted dominant creative narratives and is also the centre of the UK’s publishing industry. In recent years, the North of England has arguably begun to catch up, with sustained critical attention — most notably Pearce, Fowler and Crashaw’s Postcolonial Manchester (2013) — being devoted to the region’s literary output. Perhaps in part due to its landlocked geography, the Midlands region is too often overlooked and caught in the middle of a critical landscape that tends to reify, and thereby reinforce, the reductive notion of a North–South divide. This thesis therefore heralds the recognition of the Midlands as a fertile site of academic enquiry. With the reassessment of Midlands writing, I hope to offer a richer understanding of how the dynamics of space and place result in distinctive regional literatures. This thesis affords a unique regional optic as the first major study to position the Midlands at the forefront of debates emanating from devolution of literary cultures, literary economy, diaspora and cosmopolitanism. The relationship between region and writer, and the role which literature plays in defining the character of an area, are central to this thesis. My source material is primarily fiction and poetry from the post-war period, supplemented by original interviews and readings of the historical and social sources which provide necessary context. My thesis therefore emerges alongside new critical and creative work which demonstrates the Midlands’ literary abundance.
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Sharma, Seetal. "Globalisation and postcolonial identity." Thesis, Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25262348.
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Fielder, John. "Postcolonial ambivalence: Reading Aboriginality." Thesis, Fielder, John (1996) Postcolonial ambivalence: Reading Aboriginality. PhD thesis, Murdoch University, 1996. https://researchrepository.murdoch.edu.au/id/eprint/50698/.
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The central claim of this thesis is that an understanding of ambivalence as a productive element of discursive practice opens up reading strategies which counter the assimilationist tendencies of dominant reading formations in relation to Aboriginality in Australia. This claim is supported by offering readings of selected texts which foreground the threat posed by the unassimilable difference of Aboriginality to the project of modernity and its colonising impulse. These readings of specific texts marked as “Aboriginal” identify an historical pattern of projection of ambivalence onto Aboriginal people.
My thesis counters this historical pattern of colonialist projection by framing ambivalence as a particularly modern “problem,” a dilemma that is intrinsic to the logic of modernity. In an abstract sense, then, ambivalence is explored as the supplement of modernity's and colonialism's desire to impose Enlightened Western order on “primitive” peoples, places and practices; in a more concrete sense. ambivalence is explored as an increasingly undeniable social force in Australia as cultural policy has shifted away from assimilationism and towards cultural pluralism.
This shift in cultural policy since the 1960s is examined in terms of Aboriginal writer Mudrooroo’s “Wildcat” trilogy: his novels are used as a springboard to discuss the social and cultural tensions evident in dominant reading formations. I also use the novels to identify some of the ways in which Aboriginal people negotiate persistent assimilationist expectations, both the disabling effects of the exigencies of assimilationism and the enabling opportunities they have exploited. I argue that Aboriginal people have necessarily had to struggle with ambivalence, whereas the primary colonialist strategy has been to deny ambivalence. It is in this context that I apply Homi Bhabha's ideas on the ambivalence and hybridity of “cultural translation” in order to emphasise the struggle inherent in negotiating incommensurate cultural practices and logics.
In this thesis, I also explore oppositional reading tactics which acknowledge the slippage, incompleteness and surplus of cultural translation, in order to counter assimilationist reading strategies. I refer to “reading,” in a very broad sense, as a form of translation and show how everyday, informal interpretative practices also operate in terms of dominant reading formations. Accordingly, this thesis applies Mudrooroo's “wildcat” metaphor to cultural fields beyond literature: to Nyoongahs’ struggle to reclaim sacred sites in an urban context and to the “image” of Aboriginal Australian rules football players.
Overall, the thesis shows how selected Aboriginal literary and cultural “texts” expose and disrupt the assimilationist tendencies which persist in Australian mainstream reading patterns. The thesis is especially concerned with the ways in which such texts respond to specific social and political circumstances, and seize opportunities—understood here in terms of cultural ambivalence—to re-frame Aboriginality. In other words, the thesis demonstrates how Aboriginal texts, how Aboriginal people, have actively contributed to the ongoing process of changing established cultural reading formations in Australia.
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Roma, Jennifer. "Zadie Smith as the postcolonial Sisyphus a neo-postcolonial examination of On Beauty /." Connect to Electronic Thesis (CONTENTdm), 2008. http://worldcat.org/oclc/441854030/viewonline.
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Mirze, Z. Esra. "Disorientation : "home" in postcolonial literature/." abstract and full text PDF (free order & download UNR users only), 2005. http://0-wwwlib.umi.com.innopac.library.unr.edu/dissertations/fullcit/3209125.
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Thesis (Ph. D.)--University of Nevada, Reno, 2005."August 2005." Includes bibliographical references (leaves 229-239). Online version available on the World Wide Web. Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2005]. 1 microfilm reel ; 35 mm.
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Mowat, Ryan Douglas Ronald. "Narrative ethics in postcolonial fiction." Thesis, University of Strathclyde, 2003. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=21205.
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When considering the ethico-political task of postcolonial criticism Gayatri Chakravorty Spivak claims that "ethics is the experience of the impossible, " and that "deconstruction cannot form a political program of any kind. " Both these ideas motivate the central question of this thesis: if ethics is an experience of the impossible and deconstruction cannot form a political program, can we produce an ethical critique that radically considers the narrative representation of violent oppression within different postcolonial cultures and histories? This question will be addressed via four modes of enquiry: 1) By considering the current role of deconstruction within postcolonial criticism and asking whether deconstruction is a concept of writing that can be incorporated into reading strategies which intend to identify an ethics within writing; 2) by examining recent critical investigations into the idea that literary-linguistic structures themselves have ethical characteristics, and asking whether it is possible to identify an ethics within the structure of certain postcolonial fictions; 3) by investigating the representation of violence and physical oppression intrinsic to these fictions, and asking how the inscription of that violence affects their narrative structures; and, 4) by arguing that the representation of the postcolonial body in pain not only affects the structures of the narratives considered, but also plays a vital role in the radical ethics of that fiction. This last concern is initiated by Elaine Scarry's claim that pain itself remains utterly resistant to language. These enquiries will be made alongside critical examinations of twelve international postcolonial novels and their narrative structures. In doing so this thesis will ask whether it is possible to identify a radical ethics of fiction that is common to various postcolonial cultures, rather than a discursively informed ethics that is culturally or historically specific.
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Chaplain, Josefina. "Gendered visions postcolonial Indian art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31223928.
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Bhambra, Gurminder K. "Contesting modernity : a postcolonial analysis." Thesis, University of Sussex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406613.
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ANGIBAUD, LAIDET ANNE MARIE. "R. K. Narayan, ecrivain postcolonial." Paris 7, 1998. http://www.theses.fr/1998PA070087.
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Reconnaissant l'importance historique d'une oeuvre nee a la veille de l'independance de l'inde et poursuivie un demi-siecle apres, constatant que la critique n'a pas entierement rendu justice a r. K. Narayan, notre etude se propose de demontrer que son message qualifie de 'simple' cache complexite et sophistication. Le mode oblique et ironique ainsi que le non-dit font partie d'une pratique discursive qui s'inscrit dans le courant postcolonial. Tout en exposant clairement la forte identite culturelle de son pays et celebrant l'immense reservoir de sens qu'il represente, l'auteur toujours attentif au detail denonce les abus de pouvoir minant les membres de la petite communaute d'inde du sud imaginee a partir de ce qu'il observe au quotidien. Dans un premier temps nous presentons l'oeuvre comme produit du fait colonial et montrons comment elle s'insere dans les grands courants d'idees du debut du siecle, pourquoi l'auteur etablit un remarquable equilibre entre imitation et resistance aux structures de pensee dominantes. La chronologie de l'oeuvre donne son sens a l'evolution du discours : denonciation indirecte des abus de pouvoir dans une societe de colonises au debut de l'oeuvre puis resistance a l'emergence de nouvelles formes d'imperialisme et condamnation de tout rapport de domination. La derniere partie analyse la portee du paradoxe exprime dans la position feministe de narayan et a travers la richesse de ses portraits feminins, la determination de l'auteur a articuler les nouveaux enjeux crees par la prise de conscience de l'individualite des femmes indiennesTaking into account the historical importance of a literary work started just before the independence of india and continued fifty years after, our essay will attempt to show the complexity and sophistication of narayan's message often qualified as 'simple' by a kind of literary criticism which has overlooked the undertones of the author's writing. He makes a constant use of irony, oblique angles, and implicit statements, all of which are part of the discursive practice of postcolonial literature. While all along narayan clearly states the strong cultural identity of his country and celebrates its huge and significant potential, at the same time through meaningful but inconspicuous details he denounces the abusers of power oppressing the members of the small south indian community he imagined, based on his daily observations. In the first part of our study, we present narayan's work as an outcome of the colonial situation, show how it is linked to the main ideological concerns of the beginning of the century and why the writer remarkably balances mimicry and resistance to the prevaling currents of thought. The chronology of the novels especially gives its full meaning to the evolution of narayan's discourse : first, he obliquely condemns the strategies of power oppressing colonized people, then he opposes cultural resistance and subversion to the new forms of imperialism to finally condemn all aspects of domination, and this is the focus of our second part. In the third part we analyse the impact of the paradox expressed in narayan's feminism and through the diversification of his female portraits, the writer's dedication to articulate the values at stake in the newly acquired individual consciousness of indian women
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Comorau, Nancy Alla. "Postcolonial refashionings reading forms, reading novels /." College Park, Md. : University of Maryland, 2009. http://hdl.handle.net/1903/9951.
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Thesis (Ph.D.) -- University of Maryland, College Park, 2009.Thesis research directed by: Dept. of English. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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He, Chu. "Postcolonial Performances in Brian Friel's Plays." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/264.
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My dissertation explores postcolonial implications of performances in Brian Friel's plays. While showing Friel's theatre is performative with its alienation effect and artistic activities of music, songs, dances, and recitations, I demonstrate that Irish self, culture, and history in Friel's plays are performative as well, because they are shown to be socially constructed rather than inherently possessed, constantly contested rather than comfortably settled, in dynamic process of remaking rather than fixed as finished products. Examining performances in Friel's theatre, characters' daily lives, historical narratives, and cultural ceremonies, I argue that those performances also shed light on the (post)colonial situation in Ireland¡ªa split island with mongrel arts, interstitial characters, disparate histories, and mythologized or relegated cultures. Showing that Irish self, history, and culture are not homogenous, linear, or monolithic entities but hybrid, contested constructs, Friel's plays subvert the binaries embedded in British colonialism, Irish nationalism, and developmental historicism. However, as Friel's characters fail to negotiate the symbiotic yet opposing forces such as the north and the south, English and Irish, official history and personal story, national myth and folk culture, tradition and modernity, my dissertation concludes that in Friel's plays to be Irish is to suffer a hybrid yet split and liminal existence, to be framed by official discourses and cultural myths, and to contend for alternative expressions of history and culture. Friel's concern with performance thus culminates in his performative conception of Irish identity¡ªas a heterogeneous composite with ongoing contestation between different selves, historical narratives, and cultural practices, it cannot but remain open to different expressions and constant (re)definitions.
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Davis, Christopher P. "Reading, writing and understanding the postcolonial." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/80930/.
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The work here seeks to revamp the way that we read, write and understand the postcolonial during an era in which the field's modishness has receded somewhat, but when its historic objectives remain. Broadly speaking, the thesis is an attempt to examine the ideas that, merged together, equate to the current geography of the postcolonial world. In the first section, I look to the production of value – and specifically, to the process of valuing cultural capital, which delivers to us an important logic: that the postcolonial world appears to us not as it really is, but how it has been written into being over time. The second section reflects upon the settler polities of Australia and South Africa, where I read the works of Archie Weller and Zakes Mda and posit the notion of an arc in their writing, a trajectory that over time sees the novel gradually recede from its engagement with the explicit discourses of colonialism and postcolonialism. Thereafter I turn to recent rise of non-fiction writing to prominence in India. Here the focus concerns the way that the Indian city has been written into the public imagination crudely, as an apparently reasonable synecdoche of all Indian life. I explore the way that the visible spectacle has come to stand at the zenith of representational forms, with the corollary that the written word has lost something of its authority. I introduce recent works of non-fiction that seek to respond to these simplified projections by literarily occupying small-scale Indian spaces: Katherine Boo's Behind the Beautiful Forevers, Suketu Mehta's Maximum City and Amit Chaudhuri's Calcutta: Two Years in the City. In the final section, I argue for revamped postcolonial reading strategies that are better able to reflect the concrete worlds that literary texts address. I encourage a wider and indiscriminate constellation of non-white British literatures, before offering individual readings of Monica Ali's Alentejo Blue and Kazuo Ishiguro's An Artist of the Floating World.
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McInturff, Kate Elaine. "Dark continents, postcolonial encounters with psychoanalysis." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ48674.pdf.
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Nakai, Asako. "Conrad's inheritors : colonial and postcolonial literatures." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.308867.
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Chan, Ka-ming, and 陳嘉銘. "Social identity in postcolonial Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B30409238.
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Chan, Ka-ming. "Social identity in postcolonial Hong Kong." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B23234477.
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Mongiat, Timothy. "Confronting heteronormativity in postcolonial Zimbabwean literature." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/66341/.
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This project addresses the settler colonial context of Rhodesia and postcolonial Zimbabwe, and investigates the nature of, and relationship between, gender and sexual norms and colonialism through early postcolonial literary responses. Literature is not merely examined as a source of representation, but as an element of discourse which reflects and shapes norms. I analyse how writers police and reiterate heteronorms, whether voluntarily or involuntarily, and how they resist and contest the realities and logic of heteronormativity. Robert Mugabe's now infamous homophobic outbursts in 1995 dehumanised homosexuals through references to dogs and pigs, and associated same-sex sexuality with American and European contexts. His rhetoric articulated a form of heteronormative nationalism which politicised the memory of colonialism, but also represented a significant discursive change in Zimbabwean society. Homosexuality, previously submerged by a culture of discretion and repression, had moved from the domain of the unspoken to the spoken, and from an invisible to a visible presence. Previously, references to homosexuality had been absent from public discourse in the postcolonial and much of the colonial period, and in Zimbabwean literature until the 1990s. Yet Dambudzo Marechera's controversial and progressive writing provided an exception - he explicitly represented the same-sex sexuality suggested by homoerotic depictions in other writing, but which was not portrayed. This offers an example of the way I approach literature in this thesis - I view writing as a means of representation, but also as an element of discourse which reflects, shapes, and contests ideas and norms. Discourse, following the work of multiple poststructural theorists, is conceived of as a constitutive form which produces and limits subjects and expression, but which is subject to a persistent threat of reconstitution. My project, which explores the articulation of heteronormativity in postcolonial writing until the 1990s, is intersectional, and documents the relation between modes of oppression. Accordingly, gender constructions are examined and related to the articulation of normative heterosexuality, and to other signifiers, especially notions of race and ethnicity integral to the settler colonial context of Rhodesia and to Zimbabwean society. Colonialism is discussed throughout, and I examine and problematise the represented relationship between heteronormativity and the violent material, discursive, and psychological products of colonialism, and postcolonial nationalisms. My project aims to satisfy the need for a composite intersectional study examining heteronormativity in Zimbabwean literature.
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Rishi, Pooja. "Teaching women empowerment governmentality in postcolonial India /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 333 p, 2010. http://proquest.umi.com/pqdweb?did=1993336281&sid=10&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Thesis (Ph.D.)--University of Delaware, 2009.Principal faculty advisors: Daniel M. Green and Claire Rasmussen, Dept. of Political Science and International Relations. Includes bibliographical references.
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Chau, Chi-kit. "Still looking back : modern American postcolonial pairings /." View the Table of Contents & Abstract, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31573241.
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Alrasheed, Khalid Mosleh. "The postcolonial Middle Ages a present past /." Laramie, Wyo. : University of Wyoming, 2009. http://proquest.umi.com/pqdweb?did=2065749111&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.
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Boodoo, Gerald Uzukwu Elochukwu Eugene. "GLOBALIZATION, POLITICS AND RELIGION IN POSTCOLONIAL AFRICA." Bulletin of Ecumenical Theology, 2013. http://digital.library.duq.edu/u?/bet,1233.
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Venter, Carina. "Experiments in postcolonial reading : music, violence, response." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:7d8db9f2-a2c4-4ed2-a627-a330db30b7c9.
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This thesis is a response to a lacuna in musicology, namely the near absence of postcolonial and decolonial epistemologies. Employing both diachronic and synchronic perspectives, it provides a historical overview of the institutional positioning of musicology as an academic discipline founded on structures of expectation and exploitation indebted to Western imperialism. This longer historical view is accompanied throughout by an examination of ethics in its institutionalised forms, specifically in the domains of knowledge production and the university. The thesis maintains that while such ostensibly ethical underpinnings may promise redress on the basis of the violence inflicted by an imperialist past, the discourse employed in its application in fact serves to strengthen the ideological hold of Western hegemony and, in so doing, betrays the promise of reparation that ethics is ordinarily understood to encompass. The thesis examines different aesthetic and epistemological manifestations of the postcolonial, considering at length Steve Reich's string quartet, Different Trains (1988), Philip Glass's opera, Waiting for the Barbarians (2005), and Philip Miller's choral work, REwind: A Cantata for Voice, Tape and Testimony (2006). Both content and style weave these works together as they engage, by means of a post-minimalist aesthetic, stream-of-violence narratives intimately bound up with the postcolonial condition. Of particular importance in the consideration of these musical texts is the urgent necessity for epistemological transformation, marked in musicology as the lack of post- and decolonial perspectives. Finally, the thesis grapples with the (im)possibility of complicit scholarship that must, through its very expression, wound its subject.
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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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Laurušaitė, Laura. "Baltic Novels of Exile: A Postcolonial Analysis." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110920_152550-94621.
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The dissertation seeks to newly conceptualize the situation of the Baltic post-war exile and the way it was reflected in the Lithuanian and Latvian novels through the lens of the postcolonial criticism. Forced emigration after the Second World War is related to cardinal changes, thus the following post-colonial concepts marking the shifts become the analytical instruments: liminality (V. Turner), hybridity and mimicry (H. Bhabha), imagined community (B. Anderson), nostalgia (S. Boym), and trickster (M. Bachtin).
The analysis focuses around the Latvian and Lithuanian exile novels of the second half of the 20th century about war and life in exile written by the authors who suffered the same fate. The researcher uses a binary scheme of physical and mental colonization to consider the selected body of works. The chapter “Physical Colonization” analyzes war novels along the male/female gender lines. The “Mental Colonization” chapter explores works that reflect the scale of the survival strategies; the scale ranges from attachment to one‘s own culture to its voluntary renunciation. Three means of interface with the new countries stand out, which help to shed light onto the three stages of identity transformation of an emigrant, namely anti-colonization, hybridization, and self-colonization.
The post-colonialism used in the analysis of Baltic novels and its proposed definitions proved to be functional and effective. The conclusion can be drawn that the emigration experience and... [to full text]Disertacijoje naujai teoriškai konceptualizuojama baltų pokario išeivių bendruomenės situacija bei jos raiška lietuvių ir latvių romanuose. Prievartinė emigracija iš baltų kraštų po II pasaulinio karo susijusi su kardinaliomis permainomis, todėl analizės instrumentais tampa lūžį ir slinktis ženklinantys postkolonializmo konceptai: liminalumas (V. Turner), hibridiškumas ir mimikrija (H. Bhabha), įsivaizduojama bendruomenė (B. Anderson), nostalgija (S. Boym), triksteris (M. Bachtin). Analizės centre – latvių ir lietuvių XX a. II pusės egzodo romanai apie karą, pasitraukimą ir gyvenimą išeivijoje, sukurti rašytojų, kurie patys tą lemtį patyrė. Pasirinktų tekstų korpusui skvarbyti pasitelkiamas dvinaris fizinės ir mentalinės kolonizacijos modelis. „Fizinės kolonizacijos“ skyriuje analizuojami karo romanai pagal vyrų/moterų lyties skirtį. „Mentalinės kolonizacijos“ skyriuje tyrinėjami kūriniai, atspindintys išlikimo strategijas, kurios įvairuoja nuo prisirišimo prie savos kultūros iki savanoriško jos atsižadėjimo. Įžvelgiamos trys išeivio tapatybės transformacijos pakopos: antikolonizacija, hibridizacija, savikolonizacija. Baltų romanų analizei taikyta postkolonializmo metodologija, jos pasiūlytos sąvokos ir tipologizavimo modelis pasirodė funkcionalūs. Konstatuota, kad emigracinė patirtis ir tapatybės virsmai ne tiek pavaldūs etninei prigimčiai, kiek išgyvenami bendražmogiškai.
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Rao, Rahul. "Postcolonial cosmopolitanism : between home and the world." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:6eb91e22-9563-49a2-be2b-402a4edd99b5.
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The thesis aims to address criticisms of cosmopolitanism that characterise it as an elite discourse, by exploring the role that it might play in Third World resistance movements. In doing so, it complicates the landscape of international normative theory, which has traditionally been mapped as a debate between cosmopolitanism and communitarianism. Part I of the thesis argues that cosmopolitanism and communitarianism can function as languages in which First and Third World states respectively justify exercises of power that impede the self-determination of Third World societies. These discourses of power frame the condition of postcoloniality, which might be understood – borrowing the terminology of International Society theorists – as an entrapment of Third World societies between 'coercive solidarism' and 'authoritarian pluralism'. A normative worldview committed to enhancing the scope for self-determination of such societies must be critical of the production of both external and internal environments that are hostile to the enjoyment of self-determination by Third World peoples. Part II of the thesis explores the political challenges of sustaining such a critique by studying four theorists of resistance who perceive themselves as manoeuvring between hostile external and internal environments. It analyses the political thought of Rabindranath Tagore and Edward Said, who were both leading figures of anti-colonial nationalist movements but also fierce critics of nationalism. It also studies the activism of two leaders in the field of 'anti-globalisation' protest – Subcomandante Marcos of the Zapatistas in Mexico and Professor Nanjundaswamy of the Karnataka State Farmers' Association in India – who struggle against both national elites and global capital. Part II concludes that if resistance in the condition of postcoloniality must grapple simultaneously with both a hostile 'outside' and 'inside', it must speak in mixed registers of universalism and particularity. Cumulatively, the thesis demonstrates that the language of common humanity operates in ways that are both oppressive and emancipatory, just as the language of community is a source of both repression and refuge. Normative theory that does not seek to hold both in tension fails the needs of our non-ideal world.
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Molande, Bright. "Postcolonial tragic vision in Steve Chimombo's writing." Thesis, University of Essex, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.559267.
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The study argues that Steve Chimombo' s writing presents a cyclic tragic vision that negatively affirms and valorises human existence from a postcolonial standpoint. In a departure from aligning tragedy with Western literary tradition, the study explores an African writer's use and imagination of tragic philosophy and form to illuminate vernacular perspectives of human existence at cosmic and socio-political levels. The thesis is thus organised along two principles: political time and tragic themes. The discussion moves from writings that focus on colonialism, through post-independent dictatorship to the liberationist era under democracy in Malawian history. The chapter sequencing follows this order. Each chapter examines a different basis of Chimombo' s tragic vision. These areas range from the writer's political consciousness across a historical spectrum; his philosophy of human existence; and the specific conditions of women and writers under repression. I define postcolonial tragic vision; distinguish tragedy from the tragic; and place Chimombo in context. I then explore writer's mythologizing of colonialism within his vernacular cosmology and how he appropriates Western tragedy in writing back to a hegemonic discourse. I examine the making of tragedy and the tragic in order to interrogate the politics and poetics of tragedy. Elevating the debate to a philosophical plane, I further enquire into Chimombo's ontological conception of mankind as grounded in vernacular mythology and a politics of dictatorship. I posit Chimombo as a spokesperson of tragic sensibility using the chameleon metaphor and metapoesis as critical frameworks. Outside politics, I underpin sacrifice as an underlying formulation of tragedy in a society afflicted by HIV and AIDS, focusing on the tragic liberation of women. Then I ask what can be tragic about democracy and its liberationist promises.
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Chau, Chi-kit, and 周智傑. "Still looking back: modern American postcolonial pairings." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45007469.
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Galea, Marco. "A study of postcolonial drama in Malta." Thesis, University of Birmingham, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411117.
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For almost two centuries Malta was a British colony. During this period it developed an active theatre which, unlike the situation in most colonized communities as described by postcolonial criticism, used a local language as its main means of expression. Most Maltese playwrights continued to write their plays in Maltese even after their country became independent, and therefore after the Maltese language had outlived its utility as a weapon of resistance against a formal foreign colonizer. The thesis traces the development of Maltese drama and theatre in the nineteenth and early twentieth century but its main focus is the drama of the post-independence period, when playwrights became more daring both in the views they held and in the form they gave to their plays. It discusses in detail the major themes which recur in Maltese plays from 1964, when Malta gained its independence from Britain, to the present day, thereby evaluating the various playwrights' position of commentators on their country's history, politics and social values. It is shown that many of the subjects that interest Maltese playwrights, such as history, power, family structures and theatrical life, are also present in many important plays originating in other postcolonial situations. Likewise, Maltese drama shares with other postcolonial drama a stylistic engagement with the western canon, which is analyzed in detail in the last chapter
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Mitchell, Michael. "Hidden mutualities : Faustian themes in the postcolonial." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/4522/.
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Hidden mutualities link the work of major postcolonial writers with Marlowe's drama of the Faustian pact - the manipulation of the material world in exchange for the soul - written as the 'scientific' world view was emerging which accompanied the imperial expansion of Europe and has determined the economic and social structures of the colonial and post-colonial world. This comparative study brings together researches in widely different fields to show how Doctor Faustus reflects a Gnostic / Hermetic tradition marginalized within the dominant European power structures. It shows initially how these ideas were crystallized by Ficino and Pico from the available texts of the Corpus Hermeticum, and how they relate to what has become known about Gnosticism and Simon Magus. Combined with the alchemical and cabalistic traditions they form a basis for the study of Renaissance 'Magus' figures such as Trithemius, Reuchlin, Agrippa, Paracelsus or Dee, who are reflected in Faust and in Shakespeare's Prospero in The Tempest. The second part investigates the dual legacy of the Magus. A counterpoint between a law-governed objective material world and an occult visionary pursuit of the divine potential of the human imagination, in which the Gnostic / Hermetic tradition ironically became marginalized by the technological science it had inspired, is traced through the examples of Kepler, Fludd, Newton, Blake, Kipling, Crowley, Yeats, Pauli and Jung. In the third part, textual analysis reveals how attention to these Faustian themes opens new critical perspectives in appreciating the works of postcolonial writers, in particular Dimetos by Athol Fugard, Disappearance by David Dabydeen, Omeros by Derek Walcott, and the novels of Wilson Harris, all of which stress the importance of the creative imagination over mimesis.
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Chu, Wei-cheng Raymond. "Homo and others : articulating postcolonial queer subjectivity." Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.388671.
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Huddart, David Paul. "The foreignness of autobiography : inventing postcolonial beginnings." Thesis, University of Sussex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343372.
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Asif, Noor A. "Understanding Postcolonial South Asian Communities Through Bollywood." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/788.
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Inspired by my personal experience as a South Asian-American, I chose to create a series of paintings that seek to analyze the relationship between South Asians and a Western environment. I was further influenced by Bollywood painted posters, which I argue encapsulate postcolonial aesthetics in the form of fair skin, colored eyes, and exoticism. Moreover, I believe that Bollywood has continued to disseminate these aesthetics to the South Asian collective community. Bollywood and its implicit fascination with the West, in addition to its inherently South Asian identity, embody the struggle that many South Asians face. This struggle, which I as a South Asian-American woman painter have also experienced, includes a constant internal conflict between desiring to fit into Western culture and trying to maintain one’s cultural heritage within a Western environment. Ultimately, through these paintings and this essay, I seek to shed light on this complex relationship between South Asian culture and a Western context.
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Lecznar, A. E. "Soyinka's Bacchae : reading tragedy in postcolonial modernity." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1418769/.
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This thesis focuses on The Bacchae of Euripides: A Communion Rite, a reception of the ancient Greek tragedy Euripides’ Bacchae by the Nobel Prize winning Nigerian playwright, poet and social critic Wole Soyinka. It will argue that Soyinka’s Bacchae sits at the intersection of Western and African intellectual traditions; the text brings Soyinka’s Nigerian and black African identity into a dialogue with the European intellectual tradition of engagement with ancient Greek tragedy. The tragic texts of Aeschylus, Sophocles and Euripides have been, and remain, central to the literary canon of Graeco-Roman antiquity. These tragedies have been put to very different uses throughout their rich reception history: in the colonial context they functioned as part of a European narrative of cultural hegemony, while postcolonial authors have used them as weapons of resistance to destabilize those very same narratives and to form new identities beyond the shadow of colonialism. Both the circumstances of its genesis and the intellectual influences that Soyinka incorporates into the play make his Bacchae a paradigmatic example of how these historical processes can overlap. Firstly, Soyinka was commissioned to write his tragic reception by the Royal National Theatre of Great Britain, a European theatre company. Secondly, he explicitly cites the German philosopher Friedrich Nietzsche, whose arguments about Dionysus would inform many European responses to Euripides’ text and tragedy more generally. This thesis argues that postcolonial receptions of ancient Greek tragedy should not just be studied as an uncomplicated expression of non-European perspectives. Cultural multiplicity marks every stage of Soyinka’s Bacchae, and the text draws on and creatively transforms intellectual and artistic debates that span global geographical, cultural and ethnic traditions. By exploring this text and its cultural and intellectual contexts, this thesis will illuminate the intricate cross-cultural dialogues that become apparent when tragedy is read in postcolonial modernity.
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Smart, Kirsten. "National consciousness in Postcolonial Nigerian children's literature." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/22880.
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This project highlights the role of locally produced children's written literature for ages six to fourteen in postcolonial Nigeria as a catalyst for national transformation in the wake of colonial rule. My objective is to reveal the perceived possibilities and pitfalls contained in Nigerian children's literature (specifically books published between 1960 and 1990), for the promotion of a new national consciousness through the reintegration of traditional values into a contemporary context. To do this, I draw together children's literature written by Chinua Achebe, Cyprian Ekwensi and Mabel Segun in order to illustrate the emphasis Nigerian children's book authors writing within the postcolonial moment placed on the concepts of nation and national identity in the aim to 'refashion' the nation. Following from this, I examine the role of the child reader in relation to the adult authors' intentions and pose the question of what the role of the female is in the authors' imagining of a 'new nation'. The study concludes by reflecting on the persistent under-scrutiny of children's literature in Africa by academics and critics, a preconception that still exists today. I move to suggest further research on the genre not only to stimulate an increased production of children's literature more conscious in content and aware of the needs of its young, (male and female) African readership, but also to incite a change in attitude toward the genre as one that is as deserving of interest as its adult counterpart.
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Ryberg, Erik. "Lgr 11's Postcolonial Burden of History." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22702.
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AbstractIn 2011, the Swedish government created a new curriculum for the compulsory school. This curriculum included stricter guidelines about what was to be taught in a variety of subjects taught in public and many private schools. This policy, entitled Lgr 11, has potential to influence a generation or more of Swedes regarding their understanding of the postcolonial world and future dealings with that part of the world and its peoples. In this paper, elements of postmodern and postcolonial historiography is employed when analyzing Lgr 11’s history syllabus. How the postcolonial world and its histories are represented in Lgr 11‘s narrative(s) is investigated. The importance of this document to Swedes is that, with a significant proportion of the Swedish population recent immigrants from the postcolonial world, the perspectives of that region are important in the development of identity for recent immigrants, Swedes themselves and in understandings of a large portion of the world for less recent immigrant Swedes. Swedish identity now includes postcolonial histories.
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Zachariah, Tirzah. "Silence and representation in selected postcolonial texts." Thesis, University of Stirling, 2016. http://hdl.handle.net/1893/24136.
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This thesis discusses female silence, voice and representation as portrayed in four postcolonial novels written by Asian female writers or those from the Asian diaspora. The novels included in the corpus are The God of Small Things by Arundhati Roy, Cereus Blooms at Night by Shani Mootoo, Brick Lane by Monica Ali and Brixton Beach by Roma Tearne. This thesis aims to explore the different strategies adopted by the authors to represent different forms of silence of the type highlighted in theoretical work by Spivak, Olsen and Showalter. The novels analysed open up new contexts in which issues of silence, migration, displacement and multiculturalism, which are central in postcolonial literature, are explored. In its examination of these issues in detail, the thesis has been influenced by postcolonial and diasporic studies, with a focus on women’s issues and feminist thought. Instead of focusing on the role of silence solely in relation to specific characters, the thesis attempts to engage with the complex ways in which these narratives represent various forms, moments and scenes of silence. From the analysis, we can exemplify that the novels can also be used to suggest the ambivalences of speaking/not-speaking via the narrative representations of silence. Authorial silence involves the author’s deliberate refusal to speak directly in the text ; instead, the author utilises several literary devices to convey something indirectly to the reader. Silence is also linked to concepts such as shame, secrets and gossip. One is likely to refrain from speaking if he or she is ashamed, secretive or is the topic of gossip in one’s community. There are also some female characters who are portrayed as not-speaking, or choosing to remain silent so as not to cause problems for the family. A few other characters have been portrayed as refusing to speak out as they have been traumatised into silence. Lastly, women can also be complicit in holding on to patriarchal structures and in the process, attempt to speak out in order to to silence or to cause problems to other women.
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Neeves, Mairi Emma. "The negotiation of trauma in postcolonial culture." Thesis, Goldsmiths College (University of London), 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.514332.
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Samwanda, Biggie. "Postcolonial monuments and public sculpture in Zimbabwe." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1006825.
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The study critically examines public art in postcolonial Zimbabwe‘s cities of Harare and Bulawayo. In a case by case approach, I analyse the National Heroes Acre and Old Bulawayo monuments, and three contemporary sculptures – Dominic Benhura‘s Leapfrog (1993) and Adam Madebe‘s Ploughman (1987) and Looking into the future (1985). I used a qualitative research methodology to collect and analyse data. My research design utilised in-depth interviews, observation, content and document analysis, and photography to gather nuanced data and these methods ensured that data collected is validated and/or triangulated. I argue that in Zimbabwe, monuments and public sculpture serve as the necessary interface of the visual, cultural and political discourse of a postcolonial nation that is constantly in transition and dialogue with the everyday realities of trying to understand and construct a national identity from a nest of sub-cultures. I further argue that monuments and public sculpture in Zimbabwe abound with political imperatives given that, as visual artefacts that interlace with ritual performance, they are conscious creations of society and are therefore constitutive of that society‘s heritage and social memory. Since independence in 1980, monuments and public sculpture have helped to open up discursive space and dialogue on national issues and myths. Such discursive spaces and dialogues, I also argue, have been particularly animated from the late 1990s to the present, a period in which the nation has engaged in self-introspection in the face of socio-political change and challenges in the continual process of imagining the Zimbabwean nation. Little research focusing on postcolonial public art in Zimbabwe has hitherto been undertaken. This study addresses gaps in this literature while also providing a spring board from which future studies may emerge.Microsoft� Word 2010
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Dadras, Danielle Mina. "Circulating Stories: Postcolonial Narratives and International Markets." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1222096875.
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Langford, Jean M. "Fluent bodies : Ayurvedic remedies for postcolonial imbalance /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/6557.
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Sorensen, Eli Park. "Postcolonial melancholia : theory, interpretation and the novel." Thesis, University College London (University of London), 2007. http://discovery.ucl.ac.uk/1446117/.
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In my doctoral dissertation, I discuss and explore notions of the literary and literary form in postcolonial studies. Beginning with a focus on recent expressions of unease about the theoretical paradigms through which the postcolonial perspective responds to literary texts, I discuss the emergence of what I call postcolonial melancholia, an atmosphere induced by the increased institutionalisation in academia in recent years. Using Freud's notion of melancholia, as a form of ghostly identification with an absent object, I explore what leading critics have seen as a loss of contemporary postcolonial criticality, and which I see as intimately related to the problematic ways in which the dimension of the literary has been used. In the second part of my dissertation, I analyse and discuss various literary strategies as formulated in three formally different postcolonial novels---Ousmane Sembene's Xala, J.M. Coetzee's Foe, and Rohinton Mistry's A Fine Balance---in order to map the contradictions, limitations but also possibilities of novelistic representation in postcolonial space. My overall critical perspective will be informed by the works of Georg Lukacs, and in particular his notion of a utopian-interpretive realist ideal, developed in the early work Theory of the Novel. My argument is that this utopian-interpretive realist ideal can also be seen as a particularly useful notion in connection with what I see as the literary dimension in many postcolonial novels, as it is situated in between complex socio-political agendas and aesthetic-representational problematics. Lukacs's formal-literary ideal is repeated in his later writings on realism from the thirties, but notably in a transfigured way---as an extra-literary, authoritative norm. The dynamic of this trajectory, one that moves from idealism to dogmatism, can (with certain modifications) be seen as similar to the development of the field of postcolonial critical discourse---moving from an early, idealistic beginning, to an increasingly dogmatic, prescriptive and authoritarian academic discourse. By using the trajectory of Lukacs's realist ideal as a comparative background, I attempt explore alternative ways of conceiving postcolonial literariness ways that may help the field of postcolonial studies to come to terms with what I see as the symptom of postcolonial melancholia, haunting the contemporary discipline.
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Carrigan, Anthony James. "Representations of tourism in postcolonial island literatures." Thesis, University of Leeds, 2008. http://etheses.whiterose.ac.uk/4125/.
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This thesis examines representations of tourism in postcolonial island literatures. Focusing on works by Caribbean, Pacific, and Sri Lankan writers, it argues that even as they foreground the exploitative dimensions of mass tourism development, they also provide insights into how more culturally and environmentally sensitive tourism practices might emerge. As such, they offer important contributions to enhancing island tourism sustainability. In constructing this argument, I locate my textual readings in the context o f interdisciplinary tourism studies, an expansive field which embraces sociological, anthropological, geographical, economic, and political science disciplines. I draw on this research to show how it can deepen understandings of tourism’s role within postcolonial island texts, and to explore the extent to which imaginative depictions of the industry offer fresh perspectives on mainstream tourism studies debates. The thesis focuses on islands as a means o f exploring the tensions between their stereotypically ‘paradisal’ attraction to generations of ‘western’ visitors, and their social, cultural, and environmental vulnerability to unsustainable tourism practices. This allows the relationship between the industry’s discursive and material operations to be approached in nuanced depth. It also highlights tensions between theories of cultural and environmental sustainability, which are often heightened in island contexts. Drawing on recent intersections between postcolonialism and ecocriticism as well as cultural approaches to globalisation, the thesis seeks to further conversations between aesthetics, social science, and ecological research, while also attending to the formal complexities o f the texts addressed. Following the first chapter, which examines tourism’s effects on island ecologies and the contributions postcolonial island literatures can make to interdisciplinary debates, the thesis is divided into three central chapters. Chapter 2 deals with tourism and nature, Chapter 3 addresses tourism and culture, and Chapter 4 brings social and environmental concerns together in its analysis o f sex tourism and embodied experience. Embracing writings from a wide variety of islands — including Antigua, Barbados, Trinidad, St Lucia, Samoa, New Zealand, Hawai‘i, and Sri Lanka — it asserts the importance of comparing portrayals o f island tourism within a postcolonial framework. It concludes by outlining the relevance o f future research for poverty alleviation, crisis management, and understanding marginalised groups’ negotiations o f the industry in both island and mainland contexts.
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Bird, Emma Jade. "Reimagining Bombay : postcolonial poetry and urban space." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/8301.
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This thesis considers the ways in which poets writing in English in Bombay have represented the city and negotiated its particular challenges, focusing in particular on poets starting to publish during the 1950s and 1960s. Examining in detail work by poets whom Bruce King refers to as constituting a “Bombay circle”, this project examines how Nissim Ezekiel, Adil Jussawalla, Gieve Patel and Arun Kolatkar in particular have represented the modernity of the city (Modern Indian Poetry in English 45). Despite Bombay’s significance in postcolonial studies, this highly mediated city has been disassociated from its material histories by recent critical and imaginative portrayals. The over-determination of Bombay is countered and nuanced, this thesis suggests, by examining the ways in which poets have represented the city. Evaluating Bombay poetry closely, and considering the relationship between poetic form and language and the articulation of space, this project asks how poetry written in the city contributes to, intervenes in or disarticulates dominant readings of Bombay. The material contexts in which poetry was written and circulated provide further significant and under-researched sites of engagement with this postcolonial city. This thesis thus turns to a period in the city’s cultural and literary history that has not been extensively documented: to the emergence of its poetry scene from the 1950s onwards. This project combines close, poetic analyses with archival research, examining Bombay’s little magazines and small press publishers, and tracing the various local and international affiliations evidenced in this body of work. In doing so, its aim is to historicize and contextualize the city and the work of its poets, enriching a critical and materialist understanding of this paradigmatic city.
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Francis, Toni P. "Identity Politics: Postcolonial Theory and Writing Instruction." Scholar Commons, 2007. https://scholarcommons.usf.edu/etd/711.
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In this dissertation I intend to apply postcolonial theory to primary pedagogical and administrative concerns of the writing program administrator. Writing Program Administrators, or WPAs, take their responsibilities seriously, remaining cognizant of both the negative and positive repercussions of the pedagogical decisions that take shape in the scores of composition classrooms they administer. This dissertation intends to infuse the WPA position with the ethos of scholarly praxis by historicizing and contextualizing the field of composition, and by placing the teaching of writing within the historical memory of slavery and colonialism. Sound WPA research is theoretically informed, systematic, principled inquiry that works toward producing strong writing programs. This dissertation provides such inquiry, drawing the field's attention to the reality of postcoloniality and presenting an understanding of the work of composition as informed by and complicit in the history of racialized forms of oppression. From this context, the dissertation analyzes three major issues faced by the WPA: the debate over standardized discourse, the influence of the job market on pedagogical decisions, and the (de)politicizing of the composition classroom. In the following sections, these issues will be related directly to critical theories from postcolonial and composition studies that assist in articulating the issues of identity politics, hegemonic struggle, interpellation and interpolation, subaltern voice, and hybridity that are so crucial to writing program pedagogy and administration in the postcolonial age, for it is my argument that the writing classroom is a crucial site of contention in which the politics of identity are manifested as students appropriate and are appropriated by discourse.
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Romanini, Elisa <1993>. "POSTCOLONIAL DICKENS Re-writings of Great Expectations." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15659.
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L'obiettivo della tesi è quello di analizzare e confrontare degli adattamenti postcoloniali del romanzo 'Grandi Speranze' di Charles Dickens. In primo luogo verrà fornita una breve definizione di cosa sono gli studi postcoloniali e verrà analizzato sia il rapporto tra Dickens e le colonie che quello tra lo scrittore e le letterature postcoloniali. In seguito, tratterà il tema degli studi sugli adattamenti, al fine di spiegare le caratteristiche principali di questo tipo di testi. Infine, i romanzi 'Jack Maggs' di Peter Carey e 'Mister Pip' di Lloyd Jones verranno analizzati e confrontati sia tra di loro che con il romanzo originale di Dickens. Tale analisi verterà principalmente sullo stile degli autori e sui temi presenti nei tre romanzi.
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Rivas, Araceli. "Postcolonial analysis of educational research discourse: creating (Mexican) American children as the." Texas A&M University, 2005. http://hdl.handle.net/1969.1/3310.
Full textAbstract:
Research is a modern practice whose production of knowledge needs to be
critically and continually examined. The pursuit of knowledge is not a neutral and
objective endeavor; it is a socially situated practice that is embedded within
power/knowledge/culture configurations. Historically, research discourses have labeled
and positioned minority groups to an inferiority/superiority matrix, illustrating how
research can create an oppressive otherness/alterity. Thus, the general purpose of this
study was to critically critique research from the postcolonial perspectives of alterity and
colonial discourse. In particular, the study sought to deconstruct the conceptual systems
that create the alterity of (Mexican) American children within research discourse.
The study was in part guided by Said's (1978) analysis of the colonial discourse
in Orientalism. There were two parts to the study that analyzed one hundred and
nineteen research documents from 1980-2004. Phase I identified the discursive themes
that construct that alterity of (Mexican) Americans by employing a qualitative content
analysis method. Phase II employed a discourse analysis method to deconstruct theconceptual systems and sites of power in the production of knowledge that position
(Mexican) Americans as objects of research.
The analysis disclosed that the conceptual systems that construct the alterity of
(Mexican) Americans are structured by modern and colonial research structures that
project a hegemonic Westernized vision of research, education, and human existence.
Under these conceptual structures, there are multiple levels of alterity ascribed to
(Mexican) Americans that continue to (re)inscribe positions of inferiority; as objects of
research, they are constantly placed in a comparative framework against the dominant
cultural norms. Some of the key sites of power in the production of knowledge about
(Mexican) Americans are illustrated by the researcher (as author) and the university (as
a privileged location). The conclusions problematized research as an apparatus that
reconstructs hierarchical differences and reinscribes colonial relationships where the
Other is defined only from a Western and culturally dominant perspective of
separateness.
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Westerberg, Ågren Karl-Oscar. "Teaching the Postcolonial : Disrupting a euro-centric world-view in the multicultural classroom." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-16704.
Full textAbstract:
This thesis discusses postcolonial literature as focus of study on Swedish upper secondary school. It is based on literature concerning postcolonial literature, identification and culture. It also contains an empiric survey of the spread of usage of postcolonial liturature for educational purposes at upper secondary school in Sweden. The survey is in two parts, one qualitative with teacher interviews. The other part is quantitative, based on the results of a questionnaire by students.
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Le, Gallic Jeanne. "L’immigration algérienne sur la scène théâtrale française (1972-1978) : d’une lutte postcoloniale à l’émergence d’une reconfiguration historique et temporelle." Thesis, Rennes 2, 2014. http://www.theses.fr/2014REN20049/document.
Full textAbstract:
Cette thèse de doctorat, s’inscrivant dans le champ des études postcoloniales, s’intéresse à l’émergence du théâtre de l’immigration durant la décennie 1970 dans la continuité de luttes qui marquent l’apparition d’un discours critique sur la colonisation et ses effets. Le théâtre est y utilisé comme une arme de combat, une poursuite de l’activité politique et militante, permettant de démanteler les mécanismes d’aliénation et d’exploitation auxquels sont soumis les immigrés en contexte contemporain. Il est en effet désormais impossible de penser l’immigration sans penser les résultats d’une histoire qui a débuté avec la colonisation. Les indépendances, loin de consacrer une rupture dans les modes de domination établis pendant la colonisation, semblent au contraire en perpétuer certaines pensées et pratiques dans une expression renouvelée : c’est notamment à travers la figure de l’immigré algérien, excroissance à rebours de la colonie française qu’était l’Algérie, que des modes de traitement, d’encadrement et de surveillance de l’immigration, hérités en partie de la période coloniale, perdurent dans la période postcoloniale. Ces mécanismes de domination et d’exploitation des travailleurs immigrés seront violemment dénoncés durant la décennie, qui voit l’apparition à la fois d’une nouvelle subjectivité politique et l’émergence d’un théâtre immigré dont la pratique illustre les théories anglo-saxonnes sur la colonisation et ses conséquences dans le jaillissement de nouvelles formes discursives et esthétiques. Le poids de l’héritage colonial, en particulier celui lié à l’Algérie, permet ainsi de mobiliser les travailleurs autour d’une identité contextuelle et de développer un théâtre qui repose idéologiquement et esthétiquement sur l’examen panoramique d’une réalité qui s’inscrit dans une temporalité et une territorialité complexes, liées au mouvementThis doctoral dissertation, falling in the field of postcolonial studies, investigates the emergence of an immigration theatre during the decade 1970 in the continuation of fights that characterise the development of a critical discourse regarding colonisation and its effects. In this context, theatre is used as a weapon, a prolongation of the political and militant activism, permitting to dismantle the mechanisms of alienation and exploitation to which immigrants are subject in contemporary environment. Indeed, it is now impossible to consider immigration without considering outcomes of a history initiated with colonisation. Independences, far from consecrating a rupture in the modes of domination established during colonisation, instead seem to perpetuate some beliefs and practises in a renewed expression: it is in particular through the Algerian immigrant figure, backward excrescence of the French colony Algeria was, that methods for processing, supervising and monitoring immigration, in part inherited from the colonial era, persist during postcolonial times. These domination and exploitation mechanisms directed toward immigrant workers will be fiercely denounced during the decade, which sees apparition at the same time of a new political subjectivity and the emergence of an immigrant theatre, whose practise illustrates Anglo-Saxon theories on colonisation and its consequences in the burst of new discursive and aesthetical forms. The weight of colonial legacy, particularly the one related to Algeria, therefore allows to mobilise workers around a contextual identity and to develop a theatre ideologically and aesthetically based on the panoramic examination of a reality inscribed in complex temporality and territoriality linked to motion