Thesis (MA)--University of Stellenbosch, 2008. / Bibliography. Also available via the Internet.

Thesis (M.A.) -- Central Connecticut State University, 2006. / Thesis advisor: Antonio García-Lozada. "... in partial fulfillment of the requirements for the degree of Master of Arts in Spanish." Includes bibliographical references (leaves 102-104). Also available via the World Wide Web.

Tesis para optar al grado de Magíster en Estudios Latinoamericanos / La tesis que a continuación se presenta es una aproximación al campo de las apropiaciones de The Tempest de William Shakespeare, en el cual destacan dos versiones afrocaribeñas articuladas por George Lamming y Aimé Césaire en The Pleasures of Exile (1960) y Une tempête (1969), respectivamente. Se trata de un análisis literario y comparativo entre los dos textos con el propósito de investigar la manera en que los dos pensadores antillanos resisten y desmantelan el legado colonial para los afrodescendientes y sus países dependientes en el periodo tanto de los procesos de descolonización caribeña, como del movimiento por los derechos civiles en los Estados Unidos. El análisis se conduce por las líneas de las propuestas teóricas de pensadores caribeños anticoloniales del siglo XX que denuncian las secuelas del colonialismo para los colonizados y en sus países dependientes. Estudia, además, la representación de afrodescendientes en el personaje de Calibán, el cual los dos autores vinculan con líderes antillanos y norteamericanos de la lucha anticolonial: Toussaint Louverture y Malcolm X. Desarrolla también los temas de la transculturación y la revalorización de las identidades culturales y el desmantelamiento de la construcción de alteridad de sus Calibanes negros. Así, la tesis propone que las contraescrituras de The Tempest por estos autores afrocaribeños logran agregar al drama canónico los mecanismos para la liberación del personaje de Calibán, representante del sujeto negro del siglo XX.

Texte remanié de: Th. État--Litt.--Paris 3, 1984. / Bibliogr. p. 321-346. Bibliogr. des oeuvres d'A. Césaire et de M. de Andrade p. 339-341. Notes bibliogr.

Thesis (MA (English))--University of Stellenbosch, 2008. / The notion that the post-colonial text stands in direct opposition to the canonical European text, and thus acts as a kind of counter-discourse, is generally accepted within post-colonial theory. In fact, this concept is so fashionable that Salman Rushdie’s assertion that ‘the Empire writes back to the Centre’ has been adopted as a maxim within the field of post-colonial studies, simultaneously a mission statement and a summative description of the entire field. In its role as a ‘response’ to a dominant European literary tradition, the post-colonial text is often regarded as resorting to a strategy of subversion through inversion, in essence, telling the ‘other side of the story’. The post-colonial text, then, seeks to address the ways in which the western literary tradition has marginalised, misrepresented and silenced its others by providing a platform for these dissenting voices. While such a view rightly points to the post-colonial text’s concern with alterity and oppression, it also points to the agonistic nature of the genre. That is, within post-colonial theory, the literature of Empire does not emerge as autonomous and self-determining, but is restricted to the role of counter-discourse, forever placed in direct opposition (or in response) to a unified dominant social order. Post-colonial theory’s continued classification of the literature of Empire as a reaction to a normative, dominant discourse against which all others must be weighed and found wanting serves to strengthen the binary order which polarises centre and periphery. This study is concerned with ‘rewritten’ post-colonial texts, such as J.M. Coetzee’s Foe, Jean Rhys’s Wide Sargasso Sea, Marina Warner’s Indigo, or, Mapping the Waters and Aimé Césaire’s A Tempest, and suggests that these revised texts exceed such narrow definition. Although often characterised by a concern with ‘political’ issues, the revised text surpasses the romantic notion of ‘speaking back’ by pointing to a more complex entanglement between post-colonial and canonical, self and other. These texts signal the collapse of binary order and the emergence of a new literary landscape in which there can be no dialogue between the clearly demarcated sites of Empire and Centre, but rather a global conversation that exceeds geographical location. It would seem as if the dependent texts in question resist offering mere pluralistic subversions of the logic of their pretexts. The desire to challenge the assumptions of a Eurocentric literary tradition is overshadowed by a distinct sense of disquiet or unease with the matrix text. This sense of unease is read as a response to an exaggerated iterability within the original text, which in turn stems from the matrix text’s inability to negotiate its own aporia. The aim of this study, then, is not to uncover the ways in which the post-colonial rewrite challenges the assumptions of its literary pretext, but rather to establish how certain elements of instability and subversion already present within the colonial pretext allows for such a return.