21st-century Neo-anticolonial Literature and the Struggle for a New Global Order explores the twenty-first-century fiction of five writers and investigates the ways in which their works engage the legacy and evolution of empire, and, in particular, the expansion of global capitalism to the detriment of already-subjugated communities. Taking up a recent call by Postcolonial scholars seeking to address the contemporary challenges of the postcolonial condition, this project traces out three distinct forms of engagement that function as a resistance in the texts. The dissertation introduces these concepts via a mode of analysis I have called Neo-anticolonialism, a counter-hegemonic approach which, I argue, is unique to the twenty-first century but rooted in the anticolonial work of Aimé Césaire and Frantz Fanon. Building on a foundation laid by those activist scholars, this project argues that Neo-anticolonialism necessitates the bridging of discourse and activism; thus, the dissertation delineates the utility of Neo-anticolonialism in both literary scholarship and practical application. Through a close analysis of the fiction of the Nigerian writer Chimamanda Ngozi Adichie, Jamaican Michelle Cliff, Amitav Ghosh, a South Asian writer, African American writer Edward P. Jones, and Black British writer Caryl Phillips, the project offers a Neo-anticolonial reading of several twenty-first-century texts. In doing so, I explain the depiction of these instances of resistance as Neo-anticolonial Refractions, literary devices which function as prisms that cast images thus exposing the perpetuation of inequality in the twenty-first century and its direct link to the past epoch. Moreover, each chapter, through an explication of the refractions, reveals how resistance occurs in the face of the brutal reality of oppression and how this cadre of writers engages with the history of empire as well as with its contemporary permutations.

21st-century Neo-anticolonial Literature and the Struggle for a New Global Order explores the twenty-first-century fiction of five writers and investigates the ways in which their works engage the legacy and evolution of empire, and, in particular, the expansion of global capitalism to the detriment of already-subjugated communities. Taking up a recent call by Postcolonial scholars seeking to address the contemporary challenges of the postcolonial condition, this project traces out three distinct forms of engagement that function as a resistance in the texts. The dissertation introduces these concepts via a mode of analysis I have called Neo-anticolonialism, a counter-hegemonic approach which, I argue, is unique to the twenty-first century but rooted in the anticolonial work of Aimé Césaire and Frantz Fanon. Building on a foundation laid by those activist scholars, this project argues that Neo-anticolonialism necessitates the bridging of discourse and activism; thus, the dissertation delineates the utility of Neo-anticolonialism in both literary scholarship and practical application. Through a close analysis of the fiction of the Nigerian writer Chimamanda Ngozi Adichie, Jamaican Michelle Cliff, Amitav Ghosh, a South Asian writer, African American writer Edward P. Jones, and Black British writer Caryl Phillips, the project offers a Neo-anticolonial reading of several twenty-first-century texts. In doing so, I explain the depiction of these instances of resistance as Neo-anticolonial Refractions, literary devices which function as prisms that cast images thus exposing the perpetuation of inequality in the twenty-first century and its direct link to the past epoch. Moreover, each chapter, through an explication of the refractions, reveals how resistance occurs in the face of the brutal reality of oppression and how this cadre of writers engages with the history of empire as well as with its contemporary permutations.

21st-century Neo-anticolonial Literature and the Struggle for a New Global Order explores the twenty-first-century fiction of five writers and investigates the ways in which their works engage the legacy and evolution of empire, and, in particular, the expansion of global capitalism to the detriment of already-subjugated communities. Taking up a recent call by Postcolonial scholars seeking to address the contemporary challenges of the postcolonial condition, this project traces out three distinct forms of engagement that function as a resistance in the texts. The dissertation introduces these concepts via a mode of analysis I have called Neo-anticolonialism, a counter-hegemonic approach which, I argue, is unique to the twenty-first century but rooted in the anticolonial work of Aimé Césaire and Frantz Fanon. Building on a foundation laid by those activist scholars, this project argues that Neo-anticolonialism necessitates the bridging of discourse and activism; thus, the dissertation delineates the utility of Neo-anticolonialism in both literary scholarship and practical application. Through a close analysis of the fiction of the Nigerian writer Chimamanda Ngozi Adichie, Jamaican Michelle Cliff, Amitav Ghosh, a South Asian writer, African American writer Edward P. Jones, and Black British writer Caryl Phillips, the project offers a Neo-anticolonial reading of several twenty-first-century texts. In doing so, I explain the depiction of these instances of resistance as Neo-anticolonial Refractions, literary devices which function as prisms that cast images thus exposing the perpetuation of inequality in the twenty-first century and its direct link to the past epoch. Moreover, each chapter, through an explication of the refractions, reveals how resistance occurs in the face of the brutal reality of oppression and how this cadre of writers engages with the history of empire as well as with its contemporary permutations.

La bit lit, un genre littéraire très contemporain qui associe le récit amoureux et le récit vampirique et s'adresse principalement à un public adolescent féminin, a acquis une visibilité mondiale avec la parution de Twilight de Stephenie Meyer en 2005. Ce mouvement littéraire reprend l'un des thèmes les plus récurrents et centraux des histoires d'amour comme des histoires de vampires occidentales : la construction du féminin, la position attribuée à ce dernier, et ses interactions avec un univers majoritairement hostile et dangereux. Or, malgré des représentations très conservatrices, voire rétrogrades, le genre connaît un succès très important en particulier auprès des jeunes femmes. Il est donc indispensable de s'interroger sur cette apparente contradiction, qui amène des auteures exclusivement de sexe féminin et un lectorat très majoritairement féminin à écrire et lire des récits sentimentaux peu féministes. Pour ce faire, la présente étude se penche sur trois oeuvres de bit lit : Twilight de Stephenie Meyer, The Vampire Diaries de L. J. Smith et House of Night de P. C. et Kristin Cast. Elle s'appuie sur trois approches, les études culturelles et l'étude de la réception, la narratologie, puis les études de genre. Les influences littéraires qui nourrissent les romans, le mode de lecture qu'ils encouragent et les choix narratifs qu'ils déploient sont analysés afin de comprendre ce qu'ils mettent en scène : la rencontre entre le sujet féminin et une conception patriarcale du monde. / Supernatural romance (or 'bit lit' in French) is a contemporary literary genre which associates sen-timental and vampiric stories and is primarily aimed at a female teenage audience. It acquired global visibility in 2005 with the publication of Stephenie Meyer's Twilight. This literary movement takes up one of the most recurring and central themes of Western love stories and vampire stories alike: the construction of the feminine, of its positioning and its interactions with an essentially hos-tile and dangerous environment. Despite very conservative and even reactionary representations, the genre has met a huge success among young women. It is thus necessary to question this ap-parent contradiction: why do exclusively female writers and mostly female readers write and read sentimental stories that can be qualified at best as 'hardly feminist'? To do so, the current study focuses on three supernatural romance series: Twilight by Stephenie Meyer, The Vampire Diaries by L. J. Smith and House of Night by P. C. and Kristin Cast. It relies on three approaches: cultural and reception studies, narratology and gender studies. The literary influences that inform the nov-els, the reading mode they incite and the narrative choices they unfold are analyzed in order to understand how they stage the encounter between the feminine subject and a patriarchal worldview.

Boris Akunin’s historical detective novels have sold more than eight million copies in Russia, and have been translated into nearly a dozen languages. Boris Akunin is the pen name of literary critic and translator Grigory Chkhartishvili. Born in 1956 in the republic of Georgia, he published his first detective stories in 1998. His first series of novels, beginning with Azazel’ and followed by Turetskii gambit, feature a dashing young police inspector, Erast Fandorin. Fandorin’s adventures take place in the Russian Empire of the late nineteenth century, and he regularly finds himself at the center of key historic events. The first book takes place over one summer, May to September 1876, as the intrepid Fandorin, on his first case, unveils an international organization of conspirators—Azazel’—bent on changing the course of world events. The second takes place two years later from July 1877 to March 1878 during Russia’s war with the Ottoman Empire. The young detective again clashes with Azazel’, as he unravels a Turkish agent’s intricate plan to weaken and destroy the Russian state. Both adventures have proven wildly popular and entertaining, while maintaining a certain literary value. The exploration of time and space in Russian literature was once a popular subject of discourse, but since the 1970s it has been somewhat ignored, rarely applied to contemporary works, and even less to works of popular culture. Akunin’s treatment of time and space, however, especially given the historical setting of his works, is unique. Azazel’, for example, maintains a lightning pace with a tight chronology and a rapidly changing series of locales. Turetskii gambit presents a more laconic pace, and, though set in the vast Caucasus region, seems more claustrophobic as it methodically works towards its conclusion. Both works employ a seemingly impersonal narrator, who, nonetheless, speaks in a distinctly 19th century tone, and both works cast their adventures within the framework of actual historical events and locations. This thesis analyzes core theories in literary time and space, applying them then to Akunin’s historical detective literature.

Boris Akunin’s historical detective novels have sold more than eight million copies in Russia, and have been translated into nearly a dozen languages. Boris Akunin is the pen name of literary critic and translator Grigory Chkhartishvili. Born in 1956 in the republic of Georgia, he published his first detective stories in 1998. His first series of novels, beginning with Azazel’ and followed by Turetskii gambit, feature a dashing young police inspector, Erast Fandorin. Fandorin’s adventures take place in the Russian Empire of the late nineteenth century, and he regularly finds himself at the center of key historic events. The first book takes place over one summer, May to September 1876, as the intrepid Fandorin, on his first case, unveils an international organization of conspirators—Azazel’—bent on changing the course of world events. The second takes place two years later from July 1877 to March 1878 during Russia’s war with the Ottoman Empire. The young detective again clashes with Azazel’, as he unravels a Turkish agent’s intricate plan to weaken and destroy the Russian state. Both adventures have proven wildly popular and entertaining, while maintaining a certain literary value. The exploration of time and space in Russian literature was once a popular subject of discourse, but since the 1970s it has been somewhat ignored, rarely applied to contemporary works, and even less to works of popular culture. Akunin’s treatment of time and space, however, especially given the historical setting of his works, is unique. Azazel’, for example, maintains a lightning pace with a tight chronology and a rapidly changing series of locales. Turetskii gambit presents a more laconic pace, and, though set in the vast Caucasus region, seems more claustrophobic as it methodically works towards its conclusion. Both works employ a seemingly impersonal narrator, who, nonetheless, speaks in a distinctly 19th century tone, and both works cast their adventures within the framework of actual historical events and locations. This thesis analyzes core theories in literary time and space, applying them then to Akunin’s historical detective literature.