Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-04-03T12:57:18Z No. of bitstreams: 1 Gabriel Gustavo Adolfo.pdf: 384043 bytes, checksum: 1cb3d6d8d670341f6711ef3e584b3933 (MD5) / Made available in DSpace on 2017-04-03T12:57:18Z (GMT). No. of bitstreams: 1 Gabriel Gustavo Adolfo.pdf: 384043 bytes, checksum: 1cb3d6d8d670341f6711ef3e584b3933 (MD5) Previous issue date: 2017-03-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This study intends to analyse how social interactions, often marked by hybridity and cultural translation, are represented in the plots of the novels The moor’s last sigh (1995, O último suspiro do mouro, 1996) by Salman Rushdie and Relato de um certo oriente (1989, Tale of a Certain Orient, 2008) by Milton Hatoum. The analysis will focus on the narrator ’s perspective and will try to show how the elements of the two narratives contribute to the literary concept of such novels. The conceptual framework is drawn from the perspective of cultural studies and post-colonial literary criticism, including considerations on diaspora, discursive manifestations derived from the encounter between distinct cultures and comparative literature, among others. This work is based on concepts postulated by theorists such as Edward Said, Homi Bhabha, Franz Fanon, Gayatry C. Spivak, Stuart Hall, Mikhail M. Bakhtin, Walter Benjamin, Silviano Santiago and Antonio Candido. The analysis of the two novels also seeks to demonstrate how literature can challenge traditional kinds of knowledge and discourses of ethnic-cultural "purity" and national identity / Este trabalho visa analisar nos romances O último suspiro do mouro (1995) de Salman Rushdie e Relato de um certo oriente (1989) de Milton Hatoum como são retratadas, por meio do narrador, as relações sociais representadas nos enredos, muitas vezes marcadas pelo hibridismo e pela tradução cultural, e como esses elementos contribuem para a criação literária das obras. A fundamentação teórica parte da perspectiva dos estudos culturais e da crítica literária pós-colonial, incluindo considerações sobre diáspora, criações discursivas a partir do encontro entre culturas distintas e literatura comparada, dentre outras. Os autores utilizados como referência são, dentre outros, Edward Said, Homi Bhabha, Franz Fanon, Gayatry C. Spivak, Stuart Hall, Mikhail M. Bakhtin, Walter Benjamin, Silviano Santiago, Antonio Candido. A análise dos dois romances busca também verificar como a literatura pode questionar saberes e discursos de “pureza” étnico-cultural e de identidade nacional

Nation-building novels are novels which attempt to weave the experiences, values and richness of a variety of cultures, language groups and social contexts into a national heritage that creates a sense ofnational identity and identification for all people within a particular nation-state. This dissertation explores how Midnight's Children by Salman Rushdie, Keri Hulme's The Bone People and Margaret Laurence's The Diviners all use the particularly illuminating metaphor of family to explore nation-building in India, New Zealand and Canada respectively. In questioning traditional definitions of family through the image of the adopted child (or changeling in the case of Midnight's Children), the novels also explore new ways of understanding "belonging" and the "other". Since the meaning of these terms is rooted in the past, these novels also question the "truth" of the past by exposing the fallibility of memory. In chapter one a working definition of "nation" and "nation-building" is given and the vision, purpose and characteristic features of nation-building novels are discussed. Chapter two focuses on Rushdie's novel in which the metaphor of pickling is used to explore history not as a collection of hard facts but as a conglomeration of subjective, sensuous, manufactured and carefully created and preserved flavours. In chapter three Hulme's novel is discussed, particularly in relation to what is "other" and the importance of names. The narrator's idea of "commensalism" is explored as an ideal of syncrecity which does not deny individual identity. Chapter four looks at the development from consolation to contradiction to construction in the development of a hybrid national identity in Laurence's novel. Chapter five looks at the narrative techniques used in order to convey the prophetic nature of the novels' message and discusses the importance of the intertexts of each novel. Chapter six focuses on belonging as it looks at the return of each narrator to her/his symbolic or literal home. The chapter also discusses how the novels attack linearity by separating "time" and "space" (instances of social interaction) from "place" (specific geographical locations) in order to "disembed" their message to emphasise its universal applicability. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 1998.

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

Magister Legum - LLM / This mini-thesis is based on the presumption that the Danish cartoons and the anti-Muslim clip posted on YouTube as forms of expression, ridiculed the religious beliefs and practices of Muslims which in turn affected the exercise of religious freedom as it violated the dignity of the bearers of the right to freedom of religion and therefore a conflict between the right to freedom of religion and freedom of expression exists. The above incidence of conflict between the right to freedom of religion and freedom of expression involves infringing the freedom of religion of the Islamic community. Blasphemy in Islam is speech that is insulting to God, but during the course of Muslim history it has become increasingly linked with insult to the Prophet Muhammad. In Islam the depiction of the Prophet Muhammad in any way is strictly forbidden and is considered blasphemous.

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In my earlier work, ‘First steps towards a rhetorical hermeneutics of literary interpretation’ (2006), I argued that academic reading takes the form of an argument between readers. Four serious weaknesses in that account are its elision of the distinction between reading and discourse on reading, its inattention to non-academic reading, its exclusive focus on ‘interpretation’ as if this constituted the whole of reading or of discourse on reading, and its failure to theorise the object of literary reading, ie. the work of literature. The current work aims to address all of these problems, together with those created by certain other approaches to literary reading, with the overall objective of clearing the ground for more empirical studies. It exemplifies its points with examples drawn primarily from non-academic public discourse on literature (newspapers, magazines, and the internet), though also from other sources (such as reading groups and undergraduate literature seminars). It takes a particular (though not an exclusive) interest in two specific instances of non-academic reception: the widespread reception of Salman Rushdie’s novel The Satanic Verses as an attack on Islam, and the minority reception of Peter Jackson’s film trilogy The Lord of the Rings as a narrative of homosexual desire. The first chapter of this dissertation critically surveys the fields of reception study and discourse analysis, and in particular the crossover between them. It finds more productive engagement with the textuality of response in media reception study than in literary reception study. It argues that the application of discourse analysis to reception data serves to problematise, rather than to facilitate, reception study, but it also emphasises the problematic nature of discourse analysis itself. Each of the three subsequent chapters considers a different complex of problems. The first is the literary work, and its relation to its producers and its consumers: Chapter 2 takes the form of a discourse upon the notions of ‘speech act’ and ‘authorial intention’ in relation to literature, carries out an analysis of early public responses to The Satanic Verses, and puts in a word for non-readers by way of a conclusion. The second is the private experience of reading, and its paradoxical status as an object of public representation: Chapter 3 analyses representations of private responses to The Lord of The Rings film trilogy, and concludes with the argument that, though these representations cannot be identical with private responses, they are cannot be extricated from them, either. The third is the impossibility of distinguishing rhetoric from cognition in the telling of stories about reading: Chapter 4 argues that, though anecdotal or autobiographical accounts of reading cannot be taken at face value, they can be taken both as attempts to persuade and as attempts to understand; it concludes with an analysis of a magazine article that tells a number of stories about reading The Satanic Verses – amongst other things. Each of these chapters focuses on non-academic reading as represented in written text, but broadens this focus through consideration of examples drawn from spoken discourse on reading (including in the liminal academic space of the undergraduate classroom). The last chapter mulls over the relationship between reading and discourse of reading, and hesitates over whether to wrap or tear this dissertation’s arguments up.

This thesis is concerned with transnational literature and writers of the Middle Eastern and South Asian diasporas. It argues that the diasporic position of the authors enables their roles as comprador subjects. The thesis maintains that the figure of the comprador is always acted upon by its ontological predisposition, so that diasporic positionality often involves a single subject which straddles and speaks from two or more different subject positions. Comprador authors can be said to be co-opted by Western metropolitan publishing companies who stand to benefit by marketing the apparent marginality of the homelands about which these authors write. The thesis therefore proceeds from the notion that such a diasporic position is the paradoxical condition of the transnational subject or writer. I submit that there is, to some degree, a questionable element in the common political and cultural suggestions that emerge upon closer evaluation of diasporic literature. Indeed, a charge of complicity has been levelled against authors who write, apparently, to service two distinct entities – the wish to speak on behalf of a minority collective, as well as the imperial ‘centre’ which is the intended interlocutor of the comprador author. However, it is this difference, the implied otherness or marginality of the outsider within, which I argue is sometimes used by diasporic writers as a way of articulating with ‘authenticity’ the cultures and politics of their erstwhile localities. This thesis is concerned, therefore, with the representation of ‘the East’ in four novels by diasporic, specifically comprador writers, namely Salman Rushdie’s Midnight’s Children, Hanif Kureishi’s The Buddha of Suburbia, and Khaled Hosseini’s The Kite Runner and A Thousand Splendid Suns. I suggest that the ‘third-world’ and transnational literature can also be a selling point for the transnational subject, whose representations may at times pander to preconceived ideas about ‘the Orient’ and its people. As an illustration of this double-bind, I offer a close reading of all the novels to suggest that on the one hand, the comprador author writes within the paradigm of the ‘writing back’ movement, as a counter-discourse to the Orientalist representations of the homeland. However, the corollary is that such an attempt to ‘write back’, in a sense, re-inscribes the very discourse it wishes to subvert, especially because the literature is aimed at a ‘Western’ audience. Moreover, the template of the comprador could be used to explain how a transnational post-9/11 text from an Afghan-American, for instance, may be put to the service of the imperial machine, and read, therefore, as a supporting document to the U.S. policy on Afghanistan.