Thesis (M.A.)--University of Hong Kong, 2009. / Includes bibliographical references (p. 36-37).

Proefschrift--Universiteit Leiden, 2001. / Résumés en anglais et en frison. Bibliogr. p. 275-288.

Thesis (M. Phil.)--University of Hong Kong, 2008. / Also available in print.

Thesis (M. Phil.)--University of Hong Kong, 2008. / Also available online.

Texte remanié de: Dissertation Ph. D.--University of Turin, 2003. / Bibliogr. p. 213-224.

In the following thesis, two interrelated arguments are offered: firstly, a re-appropriation of the passing figure from an African-American context to the Anglo-Indian context is suggested, which it is argued, will allow new methods for the study of the hybrid figure in British literature to develop. Secondly, the thesis works to critique the relationship between poststructuralism and postcolonialism, suggesting a move away from a discourse concerned with anti-reality and its linguistic-theoretical focus to a framework with stronger roots in the study of postcoloniality as a real, lived condition experienced by a large number of people. The above arguments are realized through a reading of Anglo-Indian literature which closely aligns both the displaced postcolonial figure and the passing figure through a shared ability to perform multiple identities. In adopting the passing figure, Anglo-Indian literature illustrates the rejection of in culture forms of rigid and constraining essentialisms and the commitment to modernist and contemporary cultural discourses of identity construction in the hybrid figure of postcolonial works. Such cultural discourses of identity presuppose the intervention of performativity in the negotiation of multiple selves. Both the hybrid postcolonial figure and the passing figure display an adoption of performance in identity construction. In a theoretical reflection of the multiplicity offered by the passing figure, a number of diverse critical approaches to these Anglo-Indian texts are introduced. Specifically, the aim is to suggest alternative theoretical approaches to the hegemonic poststructuralist critical view. I will argue that the reliance upon poststructuralist theory can be detrimental to the full exploration of the postcolonial identity, due largely to the tendency to privilege textual fee-play over experiential analysis. I am proposing a modification to the relationship between deconstruction and postcolonialism, whereby certain selected deconstructive techniques are appropriated alongside more existentialist concerns that reflect the real, lived conditions of postcolonial environments. In relocating textual critique within an approach more concerned with the real-life experience of multiplicity, this study advocates a continuing relevance of a more existentialist mode of postcolonialism, as exemplified by Sartre and Fanon, and other adjacent theorists. An example of this is that popular and contemporary authors such as Naipaul, Rushdie, Kureishi and Malkani are read in light of “dialogical self theory”, R.D. Laing’s “false-self system”, Fish’s “interpretive communities” thesis and Goffman’s concept of “front”. Dialogical self theory and the false-self system ensure a firm underpinning of the internal psychological structure of the passing figure’s psyche, establishing a discourse of postcolonialism that is centred on the real experience of multiplicity. The following work on interpretive communities and front allow for the connection of the internal construction of self to the wider social environment through the relocation of the passing figure’s identity in relation to the interpretations of the audience.

This thesis studies two novels: The Buddha of Suburbia by Hanif Kureishi and The Namesake by Jhumpa Lahiri. There are characters with hybrid qualities in each novel and they tend to use or encouraged to use mimicry to find their identities and establish themselves in the cultures they live. Hence, the result of mimicry is ambivalence on both sides, the colonizer and the colonized. The first chapter is dedicated to explaining the theory of hybridity based on the ideas of leading theoreticians like, Homi Bhabha, Robert Young and others. The situation, problems and the coping strategies of character are studied in detail, in individual sections. The final chapter is dedicated to the comparison of the hybrid situations of the second generation male and female characters. Eventually it is seen that all hybrid characters, especially the second generation immigrants use mimicry to create their own &lsquo / Third Space&rsquo / and find their own voices to exist in their environment.

This dissertation investigates representations of betrayal in works by Hanif Kureishi, Salman Rushdie, Irvine Welsh, and Alan Hollinghurst. In rethinking "bad" acts of betrayal as embodying an ethical desire not for the good but for "the better," this dissertation challenges the simplistic good/bad binary as mandated by neo-imperialist, late capitalist, and heteronormative society. In doing so, my project intervenes in the current paradigm of ethical literary criticism, whose focus on the canon and the universal Good gained from it runs a risk of underwriting moral majoritarianism and judgmentalism. I argue that some contemporary narratives of betrayal open up onto a new ethic, insofar as they reveal the unethical totalization assumed in ethical literary criticism's pursuit of the normative Good. The first full chapter analyzes how Kureishi's Intimacy portrays an ethical adultery as it breaks away from the tenacious authority of monogamy in portraying adult intimacy in literature, what I call the narrative of "coupledom." Instead, Intimacy imagines a new narrative of "singledom" unconstrained by the marriage/adultery dyad. In the next chapter on Fury, a novel about Manhattan's celebrity culture, I interrogate the current discourse of cosmopolitanism and propose that Rushdie's novel exposes how both cosmopolitanism and nationalism are turned into political commodities by mediafrenzied and celebrity-obsessed metropolitan cultural politics. In a world where an ethical choice between cosmopolitanism and nationalism is impossible to make, Fury achieves an ethical act of treason against both. The next chapter scrutinizes Mark Renton's "ripping off" of his best mates and his critique of capitalism in Trainspotting and Porno. If Renton betrays his friends in order to leave the plan(e) of capitalism in the original novel, he satirizes the trustworthiness of trust in Porno by crushing his best mate's blind trust in business "ethics" and by ripping him off again. The last full chapter updates the link between aesthetics and ethics in post-AIDS contexts in Hollinghurst's The Line of Beauty. In portraying without judgment beautiful, dark-skinned, dying homosexual bodies, Hollinghurst's novel "fleshes out" the traditional sphere of aesthetics that denies the low and impure pleasures frequently paired with gay sex.

Thesis (MA)--University of Montana, 2009. / Contents viewed on November 30, 2009. Title from author supplied metadata. Includes bibliographical references.

Thesis (Ph. D.)--Florida State University, 2005. / Advisor: S. E. Gontarski, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Jan. 24, 2006). Document formatted into pages; contains v, 159 pages. Includes bibliographical references.