Inaug.-Diss.--Bonn. / Lebenslauf. Caption title: Crist III und altsächsische Genesis. "Die ganze Arbeit erscheint im Heft 17 der Bonner Beiträge zur Anglistik."

Thesis--University of Pennsylvania. / "Reprint from the Journal of the Society of Oriental Research, vol. XIV, no. 4."

Published also as thesis, Université de Lausanne. / At head of title: G.C. Bosset. "Bibliographie": p. [218]-226.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1973. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 442-463).

Inaug.-diss.--Zürich. / Lebenslauf.

Thesis--University of Washington. / Vita. Bibliography: leaves [326]-343.

Thesis (Ph. D.)--Columbia University, 1913. / "Bibliographical note": p. 484-489.

No description available.

Helen Gilbert and Joanne Tompkins, in their recently published Postcolonial Drama: Theory, Practice, Politics, highlight the significance of metatheatrical tendencies in the resistance drama of Anglophone arenas of decolonization, particularly those of the Anglophone Caribbean. Insisting on such metatheater as more than simply postmodern play, Gilbert and Tompkins crucially note the emergence of a critically conscious theater that explores and explodes notions of subjectivity, ideologies of difference and monologies of mastery. My studies in postcolonial drama and theory have led me toward similar sites and modes of struggle, culminating in a project that focuses upon this act of metatheater in the Caribbean and seeks to interpret its socio-ideological/cultural implications in light of recent postcolonial, feminist, discursive critique. Generated out of nationalist Theaters of Dissimulation that enact an unmasking of the discourses of race and mastery so crucial to the dissemblances of colonial master-scripts, I argue that Caribbean theater in the West Indies, Puerto Rico, and the Antilles translates these early nationalist revolutions into an involutionary act, one that avoids the reinscription of patriarchal, racialist, essentializing notions of identity and attempts instead to deconstruct what Stuart Hall has termed the "politics of representation." Through this spotlighting of image and image systems rather than identity politics, 80s playwrights make Edouard Glissant's concept of theatralization--the very act of cultural ontology--the main actor on the stage, creating a Theater of Dissimilation that, like Kamau Brathwaite's idea of "nation language," represents a cultural process of critical creolization.

In my dissertation, I argue that the human body and physical sensations are not only objects or metaphors that appear in cultural artifacts, but also means of political representation. There are cultural artifacts with a corporeal dimension in which human bodily sensations and states, such as sexual arousal, disease, and pain, are represented. The body becomes a dimension integrated in the discursive form of the artwork. The (literary or cinematic) text evokes a texture, a sensitive skin. This corporeal means is politically engaged with the context in which the artwork has been produced: The body becomes a space of political inscription and struggle, and a device to discursively/corporeally fight back. Particularly, I explore a selection of the contemporary cinematic and literary productions in Argentina, Cuba, and Ireland that present political, social, and cultural transformations that took place from the end of the twentieth century to the beginning of the twenty-first. In order to explain my ideas, I refer to E. K. Sedgwicks Touching Feeling, and I expand on one of the concepts that she presents: texture. As I describe it in my dissertation, texture is the artworks corporeal dimension that appeals to the internal dimension of the body (i.e., pain, sickness, sexual arousal) through a discursive materiality (a particular artistic language in this case, the cinematographic and the literary) that entails a political postulate. Unlike Sedgwick, I consider texture in this dissertation as a plausible analytical notion, a sort of magnifying glass with which to observe the dynamics of corporeality and artistic discourse in literature and cinema. The writers studied include Irish novelist and journalist Colm Tóibín, the Argentine poet and essayist Néstor Perlongher, and the Cuban novelist Reinaldo Arenas. In terms of the filmmakers, I analyze some films directed by Santiago Loza, Iván Fund, Fernando Pérez, Peter Sheridan, Marco Berger, Paula Markovitch, Peter Mullan, Tomás Gutiérrez Alea, Lucrecia Martel, Deborah Warner, and Carlos Quintela.