Thesis (MA)--University of Stellenbosch, 2005. / Bibliography. Also available via the Internet.

Thesis (M.A.)--Bowling Green State University, 2006. / Document formatted into pages; contains vi, 98 p. Includes bibliographical references.

Thesis (Ph. D.)--University of Texas at Austin, 2004. / Supervisor: Wayne Lesser. Vita. Includes bibliographical references. Also available from UMI.

Thesis (M.A.)--Montana State University--Bozeman, 2006. / Typescript. Chairperson, Graduate Committee: Robert Bennett. Includes bibliographical references (leaves 56-59).

My aim for That Dark Remembered Day was to create a work of fiction with a strong sense of the literary, one whose themes of violence, landscape and survivor guilt shone a light on the human condition, specifically the effects of post-war trauma on one family. The novel’s structure would be crucial in achieving its emotional heft, as each of the central characters is allocated at least one section, the reader experiencing events from disparate and increasingly illuminating perspectives. Fragmenting the book’s chronology (both throughout, but particularly in Part 3) by employing a technique of temporal blurring, helped to recreate a sense of disorientation in the reader, a key symptom of post-traumatic stress disorder. And despite an at times lyrical style, readability was important to me, in that I wanted the novel to retain its pace as a psychological thriller, albeit one where the reader is told what happens at the outset, the remainder of the book tasked with explaining how and why. Crucial to this thesis is the relationship I developed with my appointed editor, specifically how conflict emerged and was for the most part resolved during revision of the work. Significantly, I argue that these negotiations, together with my exploration of the author/editor relationship, contributed to my development as an author, and to the realisation of the novel. Research was conducted into the Falklands conflict by studying first-hand accounts of those who served, allowing me to blur fact with fiction, a process that delivered its own ethical challenges.

This analysis, written in Spanish, compares the use of violence in four of Castro's dramas with its use in their sources and in the works of other Golden Age authors. Chapter II investigates the manner in which the plays based on Greek myths compare with the original stories and with the ancient Classical theater. Each of the four following chapters compares one of Castro's plays to contemporary works with the same plot. The conclusion indicates that Castro's plays do not show an extraordinary use of violence. In some instances Castro demonstrates more restraint than the other dramatists. Thus, Castro, as a typical author of his epoch, does not deserve his reputation for writing excessively violent works.

黃念欣. / 論文 (哲學碩士)--香港中文大學, 1999. / 參考文獻 (leaves 205-212). / 附中英文摘要. / Huang Nianxin. / Lun wen (zhe xue shuo shi)-- Xianggang Zhong wen da xue, 1999. / Can kao wen xian (leaves 205-212). / Fu Zhong Ying wen zhai yao / 引言 --- p.1-11 / Chapter 第一章： --- 「暴力美學」析論 --- p.12-23 / Chapter 第二章： --- 地域與「暴力美學」 --- p.24-69 / Chapter 第三章： --- 親族關係與「暴力美學」 --- p.70-103 / Chapter 第四章： --- 秩序與「暴力美學」 --- p.104-171 / 總結：「絶望之爲虛妄，正與希望相同」一一黃碧雲暴力美學的迷思 --- p.172-184 / 主要參考資料目錄 --- p.185-212 / 〔附錄一〕：有關黃碧雲作品的評論文章（字數及規格） / 〔附錄二〕：有關黃碧雲作品的評論文章（暴力論述) / 〔附錄三〕：〈祧花紅〉原文 / 〔附錄四〕：從專欄「暫且」看黃碧雲的理想與追求

This dissertation examines how contemporary Anglophone, Hispanophone, and Francophone literature from Africa, Latin America, the Caribbean, and South Asia (1984-present) reconfigures historical archives to negotiate the ethics of representing state violence in repressive societies. I identify new literary forms politically conscious writers are devising to capture and contest human rights violations. Using an interdisciplinary decolonial feminist framework, I closely read works by Cristina Peri Rossi, Michael Ondaatje, M. NourbeSe Philip, Edwidge Danticat, Boubacar Boris Diop, and Roberto Bolaño— a diverse set of postcolonial and post-dictatorship writers never before compared in comparative literature. I call these writers’ endeavors to reframe traumatic history “arts of the impossible,” which defy the alleged unrepresentability of collective trauma to secure justice and forestall impunity. I compare representations of wide-ranging atrocities including forced disappearance, slavery, genocide, and femicide— crimes exemplifying what I term “ontological erasure.” At stake in ontological erasure are not simply lost perspectives from multiply marginalized victims, like women and queer people of color, but the very possibility of citizenship and the will to dissent state recognition enables. To resist the threats posed by the authorization of these crimes to political freedom, these writers, I argue, reinvent evidentiary forms historically suppressed by authoritarian states, including court transcripts, testimonies, forensic reports, and national archives. These authors’ innovations push the boundaries of what counts as “evidence” in acts of state violence that are uniquely determined by erasure; they also imagine new methods for remembering past atrocities without compromising recognition for stigmatized minorities in the future.

This dissertation argues that works of literature offer a valuable critical supplement to historical and legal accounts of colonial violence, due to the common investment of literary texts in thematizing moral complexity and complicity, and by drawing attention to intimate and social forms of harm that might otherwise go unaccounted for. Following the recent successful lawsuit against the British government by elderly Kenyans who survived torture in the 1950s, as well as recent historical scholarship on the colonial government's brutal counterinsurgency, I argue that the paradigmatic anticolonial event commonly referred to as the “Mau Mau” uprising has been reframed in terms of a series of grave human rights abuses. I examine the diverse ways in which the Mau Mau struggle has been figured in narrative fiction, focusing on works by Ngũgĩ wa Thiong'o, Yvonne Adhiambo Owuor, Marjorie Oludhe Macgoye, and the white supremacist Robert Ruark. The dissertation shows literary texts to be sites of distinct forms of knowledge concerning the harms of political violence. My readings demonstrate that fictions of Mau Mau have figured that crisis as both a crime that demands urgent redress and an event whose damage is permanent and irreparable, each text staging in distinct ways the structuring paradox of historical reparation as an impossible ethical demand that must nonetheless be insisted upon. I think of reparations claims as radical decolonizing demands, countering recent critiques of the “politics of reparations” as a liberal departure from properly emancipationist thinking.

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