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This dissertation focuses on the issue of hybridity in Marguerite Duras' corpus of Indochinese texts, as well as on the meeting of identities in the colonial realm. In order to identify the problematics of colonial coexistence, we will address the themes of the encounter between the Orient and the Occident, the use of hybrid discourse and the role of memory in the process of rewriting. Edward Said's Orientalism theory as well as Homi Bhabha's concept of ambivalence in colonial discourse will serve as the basis for the analysis of the Indochinese cycle. Far from being a totalizing experience, hybridity will reveal itself as being a harrowing dichotomy.

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This dissertation calls into question the critique that has depicted the Francophone literary movement known as Negritude as a sole vehicle of black essentialism. By looking at recently published anthologies, archival documents, and lesser-known texts from 1935 to 1966, I show that in addition to the discourse on a fixed ‘blackness’ engraved in the neologism ‘Negritude,’ there is another set of discourses that forces us to rethink the movement as a philosophy of becoming. In particular, this dissertation stages the year 1948, when Jean-Paul Sartre gave Negritude its fame with the publication of his influential essay “Black Orpheus,” as a pivot for the definition of the movement as well as its reception. Since 1948, most of the critical engagement with Negritude has happened either through a reading of Sartre’s essay or the limited corpus that was available at the time. I thus argue that, by reading a broader range of the poets of Negritude’s literary and cultural production, one gets a sense that their vindication of Blackness is not only an essentialized invocation of a romanticized past, it is also an imagined unity within an evolving postcoloniality. This dissertation covers three areas within which this constantly reimagined unity is staged, from the youthful local publications of Aimé Césaire and Léopold Sédar Senghor from 1935 to 1948, to their mature global interactions as statesmen in Dakar, Fort-de-France, Paris and Rome from 1948 to 1966. First, it looks at language and analyzes the relation of the poets to French. While the choice to adopt the idiom of the former colonizer has been criticized by merely every reader of Negritude, I show that they used French as a tool enabling violation, negotiating their relation to the metropole as well as other colonies. Second, it interrogates the often overlooked concept of métissage as common element for colonized subjects. With particular attention to problems of translation, I analyze how the poets used métissage as a political and ethical concept in order to reach to the African diaspora without referring to Europe as the unavoidable mediator. Third, it focuses on the First World Festival of Negro Arts held in Dakar in 1966 as instrument for political practice. By investigating extensive documentation on the Festival’s organization, especially the influential role and presence of the United States, I show that art was used as a political tool to stage postcolonial unity in an otherwise global and competitive diversity.

Thesis (Ph. D.)--Lehigh University, 2003. / Includes vita. Includes bibliographical references (leaves 323-331).

Thesis (M.A.)--Baylor University, 2008. / Includes bibliographical references (p. 89-94)

Thesis (Ph.D.)--Michigan State University. Dept. of English, 2008. / Title from PDF t.p. (viewed on July 22, 2009) Includes bibliographical references (p. 248-259). Also issued in print.

Thesis (Ph. D.)--Illinois State University, 2004. / Title from title page screen, viewed Jan. 10, 2005. Dissertation Committee: Christopher C. De Santis (chair), Ronald Strickland, Cynthia A. Huff, Alison Bailey. Includes bibliographical references (leaves 178-193) and abstract. Also available in print.

Contemporary Canadian literature and drama that features racial hybridity represents the racially hybrid soma text as a unique form of embodiment and pays particular attention to the power of the racialized gaze. The soma text is the central concept I have developed in order to identify, address, and interrogate the signifying qualities of the racially hybrid body. Throughout my dissertation, I use the concept of the body as a text in order to draw attention to the different visual "readings" that are stimulated by this form of embodiment. In each chapter, I identify the centrality of racially hybrid embodiment and investigate the power of the racialized gaze involved in the interpellation of these racially hybrid bodies. I have chosen to divide my study into discrete chapters and to use specific texts to illuminate my central concepts and to identify the strategies that can be used to express agency over the process of interpellation. In Chapter One I explain my methodology, define the terminology and outline the theories that are central to my analysis. In Chapter Two, I consider the experiences of mixed race people expressing agency by self-defining in the genre of autobiography. In Chapter Three, I explore the notion of racial drag as represented in fiction. In Chapter Four, I consider the ways in which the performative aspects of racial hybridity are represented by theatrical means and through performance. My analysis of the soma text and racialized gaze in these three genres offers critical terms that can be used to analyze representations of racial hybridity. By framing my analysis by way of the construction of the autobiographical voice I suggest that insight into the narrative uses of racial hybridity can be deepened and informed by a thorough analysis of the representation of the lived experience of racial hybridity in a given context. My crossgeneric and crossracial methodology implicitly asserts the importance of the inclusion of different types of racial hybridity in order to understand the power of the racially hybrid body as a signifier in contemporary Canadian literature and drama. / Arts, Faculty of / English, Department of / Graduate

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-04-16T12:55:37Z No. of bitstreams: 1 Adelson Florêncio de Barros.pdf: 3160192 bytes, checksum: 3d5a8238eccbae5665c7432dab1c2a9c (MD5) / Made available in DSpace on 2018-04-16T12:55:37Z (GMT). No. of bitstreams: 1 Adelson Florêncio de Barros.pdf: 3160192 bytes, checksum: 3d5a8238eccbae5665c7432dab1c2a9c (MD5) Previous issue date: 2018-03-12 / This dissertation, based on the Critical Discourse Analysis, thematizes the social roles of the masters and their slaves in Casa Grande & Senzala. It is justified, for this work is studied and criticized by social scientists and not by a critical vision of the discourse. It is a textual-discursive analysis of this work. There are several published works, about this work, with sociological, anthropological, among others. The research is justified, because it aims to answer: Is the author of Casa Grande & Senzala a conservative enslaver or revolutionary abolitionist? The general objective is to contribute to the discursive studies of the work in question and to specific ones: 1. To verify, in Brazilian historiographical texts, which and how many social roles the black slaves did represent socially; 2. To ascertain which and how many social roles the slaves represent in the said work, comparing them with those of historiography, multimodal texts and newspaper advertisements; 3. Analyze the point of view projected by the author when focusing on slavery in the sugar zone of Pernambuco. The proposed research is qualitative and documental, with theoretical-analytical procedure. The results indicate that the ideological and cultural values that guide Freyre in writing this work result from the patron saint values of sugar planter from Pernambuco, aiming to construct the miscegenated origins of Brazilian culture and are those that are archived in his social memory, from the family institution. Therefore, they are conservative and enslaved values. The hypothesis of the investigation proved to be adequate, since Freyre is guided by an ideology of Pernambuco sugarcane rural power, canceling the cruelty, sadism and excessive exploitation of the slave labor force and privileges the role of the female slave, transmitter of Afro Brazilian cultural miscegenation, in order to build the myth of the sensuality of the black woman / Esta tese, fundamentada na Análise Crítica do Discurso, tematiza os papéis sociais dos senhores e seus escravos em Casa-Grande & senzala. Justifica-se, pois essa obra é estudada e criticada por cientistas sociais e não por uma visão crítica do discurso. Trata-se de uma análise textual-discursiva da referida obra. Há vários trabalhos publicados, sobre essa obra, com enfoque sociológico, antropológico, entre outros. A pesquisa justifica-se, pois busca responder: o autor de Casa-grande & Senzala é um conservador escravocrata ou revolucionário abolicionista? O objetivo geral é contribuir com os estudos discursivos da obra em questão e específicos: 1. Verificar, em textos historiográficos brasileiros, quais e quantos papéis sociais os escravos negros representaram socialmente; 2. Averiguar quais e quantos papéis sociais os escravos representam na referida obra, confrontando-os com os da historiografia, textos multimodais e anúncios de jornal; 3. Analisar o ponto de vista projetado pelo autor ao focalizar a escravidão na zona açucareira pernambucana. A investigação proposta é qualitativa e documental, com procedimento teórico-analítico. Os resultados indicam que os valores ideológicos e culturais que guiam Freyre, ao escrever essa obra, resultam dos valores patronais do senhor de engenho açucareiro pernambucano, objetivando a construção das origens miscigenadas da cultura brasileira e são esses que estão arquivados em sua memória social, a partir da instituição familiar. Logo, são valores conservadores e escravocratas. A hipótese da investigação mostrou-se adequada, pois Freyre é guiado por uma ideologia do poder patronal rural açucareiro pernambucano, cancelando a crueldade, o sadismo e a exploração excessiva da mão de obra escrava e privilegia o papel da escrava, transmissora da cultura afro na miscigenação cultural brasileira, de forma a construir o mito da sensualidade da negra