In La Migration des coeurs, Maryse Condé rewrites Emily Brontë's Wuthering Heights in a Caribbean context. Through its intertextual connection to Brontë's novel, Condé's text can be read in relation to Wuthering Heights according to the rhizomatic structure posited by Deleuze and Guattari, and further employed by Édouard Glissant in his Poétique de la Relation. The rhizome allows a comparison that resists a hierarchical comparison of the texts, and permits dialog and mutual influence between the two novels. Condé's critics, reinforcing this intertextual relation, have rarely considered La Migration des coeurs independently of Brontë's Wuthering Heights. However Windward Heights, Richard Philcox's English translation of Condé's novel, has not been previously considered worthy of a place in the rhizome. As a rewriting of Condé's own rewriting, Philcox's translation merits analysis in relation to the other two novels. This study will examine the nature of translation and rewriting in a postcolonial context. Primarily focusing on La Migration des coeurs, it will show how Condé uses the latent imperialist frame of Wuthering Heights to expose social inequalities in Guadeloupe, and how Philcox communicates this critique back to the English metropolis in Windward Heights.

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

“Telling Otherwise: Rewriting History, Gender, and Genre in Africa and the African Diaspora” examines counter-discursive postcolonial rewritings. In my first chapter, “Re-Writing the Canon,” I examine two works that rewrite canonical texts from the European tradition, Jean Rhys’s retelling of the life of Jane Eyre’s Bertha in Wide Sargasso Sea and Maryse Condé’s relocation of Wuthering Heights to the Caribbean in La migration des coeurs. In this chapter, I contend that re-writing functions not only as a response, as a “writing back” to the canon, but as a creative appropriation of and critical engagement with the canonical text and its worldview. My second chapter, “Re-Storying the Past,” examines fictional works that rewrite events from the historical past. The works that I study in this chapter are Assia Djebar’s recuperation of Algerian women’s resistance to French colonization in L’amour, la fantasia and Edwidge Danticat’s efforts to reconstruct the 1937 massacre of Haitians under Trujillo in The Farming of Bones. In my third chapter, “Re-Voicing Slavery,” I take for my subject neo-slave narratives that build on and revise the slave narrative genre of the late eighteenth- through early twentieth- centuries. The two works that I examine in this chapter are Sherley Anne Williams’s Dessa Rose and the poem sequence Zong! by M. NourbeSe Philip, based on the 1781 murder of Africans aboard the slave ship Zong. My fourth chapter, “Re-Membering Gender,” examines texts that foreground the processes of re-writing and re-telling, both thematically and structurally, so as to draw attention to the ways in which discourses and identities are constructed. In their attempts to counter masculinist discourses, these works seek to re-inscribe gender into these discourses, a process of re-membering that engenders a radical deconstruction of fixed notions of identity. The works that I read in this chapter include Daniel Maximin’s L’Isolé soleil, which privileges the feminine and the multiple in opposition to patriarchal notions of single origins and authoritative narrative voices and Maryse Condé’s Traversée de la Mangrove, which rewrites Patrick Chamoiseau’s novel Solibo Magnifique so as to critique the exclusive nature of Caribbean identity in his notion of créolité. / text