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21	Dance and Identity Politics in Caribbean Literature: Culture, Community, and Commemoration Tressler, Gretchen E. 03 June 2011 (has links) 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). Caribbean Literature Anglophone Dance Identity Culture Community Ritual Performance Political consciousness Postcolonial Carnival Ekphrasis Afro-Caribbean Earl Lovelace Paule Marshall Marie-Elena John Samuel Selvon Selvon, Samuel. -- Lonely Londoners John, Marie-Elena. -- Unburnable
22	Min granne barndomen, hur var det nu igen? : Om barndomsdiskurser i Min granne Totoro Fredriksson, Joel January 2022 (has links) In this study, the Japanese animated film My Neighbor Totoro was analyzed with regards to what childhood discourses can be found in it, and why these discourses in particular appear. To do this, discourse theory was used as the main theoretical basis, and certain aspects of hermeneutics were also used, such as combining the hermeneutic spiral with basic film analysis as a method. The childhood discourses that are discussed are the natural child, adult children and child adults, the competent child, the vulnerable child, postmodern childhood, the lonely/psychological child, and gender discourses. First, the life context of Hayao Miyazaki was examined to see what childhood discourses that might have influenced him. The natural child seems to be the most prominent discourse throughout Miyazaki’s life and his previous work, and the discourse appears in My Neighbor Totoro as well. However, so do all the other discourses. The results are that the view of childhood expressed in the film is that children develop the best in proximity to nature and the divine. Children should aspire to become competent adults, but adults should also come closer to childhood and nature. Postmodernity is dismissed as bad for children, and the natural childhood is deemed to be in need of saving. Children are also according to the film beings capable of complex thoughts and feelings relating to fears, death and family relations. These difficult thoughts are dealt with by their imagination – an imagination that is non-separable from their reality. This could indicate another childhood discourse: the imaginative child. Apart from all this, ways to use films like this one in education are also briefly discussed through film pedagogy. / <p>Slutgiltigt godkännandedatum: 2022-01-14</p> Hayao Miyazaki Studio Ghibli film analysis discourse theory discourse analysis film pedagogy childhood discourses the natural child the competent child the vulnerable child postmodern childhood the lonely child the psychological child gender discourses adult children child adults the imaginative child Heidi Anne of Green Gables Moomin Pippi Longstocking shintoism filmanalys diskursteori diskursanalys filmpedagogik det naturliga barnet det kompetenta barnet det bräckliga barnet postmodern barndom det psykologiska barnet det ensamma barnet genusdiskurser vuxenbarn barnvuxna det fantasifulla barnet Anne på Grönkulla Mumin Pippi Långstrump General Literature Studies Litteraturvetenskap

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Dance and Identity Politics in Caribbean Literature: Culture, Community, and Commemoration

Min granne barndomen, hur var det nu igen? : Om barndomsdiskurser i Min granne Totoro