The high school English Language Arts curricula of Central Florida has faced increasing scrutiny during the past decade under often conflicting influences such as a rapidly diversifying student population, activism for and against multicultural curriculum reform, and pressure to streamline curricula and make it conform to state testing standards. Against this social backdrop, the question of how to introduce Inda-Caribbean literature at the secondary level presents unique intellectual and political challenges. On the one hand, first and second generation Inda-Caribbean migrants make up an increasingly significant percentage of Florida's student population. Like other first and second generation Caribbean migrants, Inda-Caribbean students must straddle between their modern Caribbean traditions, juxtaposed with North American societal values; however, their East Indian heritage is rarely reflected in those Caribbean texts that do make it into secondary language arts reading lists. In my thesis, I will explore some of the demographic shifts in Central Florida, consider the extent to which Inda-Caribbean texts might be regarded as representative expressions of Caribbean experience, and suggest how the inclusion of Inda-Caribbean literature in the canon might provide a model for similar curriculum reform in the state of Florida.

No description available.

Corporal punishment is a common practice that has been employed in classrooms in Jamaica for many years. This practice, as it is used to manage classroom behavior, although viewed as valuable by some, presents extremely detrimental effects. This study outlines positive approaches to classroom management to provide Jamaican classrooms with alternatives to corporal punishment. This is done by investigating the effectiveness of two Applied Behavior Analysis techniques, the Good Behavior Game and Differential Reinforcement of Low Rate Response, on disruptive behavior in a third grade classroom in a rural school in Jamaica. Results from the implementation of both procedures display positive outcomes and reveal that positive approaches to classroom management are effective in improving disruptive behavior. These procedures demonstrate the effectiveness of promoting positive behavior and refrain from utilizing corporal punishment. Such strategies also motivate students, increase instructional time, are cost efficient, and can be easily implemented by teachers. / Urban Education

La présente thèse vise à analyser le thème de la mélancolie postcoloniale et son utilisation stratégique dans huit romans de Patrick Chamoiseau (Solibo Magnifique, Texaco, Biblique des derniers gestes et Un dimanche au cachot) et d’Émile Ollivier (Mère-Solitude, Passages, Les urnes scellées et La Brûlerie). Sous l’éclairage de la psychanalyse et de la critique postcoloniale, nous définissons cette notion fondamentale comme suit : un psychisme ambivalent entraîné par la perte ou le manque de certains objets d’attachement ––– objets qui sont en l’occurrence la mémoire collective et/ou le lieu d’appartenance identitaire. Comment et pourquoi ce thème se manifeste-t-il dans notre corpus ? Notre hypothèse est que l’utilisation dudit thème serait plus le résultat de leur choix stratégique que l’effet de leur état psychique. C’est afin d’examiner leurs propres problématiques des construction et perception identitaires dans le contexte postcolonial que ces écrivains mettent en récit une telle situation de manque mnémonique et spatial à travers l’écriture romanesque. Afin de mieux élucider la manifestation textuelle de ce thème, nous divisons celui-ci en deux motifs : la « non-histoire » et le « non-lieu ». En nous appuyant principalement sur les réflexions d’Édouard Glissant, de Takayuki Nakamura et de Marc Augé, nous définissons ces concepts comme deux aspects de la mélancolie postcoloniale : situation de manque de la mémoire collective et celle du lieu d’appartenance identitaire. Nos analyses de ces deux motifs sur un plan stylistique, narratologique, structurel et théorique permettent d’examiner de plus près les points de convergence et de divergence entre l’écriture romanesque de Chamoiseau et celle d’Ollivier. En nous fondant sur les quatre études dans la deuxième partie concernant la mise en récit de la non-histoire, nous analysons les utilisations stratégiques de ce motif afin de voir la mise en récit de la « vision prophétique du passé » (É. Glissant). Nous élucidons ensuite en quoi consiste cette vision temporelle paradoxale : choix de genres littéraires tels que le récit policier (Mère-Solitude et Solibo Magnifique) et le récit du retour au pays natal (Les urnes scellées et Bibliques des derniers gestes). Ce choix narratif se réfère toujours à ce que nous nommons la méthode inductive de la narration. La troisième partie, composée encore de quatre études, éclaire les stratégies de la description du lieu. Nous en déduisons une modalité sui generis de la description spatiale que nous appelons, d’après Marc Augé, l’« évocation prophétique d’espaces ». Cette stratégie descriptive se représente notamment par la spatialisation métaphorique de l’identité créole (Texaco et Un dimanche au cachot) ou migrante (Passages et La Brûlerie). En conclusion, nous résumons ces analyses pour en extraire les points communs et divergents entre les utilisations stratégiques de la mélancolie postcoloniale chez Chamoiseau et Ollivier. Entre autres aspects, nous constatons que la mise en récit de la vulnérabilité due à la mélancolie postcoloniale constitue leur positionnement esthétique et éthique afin qu’ils puissent réfléchir aux constructions et perception identitaires au sein du monde actuel devenu plus que jamais flou et fluide. / The purpose of this doctoral thesis is to analyse the theme of postcolonial melancholia and that strategic utilization in eight novels of Patrick Chamoiseau (Solibo Magnifique, Texaco, Biblique des derniers gestes et Un dimanche au cachot) et Émile Ollivier (Mère-Solitude, Passages, Les urnes scellées et La Brûlerie). From the perspective of psychoanalysis and postcolonial criticism, we define this fundamental notion in the following manner : an ambivalent psychology produced by the loss or lack of some objects of attachement ― objects which in this instance are the collective memory and/or the place of belonging. How and why does this theme manifeste itself in our corpus ? Our hypotheses is that the utilization of this theme would be their strategic choice rather than their psychological condition. It is in order to dissect their own problematics of identity construction and perception in the postcolonial contexte that these authors put into narrative form such situations of mnemonic and spatial lack through the writing of these novels. For the purpose of better clarifying the textual appearance of this theme, we divide it into two motifs : the « non-history (non-histoire) » and the « non-place (non-lieu) ». According to the reflections of Édouard Glissant, Takayuki Nakamura and Marc Augé, we define these concepts as being respectively one of the aspects of the postcolonial melancholia : a situation of lack of the collective memory and of the place of belonging. Our analyses of these two motifs from the stylistic, narratological, structural and theorical perspectives make it possible to examine with meticulous care the points of convergence and divergence of the novel writing between Chamoiseau and Ollivier. Based on four studies in the second part which concerns putting in narrative form of the non-history, we deduce that their strategic utilizations of this motif are actualized by « prophetic vision of past » in the glissantian meaning. We clarify subsequently what this paradoxal vision of time consists in : a choice of the literary genres such as the detective novel (Mère-Solitude et Solibo Magnifique) and the return to the native land (Les urnes scellées et Biblique des derniers gestes). This narrative choice is always supported by what we call the inductive method of narrating. The third part, composed again of four individual studies, throws light on strategies of spatial description. We abstract from these studies a way sui generis of the spatial description which we call, in Augé’s words, the « prophetic evocation of spaces ». This descriptive strategy is represented notably by the metaphorical spatialization of creole identity (Texaco et Un dimanche au cachot) or migrant identity (Passages et La Brûlerie). In conclusion, we summarize these eight studies to extract the points of convergence and divergence between the stratégic utilizations of the postcolonial melancholia in Chamoiseau and Ollivier. Prominently, we notice that the work of putting into narrative form the vulnerability due to the postcolonial melancholia constitutes their aesthétical and ethical standpoints so that they can reflect the identity construction and perception within the today’s world which is more blurred and fluid than ever before.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

<p>In my thesis, “Commandeering Aesop’s Bamboo Canon: A 19th Century Confederacy of Creole Fugitive Fables,” I ask and answer the ‘Who? What? Where? When? Why?” of Creole Literature using the 19th century production of Aesopian fables as clues to resolve a set of linguistic, historical, literary, and geographical enigmas pertaining the ‘birth-place(s)’ of Creolophone Literatures in the Caribbean Sea, North and South America, as well as the Indian Ocean. Focusing on the fables in Martinique (1846), Reunion Island (1826), and Mauritius (1822), my thesis should read be as an attempt capture the links between these islands through the creation of a particular archive defined as a cartulary-chronicle, a diplomatic codex, or simply a map in which I chart and trace the flight of the founding documents relating to the lives of the individual authors, editors, and printers in order to illustrate the articulation of a formal and informal confederation that enabled the global and local institutional promotion of Creole Literature. While I integrate various genres and multi-polar networks between the authors of this 19th century canon comprised of sacred and secular texts such as proclamations, catechisms, and proverbs, the principle literary genre charted in my thesis are collections of fables inspired by French 17th century French Classical fabulist, Jean de la Fontaine. Often described as the ‘matrix’ of Creolophone Literature, these blues and fables constitute the base of the canon, and are usually described as either ‘translated,’ ‘adapted,’ and even ‘cross-dressed’ into Creole in all of the French Creolophone spaces. My documentation of their transnational sprouting offers proof of an opaque canonical formation of Creole popular literature. By constituting this archive, I emphasize the fact that despite 200 years of critical reception and major developments and discoveries on behalf of Creole language pedagogues, literary scholars, linguists, historians, librarians, archivist, and museum curators, up until now not only have none have curated this literature as a formal canon. I also offer new empirical evidence in order to try and solve the enigma of “How?” the fables materially circulated between the islands, and seek to come to terms with the anonymous nature of the texts, some of which were published under pseudonyms. I argue that part of the confusion on the part of scholars has been the result of being willfully taken by surprise or defrauded by the authors, or ‘bamboozled’ as I put it. The major paradigmatic shift in my thesis is that while I acknowledge La Fontaine as the base of this literary canon, I ultimately bypass him to trace the ancient literary genealogy of fables to the infamous Aesop the Phrygian, whose biography – the first of a slave in the history of the world – and subsequent use of fables reflects a ‘hidden transcript’ of ‘masked political critique’ between ‘master and slave classes’ in the 4th Century B.C.E. Greece.</p><p>This archive draws on, connects and critiques the methodologies of several disciplinary fields. I use post-colonial literary studies to map the literary genealogies Aesop; use a comparative historical approach to the abolitions of slavery in both the 19th century Caribbean and the Indian Ocean; and chart the early appearance of folk music in early colonial societies through Musicology and Performance Studies. Through the use of Sociolinguistics and theories of language revival, ecology, and change, I develop an approach of ‘reflexive Creolistics’ that I ultimately hope will offer new educational opportunities to Creole speakers. While it is my desire that this archive serves linguists, book collectors, and historians for further scientific inquiry into the innate international nature of Creole language, I also hope that this innovative material defense and illustration of Creole Literature will transform the consciousness of Creolophones (native and non-native) who too remain ‘bamboozled’ by the archive. My goal is to erase the ‘unthinkability’ of the existence of this ancient maritime creole literary canon from the collective cultural imaginary of readers around the globe.</p> / Dissertation

abstract: Anchored to the Mexican-American and U.S. Latino historical experience, this dissertation examines how a Latino and Chicano Canibalia manifests itself in literary and cultural production across the different literary periods of the Southwest and the United States as formulated by Luis Leal and Ilan Stavans: Colonization: 1537-1810, Annexations: 1811-1898, Acculturation: 1898-1945, Upheaval: 1946-1979, and the fifth period, Into the Mainstream: 1980-Present. Theoretically, the study is primarily based on the work Canibalia: canibalismo, calibanismo, antropofagia cultural y consumo en América Latina (2005) by Carlos Jauregui. This Canibalia claims that the symbol Caliban, a character taken from the drama The Tempest (1611) by William Shakespeare and interpreted in Calibán (1971) by Roberto Fernández Retamar, is an indispensable reference that, today, links the discourse on Colonial Studies in Latin America and, for us, also in the Mexican-American Southwest. To particularize Jáuregui’s critical perspective, we draw from the work The Dialectics of Our America: Genealogy, Cultural Critique, and Literary History (1990) by José David Saldívar, whose call for a School of Caliban not only brings together all subaltern subject positions but marks the value of the “schooling” such an institution will provide. For Saldívar, Chicano and U.S. Latino scholarship needs to be incorporated into Caliban Studies due to a shared anti-imperial resistance. We also rely on the theoretical work Local Histories/Global Designs: Coloniality, Subaltern Knowledges, and Border Thinking (2000) by Walter Mignolo, which links colonial difference to border thinking and examines contemporary dialogues on Orientalism, Occidentalism, and post-Occidentalism with regards to Latin American, Chicano, and U.S. Latino cultures. Our study interprets such works as I Am Joaquín (1967) by Rodolfo “Corky” Gonzales, the performances of Guillermo Gómez-Peña, the novels Peregrinos de Aztlán (1974) by Miguel Méndez and Entre la sed y el desierto (2004) by Óscar L. Cordero, US Latino films like Balseros (2002) and Which Way Home (2009), the Mexican film Acorazado (2010), and Chicano and US Latino poetry that features the literary symbol examined under our critical approach; in turn, we have learned that the Chicano and Latino Canibalia is a collection of cannibal discourses which have as an objective stereotyping civilians of Mexican and Latin American descent in the United States. Our critical discourse provides an understanding of today’s complex cultural ties between all countries. A Chicano and Latino Canibalia serves as a bridge of understanding regarding the discursive silences in the history of the United States and Latin America as well as the world. [TEXT IN SPANISH.] ABSTRACTO Anclada a la experiencia histórica mexicoamericana y eulatina, esta disertación examina cómo se manifiesta la Canibalia chicana y eulatina en su producción literaria y cultural de las distintas épocas del Sudoeste como diseñadas por Luis Leal y Ilan Stavans: la Colonización: 1537-1810, las Anexiones: 1811-1898, las Aculturaciones: 1898-1945, la Turbulencia: 1946-1979 y el quinto periodo, Hacia la corriente cultural dominante: 1980-Presente. Se fundamenta en la obra teórica Canibalia: canibalismo, calibanismo, antropofagia cultural y consumo en América Latina (2005) de Carlos Jáuregui. Esta Canibalia afirma que el personaje simbólico Caliban, tomado de la obra The Tempest (1611) de William Shakespeare e interpretado en el ensayo Calibán (1971) de Roberto Fernández Retamar, es un referente indispensable que hoy en día conecta los horizontes de los estudios de la colonialidad en América Latina y, para nosotros, en el Sudoeste de los Estados Unidos. Para profundizar la perspectiva crítica de Jáuregui, se acude el trabajo The Dialectics of Our America: Genealogy, Cultural Critique, and Literary History (1990) de José David Saldívar, cuyo llamado por una School of Caliban reúne no sólo las posiciones de los sujetos subalternos, sino que nos acerca a entender la schooling o escolarización sobre lo que significa su resistencia. Para Saldívar, la lucha chicana y eulatina se incorpora a los estudios calibánicos de resistencia anti-imperial. También, nos apoyamos en el trabajo Local Histories/Global Designs: Coloniality, Subaltern Knowledges, and Border Thinking (2000) de Walter Mignolo, el cual liga la diferencia colonial con el pensamiento fronterizo y explica los diálogos contemporáneos alrededor del orientalismo, el occidentalismo y el post-occidentalismo con respecto a las culturas latinoamericana, chicana y eulatina. Nuestro estudio se ha enfocado en los trabajos Yo soy Joaquín (1967) de Rodolfo “Corky” Gonzales, las performances de Guillermo Gómez-Peña, las novelas Peregrinos de Aztlán (1974) de Miguel Méndez y Entre la sed y el desierto de Óscar L. Cordero, filmes eulatinos como Balseros (2002) and Which Way Home (2009), la película mexicana Acorazado (2010) y la producción de la poesía chicana y eulatina con el símbolo examinado bajo dicho enfoque crítico; como resultado, hemos aprendido que la Canibalia chicana y eulatina es un conjunto de discursos caníbales los cuales tienen por objetivo estereotipar a los ciudadanos estadounidenses de origen mexicano y latinoamericano en los Estados Unidos. Se trata de una nueva forma de entender los complicados lazos culturales que unen a los países de hoy en día. La Canibalia chicana y eulatina es el puente que conduce al entendimiento de los vacíos discursivos de la historia de los Estados Unidos y América Latina así como el mundo. / Dissertation/Thesis / Doctoral Dissertation Spanish 2015

In the last few decades, Dominican female writers have contributed significantly to the literary representation of the city of Santo Domingo and urban life. This dissertation studies how these female writers produce a cultural paradigm for criticizing the urban crisis in the Dominican Republic that at times is at odds with much narrative written by men and with key concepts in Urban Theory that are taken for granted. The authors I study, Ángela Hernández, Emilia Pereyra, Emelda Ramos, Aurora Arias and Rita Indiana Hernández, understand the city and redefine the urban model by expressing their dissatisfaction in the civilizing and modernizing potential of urban space in their texts. I specifically analyze novels and short stories through a reinterpretation of Henri Lefebvre’s concept of “the Right to the City” that considers issues such as gender, race and identity by using an interdisciplinary theoretical framework that includes Geography, Urban Studies, Feminism, Queer Studies and Sociology.

<p><italic>Imagined Islands: A Caribbean Tidalectics</italic> confronts islands -at once as a problem, a concept, and a historical and mythical fact and product- by generating a tidalectical encounter between some of the ways in which islands have been imagined and used from without, primarily in the interest of the advancement of western capitalist coloniality, and from within, as can be gathered from Caribbean literatures. The perspective from without, predominantly based on negation, is explored in Section 1 using examples of islands in the Mediterranean, the Pacific, and the Atlantic, as well as a few canonical texts in various academic discourses. Section 2 discusses the perspective from within, an affirmative and creative counter-imagination on/of islands. Emerging from literary work by Derek Walcott, Edgardo Rodríguez Juliá, Édouard Glissant, and Alejo Carpentier, the chapters in Section 2 are organized around three key concepts associated with insularity -tropical light, the coast, and the sea/ocean- and the ways in which they force a rearrangement of enduring philosophical concepts: respectively, vision and sense perception, time and space, and history.<br><p> <italic>Imagined Islands'</italic> Introduction establishes, (1) the stakes of a project undertaken from an immanent perspective set in the Caribbean; (2) the method, inspired chiefly by Kamau Brathwaite's concept of <italic>tidalectics</italic>; (3) the epistemological problems posed by islands; (4) an argument for a different understanding of history, imagination, and myth inspired by Caribbean texts; and, (5) an overview of the academic debates in which <italic>Imagined Islands</italic> might make a significant contribution. The first section, "Islands from Without," comprising Chapter 1, provides an account of a few uses and imaginations of islands by capitalist coloniality as they manifest themselves both in the historical and the mythical imaginary realms. I focus on five uses and imaginations of islands (entrepôt island, sugar island, strategic island, paradise island, and laboratory island), with specific examples from the Mediterranean, the Pacific, and the Atlantic, and from five canonical texts ascribed to different disciplinary discourses: Plato's "Atlantis," Thomas More's <italic>Utopia</italic>, Daniel Defoe's <italic>Robinson Crusoe</italic>, Charles Darwin's <italic>The Origin of the Species</italic>, and Margaret Mead's <italic>Coming of Age in Samoa</italic>. I argue, on the one hand, that a dominant idea of the island based on negation (lack, dependency, boundedness, isolation, smallness, remoteness, among other characteristics) has coalesced in the expansionist and exploitative interests of capitalist coloniality, despite the fundamental promiscuity of the concept of "island." On the other hand, I find in the analyzed examples, especially in those of the mythical imaginary, residues in flight that remain open for creative reappropriation.<br><p> <italic>Imagined Islands'</italic> second section, "Islands from Within," encompassing Chapters 2 through 5, relocates the discussion within the Caribbean in order to argue that some of the region's literatures have produced a counter-imagination concerning insularity. This counter-imagination, resulting from an immanent and affirmative engagement with Caribbean islands, amounts to a way of thinking about and living the region and its possibilities in terms other than those of the dominant idea of the island. Each chapter opens with a historical and conceptual discussion of the ways in which light (Chapter 2), the coast (Chapters 3 and 4), and the sea/ocean (Chapter 5) have been imagined and deployed by capitalist coloniality, before turning to Caribbean literary texts as instances of a re-conceptualization of the aforementioned insular features and their concomitant rearrangement of apparently familiar philosophical concepts. Chapter 2 focuses on tropical light, vision, sense perception, Walcott's book-length poem <italic>Tiepolo's Hound</italic>, and Rodríguez Juliá's novel <italic>El espíritu de la luz</italic>. Chapter 3 turns to the insular coast, time, space, and the novels <italic>El siglo de las luces</italic> by Carpentier and <italic>The Fourth Century</italic> by Glissant. Chapter 5 goes out to sea and history with the help of Rodríguez Juliá's chronicles "El cruce de la Bahía de Guánica y otras ternuras de la Medianía" and "Para llegar a Isla Verde," as well as of sections from Glissant's <italic>Poetics of Relation</italic> and some of his poems from <italic>The Restless Earth</italic>. Finally, <italic>Imagined Islands'</italic> Coda points to some of the ripples this project produces for future study, and defends the urgent need to "live differently" the Caribbean archipelagoes.</p> / Dissertation

Thesis (Ph. D.)--University of Oregon, 2003. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 198-215). Also available for download via the World Wide Web; free to University of Oregon users.