161 |
(Re)Appropriation: A Reading of <em>The Tempest</em>, <em>Kapalkundala</em>, and <em>Disgrace</em>Bhattacharya, Sunayani 07 April 2009 (has links)
The thesis looks at William Shakespeare's The Tempest in conjunction with J.M. Coetzee's Disgrace and BankimChandra Chattopadhyay's Kapalkundala. In their own distinctive ways, each of these texts appropriate Shakespeare's play and are, in turn, appropriated by it while exploring the patterns of dominance and resistance inherent to the colonial/postcolonial context. The Tempest, as a play, is central to this argument owing to its experiments with power structures and their subsequent subversion. Shakespeare's text also provides an interesting point of departure because of the numerous postcolonial re-readings that it continues to provoke, creating theoretical room for discussing the status of these later works as rewritten "versions" of the colonially sanctioned master narrative of imperial control.
Coetzee's novel reworks the master-slave dialectic, although any easy parallelism with the characters of Prospero and Caliban is problematized with the introduction of Miranda-like figures. Chatterjee writes from within colonial Bengal while situating his reading of the play in a pre-colonial era-the temporal displacement providing the ideological distance needed to both critique and reaffirm the presence of an alien system of governance.
I would like to divide the scope of the thesis under five chapter headings to consider the nature of each individual text, as well as their interconnectedness. While the introduction seeks to present some of the underlying theoretical and historical frameworks, the following three chapters analyze the way in which Chatterjee and Coetzee adopt the play to represent their peculiar socio-cultural situations. The significance of language in any text that "writes back" from the margins to a work that is firmly placed in the political centre warrants a separate treatment, with regard to both the rewritten texts as well as those that specifically consider the linguistic reshaping of history. In the concluding chapter, I hope to bring together the threads that these separate discussions create in an attempt to understand why a play like The Tempest continues to provoke multiple postcolonial versions, and whether or not one is justified in approaching the newer works as mere "versions" of the colonially sanctioned text.
|
162 |
Native: An album of modern South African blues songsEllis, John January 2021 (has links)
Masters of Art / This Creative Writing project is an album of South African songs written specifically in the context of American blues music. Although blues is an intrinsically American genre of Western popular music, it has its roots (along with other African-American forms of musical expression such as ragtime and jazz) in African culture, and as a South African musician and writer, I am intrigued by the possibilities of exploring African-American blues in the context of South Africa. This project therefore attempts some hybridity between these two cultural expressions, and to ascertain what kinds of lyric might be possible in modern South Africa in terms of the formation and perpetuation of a South African identity. Blues songs traditionally have a rather narrow focus as far as lyrics are concerned, but the genre’s melodic structure, its instrumentation and its very specific vocal qualities have over the last century formed the bedrock of the whole of modern Western popular music.
|
163 |
Contemporary Hijra Identity in Guyana: Colonial and Postcolonial Transformations in Hijra Gender IdentityAli, Shainna 01 January 2010 (has links)
Before European colonialism, inhabitants of Guyana were Amerindians scattered across the “land of many waters” (Glasgow 1970:6; Rabe 2005:5). During the era of imperialism (1499-Guyanese Independence May 1966), the Dutch and British utilized indigenous and African slave labor as well as indentured servants from Asia to harvest cash crops (Glasgow 1970:131; Whitehead 2010:53). The British brought indentured servants across the kala pani, or dark water, from India to Guyana under the pretense of a better life. Under the harsh restrictions of colonial life, the Indian indentured laborers, negatively referred to as coolies, were culturally suppressed. Virtually, all aspects of daily life and institutions were altered, including such apparently natural areas of social life as gender. This thesis examines the possible existence of hijra in early 21st century Indo-Guyanese society as a third gender identity from India, that survived the transatlantic separation from India, colonial oppression and postcolonial suppression (Bockrath 2003:83; Nanda 1998; Reddy 2003: 163-189; Reddy 2005a:256-266).
|
164 |
Raiding the Inarticulate: Postmodernisms, Feminist Theory and Black Female CreativityHennessy, C. Margot 01 May 2010 (has links)
This is an investigation into the ways that postmodern theories and feminist theories have both failed to learn from each other and yet also reveal the blindness' implicit in each other. Postmodern theory has consistently failed to engage gender in any significant way and feminist theory has consisted failed to find the usefulness of the methods and questions posed by postmodern theorists. Both approaches have failed to address the very real and important perspectives of the post colonial others who have been addressing the questions of race, gender, history, and agency for hundred of years. The second half of this investigation looks specifically at the work of three African American women writers, Toni Morrison, Gloria Naylor and Gayle Jones, in their most recent work. All three novels, Beloved, Mama Day and Corregidora are historical novels concerned with the legacy of slavery, and these narratives themselves exceed all the expectation for postmodern theory and feminist theory in inviting us to understand the relationship between history, memory and the now. In effect the work of these writers succeeds in "theorizing the present" in ways that both feminism and postmodernism fail.
|
165 |
“Eden to Hell in the Space of a Few Seconds” : an ecocritical and postcolonial analysis of Alex Garland’s The BeachStrömberg, Hanna January 2022 (has links)
This essay analyzes the cultural concepts of wilderness, utopia, and the pastoral in relation to The Beach from ecocritical and postcolonial perspectives. Evidently, the pastoral is critical in shaping the Western idea of wilderness, and the utopistic mindset plays an equally crucial role in wilderness gazing. The backpackers in the novel seek authenticity—which they feel their everyday lives lack in society—in the remote, ostensibly pristine nature to escape people like themselves. As established in the analysis, the beach dwellers thus undermine their own ideologies when colonizing both nature and people and, in some ways, culturally slum their existence at the beach. They feel better about themselves when living under so-called harder conditions with moderated luxuries and provisions; this ultimately presents how the Western backpacker’s view of nature and indigenous cultures is highly influenced by American pop culture.
|
166 |
Hackneyed Phrases : Intertextual and Linguistic Migrations in Tayeb Salih’s Season of Migration to The NorthMahmutovic, Adnan January 2023 (has links)
Tayeb Salih’s world-literary classic Season of Migration to The North (1967) has been read widely in Arabic as well as multiple world languages. Primarily examined in terms that pertain to the postcolonial field of study, it showcases all the well-rehearsed topics such as coloniser- colonised, identity, nationality, culture, hybridity, literature, language, gender, sexuality, historiography, and most importantly for this thesis: migration. Although the novel has been translated into many world languages, it is Johnson-Davies’ famous English translation (1969) that in my view produces a unique dialogue with the Arabic text. This translation is generally much admired, with only a few critiques, but criticism has not quite addressed the fact that it is in Salih’s colonial language, that is the language he himself could have used. Given that most prominent “writing back to the imperial centre” is in the languages of the colonisers, often in creolised versions of those languages, Salih’s production in Arabic begs the question of linguistic hybridity. In this thesis, I will engage in an intertextual and linguistic analysis of the novel to argue that one cannot regard the Arabic text as “the original” and English as the secondary. Rather, both English and Arabic are co-originary languages of this novel. This demonstrates that the core of the novel is a restless migration between dichotomies produced by the colonial history.
|
167 |
Large Worlds/Small Places: Critical Cosmopolitanism and Stereoscopic Vision in the Global Postcolonial NovelKarajayerlian, Asdghig 06 July 2010 (has links)
No description available.
|
168 |
Negotiating Roma Identity in Contemporary Urban Romania: an Ethnographic StudyBirzescu, Anca 12 December 2013 (has links)
No description available.
|
169 |
<b>Caught between Two Worlds: A Postcolonial Analysis of Faulkner's <i>The Sound and the Fury</i> </b>Soulier, Hannah M. January 2014 (has links)
No description available.
|
170 |
Between Alexandria and Rome: A Postcolonial Archaeology of Cultural Identity in Hellenistic and Roman CyprusGordon, Jody Michael 02 October 2012 (has links)
No description available.
|
Page generated in 0.2293 seconds