Teses / dissertações sobre o tema "Théâtre de l'Inde de langue anglaise"
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Veja os 27 melhores trabalhos (teses / dissertações) para estudos sobre o assunto "Théâtre de l'Inde de langue anglaise".
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Raza, Rosemary. "In their own words : British women writers and India, 1740-1857 /". Oxford : Oxford university press, 2006. http://catalogue.bnf.fr/ark:/12148/cb40989385w.
Texto completo da fonteGuilhamon, Lise. "Poétiques de la langue autre dans le roman indien d'expression anglaise". Rennes 2, 2007. http://www.theses.fr/2007REN20040.
Texto completo da fonteIndian English novelists frequently call attention, within their fiction, to the relation of otherness that links them to the language of their creative work. These authors write in a language inherited from the colonial process, and with a heterogeneous audience in view, whose references are further complicated by the contemporary phenomena of diaspora, migration and globalisation. This is why these novelists place at the heart of their literary creation the deeply intertwined questions of the Other's tongue, and of the other tongue. The question of the « other tongue » in the Indian English novel has given rise to several critical studies, but it has practically never been examined from the point of view of its poetic specificity: this is precisely what this work sets out to do. Indian English fiction examines the modalities of literary creation: in particular, it investigates the way in which literature invents language, and it explores the idea of literature as alterity at work within language
Hensen, Michael. "Die Konstruktion des indischen Stadt im zeitgenössischen indo-englischen Roman /". Hamburg : Dr. Kovač, 2004. http://catalogue.bnf.fr/ark:/12148/cb391933424.
Texto completo da fonteBALVANNANAOHAN, AIDA. "Tradition hindouiste, colonialisme et evolution de la conscience feminine chez quatre romanceires indo-anglaises (kamala markandaya, anita desai, shashi deshpande et githa hariharan)". Paris 12, 2000. http://www.theses.fr/2000PA120016.
Texto completo da fonteBarth, Isabelle. "L'image du Canada à travers son théâtre". Bordeaux 3, 1998. http://www.theses.fr/1998BOR30013.
Texto completo da fonteThe dissertation is a study - in 4 chapters- of the contemporary canadian theatre in english after 1967 presenting the canadian history and society of today as depicted by english-speaking playwrights. The introduction invites us to discover the cultural policy of canada. Regionalism, the canadian mosaic can be found in theatre. What is it to be a canadian ? 1967 was a key-year for the english-speaking canadians who realized they had their own identity which they could develop. There was a huge theatrical explosion, whose leitmotiv was to be and produce canadian. Many theatres, plays, reviews were founded. Everything went very quickly. "theatre et auteurs" invites us to discover the anglophone canadian playwrights even in quebec. Who are they ? the canadian playwright is influenced by his / her geographical environment, as well as by the history of his/her province. The chapter also deals with some theatrical companies and one technique, i. E. The collective creation. "theatre et histoire" gives us a chance to discover some events and some heroes of the canadian history through the representation that the playwrights are offering. "teatre et societe" is dealing with the contemporary canadian society. The typical canadian family, the social and racial relationships are studied. The problems of the today canadian society (prison, violence, alcoholism, integration) are also analysed in some plays. "theatre et minorites" deals with the "visible-invisible" minorities, i. E. The blacks, the asians, the inuits and the indians. Can they express themselves ? the chapter also deals with the question of appropriation. The conclusion introduces us to some important playwrights who are writing plays whose subjects did not fit into the dissertation
Komalesha, H. S. "Issues of identity in Indian English fiction : a close reading of canonical Indian English novels /". Oxford : Peter Lang, 2008. http://catalogue.bnf.fr/ark:/12148/cb41328568g.
Texto completo da fonteMirza, Maryam. "L'Intimité inter-classes 5 : une étude de la littérature féminine anglophone contemporaine de l'Inde et du Pakistan". Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3048.
Texto completo da fonteThis dissertation is a detailed analysis of ten contemporary Anglophone novels by women writers from India and Pakistan. It explores and evaluates the politics as well as the poetics of the literary depiction of cross-class love and friendship in Anglophone literature of the Indian sub-continent, which is often considered ‘elitist'. The figure of the subaltern lies at the heart of our study and by focusing on the portrayal of the negotiation of class, caste and gender identities in the Indian sub-continent, this dissertation moves away from postcolonial studies' customary focus on the notion of hybridity, often conceived solely in East/West or North/South terms. The texts examined reveal not only the tenuousness of cross-class relationships but also underscore their subversive possibilities. The ethical ramifications of questions of form are also explored as are the ways in which the poetics of a text can both confirm and contradict its politics
Ponzanesi, Sandra. "Paradoxes of postcolonial culture : contemporary women writers of the Indian and Afro-Italian diaspora /". Albany : State university of New York press, 2004. http://catalogue.bnf.fr/ark:/12148/cb400414161.
Texto completo da fonteBelan, Sophie. "Les identités galloises dans le roman et le théâtre gallois en langue anglaise dans la seconde moitié du vingtième siècle". Rennes 2, 2005. http://www.theses.fr/2005REN20001.
Texto completo da fonteThe growing anglicization of the Welsh since the end of the 18th century led to the emergence at the beginning of the 20th century of a Welsh literature in the English-language. This study shows that Welsh writing in English has contributed to the definition and assertion of Welsh identities in the second half of the twentieth century. The existence of an "Anglo-Welsh" literature different from other literatures in the English-language has long been debated. However, the novels and plays studied share common characteristics which give them a specific dimension. It is expressed through a strong sense of place, a deep interest in the life and culture of Welsh communities and a particular concern for the issues of individual and collective identity. By their writing, the authors manage to reconcile the two cultures of Wales and to provide the readers with new representations of the changing faces of Welsh identities
Magdelaine-Andrianjafitrimo, Valérie. "Les romans de la diaspora indienne à Trinidad et dans les Antilles françaises : mythe ou réalité d'une ethnicité littéraire ?" Aix-Marseille 1, 1999. http://www.theses.fr/1999AIX10060.
Texto completo da fonteVincent-Prabakar, Suhasini. "Écriture métafictionnelle et littératures post-coloniales : la fiction indo-anglaise non-mimétique des écrivains des communautés indiennes nationale et internationale". Paris 3, 2006. http://www.theses.fr/2006PA030134.
Texto completo da fonteThis thesis studies how the Indian writer in English “by experimenting with traditional narrative forms” and “by choosing modes that are unconformable to the European episteme” indulges in counterrealistic writing that defies traditional national, linguistic or generic classifications. Through the three phases of “figuration,” “configuration” and “reconfiguration,” the research aims at studying the counterrealistic artifice in the works of diasporic authors – Salman Rushdie and Suniti Namjoshi – as well as the non-diasporic fiction of Namita Gokhale who writes in English, and Tamil writing in English translation in the works of R. Krishnamurthy (Kalki) and C. S. Lakshmi (Ambai). The intermingling of ancient Eastern and Western figurations of myths, fables, legends and folklore, the dual configuration of Eastern and Western world views and the postmodern recycling of old narratives to suit the changing times reveal how postcolonial writers renew the spirit of the culture, revitalise language, renew literature and reconfigure inherited configurations by reframing other frames of reference. By deconstructing the grand narrative of Western history through an interrogation of its tropes and its content, the counterrealists structure a re-imagined mode of representation that encompasses both the historical past and the postcolonial present
Soukaï, Sandrine. "Les Ombres de la Partition dans les romans indiens et pakistanais de langue anglaise". Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040138.
Texto completo da fontePartition inhabits the Indian and the Pakistani novel in English through modernist tropes such as ellipsis and fragmentation, metaphors of mutilation, dislocation and exile, and the symbolic figure of the refugee. The unspeakable violence of this trauma is also embedded within the narrative through the visual and poetic trope of the shadows, which has not been examined yet. In the novel Twilight in Delhi (1940), the shadows are premonitions of the cataclysm of 1947 as they stage the devastating impacts of colonial modernity on the high Muslim culture of India. In four novels published after the division of the subcontinent – Sunlight on a Broken Column (1961), Clear Light of Day (1980), The Shadow Lines (1988), Burnt Shadows (2009) –, the shadows are indelible, porous and unstable memory-traces that permeate the regional cartography and individual psyches. Together with the dual motives of the ghost and the mirror, these shadows subvert the official historiography and open up a discursive space in which the memories of subaltern individuals and families, transmitted over several generations, connect Partition to other international traumas via knots of multidirectional memory. Through their visual dimension, the shadows shape a body memory which involves the reader in an empathic and reflexive semiotics of the gaze
Liotard, Corinne. "Les romans d'Anita Desai : une mosai͏̈que à l'image du monde". Rennes 2, 2001. http://www.theses.fr/2001REN20044.
Texto completo da fonteFar from having the negative vision that many critics reproach her with, Anita Desai endows her works with a more positive philosophy than one might think at first. Although it is true that her novels are based upon a fragmented and chaotic world which alienates the individual, this thesis nevertheless sets to prove that out of chaos and the desperate quest of the characters, there always emerges a unified and quasi-divine vision of the world -a macroscopic vision which, though short-lived, enables one to have an overall view of all the fragments that make up her world and thus to be able to appreciate its beauty and raison d'être through harmonies, parallelisms, contrasts and counterpoints. The apparent chaos in Anita Desai's novels is conveyed, among other things, by devices borrowed from other literary genres -theatre and poetry especially- and by a multiplicity of languages, wether western or eastern, which led us to draw a parallel with Anita Desai herself, on account of both her western and eastern origins, and her multilingualism. In our quest for the multiform and multicoloured unity that makes up Anita Desai's world, we studied the different facets of that seemingly fragmented universe, as well as the various devices which account for the writers' philosophy, bringing to the forefront Anita Desai's use of symbolism, an essential element in her writing by which means she conveys her vision of the world
Wendling, Cathy-Anne. "Entre Orient et Occident : les romans malgudiens de R. K. Narayan : perspectives critiques". Nancy 2, 1998. http://www.theses.fr/1998NAN21023.
Texto completo da fonteThis dissertation deals with R. K. Narayan's novels that are between two civilizations. His work, which reflects the social and cultural aspects of India, is also cross-fertilized because of the use of the English language. However, further analysis shows that the malgudian novels implicitly reject British culture and put the emphasis on the past and on Vedic thought. The aesthetics of these novels match this aspect: R. K. Narayan's narrative techniques are rooted in the field of rasa theory which emphasizes reader's participation and empathy. This explains why it seems logical to use the tools of the modem reception theory to study his work since its tenets are very similar to rasa. Thus we can see that the cross-fertilization can also take place during the reading process which enables every reader to discover and appreciate an exogenous culture
Negers, Daniel. "Le Burrakatha d'Andhra Pradesh (Inde) : essai de description d'une forme narrative théâtralisée en langue télougoue : l'importance de l'expression littéraire dans la communication et la culture populaires". Paris 10, 1997. http://www.theses.fr/1997PA100160.
Texto completo da fonteLaryea, Fredline. "La traduction de l'humour et de l'esprit anglais dans le roman et le théâtre depuis le XVIIIe siècle à aujourd'hui : observations, méthodologies et enjeux culturels". Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030178.
Texto completo da fonteEnglish cultural humour is cultural, not only because of the references and opinions it channels or because of its syntax but especially because it is deeply rooted in the British cultural context as well as in the English language. Once it is translated into French, it has to exist in and through French. Due to their different mental programs and cultural conditioning, French readers and spectators will not react to British humour in the same way as British people. This is why translators will often try to make the humour more easily accessible for the French public in translated texts. His decisions will have an impact on the faces of the source language, but they will also affect the British faces the French reader has access to. This research has focused on cultural allusions in an analysis of examples from British texts to see the differing effects each text has on its readers and to see if one can talk about British cultural humour once it is translated into French. The analyses will also make it possible to see how translation can affect the representation of cultural identity and the impression the target text reader will have of the foreign text. If one can understand a nationřs humour, one can start to understand its people. In order to do that, the difference of foreign humour should be seen as a key that can allow the foreign text reader and spectator to establish a dialectical relationship with the foreign humour, rather than as an aspect of Otherness which always has to be overcome
Jagtiani-Naumann, Lalita. "Briser le moule de Sita : statut et libération de la femme indienne dans une sélection de romans d'Anita Desai, Shashi Deshpande et Githa Hariharan". Rennes 2, 2002. http://www.theses.fr/2002REN20047.
Texto completo da fonte@What is the image of Indian women that emerges in these writings? What are the literary techniques exploited by the writers to discuss the issues related to the status of women? By fusing an Indocentric methodology with Western approaches to narratology the thesis shows that the novels, selected on the basis of gender rather than their feminist concerns, reveal, through the use of allegory and myth, how centuries of patriarchal dominance in Indian women's lives are being challenged by women in the post-colonial era. The writers create new myths to replace male-oriented ones by narrating them from a woman's viewpoint. The protagonists of the novels reverse the position of power as they break out of the myth of the Sita-mould. A significant difference between the Indian and Western feminsit emerges : while the novels' Western-educated, middle-class protagonists are willing to negociate their liberation from the hold of tradition, they are unwilling to break the Indian social continuum in their quest for indivuation. The three sections of the thesis, order, disorder and reorder, reflect the upward spiral that gathers momentum in the progress that the female characters make in moving beyond the threshold of marginalizing limitations. The subsequent instability as they explore hitherto out-of-bound spaces becomes the impetus that deconstructs the stability within patriarchal norms
Soobarah, Agnihotri Jeeveeta. "La construction et la revendication du sujet féminin dans "The God of small things", "Mitro Marjani" et "Pagli"". Bordeaux 3, 2008. https://extranet.u-bordeaux-montaigne.fr/memoires/diffusion.php?nnt=2008BOR30092.
Texto completo da fonteAt the meeting point of three literatures: Mauritian Francophone and Indian literature in English and Hindi, the focus is placed on the construction of female agency in the Indiaoceanic narrative space. Ananda Devi, Arundhati Roy and Krishna Sobti depict female protagonists, defined through their personal crisis, in a social structure dominated by the male logos. Their écriture feminine exposes the terror felt vis-à-vis the female body and female sexuality, seen as the operating cause of the fall of the woman, from model to counter-model. Furthermore, the subject/object dialectics motivated by power, is so fragile that very often the negotiation of this fine line determines the construction of the female protagonist, as well as her claiming of an identity of her own. Cultural studies and gender studies used as theoretical and aesthetic tools help us understand the problematic subalternity of the female character in both postcolonial and patriarchal contexts. Her emergence as subject of discourse takes place via revolt and through the reappropriation of language against “the gaze”, she thus redefines space in a way that destabilizes borders
Gray, Henri. "La prise de parole du théâtre irlandais a travers les pièces de John Millington Synge". Paris 3, 1990. http://www.theses.fr/1990PA030084.
Texto completo da fonteSynge selects a language: the conflict between social speech and individual speech is all the more complex in ireland as the victory of English plunges Gaelic into the turmoil of politics. Synge chooses a blend of everyday Anglo-Irish and literary Anglo-Irish. Synge seeks his speech: his poems show a theatrical tropism in flashes of tragedy or comedy. Synge focuses his prose on abjects, gestures, events, crowds, oral speech, written speach, humour, conflicts. Opts for plays about the prople. Synge strikes a rhapsody: theatrical speech is the confluence of oral speech and written speech, catharsis is an orgy in a confessional. Synge's creation makes Anglo-Irish more Irish, more poetic and more dramatic through a selection of Anglo-Irish forms, concentration, orchestration. Linking proceds from the visible and the invisible, from sounds and silence, from a transoposition of conversation and echoes of anglo-irish forme. Rhythm springs from conflicts, plots, themes, gestures, speeches, tenses, naglo-irish forms, resonance chambers. Concentration radiates from the theatrical beat: a genetic approach reveals a quest for energy through parabolic reflectors in the dramatic field
Pousse, Michel. "La révolution indienne dans les années trente à travers les romans de M. R. Anand, de R. Rao et de R K. Narayan". Paris 3, 1995. http://www.theses.fr/1996PA030028.
Texto completo da fontePolitical events taking place in india in the thirties directly affect the works of indian novelists writing in english. These are the years when m. R. Anand, raja rao and r. K. Narayan publish their first novels. Today, it would seem that these novels, acclaimed at the time of publication as the first unbiased descriptions of india were exponents of the authors' political convictions. The presentation of each of the theree novelists, of the indoanglian literary movement and of the socio-political context of the day is followed by three main parts dealing with the literary presentation of the english in india, of the indian themselves and of the literary contribution of the novels under study to the revolutionary movement. It is shown in the conclusion that the seven novels studied in this work bear witness to the spirit of the time more than they prove the literary innovations they have too long been regarded as
Zecchini, Laetitia. "Poétique de la relation et de la dissidence dans la poésie indienne contemporaine en anglais et en hindi". Paris 4, 2007. http://www.theses.fr/2007PA040204.
Texto completo da fonteThis research endeavours to make up for the lack of visibility and of academic attention given to contemporary Indian poetry in France. It is a comparative study between Indian poetry in English, focusing on the works of Arun Kolatkar (1932-2004) and Keki Daruwalla (born in 1937) and Indian poetry in Hindi, focusing on the works of Gagajan Madhav Muktibodh (1917-1964) and Kedarnath Singh (born in 1934). Their works illustrate the evolution of Indian poetry from a transitive protestpoetry, to a more indirect dissidence, which keeps away from ideology and from the pressure of outside events. These four poets respond to the dislocation and the fragmentation of the Indian cultural, political and social field in the middle of the twentieth century by giving shape to a « poetics of relation », to borrow a term from Edouard Glissant, which expresses the idea that without the other there is no language for the self. They claim a hybrid heritage, that of the immediate impact of modernity, but also that of a plural and often heterodox « non-literate sub-continent ». They challenge the purity and the closure of the monolithic text, by asserting overlapping, reflexive, dialogic identities and by creating an intertextual, multilingual fabric for their poetry. These plural belongings and plural identities subvert any kind of exclusive understanding of language, of meaning, of the sacred, of the past or of identity. The emphasis is on the conversion of the act of seeing, on revealing rather than on loudly demonstrating, and this poetic conversion is fundamentally political
Sène, Jean-Jacques Ngor. "Mythe et rituel dans la production théâtrale de Wole Soyinka ou La matrice d'une conscience sociale toujours en éveil". Rennes 2, 1999. http://www.theses.fr/1999REN20042.
Texto completo da fonteThe @word myth conveys something mysterious and sacred and ritual can be defined as the re-enactment of religious events whose originals are lost in the gloom of time. A committed writer is fully aware of the lyrical power of his art, which is by its very nature a mediium for change. Theater properly responds to the changing pattern of events and to the dynamics of any situation and Wole Soyinka's drama can be seen as the womb of a never-fading social consciousness. The Nigerian dramatist advocates objectivity in literature, the displaying of the other side-the evil side- which, alas, often overtakes human beings. He is deeply rooted in the cosmogony and aesthetics of his people, the Yoruba and also a true disciple of Ogun, the first deity to dare the gulf of transition between the realm of gods and humanity. Soyinka's drama not only aims at the comprehensive world of myth, repetitive history and mores but it also suggests some ways of conquering the effective power of the individual in the actual tragic context of modern Africa social issues. The African artist's mythopoesis calls us to immerse thoroughly within the whirpool of cosmic forces, understand their nature, rescue the combative nature of the will and emerge wiser
Kalangi, Caroline. "Le Kenya National Drama Festival : identité culturelle dans un corpus dramatique anglophone et francophone". Thesis, Clermont-Ferrand 2, 2016. http://www.theses.fr/2016CLF20004/document.
Texto completo da fonteThis study analyszes the representation of cultural identity in sixteen drama texts written by Kenyans in English and in French for the Kenya National Drama Festival (KNDF). Considering the colonial history and the postcolonial context of Kenya, the task involved identifying the postcolonial markers within the texts, identifying major themes and traits constituting a Kenyan cultural identity and determining specific cultural identity. Using a comparative approach, the study draws from both postcolonial and theatre theories. The postcolonial concepts touching on identity through language, culture and representation are identified and analyzed in respect to the Kenyan context. For this reason, the study narrows down to the theoretical works of Edward Saïd, Homi K. Bhabha, Chinua Achebe and Ngũgĩ wa Thiong’o. The study reveals that the Kenyan population is faced with a multiplicity of cultural choices brought about by the colonization experience, the new practices associated with globalization, as well as the complexities and challenges of daily life. The KNDF proves to be an avenue for sensitizing the public on new phenomena, for denouncing societal ills and for promoting African traditional norms. It is apparent that the use of European languages does not hinder the representation of cultural reality of the local society. Kenya therefore attests to cultural mobility seen in the progression from the traditional system towards a more globalized disposition
Poinsot, Claire. ""Poussières de Mnémosyne". Les pathologies de la mémoire collective et individuelle dans le théâtre de W. B. Yeats et J. M. Synge (1892-1939)". Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA119.
Texto completo da fonteEver since Yeats started writing plays in the 1890s, the Irish character seems to be struggling between two opposite pitfalls of memory: on the one hand an impossibility for him to forget, and the other hand an impossibility to retain memories. This memory crisis, which entails an identity crisis, leads to an increasing staging of mental disorders by the playwrights to represent, perhaps involuntarily, a destabilised contemporary society. W. B. Yeats (1865-1939) and J. M. Synge (1871-1909) use mental disorder not only as a theme, but also as a literary ploy as memories in their plays are relived and reconstructed in misleading and contradictory tales. This work focuses on the relationship between memory, mental disorder and Modernism in a long period (1892-1939) in order to underline the evolutions of the representation of dysfunctional memory in the texts. It successively examines the plays in the light of the three major memory disorders identified by psychiatrists at the time: amnesia, hypermnesia and paramnesia. This work relies on a parallel reading of the intuitive perception of memory by literature and the contemporary psychiatric theories, the underlying hypothesis being that some clinical notions of memory dysfunctions have been integrated to the theatrical corpus, which could be a feature of an Irish (early) Modernism
Barghi, Oliaee Faezeh. "Derek Walcott's Engagement with creole identity". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCC266.
Texto completo da fonteThis thesis seeks to explore the process and phenomenon through which Caribbean national and cultural identity has been constructed. In order to achieve this goal, two of Derek Walcott’s major poems and one of his dramas have been chosen. The first is his Creole epic poem, Omeros, which concentrates on the issues of Creole identity and the concept of national hero. Since Walcott’s poetry is highly influenced by his personal life and consequently life in his homeland, the island of Saint Lucia, it seems indispensable to study his autobiographical poem, Another Life, which is Walcott’s retrospective review of his artistic journey until the age of 33. Moreover, since Omeros draws parallelswith Homeric epics, it seems highly beneficial to this study to include his other rewriting of Homericepics, The Odyssey : a Play. This study makes an effort to show that these two rewritings are complementary to each other: the West Indian epic poem is the quest for identity seen from the point of view of the colonized subject, whereas the West Indian stage drama is the quest for identity from the colonizer’s perspective. Studying Walcott’s poetry and dramas helps one perceive the ways in which the West Indian poet makes an effort to deconstruct the importance of the Western literary tradition through rewriting the Homeric epics. This tradition perpetuates the binary opposition of superiority/inferiority which plays a seminal role in the construction of individual identity. By displacing the Saint Lucian characters and literature from their place in the margins to the center, Walcott decenters the Homeric epics, and Western literature. Creolisation, Colonialism, Postcolonialism,Deconstruction, , History, Memory, Rewriting
Heydari-Malayeri, Mélanie. "La tentation du devenir-autre. L'oeuvre protéenne de Vikram Seth". Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030145.
Texto completo da fonteBorn in Calcutta in 1952, Vikram Seth occupies a highly original place on the postcolonial literary scene, owing to the dazzling variety of his work. Indeed, his career has been one of restless reinvention: skipping from economist to poet, to travel writer, to novelist-in-verse, to librettist, to translator and to children’s writer, Vikram Seth even tried his hand at biography in Two Lives (2005). His writing displays a deep-seated abhorrence of uniformity: every new book by Seth creates a fresh departure in genre and theme, and moves seamlessly from one geographical and cultural location to another, revealing a distinct cosmopolitan sensibility that makes Seth’s affiliations and cultural moorings all but impossible to fathom. Seth’s protean opus thus proves miraculously immune to any definitive categorization. In fact, however, the generic heterogeneity of Seth’s work masks a hidden unity, which lies in a deliberate use of pastiche: Vikram Seth treats Western canonical texts as raw material, in an ostensibly unfashionable attempt to go back to earlier models of literary tradition. Why does Seth strive to preserve the European literary legacy so ostentatiously through the use of pastiche, a practice that is traditionally belittled in the West? Although current critiques of Vikram Seth’s writing berate him for evading the politics of his own cultural, historical and political location, I will argue that pastiche acquires a critical dimension in Seth’s work through the notion of "mimicry". Vikram Seth’s work sheds light on the radically enunciative quality of textuality, throwing into sharp relief the historicity of language
Khan, Shoukat Yaseen. "History, culture and identity in the novels of Bapsi Sidhwa, Bharati Mukherjee and Hanif Kureishi". Thesis, Tours, 2017. http://www.theses.fr/2017TOUR2018/document.
Texto completo da fonteThe objective of this thesis is to study three novels written by English-speaking authors of Pakistan or India, namely Bapsi Sidhwa, Bharati Mukherjee and Hanif Kureishi. One might be tempted to place the three writers of this study in the category of "literature of immigrants." They all write at a time of mass migration when the idea of "cultural shock" among Western peoples begins to be more evident. All three writers are affected by themes which appear only marginally in the debate evoked above, much of the emphasis being on the cultural and social difficulties of women in Indo-Pakistani society. As for Kureishi, the polarization mentioned above assumes a very different emphasis, involving the situation of an Asian born and brought up inside Western society. Within this overall assessment of the ideological and historical context common to all three writers, it will thus be important to examine the specific attitudes adopted by each writer in relation to his or her own personal experience. The main focus of this study will therefore be thematic, centering on these writers’ specific preoccupations and the way this is seen in their peculiar depiction of the tensions at stake