<p> The comedies of Manuel Bret&oacute;n de los Herreros in the nineteenth century Spanish Romantic literature introduced a new character with romantic and neoclassic traits. This new personality pursued an internal, heroic mission to adapt to the codes of an evolving and modern world. Bret&oacute;n de los Herreros incorporated a novel form of romantic heroism, by combining the features of the romantic hero of the tragic drama into a person of neoclassic virtues. The prior romantic hero was replaced by Bret&oacute;n&rsquo;s modern man. The goal of this Dissertation is to confirm the comedy as an effective literary style that influenced the Romantic liberal movement and announced the decay of the liberal tendency towards a more realistic literary approach in the perspective of the heroic virtues. Bret&oacute;n de los Herreros displayed four heroic styles that are related among themselves and which reflect novel literary perspectives of the new romantic character. His new hero transforms his or her former tragic nature into a personality more akin to the values of the Neoclassic movement. This new hero brings into the Nineteenth century the heroic virtues of the Illustration and thus, forces the Romantic literary movement to reevaluate the violent style as the only alternative of the hero&rsquo;s expression of his or her &lsquo;Self&rsquo;. The four romantic comedies of this Dissertation will explain the similarities and the differences among Bret&oacute;n&rsquo;s sensible heroes that coexisted with the tragic heroes. Key words: h&eacute;roe rom&aacute;ntico, comedia rom&aacute;ntica, Romanticismo, Bret&oacute;n de los Herreros</p><p>

Thesis (Ph. D.)--University of Florida, 2004. / Title from title page of source document. Document formatted into pages; contains 204 pages. Includes vita. Includes bibliographical references.

The literature of the contemporary Caribbean has been often recognized for its highlighting and heterodoxy of literary form. In this dissertation, I offer a series of case-studies in contemporary Anglophone Caribbean literary aesthetics, centered on what Gordon Rohlehr, in an earlier landmark study, wryly called "The Problem of the Problem of Form." The redoubling complexity indicated by Rohlehr suggests the intricacies characteristic of Caribbean form: its inventive inscription of oral features within a textual field; its baroque interdisciplinarity and crossing of genre boundaries; its dense allusiveness and self-referentiality; and, overall, its sheer unapologetic linguistic, stylistic, and structural difficulty. Though oral and textual modalities have been treated sometimes as polarizing, viewing Caribbean writers as passionate formalists may better reflect the true integration and interdependence of orality and textuality within Caribbean writing. This conceptualization might also help to ground and clarify Caribbean writers' much-theorized, distinctive stance vis-à-vis literary modernism and postmodernism—a stance perhaps best described briefly as the merging of postmodern strategy with high-modernist mood. But finally, as my title suggests, it is an additional figurative and ideological tension within contemporary Caribbean literature, that of art/work, that is most significant to my study of Caribbean formalism. This particular paradox—artful work; the considered, constructed, and achieved "grace of effort" (Derek Walcott, "The Antilles" 81)—can be seen, I suggest, underlying the very diverse formalisms of such Caribbean authors as Derek Walcott, Jamaica Kincaid, Robert Antoni, David Dabydeen, Mark McMorris, and Nalo Hopkinson. This foregrounded sense of a literature wrought—not over-wrought, but wrought in the sense of artfully made, with purposefulness and intent, and with process visible—can, I think, usefully illuminate the most distinctive features of the works I examine: their unusually pronounced metaphorics and stylistics; their interactivity, staging interventions in the space that opens between text and reader; and their subtle pressing of the textual, wherever possible, toward the visual and material. Caribbean formalism ultimately emerges as formalism of an unusually dynamic, metamorphic, and transforming type: historically and politically aware, culturally relevant and effectual.

Doan Trouble de Fish is a collection of short stories examining the way of live for different Jamaicans in their home country and in America. The collection opens from the first-person perspective of a teenage boy struggling to understand his place amongst his group of friends in "Sat'day" and, in "'Ooman Conversation," ends with an omniscient look into the lives of a group of adult women struggling to maintain agency against the pressures of poverty. In between, we hear a boy recounting a dramatic beating from his mother, witness an encounter between a young girl and a "duppy" in the countryside, see the transformation of a man dressing in his wife's clothes to feel powerful, and are treated to guidelines on being a closeted homosexual in Jamaica. The diverse characters and points-of-view are meant to offer a tableau of what it's like to inhabit the island or to be a product of its environment. Jamaica is the unspoken character of Doan Trouble de Fish. But the more popular depictions of an island paradise are abjured in favor of urban squalor and uncompromising heat. The Jamaican environment is often harsh to the collection's characters, particularly to its women and non-masculine men. A concept underlying many of these stories is the liability of identity. A central theme to the collection is the maintenance of personal integrity in the face of an environment unwelcome to one's identity. Some characters find a way to forge ahead. Some are still trying to figure it out. / Master of Fine Arts

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Thesis (Ph. D.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.

<p> This dissertation proposes that West Indian contemporary male writers develop literary authority, or a voice that represents the nation, via a process of individuation. This process enables the contemporary male writer to unite the disparities of the matriarchal and patriarchal authorial traditions that inform his development of a distinctive creative identity. I outline three stages of authorial individuation that are inspired by Jung&rsquo;s theory of individuation. The first is the contemporary male writer&rsquo;s <i> return</i> to his nationalist forebears&rsquo; tradition to dissolve his persona, or identification with patriarchal authority; Fred D&rsquo;Aguiar&rsquo;s &ldquo;The Last Essay About Slavery&rdquo; and <i>Feeding the Ghosts </i> illustrate this stage. The second is his <i>reconciliation </i> of matriarchal (present) and patriarchal (past) traditions of literary authority via his encounter with his forebears&rsquo; feminized, raced shadow; Robert Antoni&rsquo;s <i>Blessed Is the Fruit</i> evidences this process. The third is the contemporary male writer&rsquo;s <i>renunciation </i> of authority defined by masculinity, which emerges as his incorporation of the anima, or unconscious feminine; Marlon James&rsquo;s <i>The Book of Night Women</i> exemplifies this final phase of his individuation. </p>

Thesis (Ph. D.)--UCLA, 2008. / Vita. Includes bibliographical references (leaves 233-242).

<p> Junot Diaz&rsquo;s Pulitzer Prize winning novel, <i>The Brief Wondrous Life of Oscar Wao</i>, is examined as an encyclopedic work of literature and science fiction. In chapter one, this exploration focuses on the fuku as a post-colonial explanation of diaspora, utilizing postmemory to pass on a history of the Americas to future generations. Chapter two transitions into a discussion problematizing assimilation and hybridity, specifically focusing on Oscar and Yunior, attempting to define and understand what Diaz, himself, has pronounced as masculine subjectivities within the novel.</p><p>

<p> Haitian and Antillean literatures are written in French. However, certain linguistic deviations are noticed in the works of Francophone writers from the Americano-Caribbean region. Even though linguistic creativity is one of the most salient characteristics of these literatures, critics tend to analyze the messages of those authors through historical and cultural lenses. However, when one houses the layout of the text, one is able to discover in it a message that is not always accessible to the francophone reader unfamiliar with Haitian and Antillean cultures. That is the reason why this dissertation analyzes the language in the works of Haitian and Antillean authors not only as a medium of communication, but also as a message in itself. To conduct this study, the dissertation examines, in the first chapter, the theories of researchers such as Ferdinand de Saussure, Charles Baissac, Jules Faine, Suzanne Sylvain, Robert Chaudenson, and Albert Valdman. The second chapter takes into consideration the historical aspects of the development of the French-based Creoles and their status in Haiti and the Antilles through the texts of Thomas Madiou, Jean Fouchard, Gabriel Debien, Dani B&eacute;bel-Gisler, Frantz Fanon, Maryse Cond&eacute;, and Edouard Glissant. The third chapter investigates texts of Haitian authors from the beginning of the nineteenth century to the beginning of the last quarter of the twentieth century. The writers studied include Ignace Nau, Oswald Durand, Justin Lh&eacute;risson, Jacques Roumain, and Marie-Th&eacute;r&egrave;se Colimon. The fourth chapter analyzes the Antillean writings through the three main literary periods: Negritude, Antillanit&eacute;, and Cr&eacute;olit&eacute;. The works of authors such as Aim&eacute; C&eacute;saire, Joseph Zobel, Edouard Glissant, Simone Schwarz-Bart, Maryse Cond&eacute;, and Rapha&euml;l Confiant are investigated. To determine whether and how the linguistic innovations are still reflected in the works published, the fifth chapter studies contemporary Haitian and Antillean novels. To a certain extent, this dissertation emphasizes the importance of the role and the significance of language in these territories. It provides new tools and opens up new research avenues to scholars interested in exploring the written work produced in this area of the Francophone world.</p><p>