Teses / dissertações sobre o tema "Kogahan"

Visitamos a Liuba Kogan en la Universidad del Pacífico para conversar sobre su último libro El deseo del cuerpo. Mujeres y hombre en la Lima contemporánea. en el que ahonda su reflexión acerca de las vinculaciones entre cuerpo e identidad a partir de los testimonios de hombres y mujeres de Lima sobre sus propios cuerpos.

This paper examines the symbolic implications of preserving Canadian author Joy Kogawa’s childhood home in the name of “reconciliation.” The house features prominently in Kogawa’s acclaimed semi-autobiographical novel Obasan, based in part on her experience of Japanese Canadian internment during World War II. From 2003 to 2006, the house was poised for demolition until a non-profit land trust secured the house’s protection through a campaign guided by ideals of “hope, healing, and reconciliation.” In the current global climate of redress, the oft-invoked terms “reconciliation” and “healing” are increasingly evacuated of meaning, and are consequently dismissed simply as empty rhetoric. I sought to determine how these terms operated in the context of the Kogawa House. In order to assess the site’s capacity to engage reconciliatory ideals, I consulted and analyzed fundraising materials published by campaign organizers, letters of support from the public, and relevant media reports. I argue first that the real-world history of internment converged conceptually with Obasan’s fictionalized telling of these events so that the house and Kogawa herself became cognitive metonyms for the larger injustice. As a result, collective/national healing and reconciliation could be metonymically enacted through more familiar modes of interpersonal reconciliation. For example, Kogawa’s long-awaited “homecoming,” a deeply meaningful moment for the author herself, could become a gesture of symbolic restitution for all Japanese Canadians’ lost property. The second argument central to this thesis is that the historically dark period of Japanese Canadian internment, and its legacies, was made more intelligible and coherent for various stakeholders through the overlapping narratives constructed around saving the Kogawa House. I contend that what was at stake in this heritage preservation project was not only post-war relations between Japanese Canadians and the nation that betrayed them, but also the dominant Canadian narrative of multiculturalism—that Canada is a country that embraces diversity and upholds human rights. This reconciliatory project maintained the coherence of this vital Canadian myth. I conclude by claiming the Kogawa House as a successful model for community-based projects aimed at sustainable reconciliation, where ongoing engagement with past injustices is vital to deterrence and non-repetition of future ones.

Thesis (Ph. D.)--Illinois State University, 2005.
Title from title page screen, viewed on April 16, 2007. Dissertation Committee: Robert McLaughlin (chair), Lynn Worsham, Sally Parry. Includes bibliographical references (leaves 312-331) and abstract. Also available in print.

Submitted by Maike Costa (maiksebas@gmail.com) on 2016-06-14T13:12:26Z No. of bitstreams: 1 arquivo total.pdf: 2452775 bytes, checksum: 90b59391db598d0ed4ca581e373d1e40 (MD5)
Made available in DSpace on 2016-06-14T13:12:26Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 2452775 bytes, checksum: 90b59391db598d0ed4ca581e373d1e40 (MD5) Previous issue date: 2015-05-29
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
O presente estudo analisa, pelo viés comparativo, os romances Obasan (1981), de Joy Kogawa, e Everything Was Good-Bye (2010), de Gurjinder Basran, escritoras canadenses inseridas na diáspora asiático-canadense, enfocando os impactos da exclusão e discriminação que permeiam essas narrativas das escritoras selecionadas para compor nosso corpus literário. Entendemos as escritas de ambas autoras como tentativas literárias de “quebrar o silêncio” imposto pelo privilégio branco, promovendo uma releitura de caráter pós-colonial e contra hegemônico do Canadá contemporâneo. Desenvolvemos, assim, uma revisão do contexto histórico, literário e cultural canadenses, lançando um olhar mais aprofundado sobre a escrita da minoria asiático-canadense (mulheres de cor), parte da produção significativa dos povos asiáticos que migraram para aquele país e que expõe frequentemente as memórias do passado e as experiências do presente. Após isso, desenvolvemos uma necessária compreensão do contexto de um país tão múltiplo, através da discussão do conceito de transculturação (ou transculturalidade) que muito nos auxilia na leitura das narrativas em tela, apontando a intensidade com a qual esses textos são cortados por referências linguísticas e culturais diversas. Por fim, enfocamos e problematizamos os tradicionais conceitos de Bildungsroman, ou romance de formação, trazendo vozes críticas atreladas ao feminismo e à critica literária em sentido mais amplo, a fim de destacar quais as inovações que o Bildungsroman transcultural produzido por mulheres traz para as análises da literatura contemporânea no contexto canadense. Dessa forma, os romances escolhidos se abrem às experiências de negociação propostas pelo transculturalismo e que tem no gênero – Bildungsroman – o espaço adequado para formulações alternativas no que se refere às personagens, principalmente as femininas. Defendemos, assim, que o Bildungsroman, nesse contexto, cria um novo espaço às literaturas das minorias, sendo o lócus apropriado para apresentar os conflitos e negociações entre a cultura ancestral e a de chegada, aqui contempladas pelas etnias nipônica e indiana.
This dissertation analyzes, through a comparative bias, the novels Obasan (1981) by Joy Kogawa, and Everything Was Good-Bye (2010) by Gurjinder Basran, both Canadian writers inserted in the Asian Canadian diaspora. Our study focuses on the impacts of exclusion and discrimination that permeate the threads of the narrative warp of the selected writers to compose our literary corpus in attempt to “break with the silence” imposed by the White Privilege, thereby promoting a rereading of post-colonial and counter-hegemonic features of contemporary Canada. Developed as a review of the historical, literary and cultural Canadian context, casting a closer look at the writing of Asian Canadian minority (women of color), part of the significant production of Asian peoples whom migrated to that country and often bring to light memories of the past and experiences of the present. Furthermore, we present a necessary understanding of such a multiple country as Canada by discussing the concept of transculturation (or transculturality) that greatly assists us in reading the analyzed narratives, highlighting the intensity through which these texts are crossed by linguistic and various cultural references. Finally, we focus on and confront the traditional concepts of Bildungsroman, or novel of development, which brings to discussion critical voices mainly linked to feminism and literary criticism in the broadest sense, in order to highlight what innovations the transcultural Bildungsroman produced by women brings to the analysis of contemporary literature in the Canadian context. Thus, the chosen novels are open to experiences marked by transculturalism and so this genre - the Bildungsroman - becomes the appropriate space for alternative formulations with regard to the characters, especially to female characters. We argue, therefore, that the Bildungsroman, in this context, creates space to minority literatures, here connected to Japanese and Indian ethnicities, as the locus for presenting the conflicts and negotiations between ancestral and after contact cultures.
Cette étude analyse, par le biais de comparaison, les romans Obasan (1981), de Joy Kogawa, et Everything Was Good-Bye (2010), de Gurjinder Basran, écrivains canadiens insérés dans la diaspora canado-asiatique, en se concentrant sur les répercussions de l'exclusion et de la discrimination qui imprègnent ces récits d'écrivains sélectionnés pour composer notre corpus littéraire. Nous comprenons les écrits des deux auteurs comme des tentatives littéraires pour briser le silence imposé par le privilège blanc, promouvant une relecture de caractère post-coloniale et contre hégémonique du Canada contemporain. Nous développons, ainsi, une révision du contexte historique, littéraire et culturel canadiens, en jetant un regard de plus près à l'écriture de la minorité canado-asiatique (femmes de couleur), une partie de la production significative des peuples asiatiques qui ont migré vers ce pays et qui exposent souvent les mémoires du passé et les expériences du présent. Après cela, nous avons développé une compréhension nécessaire du contexte en tant que pays diversifié en discutant le concept de transculturation (ou transculturalité) qui nous aide grandement à la lecture des récits concernés, montrant l'intensité avec laquelle ces textes mélangent des références linguistiques et culturelles diverses. Enfin, nous nous concentrons et confrontons les concepts traditionnels de Bildungsroman, ou roman de formation, en ramenant les voix critiques liées au féminisme et à la critique littéraire dans le sens le plus large, afin de mettre en évidence les innovations que le Bildungsroman (Roman d'apprentissage) transculturel produit par des femmes apporte à l'analyse de la littérature contemporaine dans le contexte canadien. Ainsi, les romans choisis s’ouvrent aux expériences de négociation proposées par la transculturalité existant dans le genre - Bildungsroman - un espace adéquat à des formulations alternatives en ce qui concerne les personnages, surtout les femmes. Nous soutenons, par conséquent, que le Bildungsroman, dans ce contexte, créé un nouvel espace à la littérature des minorités comme un lieu approprié pour présenter les conflits et les négociations entre la culture antique et celle d’arrivée, ici envisagée par les ethnies nippone et indienne.
O presente estudo analisa, pelo viés comparativo, os romances Obasan (1981), de Joy Kogawa, e Everything Was Good-Bye (2010), de Gurjinder Basran, escritoras canadenses inseridas na diáspora asiático-canadense, enfocando os impactos da exclusão e discriminação que permeiam essas narrativas das escritoras selecionadas para compor nosso corpus literário. Entendemos as escritas de ambas autoras como tentativas literárias de “quebrar o silêncio” imposto pelo privilégio branco, promovendo uma releitura de caráter pós-colonial e contra hegemônico do Canadá contemporâneo. Desenvolvemos, assim, uma revisão do contexto histórico, literário e cultural canadenses, lançando um olhar mais aprofundado sobre a escrita da minoria asiático-canadense (mulheres de cor), parte da produção significativa dos povos asiáticos que migraram para aquele país e que expõe frequentemente as memórias do passado e as experiências do presente. Após isso, desenvolvemos uma necessária compreensão do contexto de um país tão múltiplo, através da discussão do conceito de transculturação (ou transculturalidade) que muito nos auxilia na leitura das narrativas em tela, apontando a intensidade com a qual esses textos são cortados por referências linguísticas e culturais diversas. Por fim, enfocamos e problematizamos os tradicionais conceitos de Bildungsroman, ou romance de formação, trazendo vozes críticas atreladas ao feminismo e à critica literária em sentido mais amplo, a fim de destacar quais as inovações que o Bildungsroman transcultural produzido por mulheres traz para as análises da literatura contemporânea no contexto canadense. Dessa forma, os romances escolhidos se abrem às experiências de negociação propostas pelo transculturalismo e que tem no gênero – Bildungsroman – o espaço adequado para formulações alternativas no que se refere às personagens, principalmente as femininas. Defendemos, assim, que o Bildungsroman, nesse contexto, cria um novo espaço às literaturas das minorias, sendo o lócus apropriado para apresentar os conflitos e negociações entre a cultura ancestral e a de chegada, aqui contempladas pelas etnias nipônica e indiana.

Esta dissertação investiga de que maneiras a representação do sujeito canadense pode ser encontrada em dois romances representativos da literatura canadense contemporânea: Obasan, de Joy Kogawa, e Alias Grace, de Margaret Atwood. Esta investigação também demonstra que a busca pela definição da identidade canadense tem sido tema constante e relevante da cultura deste país. A indefinição quanto ao que significa ser canadense também tem permeado a literatura canadense ao longo dos séculos, notadamente desde o século XIX. A fim de observar a representação literária da busca pela definição da identidade canadense, esta investigação aborda os conceitos relativos à representação de grupos subalternos tradicionalmente silenciados. A análise comparativa dos romances citados contempla a relação entre memória e trauma autobiográficos, assim como as semelhanças narrativas entre ficção e história. Esta investigação também verifica de que maneiras a literatura pós-moderna emprega documentação oficial, relatos históricos e dados (auto) biográficos a serviço da reescrita da história através da metaficção historiográfica
This dissertation investigates the ways through which the representation of the Canadian subject might be observed in two representative novels of contemporary Canadian literature: Obasan, by Joy Kogawa, and Alias Grace, by Margaret Atwood. This investigation also demonstrates that the search for the definition of a specific Canadian identity has been a constant and relevant theme to the countrys culture. The lack of definition concerning the meaning of being Canadian has also permeated Canadian Literature throughout the centuries, most notably since the XIX century. In order to observe the literary representation of the Canadian search for identity, this investigation makes use of the concepts related to the representation of traditionally silenced subaltern groups. The comparative analysis of the abovementioned novels contemplates the relationship between autobiographical memory and trauma, as well as the narrative similarities between fiction and history. This investigation also verifies the ways postmodern literature employs official documentation, historical accounts and (auto) biographical information in the rewriting of history through historiographic metafiction

O objetivo desta dissertação é discutir o contraste entre voz e silêncio, assim como as formas pelas quais o pós-colonialismo se manifesta nos romances autobiográficos Obasan, de Joy Kogawa, e Chorus of Mushrooms, de Hiromi Goto, utilizando as relações familiares como tema central de minha investigação. Ambos os romances tratam de famílias nipo-canadenses, sendo a primeira, no romance de Joy Kogawa, uma família de segunda geração de japoneses no Canadá (Issei), e a segunda, no livro de Hiromi Goto, uma família de terceira geração (Sansei). Em Obasan, Naomi, a personagem central, é uma mulher de trinta e cinco anos que, em conseqüência da morte de seu tio, inicia uma jornada em busca de seu passado e de sua família. As lembranças de Naomi estão relacionadas à Segunda Guerra Mundial e ao processo de deslocamento de imigrantes japoneses e de seus descendentes para campos de concentração que se seguiu. O livro é uma mistura de narrativa pessoal, cartas oficiais e sonhos. Em Chorus of Mushrooms, Murasaki, a personagem central, conta a seu amante as lembranças que tem de sua infância em Alberta, onde viveu com seus pais e sua avó em uma fazenda de cogumelos. As histórias estão divididas entre três vozes: a da Murasaki adulta, a de Murasaki no passado, e a de Naoe, sua avó. São histórias dentro de histórias, em uma mistura de tradição oral, romance e autobiografia. Hiromi Goto lida com hibridismo e assimilação, e tenta criar pontes entre as culturas japonesa e canadense através de elementos que vão desde a linguagem até a comida. Este livro também é uma coleção de memórias. O principal foco do romance é a relação entre três mulheres, três gerações da família Tonkatsu: Naoe, Keiko e Murasaki. Os dois romances têm em comum mulheres fortes, sendo a principal diferença as formas de comunicação usadas para mostrar tal força. Obasan e Chorus of Mushrooms falam sobre como negociar um lugar entre culturas, e como fazer as pazes consigo mesma e com o passado.

The Kogan Creek Solar Boost is a world-first commercial project that sees AREVA Solar designing, supplying and constructing CLFR-based solar steam generators for CS Energy, a major power generation company in Queensland, Australia. Part of the requirements of the Project is that AREVA Solar must performance test the technology and prove that it will produce the energy required with known solar radiation input. In this dissertation, the current research in performance modelling, simulation, validation and testing of CLFR technology will be explored as a means to provide a guideline for developing a test protocol for the Kogan Creek Solar Boost Project. There were significant publications in the area of performance modelling, simulation and (sometimes) validation of mathematical models for CLFR receivers and reflectors. In the area of validating mathematical models of actual CLFR technology, the area is not well published; performance testing of CLFR projects is further scarce. Only one technical standard exists for developing test protocol, however, this imposes limitations and does not allow for working-fluid phase-change processes. Guidelines for developing test protocol are scant, with only the NREL having published their interim work for performance testing of parabolic trough solar fields. Through combining the results of the CLFR mathematical modelling and the NREL parabolic trough performance acceptance testing guidelines, a guideline for CLFR can be developed and this is presented in this Dissertation. There is still considerable work in this area, and this is evidenced by the formation of an ASME Committee that is to develop a Performance Test Code as a definitive technical standard for all solar thermal technologies over the coming years. In the interim, in lieu of the availability of technical standards, the results from this Dissertation can inform and guide the development of a test protocol for the solar steam generators to be installed on the Kogan Creek Solar Boost Project.

The narrators of Roughing It in the Bush and Obasan struggle with the notion of home and how to reinvent it in situations of exile. Moodie is estranged when she emmigrates from Britain to Canada to find her role compromised by the rigors of the pioneering experience. Naomi, a Japanese Canadian is estranged when she and her family are expelled from their home, relocated in internment camps, and dispersed across the country during the Second World War. I argue that reinventing home requires both questioning and claiming material and discursive spaces.
Moodie reinvents home by negotiating Old and New World spaces of gender, class and culture. Naomi reinvents home by questioning official, exclusionary discourse and testifying to the Japanese Canadian history of internment and dispersal. Both narrators negotiate borders between private experience and public discourse and in the process, explore the question: "What is the meaning of home?"

Made available in DSpace on 2014-10-09T12:48:52Z (GMT). No. of bitstreams: 0
Made available in DSpace on 2014-10-09T13:57:49Z (GMT). No. of bitstreams: 1 09603.pdf: 2848149 bytes, checksum: 4d6e8b74c29f0ec0a4c7a558688c55cb (MD5)
Tese (Doutoramento)
IPEN/T
Instituto de Pesquisas Energeticas e Nucleares - IPEN/CNEN-SP

碩士
國立中正大學
外國文學所
95
The relationship between victimizers and victims is always arbitrary: victimizers victimize victims. However, can victims sometimes be victimizers? As for salvation, rescue from other people can be helpful, but self-salvation always performs the profoundest healing. Bearing these ideas of victims-victimizers and self-salvation in mind, I aim to discuss the interchangeability between victims and victimizers, reconsider the causality between victimization and salvation, and explore the possibility of self-salvation by analyzing the male/female relationship among the first, second and third generations (Issei, Nisei and Sansei) in a Japanese Canadian family. 　　This thesis is divided into three chapters. In Chapter One, I deal with how Issei women, after their being victimized by the Japanese patriarchy, turn out to be victimizers of their Nisei children. Chapter Two focuses on how two Sansei male and female protagonists are victimized and how they confront and interact with their preceding Issei and Nisei generations. The last chapter explores Naomi’s dilemma and investigates how she accomplishes her self-salvation with the aid of the outside world and her inside thought.

Joy Kogawa's Obasan , M. Nourbese Philip's Looking for Livingstone: An Odyssey of Silence and Dionne Brand's Sans Souci and Other Stories are compared to examine how these fictions explicate the relationship between silence, voice, and language through their revisions of history. Language is problematic to these writers because it is ideologically charged with their non-belonging on the basis of their race and gender. Contradictions in language divide concepts such as silence/voice and past/present and privilege certain ideas over others. The texts studied undertake to resolve their issues with language as part of the process of coming into voice. In various degrees, these texts acknowledge and revalue silence as a defense against a totalizing history and as a means of explicating the condition of language. In addition, the thesis compares how the revisionary projects that these fictions undertake map back to the material reality of the Canadian nation within which they were created.

碩士
國立中山大學
外國語文學系研究所
92
Abstract In a 1997 review, James Berger not only clearly points out the proliferation of trauma study in the 1990s but also professes that the representation of trauma would be more easily detected, analysized, and understood with immersion in literary texts. Therefore, in this thesis, I draw upon the ideas of historical trauma, psychological trauma, structural trauma and trauma responses in the five theoretical works—Judith Lewis Herman’s Trauma and Recover (1992), Ronald Granofsky’s The Trauma Novel: Contemporary Symbolic Depictions of Collective Disaster (1995), Tedeschi, Richard G. and Lawrence G. Calhoun’s Trauma and Transformation: Growing in the Aftermath of Suffering (1995), Cathy Caruth’s Unclaimed Experience: Trauma, Narrative, and History (1996) and Dominick LaCapra’s Writing History, Writing Trauma (2001)—to analysize the issue of trauma as revealed in John Okada’s No-No Boy and Joy Kogawa’s Obasan. The two texts differ in time and space but share the same historical trauma evoked by the aftereffect of the war and the violence of the governments’ racially-oriented discrimination policy that results in the Nikkei’s psychological trauma. Okada presents white American racial ascendancy in the 1950s, while Kogawa tackles Canadian governmental dominance in the 1980s. Both writers are concerned with the relationship between collective persecution and individual trauma during/after World War Two and both try to empower as well as give voice to those who have been traumatized by social and familial forces. Reading the two novels as an exploration of the Nikkei’s postwar experience, this thesis first contends that underlying the Nikkei’s trauma is the internment experience that leads to the occurrence of racial discrimination and identity crisis in the Nikkei community. Secondly, in the light of historical trauma and psychological trauma, this thesis analyzes the trauma responses which normally take shapes in the forms of conflict, avoidance, guilt, flashbacks, dreams, numbing or amnesia in the minds of traumatized people after long years of struggling. However, instead of regarding these responses to be obstacles, this thesis proposes that the trauma responses are great reinforcement for the survivors to cope with the trauma memory and to reconcile with the trauma history. Through discussion of trauma response, this thesis suggests that the Nikkei would work through the process of experiencing the symptoms of trauma and slowly reach the level of recovery and transformation. That is, a resolution of the Nikkei’s rebirth would be possible when the Nikkei overcome the threat of trauma and develop a hope of reconciliation for their upcoming future.

The nature of history has always been studied and analyzed from different perspectives throughout the centuries. Following a postmodern position, many theorists have explored history and have questioned it critically in the light of the present. The postmodern theorist Brenda Marshall has stated, “History in the postmodern moment becomes histories and stories.” Scholars have been interested in the stories that are not told and need to be reconstructed to reveal other stories that have been hidden and silenced for a long time, and, in some cases, they were written with ideological implications on the part of a dominant group in society.
Universidad Nacional de Córdoba. Facultad de Lenguas
Velazquez, Yanina de los Angeles. Universidad Nacional de Córdoba. Facultad de Lenguas; Argentina