Derek Walcott est né en 1930 à Sainte Lucie, petite île perdue dans l’archipel des Caraïbes. Son œuvre poétique et théâtrale est à la conjonction de deux influences majeures : l’une est héritée du colonialisme britannique, la seconde lui vient de son ascendance africaine.J’ai essayé, dans mon travail, de toujours garder en mémoire cette ambivalence, voire cet écartèlement, que Walcott revendique puisqu’il se définit comme le divided child. L’œuvre de Walcott est multiple. Néanmoins, c’est son rapport au Temps, à l’Histoire et à la création picturale qui m’ont paru essentiels. Dans le premier chapitre de mon étude, j’ai réservé une large part au long poème de Walcott, Another Life, où Walcott se livre à une véritable reconstruction autobiographique. C’est le déchirement du poète qui constitue le nœud central de Another Life : balancement entre hier et aujourd’hui, le dedans et le dehors, l’art et la vie, sur cette terre meurtrie par l’esclavage. Dans la seconde partie, j’ai tenté d’analyser la perception walcottienne de l’Histoire, à travers deux poèmes essentiels, The Schooner Flight et Omeros. Sur le mode de l’épopée, Walcott y raconte la vie des habitants de Sainte Lucie, leurs odyssées intérieures, et leur quête d’Histoire. Il en résulte une vision protéiforme de l’Histoire, proche de celle de Walter Benjamin et en totale opposition avec celle des historiens classiques. La dernière partie est consacrée à l’analyse des liens entre la poésie de Walcott et l’art pictural. L’influence est évidente dans Another Life, Midsummer et Tiepolos’s Hound. J’ai choisi d’étudier Tiepolo’s Hound, non seulement parce que cet hommage à Pissaro, Veronèse et Tiepolo ressemble à une grande fresque, mais aussi pour mettre en exergue la filiation que s’invente Walcott avec le peintre impressionniste. / Derek Walcott was born in 1930 in Saint Lucia, a small island lost in the Caribbean archipelago. His poetry has been deeply influenced by two main strains : one is marked by British colonialism, the other is rooted in his African ascendancy.I have tried to keep in mind this duality, which Walcott is still claiming for since he defines himself as a “divided child”. Walcott’s works are complex and multi-faced. However, I choose to study more particularly his relations to time, history and artistic creation. I have reserved a large part of the first chapter to the analyse of Another Life, which can be compared to the experiment of an autobiographical reconstruction, on Walcott’s behalf. The narrator’s splitting is at he core of the poem. Another Life’s hero is constantly balanced between present and past, home life and outdoor life, art and reality. In the second part of this thesis, I have tried to scrutinize Walcott’s perception of History, through two main poems, The Schooner Flight and Omeros. Walcott adopts the epic pattern to describe every day life in Saint Lucia, giving a new birth to homeric myths. Because of the closeness between past and present, we are given another vision of History, quite similar to Walter Benjamin’s theories, and far from classical issues.The last part is focused on the ties which link Walcott’s poetry to the art of painting. These connections are obvious in such poems as Another Life, Midsummer or Tiepolo’s Hound. I choose to examine Tiepolo’s Hound for two main reasons: on the one hand, the poem could be compared to a large frescoe; on the other hand, it enlightens Walcott’s personnality, because of the fictional parallel introduced beween the poet and the painter.

A stunning poem that draws the attention of the reading public, Omeros is often regarded as the most famous and most successful of Derek Walcott¡¦s works. In one sense, Omeros is the Greek name for Homer, and Walcott chose it for the title of the poem to show his ambition to be a Caribbean Homer, a poet developing an epic from a West Indian perspective. With the epic form and resonant mythic Greek namesakes, Omeros is built upon Walcott¡¦s innate love for St. Lucia. Structurally, the epic form provides the vast framework he needs to describe the multicultural Creole society. However, after a close reading of the text, we can actually find that it does not follow so much the conventions of a classical tradition, since it is not actually a heroic poem. Unlike the superhuman characters in Homeric epics, the male protagonists in Omeros are common people who endure the suffering of individual in exile and try to put down roots in a place where they think they belong. One famous critic, Robert D. Hamner, reads Omeros as an epic of the dispossessed, one in which each of its protagonists is a castaway in one sense or another. In this respect, the male characters are injured (either spiritually or physically). In contrast, the female characters in Omeros, though few in number, play the important roles of heroines to heal the wounds of the male protagonists and to help them trace their roots. This thesis will, therefore, analyze three female characters in the poem. Chapter 1 will focus on Ma Kilman, a black obeah woman. She embodies the memories of the past as well as the connection between African experience and West Indian culture. Through the practice of obeah, a holistic healing method different from Western diagnosis, she is capable of soothing wounds caused by past sufferings. Chapter 2 will examine Maud Plunkett, a white Irish housewife. She represents the physical link between Ireland and St. Lucia due to their inherent similarities ¡Vboth are being colonized with St. Lucia being divided by race and class, while Ireland is split along religious and class lines. Maud¡¦s existence symbolizes the alienation gap on the island; her death, at the end, bridges the gap and relieves historical traumas. Chapter 3 will deals with Helen, an ebony local woman. Appropriating mythical as well as historical allusions, Walcott gives new voice to this Caribbean Helen. She demonstrates her autonomy to male characters and becomes an unapproachable goddess that they attempt to possess. She reestablishes peace and achieves a new harmony in St. Lucia as a way of cross-cultural healing.

VIEIRA, Lílian Cavalcanti Fernandes. Omeros: vozes de identidade e cultura em Derek Walcott. 2012. 154f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2012. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-03-12T17:29:18Z No. of bitstreams: 1 2012-TESE-LCFVIEIRA.pdf: 1359253 bytes, checksum: 01a1295b5eea11cc0a9f6cecb0c1f126 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-03-13T13:45:30Z (GMT) No. of bitstreams: 1 2012-TESE-LCFVIEIRA.pdf: 1359253 bytes, checksum: 01a1295b5eea11cc0a9f6cecb0c1f126 (MD5) / Made available in DSpace on 2014-03-13T13:45:30Z (GMT). No. of bitstreams: 1 2012-TESE-LCFVIEIRA.pdf: 1359253 bytes, checksum: 01a1295b5eea11cc0a9f6cecb0c1f126 (MD5) Previous issue date: 2012 / The main purpose of this work is to analyze the thematic identity and culture of African basis through the work OMEROS written by the afro Caribbean writer and Literature Nobel Prize winner (1992), Derek Walcott. His work allows the focus to issues like the discussion of concepts such as identity and culture as political acts and artifacts of a good education, the affirmation of the process of black consciousness and the recovery of the enslaved one as the subject of a social history through post-colonial literature. The knowledge and study of this literature can contribute a great deal to the intellectual formation of educators as well as it may open paths to areas of philosophy of Brazilian education through the deepening in the culture of African basis during the Diaspora serving as a contribution to cultural diversity. / Este trabalho tem como objetivo investigar e analisar a questão da identidade e cultura de matriz africana por meio da obra do autor afro-caribenho e Prêmio Nobel de Literatura em 1992, Derek Walcott, cuja obra ainda não encontra no Brasil um estudo e divulgação adequados. Com essa proposta, estamos cooperando com a lei no. 10.639/03 para a afirmação do processo de consciência negra por meio da busca de um processo identitário que permeia os escritos do autor, analisando o entre-lugar do discurso do poeta e suas possíveis influências na produção de identidade e cultura no Brasil. Parte-se do pressuposto da pertinência de se fazer uma reflexão sobre identidade e cultura como atos políticos, ao divulgar e expor a riqueza cultural afro ou afrodescendente sob uma nova ótica, recuperando o escravizado como sujeito de uma história social, mostrando a infâmia do escravismo e reforçando as ações afirmativas no contexto brasileiro. O conhecimento e o estudo dessa literatura identitária pode contribuir tanto para a formação de educadores como abrir caminhos para as áreas de filosofia da educação brasileira pelo aprofundamento na cultura de base africana na diáspora, servindo de aporte às diversidades culturais.

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