Despite radical differences in their political commentary, Amiri Baraka and V.S. Naipaul’s literary careers have obsessively centered on the divided Self of the colonized artist. Esther Jackson argues that Baraka’s “search for form” becomes “symbolic of a continuing effort to mediate between warring factions within the perceiving mind” (38). Similarly, many critics have interpreted Naipaul’s grave manifestos as the outpourings of a writer disenchanted with his own past and national identity. For Selwyn Cudjoe, Naipaul’s work is “reflective of a man who failed to discover any psychological balance in his life” (172-173). This thesis analyzes how Amiri Baraka’s Dutchman and V.S. Naipaul’s Guerrillas engage with various fairy tale conventions in order to narrate the colonized victim’s divided Self. These narratives ultimately function as anti-fairy tales, revealing the black protagonist’s accursed position in the symbolic order. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection

Thesis (Ph. D.)--Ohio State University, 2006. / Available online via OhioLINK's ETD Center; full text release delayed at author's request until 2009 Jun 15

<p>This dissertation examines French and Francophone texts, contexts and thematic problems that comprise a genre I call "ethnographic fiction," whose development we can trace throughout the twentieth century in several geographic locations and in distinct historical moments. During the twentieth century in France, anthropology as an institutionalized discipline and "literature" (writ large) were in constant communication with one another. On the one hand, many French anthropologists produced stylized works demonstrating aesthetic sensibilities that were increasingly difficult to classify. On the other hand, though, poets, philosophers and other literary intellectuals read, absorbed, commented on and attacked texts from anthropology. This century-long conversation produced an interdisciplinary conceptual field allowing French anthropology to borrow from and adapt models from literature at the same time as literature asserted itself as more than just an artistic enterprise and, indeed, as one whose epistemological prerogative was to contribute to and enrich the understanding of humankind and its cultural processes. In this dissertation I argue that fiction can be seen to travel in multiple directions within France's twentieth-century conversation between literature and anthropology such that we can observe the formation of a new genre, one comprised of texts that either explicitly or more implicitly fuse fictional forms and contents together with the methodological and representational imperatives of anthropology and ethnographic fieldwork. Additionally, I argue that fiction moves geographically as well, notably from the metropole to Francophone West Africa which became an anthropological hotspot in the twentieth century once extended field research was legitimated in France and armchair anthropology was thoroughly discredited. By investigating ethnographies, novels, memoirs and films produced both in metropolitan France, Francophone West Africa, and the French Caribbean (including texts by Michel Leiris, Amadou Hampâté Bâ, Jean Rouch, Jean-Claude Izzo and Raphaël Confiant), I aim to shed light on the kinds of work that elements of fiction perform in ethnographic texts and, by contrast, on how ethnographic concepts, strategies and fieldwork methods are implicitly or explicitly adopted and reformulated in more literarily oriented works of fiction. Ethnographic fiction as a genre, then, was born not only from the epistemological rapprochement of anthropology and literature in metropolitan France, but from complex and often fraught encounters with the very locations where anthropological praxis was carried out.</p> / Dissertation

This thesis starts with an overview of the historical record tied to the birth of a new nation studied by Alexis de Tocqueville and Henry Steele Commager. It singles out the works of Henry Nash Smith and Eugene D. Genovese for an understanding, respectively, of the "myth of the frontier" tied to the conquest of the American West and the "plantation myth" that sustained slavery in the American South. Both myths underlie the concept of hybridity or cross-cultural relations in America. This thesis is concerned with the representation or lack of representation of hybridity and the roles played by female characters in connection with the land in two seminal American novels and their film versions---James Fenimore Cooper's The Last of the Mohicans, and Margaret Mitchell's Gone With the Wind---and Alice Randall's rewriting of Mitchell's novel, The Wind Done Gone , as a point of contrast. Hybridity is represented in the mixed-race bodies of these characters.

Thesis (Ph. D.)--University of California, San Diego, 1999. / Vita. Includes bibliographical references (leaves 359-369).

Thesis (Ph. D.)--University of Oregon, 2004. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 176-181). Also available for download via the World Wide Web; free to University of Oregon users.

Überarb. Diss. Univ. Edinburgh, 2005. / Includes bibliographical references and index.

Thesis (Ph. D.)--Queen's University, 1996. / Includes bibliographical references (leaves 224-239).

Thesis (M.A.)--University of Canterbury, 2006. / Typescript (photocopy). Includes bibliographical references (leaves 113-120). Also available via the World Wide Web.

Picturebooks are an important part of the classroom environment in early childhood education. They open doors to new experiences, nurture students' cultural identities, and invite students to explore connections across cultures. In the United States today, many of the picturebooks that are available to teachers and students in preschool classrooms come from the state curriculum that the school district has implemented. Shifting demographic trends have led many educators to recognize a need for more diversity of literature in classrooms. This study was conducted in response to this growing concern that books should better reflect the cultures and identities of the children who read them, with a particular emphasis on young female children of color. The research question guiding this study is: How do picturebook texts and illustrations in an early childhood curriculum represent the identities of female characters of color as viewed through a critical feminist theoretical lens? To investigate this question, I critically analyzed children's picturebooks from a current early childhood curriculum adopted by the state of Texas, focusing on representations of gender and race. The selected books were analyzed using critical content and critical visual analyses to consider how the text and illustrations together represent female characters of color. Although earlier studies of picturebooks have pointed out a deficit of authentic portrayals of female characters of color, this study found that books in the sample did show some attention to authentic cultural themes including motherhood, action and agency, and subjugated knowledge and culture. However, implications for practice and research included the need for more balanced representation of diverse cultures within the curriculum to better reflect preschool demographics, as well as the need for more classroom instruction on books that give voice and agency to young female children of color as they develop their personal and cultural identities.