Rozprawy doktorskie na temat „Politics and literature – caribbean area”

This thesis considers the relationship between literary modernism and visual culture in the work of Caribbean modernist Jean Rhys. Through analysis of a range of visual modes—theatre, fashion, visual art, cinema and exhibition culture—it examines the racialised sexual politics of Rhys’s modernist aesthetics, as represented in her texts of the 1920s—30s. I read Rhys’s four interwar novels—Quartet (1928), After Leaving Mr Mackenzie (1930), Voyage in the Dark (1934) and Good Morning, Midnight (1939)—in the context of contemporary visual practices and the politics of empire. Rhys’s descriptions of artistic practices, acts of viewing and interpreting art, and the identification of her protagonists as both objects and consumers of art are a crucial aspect of her anti-colonial feminism. The politics of vision and of empire are always intertwined for Rhys. Chapter One studies theatrical spectacle and everyday performances of the self. Chapter Two moves to the fashioning of female identities and sartorial constructions of Englishness. Chapter Three turns to Rhys’s use of ekphrasis to question representational structures as they exist in the modernist, primitivist art context. Chapter Four reads Rhys and cinema, focusing on divided or fractured subjectivities as relayed through allusions to distorted mirrors. This conveys Rhys’s powerful evocation of themes of alienation and dislocation. I conclude by analysing what ‘exhibition’ means for those occupying both subject and object visual positions within the imperial metropolis. Analysis is supported by readings of unpublished short stories, letters and poems, works that are relatively absent from current Rhys scholarship. The conjunction of revolutions in the visual arts and the destabilization of the empire in the modernist period provides clear space for investigation into the creation of new ways of seeing that provided a degree of visual agency for those deemed incapable of aesthetic production. Crucial to this is Rhys’s own Creolité. Situated within and outside of European visual subjectivity, Rhys’s work becomes vital to any study of social acts of seeing, in terms of individual subjectivity and within the wider systems of vision produced through the arts.
published_or_final_version
English
Doctoral
Doctor of Philosophy

Typescript. Includes vita and abstract. "The major argument of this work is that French Caribbean novels pursue a political agenda"--P. iv. Includes bibliographical references (leaves 179-185). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.

This thesis examines the involvement of the United States in the decade-long trade dispute before the World Trade Organization (WTO) over the European Union's preferential banana regime. Washington's justification for bringing this case to the WTO comes from Section 301 of the U.S. trade act, which allows for disputes to be undertaken if U.S. "interests" are violated; however, this is the first case ever undertaken by the United States that does not directly threaten any American banana industry, nor affect any American jobs. Why, then, would the United States involve itself in this European-Caribbean-Latin American dispute? It is the contention of this thesis that the United States thrust itself headlong into this debate for two reasons: domestically, the United States Trade Representative came under pressure, via the White House and Congress, from Chiquita CEO Carl Lindner, who in the past decade donated more than $7.1 million to American politicians to take the case to the WTO. Internationally, the United States used the case as an opportunity to assert its power over Europe, with the Eastern Caribbean islands being caught in the economic crossfire. According to existing literature, in undertaking this case, the United States did as any nation would: it operated within both domestic and international levels, satisfying at each level key interests, with the overall goal of maintaining the nation's best interests.

xi, 236 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
Writers in the Caribbean, like writers throughout the postcolonial world, return to colonial texts to rewrite the myths that justified and maintained colonial control. Exemplary of a widespread, regional phenomenon that begins at mid-century, writers such as Aimé Césaire and George Lamming take up certain texts such as Shakespeare's The Tempest and recast them in their own image. Postcolonial literary theory reads this act of rewriting the canon as a political one that speaks back to power and often advocates for political and cultural independence. Towards the end of the twentieth century and at the beginning of the twenty-first century, Caribbean women writers begin a new wave of rewriting that continues in this tradition, but with certain differences, not least of which is a focused attention to gender and sexuality and to the literary legacies of romance. In the dissertation I consider a number of novels from throughout the region that rewrite the romance, including Jean Rhys's Wide Sargasso Sea (1966), Maryse Condé's La migration des coeurs (1995), Mayra Santos-Febres's Nuestra señora de la noche (2006), and Dionne Brand's In Another Place, Not Here (1996). Romance, perhaps more than any other literary form, exerts an allegorical force that exceeds the story of individual characters. The symbolic weight of romance imagines the possibilities of a social order--a social order dependent on the sexual behavior of its citizens. By rewriting the romance, Caribbean women reconsider the sexual politics that have linked women with metaphorical constructions of the nation while at the same time detailing the extent to which transnational forces, including colonization, impact the representation of love and desire in literary texts. Although ultimately these novels refuse the generic requirements of the traditional resolution for romance (the so-called happy ending), they nonetheless gesture towards a reordering of community and a revised notion of kinship that recognizes the weight of both gendered and sexual identities in the Caribbean.
Committee in charge: Karen McPherson, Chairperson, Romance Languages; David Vazquez, Member, English; Tania Triana, Member, Romance Languages; Judith Raiskin, Outside Member, Womens and Gender Studies

The purpose of this study is three-fold. The first is to provide the reader with a review of the literature concerning the topic of regional political integration. The second purpose is to provide an operational definition of regional political integration which can be useful in the testing of hypotheses. Regional political integration is defined in terms of the regional decision-making process. Various levels of regional political integration are defined, operationalized, and identified. The levels from lowest to highest are as follows: regional promotion, regional information exchange, regional policy coordination, regional monitor, and regional authoritative decision-making. The third purpose of the study is to analyze the factors which are hypothesized to be correlated with and responsible for the changing levels of regional political integration.

Thesis (Ph. D.)--University of California, San Diego, 2007.
Title from first page of PDF file (viewed October 4, 2007). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 234-245).

This thesis examines how skin bleaching can be understood within the cultural context of Jamaican dancehall. I argue that as a cultural practice, skin bleaching can be viewed as a critique of the concomitant structural inequalities precipitated by colorism, which is a by-product of racism. In proposing skin bleaching as a queer performance of color, I attempt to illustrate the manner in which the lightening of the skin exposes the instability of racism and colorism as socially constructed, discursive regimes. If race and skin color are biological and embodied facts dictated by social reality, then bodies, which are racially marked and colored subjects, can be used to project counter discourses that challenge these specific regimes. The space of discursive limit imposed on the racialized or colored body-subject is a space from which critiques of dominant discourses can be projected, and bleaching does precisely that. I conclude therefore, that skin bleaching is performed resistance which challenges the dominating discourses on race by first destabilizing the notion that skin color is an immutable biological fact, and second by contesting subsequent discourses that are contingent on the “facts” of color and race.

Indiana University-Purdue University Indianapolis (IUPUI)
Dance appears often in Anglophone Caribbean literature, usually when a character chooses to celebrate and emphasize her/his freedom from the physical, emotional, and societal constraints that normally keep the body in check. This study examines how a character's political consciousness often emerges in chorus with aesthetic bodily movement and analyzes the symbolic force and political significance of Caribbean dance--both celebratory (as in Carnival) and defensive (as in warrior dances). Furthermore, this study observes how the weight of Western views on dance influences Caribbean transmutations and translations of cultural behavior, ritual acts, and spontaneous movement. The novels studied include Samuel Selvon's "The Lonely Londoners" (1956), Earl Lovelace's "The Dragon Can't Dance" (1979), Paule Marshall's "Praisesong for the Widow" (1983), and Marie-Elena John's "Unburnable" (2006).

The advent of Area Studies and Comparative Literature in US academia developed in response to (or, more aptly, as a result of) the Cold War in the 1960s, with locations such as the Middle East relegated to Area Studies due to the strategic importance that knowledge of its histories, cultures, and languages had for global (read: US) geopolitics. On the other hand, the discipline of Comparative Literature constituted the expansion of US literary studies due to the influx of European intellectual refugees, with scholars and practitioners formulating the field around texts in, primarily, German and Romance languages in conversation with Anglophone texts. Over the past two decades, this Eurocentric model of Comparative Literature has been challenged, and, to some extent, subverted. Yet more often than not, modern Persian Literature is consigned to the realm of Area Studies in general and a Middle Eastern discourse in particular. My dissertation, “Disorderly Political Imaginations: Comparative Readings of Iranian and Caribbean Fiction and Poetry, 1960s-1980s,” addresses this gap by placing Iran and Persian literature front and center of a comparative project that includes canonical writers from the anglophone and francophone Caribbean. Additionally, “Disorderly Political Imaginations” considers intellectual figures and their literary productions that contributed to the liberation of individual and social consciousness. These figures created unique forms and languages of revolt that deviated from the prevailing definitions of committed, political, or national literature. In The Darker Nations: A People’s History of the Third World, Vijay Prashad sets a precedent for comparing Iran and the Caribbean in his chapter titled “Tehran,” by connecting Gharbzadegi (Westoxification or Occidentosis)—the cultural and socio-political manifesto of Jalal Al-e Ahmad—and Aimé Césaire’s négritude. On a broader, geopolitical level, he concomitantly connects imperial schemes in the “nominally independent” Iran and Caribbean region, along with the forms of resistance to them. Yet, for a chapter titled “Tehran,” the focus is mostly the contribution of other Third World projects to that of Iran’s. Conversely, “Disorderly Political Imaginations” centers Iran as a comparable case meriting comprehensive analysis in Third World cultural and political projects. Furthermore, rather than study the works of Al-e Ahmad and Césaire as exemplary cultural projects of resistance, I choose to investigate alternative modes of political thought and writing that move beyond the framework of “resistance”—modes that are not always considered as contributing to the political landscape. The “disorderly” politics and the “disorderly” creations of the writers under study thus take to task the idea of political literature during the decades of global decolonization, motivated by Jean Paul Sartre’s littérature engagée (engaged literature). In three chapters, I study Iranian literature of the mid to late 1960s in comparison to African diasporic literature from the Caribbean of the late 1970s to mid 1980s. The oft-overlooked issue of gender in national liberation projects of the time is addressed in my first chapter, “Scarecrows and Whores: Women in Savashoun and Hérémakhonon,” as I compare the two novels by Simin Daneshvar and Maryse Condé. The multilingual female protagonists in the novels of Condé and Daneshvar act as both literal and cultural interpreters and intermediaries in the narratives. I then extend my analysis of these protagonists’ precarious positions to the equally precarious intellectual positions of their creators in political discourses. By using Condé’s delineation of disorder in “Order, Disorder, Freedom and the West Indian Writer” as a necessary marker for freedom in both thought and creativity, central arguments of my dissertation about disorderly political imaginations are also presented. In “Disrupted and Disruptive Genealogies in the Novels of Hushang Golshiri and Édouard Glissant,” I compare Golshiri’s Shazdeh Ehtejab (Prince Ehtejab) and Éduoard Glissant’s La case du commandeur (The Overseer’s Cabin). Building upon Michél Foucault’s concept of “subjugated knowledges,” I demonstrate how their protagonists’ insistence on finding answers to the political questions of the present in the historical past (of empire and slavery respectively) leads to their insanity, and how, concomitantly, the formal characteristics of these narratives (such as their in-betweenness in terms of genre, language, and mode of address) offer “noncoercive knowledge” (to use Edward Said’s phrasing from The World, the Text, and the Critic) in lieu of answers. While taking into consideration the world literary traditions these novelists are engaging with, my analysis moves beyond a poststructuralist critique; instead, I privilege these writers’ own historical, socio-political, and cultural contexts in literary analysis, both distinctively and in comparison with one another. In “Poet-Travelers: The Poetic Geographies of Sohrab Sepehri and Derek Walcott,” I analyze how they both create a poetic language of revolt and liberation that, while affirming multiple literary and linguistic traditions, cannot be dismissed as derivative or unoriginal. In this comparative reading, I study their particular use of enjambments and anaphora, the combination of an autobiographical, monologic poetic voice with that of dramatic dialogues, a plethora of travel imagery and vocabulary that reflect the poets’ own multitudinous travels, the disparate religious, mythic, and folkloric traditions they draw from, and ultimately, the unique languages they create. In comparing these texts, I consider the different and particular historical moments they were written in, which is a revolutionary moment for Iran, and for the Caribbean texts is a postcolonial moment. The political nuances of these different contexts thus effect the timbre of the texts, and these divergences in articulation are analyzed as well. “Disorderly Political Imaginations” thus does not create a homogenizing, globalized study of literary texts. In that same vein, my research demonstrates the valence that incorporating neglected subjects (in this case, Persian language and literary studies) into Comparative Literature can have in understanding the hegemonic structures of power at play in knowledge production, both locally and globally.

Afro-Puerto Rican Mayra Santos-Febres's novel Sirena Selena vestida de pena (2000) demonstrates the intrinsic social relationship that exists between generations in Puerto Rico and Dominican Republic. The historical similarity between these regions permits a comparison in life stories of marginalized peoples. Puerto Rican godmothers and transvestites Martha Divine and Valentina Frenesâi prepare goddaughter, quinceänera and bolerista Sirena Selena in her performance in order to launch a career and conquer the strategies of survival. Meanwhile, Dominican millionaire Hugo Graubel manages his life publicly as a heterosexual husband and privately as a gay man and strongly attempts to capture enigmatic Sirena Selena. Whereas the Dominican, pre-adolescent, poor, and mulatto Leocadio discovers the veiled world of tourism that offers alternate possibilities of economic survival. The previous generations' transgression of society's binary definitions created alternate spaces that continue to pave the way for future generations that will refuse and resist conforming to static patriarchal and heterosexual mainstream classifications
by Ariana Heydi Magdaleno
Abstract in English
Thesis (M.A.)--Florida Atlantic University, 2009
Includes bibliography
Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web

This dissertation examines how contemporary narrative fiction in French and Spanish represents experiences of migration and the circulation of capital and goods in the globalized Atlantic. I argue that the attempt to imagine an increasingly globalized world has been accompanied by a waning interest in character development and an increased interest in what could be characterized as the spatial dimension of literature. Many recent `global fictions' present readers with impenetrable characters whose interiority is inaccessible. The lack of depth is, however, replaced by geographical breadth. As characters move through space, bringing into relation several different geographical locations, authors draw attention to transnational sites of marginalization and imagine alternative power configurations. Several important studies have examined the engagement of Francophone writers with globalization in the late 20th and early 21st century. While these readings are sophisticated and persuasive, they remain confined within the Francophone context, rarely establishing comparisons with the Anglophone and the Hispanophone contexts. We thus end up with somewhat contradictory concepts such as Francophone or Hispanophone transnationalism,`world literature' and globalization. This seems even more paradoxical given that several Francophone writers, including Maryse Condé and Edouard Glissant, have set their novels in non-Francophone countries. My dissertation undertakes translinguistic literary criticism in order to address this gap in critical discourse. I limit my focus to what I term the Atlantic world economy, that is, the countries touched by the Atlantic triangle and marked by a history of population displacement and cultural mixing inaugurated through colonial slavery. The authors I have selected position their work in the Atlantic framework. Some more explicitly, like Fatou Diome whose novel is entitled The belly of the Atlantic. Others, like Maryse Condé and Roberto Bolaño, by moving protagonists between some of the major centers of the Atlantic economy. They all, however, pose the question of a globalized Atlantic, distancing themselves from the Atlantic as a triangular space, and reframing it as a space encompassing many poles. The notion of the globalized Atlantic further underscores the tension between a regional framework and a globalized world within which these authors are operating. At the turn of the 21st century movements resisting the effects of global capitalism have come into existence in several countries, including Egypt, Chile, the United States, Brazil and Turkey. These modes of activism require us to recalibrate some of our geopolitical categories as a way of thinking about transnational citizenship. The authors in my corpus deploy literary strategies that complement the activism of global socioeconomic and political movements. This dissertation focuses on their imagining of narrative fiction as a space that is both globalized and resistant to the dominant political and economic dimensions of globalization.

Transnational black American women writers' literary renderings of "home" evidence an intersectional relationship among black American literature and cultures. This dissertation analyzes, through the trope of home, these authors' portrayals of the multiplicity of experiences informing black American women's lives and identities both domestically and transnationally. Embracing the transnationalism of black American female subjects, as well as a paradigm of intersectionality, this dissertation creates a framework that challenges not only canon formation with regards to black women's literature in the Americas, but also the rigidity surrounding racial/ethnic and national identities generally. To this end, it distinguishes itself from other scholarship that has largely analyzed these women's writings comparatively or within a larger diasporic framework---which, while insightful, tends to undermine the impact and specificity of "New World" or black American cultures. This dissertation consists of an Introduction that delineates "intersectionality," explicating its significance and relational aspects to what I refer to as "transnational black American." Chapter I analyzes how these black women writers' representations of home problematize "nation"; and, it situates the novels within particular historical, sociopolitical, gendered, and literary contexts. Chapter II investigates Paule Marshall's depictions of African American and Caribbean settings as homespaces integral to protagonist Avey Johnson's black cultural consciousness and healing in Praisesong for the Widow. Chapter III examines the ways Haiti and the United States serve as sites of female sexual violation in Edwidge Danticat's Breath, Eyes, Memory . Chapter IV analyzes Toni Morrison's and Opal Palmer Adisa's delineations of African American women's attempts to establish a homespace and connection to their "black woman-ness" in transnational black American settings in Tar Baby and It Begins with Tears, respectively. Lastly, the Conclusion underscores this dissertation's significance in its challenging the rigidity of not only African American and Caribbean literary canons and their respective criticisms, but national boundaries and spaces, as well.

This thesis investigates the dual concepts of place as home and place within the canon for diasporic communities, immigrants, and minorities within Canada. This thesis argues that a new understanding of “home” is necessary as the immigrant, forced within an in-between place of “there” (the birth-country) and “here” (the host-country), does not experience “home” as a singular, rooted location. “Home” for the immigrant is a feeling of belonging that spans multiple places simultaneously. This investigation of politics through poetics is grounded in the belief that national literature reflects national identity. As the immigrant presence within Canada has heretofore been perceived as secondary to the national identity, and diasporic and immigrant literature as other-to the Canadian canon, this thesis purposes to re-imagine that national identity in a way that includes minority literature. I focus on the work of two widely known Caribbean Canadian poets: Cyril Dabydeen and Lorna Goodison.

This dissertation examines how the work of four Puerto Rican poets – Julia de Burgos, Clemente Soto Vélez, Martín Espada, and Naomi Ayala – demonstrates a poetics of resistance. While resistance takes a variety of forms in their poetic discourse, this project asserts that these poets have and continue to play an integral role in the cultural decolonization of Puerto Rico, which has been generally unacknowledged in both the critical scholarship on their work and the narrative of Puerto Rico’s anti-colonial struggle. Chapter One discuses the theoretical concepts used in defining a poetics of resistance, including Barbara Harlow’s definition of resistance literature, Edward Said’s concepts of cultural decolonization, and Jahan Ramazani’s theory of transnational poetics. Chapter Two provides an overview of Puerto Rico’s unique political status and highlights several pivotal events in the nation’s history, such as El Grito de Lares, the Ponce Massacre, and the Vieques Protest to demonstrate the continuity of the Puerto Rican people’s resistance to oppression and attempted subversion of their colonial status. Chapter Three examines Julia de Burgos’ understudied poems of resistance and argues that she employs a rhetoric of resistance through the use of repetition, personification, and war imagery in order to raise the consciousness of her fellow Puerto Ricans and to provoke her audience into action. By analyzing Clemente Soto Vélez’s use of personification, anaphora, and most importantly, juxtaposition, Chapter Four demonstrates that his poetry functions as a dialectical process and contends that the innovative form he develops throughout his poetic career reinforces his radical perspective for an egalitarian society. Chapter Five illustrates how Martín Espada utilizes rich metaphor, sensory details, and musical imagery to foreground issues of social class, racism, and economic exploitation across geographic, national, and cultural borders. Chapter six traces Naomi Ayala’s feminist discourse of resistance that denounces social injustice while simultaneously expressing a female identity that seeks liberation through her understanding of history, her reverence for memory, and her relationship with the earth. Ultimately, this dissertation argues that Burgos, Soto Vélez, Espada, and Ayala not only advocate for but also enact resistance and social justice through their art.

This project is an examination of the novels O Mulato (Aluisio Azevedo, 1889) and Cecilia Valdes (Cirilo Villaverde, 1882) and their call for social reform and a re-examination of the place of blacks in the emerging republics of Brazil and Cuba. Both novels question and criticize social constructs of race while pressing for an improved treatment of both free and enslaved blacks This project provides an intellectual history of eighteenth and nineteenth century rac(ial)ist theories that exerted a pronounced influence on Azevedo and Villaverde. Specifically, this section examines physiognomy, phrenology, and craniometry in addition to sociological and anthropological approaches to racial hybridism, the evolutionary theories of Darwin and Spencer, and the geographical determinism of Buckle. Finally, the chapter provides a close reading of Comte's positivism and its reception by the intelligentsia in Cuba and Brazil Azevedo's O Mulato purports to discredit racial discrimination by white society and the destructive influence of the Catholic clergy in Brazil's northern province of Maranhao during the 1870s by deploying the metaphor of an unsuccessful, interracial relationship involving a wealthy and educated mulatto and his white, aristocratic cousin. Although Azevedo endeavored to illustrate the problematic nature of racial discrimination and the social compartmentalization of blacks in Brazil---both relics of Portuguese colonialism---he nevertheless succumbed to the racialist ideologies of the nineteenth century and imbued his protagonist with stereotypical characteristics. Although blacks were rising socially via education and the military, Azevedo nevertheless envisioned a future, positivistic republic necessarily led by a white elite In Cecilia Valdes, Villaverde deploys an unsuccessful, interracial relationship involving a poor but beautiful, nearly-white mulatta and her aristocratic, half-brother as agents of the policy of whitening. As in O Mulato, the metaphor of an unsuccessful, interracial relationship reveals the difficulty in crossing racial and social castes and thus uniting different socio-economic sectors of the imagined community. Only one intraracial romance involving whites proves to be successful in the novel. This relationship serves as a metaphor indicating that only enlightened whites are capable of leading Cuba out of colonialism and into independence
acase@tulane.edu

Indiana University-Purdue University Indianapolis (IUPUI)
The fragmented bodies and lives of postcolonial Caribbean women examined in Caribbean literature beget struggle and psychological ruin. The characters portrayed in novels by postcolonial Caribbean writers Edwidge Danticat, Michelle Cliff, and Shani Mootoo are marginalized as “Other” by a Western patriarchal discourse that works to silence them because of their gender, color, class, and sexuality. Marginalization participates in the act of fragmentation of these characters because it challenges their sense of identity. Fragmentation means fractured; in terms of these fictive characters, fragmentation results from multiple traumas, each trauma causing another break in their wholeness. Postcolonial scholars have identified the causes and effects of fragmentation on the postcolonial subject, and they argue one’s need to heal because of it. Danticat, Cliff, and Mootoo prove that wholeness is not possible for the postcolonial Caribbean woman, so rather than ruminate on that truth, they examine the journey of the postcolonial Caribbean woman as a way of making meaning of the pieces of her life. This project contends that fragmentation – and the fracture it produces – does not bind these women to negative existences; in fact, the female subjects of Danticat, Cliff, and Mootoo locate power in their fragmentation. The texts studied include Danticat’s "Breath, Eyes, Memory" (1994) and "The Farming of Bones" (1999), Cliff’s "Abeng" (1984) and "No Telephone to Heaven" (1987), and Mootoo’s "Cereus Blooms at Night" (1996) and "He Drown She in the Sea" (2005).