Cette étude porte sur le fait littéraire afro-antillais de l’ère coloniale (1920-1960). Il s’agit d’examiner les stratégies des agents à partir des cas de René Maran, Léopold Sédar Senghor, Aimé Césaire, Édouard Glissant et Mongo Beti et de percevoir comment ils se définissent leur identité littéraire et sociale.<p>Pour ce faire, notre démarche s’articule en deux temps :(1) examiner les conditions de possibilité d’un champ littéraire afro-antillais à Paris (colonisation française et ses effets, configuration d’un champ littéraire pré-institutionnalisé, etc.) ;(2) analyser les processus de consolidation du champ, ainsi que les luttes internes qui opposent deux tendances émergentes représentées d’abord par Senghor et Césaire, ensuite par Beti et Glissant, dont les prises de position littéraires mettent en œuvre des « modèles empiriques » ;ceux-ci régulent et unifient leurs rapports au monde et à l’Afrique.<p><p>This study relates to afro-carribean literature in colonial period (1920-1960). We want to examine the strategies of agents like René Maran, Léopold Sédar Senghor, Aimé Césaire, Édouard Glissant and Mongo Beti ;and we want to understand how they invente literary and social identity.<p>Our approach is structured in two steps: we shall analyse (1) the conditions for an afro-carribean literary field to appear in Paris (french colonialism and its consequences, configuration of literay field.) ;(2) the consolidation of this field and the internal struggles between two tendances represented by Senghor and Césaire, by Glissant and Beti whose literary practice shows the “empirical model” that regularizes and consolidates their relation with the world and Africa. / Doctorat en philosophie et lettres, Orientation langue et littérature / info:eu-repo/semantics/nonPublished

This dissertation examines the bildungsroman genre in Cuba, Puerto Rico, and the Dominican Republic. A close examination of the development of this genre demonstrates that it has ideological implications that link the young protagonists’ development with that of the nation. The authors on whom I focus—Ángela Hernández, Rita Indiana Hernández, René Marqués, Pedro Juan Soto, Magali García Ramis, Severo Sarduy, and Jesús Díaz—do not merely imitate the European model but revise, adapt, and often subvert it thematically and, in some cases, aesthetically. I argue that these bildungsromane differ, for the most part, from the European prototype due to their openly political themes, such as the establishment of the Estado Libre Asociado in Puerto Rico, the 1959 Revolution in Cuba, and, in the case of the Dominican Republic, Trujillo’s dictatorship. I claim that Dominican bildungsromane do not propose national projects or models but rather question the purported homogeneity of identity of the country as a normalized political body. On the other hand, in Cuba and Puerto Rico the genre has been used to promote absolute discourses of nationality as well as political projects that must be questioned due to their discriminatory and sometimes racist and violent nature.

This dissertation examines the bildungsroman genre in Cuba, Puerto Rico, and the Dominican Republic. A close examination of the development of this genre demonstrates that it has ideological implications that link the young protagonists’ development with that of the nation. The authors on whom I focus—Ángela Hernández, Rita Indiana Hernández, René Marqués, Pedro Juan Soto, Magali García Ramis, Severo Sarduy, and Jesús Díaz—do not merely imitate the European model but revise, adapt, and often subvert it thematically and, in some cases, aesthetically. I argue that these bildungsromane differ, for the most part, from the European prototype due to their openly political themes, such as the establishment of the Estado Libre Asociado in Puerto Rico, the 1959 Revolution in Cuba, and, in the case of the Dominican Republic, Trujillo’s dictatorship. I claim that Dominican bildungsromane do not propose national projects or models but rather question the purported homogeneity of identity of the country as a normalized political body. On the other hand, in Cuba and Puerto Rico the genre has been used to promote absolute discourses of nationality as well as political projects that must be questioned due to their discriminatory and sometimes racist and violent nature.

xi, 236 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Writers in the Caribbean, like writers throughout the postcolonial world, return to colonial texts to rewrite the myths that justified and maintained colonial control. Exemplary of a widespread, regional phenomenon that begins at mid-century, writers such as Aimé Césaire and George Lamming take up certain texts such as Shakespeare's The Tempest and recast them in their own image. Postcolonial literary theory reads this act of rewriting the canon as a political one that speaks back to power and often advocates for political and cultural independence. Towards the end of the twentieth century and at the beginning of the twenty-first century, Caribbean women writers begin a new wave of rewriting that continues in this tradition, but with certain differences, not least of which is a focused attention to gender and sexuality and to the literary legacies of romance. In the dissertation I consider a number of novels from throughout the region that rewrite the romance, including Jean Rhys's Wide Sargasso Sea (1966), Maryse Condé's La migration des coeurs (1995), Mayra Santos-Febres's Nuestra señora de la noche (2006), and Dionne Brand's In Another Place, Not Here (1996). Romance, perhaps more than any other literary form, exerts an allegorical force that exceeds the story of individual characters. The symbolic weight of romance imagines the possibilities of a social order--a social order dependent on the sexual behavior of its citizens. By rewriting the romance, Caribbean women reconsider the sexual politics that have linked women with metaphorical constructions of the nation while at the same time detailing the extent to which transnational forces, including colonization, impact the representation of love and desire in literary texts. Although ultimately these novels refuse the generic requirements of the traditional resolution for romance (the so-called happy ending), they nonetheless gesture towards a reordering of community and a revised notion of kinship that recognizes the weight of both gendered and sexual identities in the Caribbean. / Committee in charge: Karen McPherson, Chairperson, Romance Languages; David Vazquez, Member, English; Tania Triana, Member, Romance Languages; Judith Raiskin, Outside Member, Womens and Gender Studies

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Indiana University-Purdue University Indianapolis (IUPUI) / Dance appears often in Anglophone Caribbean literature, usually when a character chooses to celebrate and emphasize her/his freedom from the physical, emotional, and societal constraints that normally keep the body in check. This study examines how a character's political consciousness often emerges in chorus with aesthetic bodily movement and analyzes the symbolic force and political significance of Caribbean dance--both celebratory (as in Carnival) and defensive (as in warrior dances). Furthermore, this study observes how the weight of Western views on dance influences Caribbean transmutations and translations of cultural behavior, ritual acts, and spontaneous movement. The novels studied include Samuel Selvon's "The Lonely Londoners" (1956), Earl Lovelace's "The Dragon Can't Dance" (1979), Paule Marshall's "Praisesong for the Widow" (1983), and Marie-Elena John's "Unburnable" (2006).

Mention obtenue: Exceptionelle / Cette thèse s’intéresse à l’inscription des sujets LGBTQ dans les discours dominants et leurs dispositifs dans le cadre de la production culturelle caribéenne récente. Pour ce faire, la recherche se base sur l’autobiographie Antes que anochezca de Reinaldo Arenas; les romans El Rey de La Habana de Pedro Juan Gutiérrez et Masi de Gay Victor; le recueil de nouvelles Mundo cruel de Luis Negrón; la nouvelle « ¡Jum! » de Luis Rafael Sánchez; les poèmes « Young Faggot » et « Surrender » de Faizal (Deen) Forrester; le documentaire Des hommes et des dieux d’Anne Lescot et de Laurence Magloire. Le point de départ théorique de la thèse st le concept (bio)pouvoir développé par Michel Foucault, soit un réseau de relations de pouvoir omniprésent qui encadre, détermine, crée, définit et limite les sujets à l’aide de discours (tels que l’idéologie ou la religion) et de dispositifs (comme le genre et la sexualité). Dans un premier temps, la thèse analyse la représentation du corps LGBTQ dans les discours que sont la norme du genre et de la sexualité, la nation et la religion (christianisme et religions syncrétiques afrocaribéennes). Marginalisés par la norme, les corps des sujets LGBTQ sont aussi définis comme étant problématiques par les discours nationaux et religieux. La thèse traite par la suite de la construction des identités LGBTQ caribéennes, qui sont représentées comme étant fortement dichotomiques et basées sur le rôle sexuel, ainsi que des espaces dans lesquels sont représentés les sujets LGBTQ caribéens. Ceux-ci sont marginaux et fonctionnent comme des hétérotopies. Finalement, la thèse s’intéresse aux stratégies de survie qui permettent aux sujets LGBTQ caribéens de négocier avec le biopouvoir : la désidentification, l’invisibilité contextuelle et la migration. / This thesis concerns the inscription of LGBTQ subjects in dominant discourses and their apparatus in the context of recent Caribbean cultural production: Antes que anochezca by Reinaldo Arenas, El Rey de La Habana by Pedro Juan Gutiérrez, and Masi by Gary Victor; the collection of short stories Mundo cruel by Luis Negrón; the short story “¡Jum!” by Luis Rafael Sánchez; the poems “Young Faggot” and “Surrender” by Faizal (Deen) Forrester; and finally, the documentary film Des hommes et des dieux by Anne Lescot and Laurence Magloire. The theorical starting point of this thesis is the concept of (bio)power developed by Michel Foucault: an omnipresent web of power relationships that oversees, determines, creates, defines and limits subjects by means of discourses (such as ideology or religion) and apparatus (like gender and sexuality). Additionally, the thesis deals with the construction of Caribbean LGBTQ identities, which are represented as strongly dichotomic and based on the sexual role, and with the physical spaces in which Caribbean LGBTQ subjects are represented. These are not only marginal but they function as heterotopies. Finally, the thesis analyses the survival strategies that allow Caribbean LGBTQ subjects to negotiate with biopower, such as disidentification, (in)visibility, and migration. / Esta tesis se interesa en la inscripción de los sujetos LGBTQ en los discursos dominantes y en sus dispositivos del biopoder en la reciente producción cultural caribeña: Antes que anochezca de Reinaldo Arenas, El Rey de La Habana de Pedro Juan Gutiérrez y Masi de Gay Victor; la colección de cuentos Mundo cruel de Luis Negrón; el cuento “¡Jum!” de Luis Rafael Sánchez; los poemas “Young Faggot” y “Surrender” de Faizal (Deen) Forrester; el documental Des hommes et des dieux de Anne Lescot et de Laurence Magloire. El punto de partida teórico de esta tesis es el concepto de (bio)poder desarrollado por Foucault, es decir una red de relaciones de poder omnipresente que enmarca, determina, crea, define y limita a los sujetos gracias a discursos (tales como la ideología o la religión) y a dispositivos (como el género y la sexualidad). Inicialmente la tesis analizará la representación del cuerpo LGBTQ en el discurso de la norma sexual y de género, la nación y la religión (cristianismo y religiones sincréticas afrocaribeñas). Marginalizados por la norma, los cuerpos de los sujetos LGBTQ también son definidos como problemáticos por los discursos nacionales y religiosos. A continuación, la tesis analiza la construcción de las identidades LGBTQ caribeñas, que son representadas como fuertemente dicotómicas y basadas en el rol sexual, y los espacios físicos en los que son representados los sujetos LGBTQ. Estos son marginales y funcionan como heterotopías. Finalmente, la tesis deslinda las estrategias de supervivencia que permiten que los sujetos LGBTQ caribeños negocien con el biopoder: la desidentificación, la invisibilidad contextual y la migración.

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