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Cousins, Helen Rachel. "Conjugal wrongs : gender violence in African women's literature." Thesis, University of Birmingham, 2001. http://etheses.bham.ac.uk//id/eprint/6934/.
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This thesis considers ways in which African women writers are exploring the subject of violence against women. Any attempt to apply feminist criticism to novels by African women must be rooted in a satisfactorily African feminism. Therefore, the history of black feminist thought is outlined showing how African feminisms have been articulated in dialogue with western feminists, black feminisms (developed by women in the African-American diaspora), and through recognition of indigenous ideologies which allowed African women to protest against oppression. Links will be established between the texts, despite their differences, which suggest that, collectively, these novels support the notion that gender violence affects the lives of a majority of African women (from all backgrounds) to a greater or lesser extent. This is because it is supported by the social structures developed and sustained in cultures underpinned by patriarchal ideologies. A range of strategies for managing violence arise from a cross-textual reading of the novels. These will be analysed in terms of their efficacy and rootedness in African feminisms’ principles. The more effective strategies being adopted are found in works by Ama Ata Aidoo and Lindsey Collen and these focus particularly on changing the meanings of motherhood and marriage.
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Dovey, Lindiwe. "African film adaptation of literature : mimesis and the critique of violence." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423936.
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Sommer, Marcel. "Isotopien der Gewalt und die Konstruktion von Tradition : Verfahren der Kritik an essentialistischen Traditionskonzepten im Roman des subsaharischen Afrika /." Frankfurt am Main : IKO - Verlag für Interkulturelle Kommunikation, 2003. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=010240647&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Moth, Laura Eisabel. "Taking back the promised land : farm attacks in recent South African literature." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99385.
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The phenomenon of the farm attack has engendered an angry debate in South Africa today. Controversially, the South African media has paid great attention to violence against white farmers amidst a seemingly endless flood of violence against black farm workers. The now commonplace tales of farm attacks incite racial tension and provoke paranoia, leading one to question why they are repeated at all. Recent works by South African authors have engaged this question, including Jonny Steinberg's Midlands (2002), J. M. Coetzee's Disgrace (1999), and Breyten Breytenbach's Dog Heart (1998). Critics have accused these works of perpetuating racism with their grim depictions of black-on-white violence but have failed to recognize the manner in which these authors contextualize the violence. I argue that each work registers the farm attack as a land claim, made in an era of failed land reform. Furthermore, these works reflexively explore the pragmatics of circulating the stories.
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Silva, Damaris Santos Roberto da. "Excelentíssimas estátuas: uma análise comparativa de O outro pé da sereia e Yaka." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-14022014-115906/.
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A presente dissertação tem o objetivo de analisar nos romances O outro pé da sereia (COUTO, 2006) e Yaka (PEPETELA, 2006) a representação da situação colonial e os resultados da dicotomia colonizador e colonizado nas sociedades moçambicana e angolana, ficcionalizadas por Mia Couto e Pepetela nessas obras. Objetiva-se, ainda, verificar a forma como os romances mergulham no passado colonial de seus países de origem para problematizar questões acerca das sociedades citadas, avaliando as perspectivas que figuram no tempo presente. Estabeleceu-se, então, uma leitura a partir de um processo histórico comum, a colonização portuguesa, para explicitar as contradições resultantes desse período. Para tanto, nos apoiamos no diálogo entre literatura e história, presente nos romances estudados, para identificar e destacar as contradições coloniais, sobretudo em relação às representações da violência e do racismo nas duas obras.This study aims to analyze the representation of the colonial situation and which are the results of the dichotomy colonizer and colonized in Mozambican and Angolan societies through the novels O outro pé da sereia (COUTO, 2006) and Yaka (PEPETELA, 2006). In addition, it aims to examine how the novels rely on colonial past of its countries to discuss issues about the societies mentioned, evaluating the prospects contained in the present. It was established an analysis of the novels from an historical process in common, which is the Lusitanian colonization, to explain the contradictions resulting from this situation. For that, we rely on a dialogue between literature and history, present in the reading of O outro pé da sereia and Yaka, to identify and highlight the colonial contradictions, especially the ones related to the representations of violence and racism in both novels.
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Kennon, Raquel. "Transforming Trauma: Memory and Slavery in Black Atlantic Literature since 1830." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10396.
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Transforming Trauma: Memory and Slavery in Black Atlantic Literature since 1830 examines the interplay between remembering and forgetting in literary and cultural engagements with the trauma of transatlantic slavery. The dissertation considers how intergenerational, trans-temporal trauma becomes re-narrativized and re-envisioned over time in four symbolic sites of slavery (five countries)—Africa (Ghana and Mozambique), the Caribbean (Cuba), Brazil, and the United States—with the goal of exposing differences and emphasizing ruptures. Each chapter functions like a slave schooner arriving at an outpost of the African Diaspora, touring an eclectic transatlantic archive of slavery including art, public space, newspaper clippings, telenovelas, monuments (both imagined and built), song, and advertising copy, then dropping an anchor to explore a more traditional cross section of literature from each national context, juxtaposing canonical and non-canonical works. Taken together, the chapters probe the ways nineteenth and twentieth century Inter-American and African “texts,” broadly defined, register the trauma of slavery in the Black Atlantic. Chapter 1 discusses Brazilian author Bernardo Guimarães’ short novel, A Escrava Isaura (1875) and its wildly popular telenovela adaption in 1976 as an example of one of slavery’s twentieth century kitsch manifestations. The theme of Exodus in African American literature is considered in chapter 2 with a reading of Frances E.W. Harper’s 1869 poem, “Moses,” followed by an extended exploration of the early twentieth century Mammy cult including the 1922 statue proposal. Chapter 3 explores scenes of racial violence and offers a reading of the horrific American ritual of lynching in Jean Toomer’s “Kabnis” and “Portrait in Georgia” in Cane (1923) followed by textual analysis of Robert Hayden’s “Middle Passage” (1962, 1966). Chapter 4 focuses on the Brazilian collective memory of the old historic district of Pelourinho in Salvador, Bahia as the former site of punishment at the pillory (whipping post) for enslaved Africans. Close readings in this chapter include Castro Alves’s classic epic poem, “O navio negreiro” from Os Escravos (1883) and Carolina Maria de Jesus’s diary of favela life, O Quarto de Despejo (1960) in addition to shorter readings of the poetry of Alzira Rufino, Esmeralda Ribeiro, Francisco Alvim, and a short novel by Dudda Seixas. Chapter 5 engages with the charged metaphor of sugar and compares the only extant nineteenth century Cuban slave narrative, Juan Francisco Manzano’s Autobiografía de un esclavo (1839) with a twentieth century account of maroon Esteban Montejo’s slave narrative as related to anthropologist/writer Miguel Barnet in Cimarrón: Historia de un esclavo (1966). The final chapter addresses the so-called literary African amnesia around slavery and examines vestiges of the memory of slavery in three African texts: Noémia de Sousa’s “Negra” (1949), Ama Ata Aidoo’s The Dilemma of a Ghost (1965), and Ayi Kwei Armah’s Two Thousand Seasons (1973).
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Bandeira, Marilia Fatima. "Representações da violência em Disgrace e Waiting for the Barbarians de J. M. Coetzee." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-20012009-164000/.
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O objetivo desta dissertação de Mestrado é analisar a representação da violência por J.M. Coetzee nos romances Waiting for the Barbarians (1980) e Disgrace (1999), o primeiro escrito numa época de grandes convulsões sociais na África do Sul devido, especialmente, à implantação do grande apartheid; e o segundo, logo após o fim do regime e a eleição do primeiro presidente negro sul-africano. Nossa pesquisa visa analisar a forma de representar o mal em épocas distintas da história do país, buscando apreender o determinismo histórico presente na construção de ambos os romances, bem como a posição do autor frente aos movimentos ocorridos na sociedade sul-africana, cujas transformações profundas ocorridas no período que vai da publicação de um romance à do outro afetaram diretamente o poder da antiga classe dominante, à qual pertence o escritor. Concluímos que a violência representada em Waiting for the Barbarians prenuncia os eventos de Disgrace, em que, segundo o narrador deste último, a história completa seu círculo. Waiting for the Barbarians apresenta a história de um Império que está se construindo ao mesmo tempo em que pavimenta o caminho de sua própria queda. Em Disgrace, de forma bastante pessimista, o autor traz ao leitor os elementos geradores da violência na atual sociedade sul-africana, propondo a negociação como a única saída para seus conterrâneos brancos que optaram por lá ficar.The objective of this M.A. dissertation is to analyze J. M. Coetzees representation of violence in the novels Waiting for the Barbarians (1980) e Disgrace (1999); the former was written at a time of great social upheaval in South Africa, mostly due to the institution of the Great Apartheid, and the latter, immediately after the end of the regime and the election of the first Black South-African president. This research aims at analyzing the manner in which evil is represented at different times in the history of the country, attempting to capture the historical determinism present in both novels, as well as the authors position on the movements which occurred within South-African society, whose profound transformations, in the period between the publications of both novels, directly affected the power of the former ruling class, of which the author is a member. The conclusion is that the violence depicted in Waiting for the Barbarians foreshadows the events in Disgrace, in which, according to its narrator, history completes its cycle. Waiting for the Barbarians presents the story of an empire which is building itself at the same time it paves the way to its own fall. In Disgrace, in a severely pessimistic manner, the author brings to the reader the elements which have generated the violence in the current South-African society, proposing negotiation as the only answer for his White peers who decided to remain in the country.
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Pipes, Candice L. "It's Time To Tell: Abuse, Resistance, and Recovery in Black Women's Literature." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1278001806.
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Rued, Nichole M. "Remolding the Minstrel Mask: Linguistic Violence and Resistance in Charles Chesnutt's Dialect Fiction." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1431971758.
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Koeries, Noélle. "Woman as enemy of the nation-state: citizenship, transgression and legacy in Maps and Half of a Yellow Sun." Master's thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/26900.
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This thesis brings to the fore two non-focalising characters, Misra of Maps by Nuruddin Farah and Kainene of Half of a Yellow Sun by Chimamanda Ngozi Adichie. These transgressive characters are placed at the centre of their respective narratives. The aim is to demonstrate the way they transgress conventional political, social, national and gendered boundaries. This transgression creates the space for an alternative citizenship to emerge. The type of citizenship that is multi-faceted and embraces the complexity and nuances of contested borders. These transgressions are read as legacy especially because neither Misra nor Kainene bring to fruition the potentialities and possibilities of their subversive natures. However, both novels present alternatives that reach beyond the closing of the narratives. Ultimately, this thesis questions the purpose of writing transgressive woman characters out of the official narrative.
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Siwak, Jakub. "An investigation of the African subjectivity represented in Gavin Hood's Tsotsi (2006)." Thesis, Nelson Mandela Metropolitan University, 2010. http://hdl.handle.net/10948/1093.
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This treatise will focus on a critical examination of Gavin Hood’s South African Oscar-winning film, Tsotsi (2006), in the interest of exploring how the mass media creates a problematic configuration of the subject, in virtue of its valorization of the continued discursive colonization of Africans (identified broadly in geographical rather than racial terms). That is, within the narrative of the film, the protagonist, after engaging in a crime spree, gives himself over to the state authorities and emotively confesses to his transgressions. Importantly, this dramatic confession is represented as a triumph of the human spirit – in the form of an autonomous rehabilitation on the part of the criminal. However, if one understands the protagonist as a subject constituted by what Foucault terms the discursive regimes of disciplinary/bio-power, what emerges into conspicuity is that the protagonist’s actions rather than being the result of his growing maturity and concomitant augmenting ‘humanity’ are the consequence of a set of discursive imperatives which render him docile and prostrate. Arguably, what this serves to represent, and, indeed, propagate, is more of a superimposition of Western cultural discourses on African subjects, and less of a negotiation with such discourses by such subjects. The treatise aims to provide a theoretical solution to the negation of alternative modes of being by disciplinary/bio-power imperatives inextricable from neo-liberal subjectivity. However, in its attempts to encourage cultural negotiation between North and South, the treatise will avoid simplistic, ‘orthodox’, Marxist solutions and will instead critically contend with the theory of Ernesto Laclau and Chantal Mouffe, and their perspectives on how radical democracy can be achieved.
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El, Masry Yara. "Representations of political violence in contemporary Middle Eastern fiction." Thesis, University of Essex, 2016. http://repository.essex.ac.uk/16563/.
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Today many Middle Eastern states are experiencing political violence, either in the form of foreign occupation, civil war, revolution or coup d’état. This regional violence is not dissociated from international politics. In fact many foreign states are directly involved through influencing, financing or manipulating the situation, and have subsequently been the target of violent attacks themselves. Responding to this situation, a plethora of academic and artistic output concerning Middle Eastern terrorism has emerged from the West. These efforts, especially in English-language fiction, have been mainly reductive and simplistic and have contributed to furthering an atmosphere of mistrust and Islamophobia that emerged after 9/11. Yet in the decade following 9/11 little attention has been given to Middle Eastern writers who have been treating the subject of political violence in their own fiction and whose works are available in a variety of languages. This thesis analyzes five Middle Eastern novels that depict major regional conflict zones. Alaa Al-Aswany, Orhan Pamuk, Assaf Gavron, Yasmina Khadra, and Mohsin Hamid’s novels describe the nuances of their respective contexts: Egypt, Turkey, Israel/Palestine, Iraq and Pakistan. The following analyses highlight the complexity of Middle Eastern political violence and shed light on how these authors perceive or respond to Terrorism discourse in their fictions.
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Mambi, Magnack Jules Michelet. "Littérature postcoloniale et esthétique de la folie et de la violence : une lecture de neuf romans africains francophones et anglophones de la période post-indépendance." Phd thesis, Université Jean Monnet - Saint-Etienne, 2013. http://tel.archives-ouvertes.fr/tel-01063597.
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La littérature africaine d'expression française et anglaise se présente aujourd'hui sous le signe de la remise en question et de la déconstruction des modèles occidentaux. Née dans un contexte trouble marqué par la violence et un* véritable génocide des cultures africaines, cette littérature est aujourd'hui marquée par les motifs de la folie et la violence. Les neuf romans sur lesquels cette étude est menée, s'inscrivent dans cette catégorie du roman africain contemporain.Elle met en lumière les diverses manifestations de la folie et de la violence : structures narratives éclatées et fragmentées, langues d'écriture (français et anglais) subverties par les langues africaines,thématique nourrie par la violence et la folie ... Les auteurs de ces textes ont pris l'option de mettre en scène des personnages présentant des symptômes de la maladie mentale, la violence extrême, -génocides, guerres civiles-, régimes dictatoriaux tenus par des élites inconscientes qui exercent sur les populations une violence structurelle. Bref, ces textes nous plongent dans un univers véritablement chaotique, tant dans leur contenu que dans leur esthétique.Ce travail tente de démontrer que la violence en postcolonie est causée d'une part, par la quête du pouvoir qui passe souvent par l'élaboration des stéréotypes à travers lesquels un individu ou un groupe se voit accablé d'attributs négatifs, et d'autre part, par la résistance opposée par les marginalisés contre toute forme de domination.Par ailleurs, la situation chaotique que vivent les Africains aujourd'hui- crises comportementales, crises identitaires, dépersonnalisation- est tributaire non seulement de son passé jalonné par la violence physique, morale et culturelle, mais aussi des élites politiques qui demeurent encore mentalement colonisées, et miment les attitudes des anciens maîtres.Enfin, la folie et la violence qui se manifestent par une véritable révolution esthétique et un recentrage du discours littéraire, s'inscrivent dans la logique de la démarche postcoloniale qui préconise une forme de révolte, de déconstruction des modèles hérités du centre normatif européen.En un mot, l'esthétique de la folie et de la violence se présente comme un moyen pour la littérature africaine de revendiquer sa différence, son autonomie et sa place au sein des grandes littératures du monde.
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Van, Der Rede Lauren. "The post-genocidal condition: Ghosts of genocide, genocidal violence, and representation." University of the Western Cape, 2018. http://hdl.handle.net/11394/6598.
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Philosophiae Doctor - PhDAs a literary intervention, The Post-Genocidal Condition: Ghosts of Genocide, Genocidal Violence, and Representation is situated at the intersection of genocide studies, psychoanalysis, and literature so as to enable a critical engagement with the question of genocide and an attempt to think beyond its formulation as phenomenon. As the dominant framework for thinking genocide within international jurisprudence, and operating as the guiding terrain for interventions by scholars such as Mamood Mamdani, Linda Melvern, and William Schabas, the presumption that genocide may be reduced to a marked beginning and end, etched out by the limits of its bloodiness, is, I argue, incomplete and thus a misdiagnosis of the problem, to various effects. Moreover, I contend that it is this misdiagnosis that has led to what I name as the post-genocidal condition: a deferred return to the latent violences of genocide; enabled often through various mechanisms of transitional justice. This intervention is not a denial that under the rubric of the crime of genocide, as an attempt to destroy in whole or in part what Raphael Lemkin referred to as an “enemy group”, millions of people have died. Rather what I posit is that the physical violence of genocide is a false limit – that the bloodiness of genocide has been mistaken for the thing-in-itself. Thus this intervention is an attempt to offer another way of thinking the question of genocide by reading it as concept, enabling a consideration of its more latent violences, its ghosts. As such, I argue that genocide is first an attack on the minds of the persons who form the targeted people or group, through the destruction of cultural apparatuses, such as books, works of art, and the language of a people, to name but a few; and is lastly an attempt to physically exterminate a people. Thus this intervention invites a return to Lemkin’s formulation of the term in Axis Rule in Occupied Europe: Laws of Occupation, Analysis of Government, Proposals for Redress (1944); that the word genocide is meant to “signify”, and as such offers a reading of the question of genocide as signifier, understood, I suggest, in the Lacanian sense. Thus, I posit that genocide, as signifier, operates on both the levels of metaphor and metonym, and as such both condenses and displaces its violence(s). The metaphor for genocide as signifier is, furthermore, rather than the signifying chain as Lacan would have it, the network. As such genocide is marked as text, rather than work; its perpetrators not authors, as Lemkin and various pieces of legislation have described them, but writers; and those who engage with the question of genocide, to whatever degree, as readers rather than critics. Consequently, this intervention stages the question of the reach of impunity and complicity, beyond the limit of judicial guilt and innocence. Metonymically, the relational displacement at work within the network of genocide allows for a reading of the various constitutive examples of the violence(s) that, in combinations and as collective, produce a new signification, other than that of the definitional referent.
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Ogunyemi, Christopher Babatunde. "Violence in african american literature : A Comparative analysis of Richard Wright's The man who killed a shadow, and James Baldwin's The fire next time." Thesis, Högskolan Dalarna, Litteraturvetenskap, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:du-2455.
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Chavers, Linda Doris Mariah. "Violent Disruptions: Richard Wright and William Faulkner's Racial Imaginations." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11139.
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Violent Disruptions contends that the works of Richard Wright and William Faulkner are mirror images of each other and that each illustrates American race relations in distinctly powerful and prescient ways. While Faulkner portrays race and American identity through sex and its relationship to the imagination, Wright reveals a violent undercurrent beneath interracial encounters that the shared imagination triggers. Violent Disruptions argues that the spectacle of the interracial body anchors the cultural imaginations of our collective society and, as it embodies and symbolizes American slavery, drives the violent acts of individuals. Interracial productions motivate the narratives of Richard Wright and William Faulkner through a system of displacement of signs. Though these tropes maintain their currency today, they are borne out of cultural imaginings over two hundred years old. Working within the framework of the imaginary, Violent Disruptions places these now historical texts into the twenty-first century's discourse of race and American identity.African and African American Studies
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Lau, Garfield Chi Sum. "The ubiquity of terror: reading family, violence and gender in selected African Anglophone novels." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/262.
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Terror in the African Anglophone novels of Chinua Achebe, Doris Lessing, J.M. Coetzee and Laila Lalami originated as a consequence of a breakdown in the family structure. Traditionally, conventional patriarchy, in addition to securing the psychological and material needs of the family, has served as one of the building blocks of tribes and nations. Since the father figure within narrative is allegorized as a metonym of the state, the absence of patriarchal authority represents the disintegration of the link between individuals and national institutions. Consequently, characters may also turn to committing acts of terror as a rejection of the dominant national ideology. This dissertation aims to demonstrate how the breakdown of the family and the conventional gendering of roles may give rise to terrorist violence in the African setting. To recontextualize the persistence of the Conradian definition of terror as an Anglo-European phenomenon brought to Africa, I contrast the ways in which the breakdown of the family affects both indigenous and Anglo-European households in Africa across generations. I suggest that, under the reinvention of older gender norms, the unfulfilling Anglo-European patriarchy exposes Anglo-European women to indigenous violence. Moreover, I theorize that the absence of patriarchal authority leads indigenous families to seek substitutions in the form of alternative family institutions, such as religious and political organizations, that conflict with the national ideology. Furthermore, against the backdrop of globalized capitalism, commodity fetishism emerges as a substitute to compensate for the absent father figure. Therefore, this project demonstrates the indisputable relationship between the breakdown of the family structure and individual acts of terror that aim at the fulfillment of capitalist fetish or individual desire, and at the expense of national security. Finally, the rhetorical dimension of terror against family and women in Africa will be proven to be the allegorized norm of globalized terror in the twenty-first century.
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Makombe, Rodwell. "Crime, violence and apartheid in selected works of Richard Wright and Athol Fugard: a study." Thesis, University of Fort Hare, 2011. http://hdl.handle.net/10353/525.
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Different forms of racial segregation have been practiced in different countries the world over. However, the nature of South Africa‟s apartheid system, as it was practiced from 1948 until the dawn of the democratic dispensation in 1994, has been a subject of debate in South Africa and even beyond. Apartheid was a policy that was designed by the then ruling Nationalist Party for purposes of dividing and stratifying South Africa along racial lines - whites, blacks, coloureds and Asians. It thus promoted racial segregation and/or unequal stratification of society. In South Africa‟s hierarchy of apartheid, blacks, who constituted the majority of the population, were ironically the most destitute and segregated. Some historians believe that South Africa‟s racial policy was designed against the backdrop of Jim Crow, a similar system of racial discrimination which was instituted in the American South late in the 1890s through the 20th century. Jim Crow and apartheid are, in this study, considered as sides of the same coin; hence for the sake of convenience, the word apartheid is used to subsume Jim Crow. Although South Africa‟s apartheid system was influenced by different ideologies, for example German missiology as applied by the Dutch Reformed Church, historian Hermann Giliomee (2003: 373) insists that „the segregationist practice of the American South was particularly influential.‟ Given the ideological relationship between apartheid and Jim Crow, the present study investigates the interplay of compatibility between apartheid/Jim Crow and crime and violence as reflected in selected works of Richard Wright (African American novelist) and Athol Fugard (South African playwright). The aim of the study is firstly, to examine the works in order to analyse them as responses to apartheid and by extension colonial domination and secondly to investigate crime and violence. The three criminological theories selected for this study are strain theory (by Robert Merton), subculture theory (Edwin Sutherland) and labelling theory (Howard Becker). While criminological theory provides an empirical dimension to the study, postcolonial theory situates the study within a specified space, which is the postcolonial context. The postcolonial is, however understood, not as a demarcated historical space, but as a continuum, from the dawn of colonization to the unforeseeable future. Three postcolonial theorists have been identified for the purposes of this study. These are: Frantz Fanon, Homi Bhabha and Bill Ashcroft. Fanon‟s psychoanalysis of the colonized, Homi Bhabha‟s Third Space and hybridity as well as Ashcroft‟s postcolonial transformation are key concepts in understanding the different ways in which the colonized deal with the consequences of colonization. It has been suggested particularly in Edward Said‟s Orientalism (1978) that the discourse of orientalism creates the Oriental, as if Orientals were a passive object of the colonial adventure. This study uses Bhabha‟s and Ashcroft‟s theory of colonial discourse to argue that the colonized are not only objects of the colonial enterprise but also active participants in the process of opening survival spaces for self-realization. The various criminal activities that the colonized engage in (as represented in the selected works of Richard Wright and Athol Fugard) are in this study viewed as ways of inscribing their subjectivity within an exclusive colonial system.
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Capelle, Bailey A. "Contextualizing Chester Himes's Trajectory of Violence Within the Harlem Detective Cycle." Cleveland State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=csu1430813651.
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Gbouablé, Edwige. "Des écritures de la violence dans les dramaturgies contemporaines d'Afrique noire francophone (1930-2005)." Phd thesis, Université Rennes 2, 2007. http://tel.archives-ouvertes.fr/tel-00199210.
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La violence traverse la production théâtrale d'Afrique noire francophone depuis ses origines. Elle y est sujette à des mutations thématiques et esthétiques qui font évoluer sa nature d'une époque à une autre. On est ainsi passé du vase clos des théâtres de la violence assimilatrice où la forme constituait un moyen d'assujettissement à une écriture éclatée de la violence dans les oeuvres contemporaines. Elle apparaît dans le théâtre de William Ponty (1930) sous forme de conflit culturel tiré des moeurs africaines. Devenue politique, la violence des années 70 embarque les catégories dramaturgiques dans l'affrontement colons/colonisés. Avec le théâtre de 1980, la violence, toujours politique, prend une autre configuration marquée par une tentative de rupture d'avec les canons classiques. L'association du burlesque au tragique, le court-circuit de la langue française, le dialogue entre tradition et modernité à travers une écriture endogène sont autant de réalités caractérisant l'expression des conflits du désenchantement. Dans la majorité des pièces d'après 1990, en revanche, les conflits revêtent une image plurielle qui convoque le monde et des modes d'expression distincts. C'est une écriture hybride dans laquelle la violence est portée par une désarticulation des catégories dramatiques et du sens pouvant en ressortir. De cette écriture dynamique de la violence, résulte un déplacement des enjeux théâtraux dans la mesure où les drames africains aujourd'hui se débarrassent des relents nationalistes pour épouser les réalités du monde. Aussi, l'ouverture des théâtres contemporains suscite-t-elle une diversité de formes dont la complexité remet en question la notion d'africanité.
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Vilar, Fernanda. "L'écriture de la violence dans le roman de l'Afrique Subsaharienne (domaines anglophones, francophones, lusophones)." Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100104/document.
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Le développement des études postcoloniales a offert une grille de lecture nouvelle pour penser la production littéraire des pays qui ont enduré la domination coloniale. Dans ce contexte, le roman africain a subi plusieurs modifications et a connu de nouvelles expériences poétiques après les indépendances. Nous avons choisi d’analyser six œuvres notoires venues de trois inspirations littéraires nationales distinctes pour porter un regard comparatiste sur les différents types de violence que nous pouvons retrouver dans ces romans. Malgré une histoire coloniale et postcoloniale différente dans chaque pays, nous verrons que les motifs liés à la violence se répètent. Nous avons étudié le produit de l’expérience de la violence sur les plans structurel et narratif dans l’œuvre de Mia Couto, Sony Labou Tansi et J.M. Coetzee. Sur le plan narratif d’une part, l’abus de pouvoir, la construction de stéreotypes, l’oppression et l’orphelinat montrent la fertilité de cette littérature qui vise à déstabiliser l’ordre établi et à offrir une nouvelle version des faits. Sur le plan structurel d’autre part, l’humour ou les créations langagières révèlent l’envie de traduire et d’hybridiser les culturesThe development of postcolonial studies has provided a new interpretative framework in which to think about the literary production of countries that have undergone colonialism. In this context, the African novel has been transformed and new poetic elements have appeared after independence. I have chosen to analyze six novels from three distinct national literary inspirations to carry a comparative analysis comparing different types of violence. Despite the differences found between the colonization and independence processes, I noticed that the issues related to violence are often repeated. My aim has been to study the experience of violence through Mia Couto’s, Sony Labou Tansi’s and JM Coetzee’s narrative work, examining for instance, the abuse of power, the construction of stereotypes, oppression and the utilization of orphanages to show the richness of this literature that aims at unsettling the established order and offering a new version of past events; and also on the structural level, humor or linguistic creations reveal the desire to translate and hybridize cultures
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Shinners, Keely. "On Trauma, or, How To Bear Witness to the Quiet Violence of Dreams." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1104.
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This thesis explores South African author K Sello Duiker's The Quiet Violence of Dreams (2001) as a narration of personal and national trauma. This narration of trauma, as a disruption of the past in the present, provides insight to an imagination of recursive temporality. Through the temporal insights trauma introduces, it understands a shared history which is outside of modern, linear progression, a history which is always happening, not needing to prove itself but begging to be witnessed. It is this imagination of a collective, recursive history which translates, in the text, towards a decidedly decolonial witnessing.
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Adjadji, Anani Guy. "L’enfant et la violence dans le roman africain de l’ère postcoloniale." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL047.
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Que ce soit dans le domaine médiatique, social ou littéraire, la violence, la guerre et la précarité sont des termes qui refont surface dans les différents discours portant sur la situation générale du continent africain. Dans la littérature spécialement, ces expressions dominent les publications issues aussi bien de l’ère coloniale que postcoloniale. Par conséquent, ce travail de thèse a pour objectif principal d’analyser les différents discours axés sur la représentation de la violence postcoloniale dans des œuvres romanesques publiées par des auteurs africains issus de l’Afrique d’expression française. Toutefois, en laissant en marge la figure du dictateur, cette thèse aborde la thématique des enfants, notamment celui des enfants-soldats. Elle analyse les dispositifs narratifs au moyen desquels les auteurs mettent en place un enfant ou un adolescent comme figure principale dans un contexte d’une écriture de violence extrême. C’est dans cette mesure que notre corpus est composé de deux publications d’Ahmadou Kourouma et une d’Emmanuel Dongala soulevant cette thématique de différentes manières. Publiées dans les années 2000 et à travers la mise en exergue du phénomène d’utilisation des enfants à des fins militaires, ces œuvres ont posé les bases d’une nouvelle structure narrative dans l’histoire de la littérature africaine d’expression française. Cette thèse démontre que l’introduction de la voix d’un enfant dans ces textes offre une vue particulière émanant de la classe inférieure de la société sur les violences postcoloniales. En outre cette thèse établit un lien de causalité entre la violence postcoloniale et la violence colonialeViolence, war, poverty and precariousness are typical terms, which are repeatedly present in different discourses about the African continent, be it in the media or in the social sphere. In literature, these expressions also dominate the publications of both the colonial and the post-colonial era. Therefore, this work has the main objective of analysing the portrayal of postcolonial violence in selected works published by African French-speaking authors, but without taking into account the figure of the dictator. It emphasizes the issue of children, most especially child soldiers. Moreover it analyses the narrative methods used by the authors, by means of which a child or teenager becomes the main figure in the context of extreme violence. Two novel publications of Ahmadou Kourouma and one of Emmanuel Dongala form the basis of this dissertation. These are works of two authors who, starting in the year 2000, created new structures in the history of French African literature by their intensive writing about the military use of children. It turned out that in their novels, the voice of a child offers a particular view from the lower class of society on postcolonial violence. In addition, the dissertation establishes a causal relationship between postcolonial and colonial violence
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Martinez, Kamir. "Entre violence et resistance : la réinsertion de la femme africaine subsaharienne dans l'histoire." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA018/document.
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Se situant dans l’histoire immédiate, la littérature africaine contemporaine participe de la dénonciation de la violence des régimes postcoloniaux et des guerres civiles. Ce sont des nouvelles formes d’écriture caractérisées à la fois par l’urgence et par l’intention de s’éloigner des formes européennes, donnant lieu à une expression universelle et à la revendication du roman comme œuvre d’art. Cette contribution se propose, à partir de neufs romans francophones, anglophones et hispanophones publiés entre 1990 et 2000, d’explorer et d’analyser la réinsertion de la femme africaine subsaharienne dans les archives officielles. À travers des témoignages fictionnels inspirés des faits réels et des histoires relevant de la sphère privée, ces auteur(e)s créent un nouvel imaginaire sur la femme africaine évoluant entre violence et résistance. Par une approche interdisciplinaire, nous tenterons d’identifier les images de la femme dans ces romans, ainsi que les moyens stylistiques et langagiers dans le processus de la réinterprétation des archives et de la réinsertion de la femme africaine subsaharienne dans l’HistoireIn relation to the immediate history, contemporary African literature contributes to the denunciation of the violence of postcolonial regimes and civil wars. These new forms of writing are characterized both by the urgency and by the intention to move away from European forms, giving rise to a universalizing writing and the claim of the novel as a work of art. This contribution is proposed, from nine Francophone, Anglophone and Hispanophone novels published between 1990 and 2000, to explore and analyse the reintegration of Sub-Saharan African women in the official archives. Through fictional testimonies inspired by real facts and stories of the private sphere, these authors create a new imagination about African women evolving between violence and resistance. Through an interdisciplinary approach, we will try to identify the images of the woman in these novels, as well as the stylistic and linguistic means in the process of the reinterpretation of the archives and the reintegration of the African Sub-Saharan woman in history
En relación a la historia inmediata, la literatura africana contemporánea contribuye a la denuncia de la violencia de los regímenes poscoloniales y de las guerras civiles. Estas nuevas formas de escritura se caracterizan tanto por la urgencia de escribir como por la intención de alejarse de las formas de expresión europeas, dando lugar a una escritura universal y a la reivindicación de la novela como obra de arte. Esta contribución se propone de explorar y analizar la reintegración de las mujeres africanas subsaharianas a los archivos oficiales, a partir de nueve novelas de expresión francesa, inglesa y española, publicadas entre 1990 y 2000. A través de testimonios ficticios inspirados por hechos reales e historias de la vida privada, estos autores y autoras crean una nueva imagen de las mujeres africanas desenvolviéndose entre la violencia y la resistencia. A través de un enfoque interdisciplinario, intentaremos identificar las imágenes de la mujer en estas novelas, así como el estilo y el lenguaje en el proceso de reinterpretación de los archivos y la reintegración de la mujer africana subsahariana en la historia
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Zhou, Yana. "Représentations des désidentifications et réélaborations identitaires dans la trilogie africaine de Léonora Miano." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30009.
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Léonora Miano est une écrivaine franco-camerounaise qui est « jeune » mais féconde et déjà appréciée et reconnue par un large public ; elle peut être considérée comme une figure représentative parmi les écrivains de la génération postcoloniale sur le continent africain. Elle a publié une dizaine de romans, y compris deux trilogies, l’une dite africaine et l’autre « afropéenne » , de nombreux d’essais et des pièces de théâtres. La trilogie africaine regroupe L’Intérieur de la nuit, Plon, 2005 ; Contours du jour qui vient, Plon, 2006 ; Les Aubes écarlates, Plon, 2009 et constitue le corpus principal de cette thèse. La problématique identitaire est un sujet central et incontournable parmi les axes de recherches sur la littérature francophone africaine à cause de l’histoire coloniale et post-coloniale qui a perturbé les cultures traditionnelles et mis en contact des peuples et sociétés fort différents. En tant qu’écrivaine née dans les années 70, époque à la fois stimulante et troublante, Léonora Miano a vécu ses expériences d’adolescente sur le continent africain puis d’adulte en France à partir de ses études universitaires. Cette mobilité entre les continents et les cultures l’a amenée à connaître une vraie vie postcoloniale, à prendre du recul par rapport à l’histoire africaine ancienne et récente, à réfléchir sur les crises identitaires des Africains en Afrique et les causes de leurs crises dans la société postcoloniale complexe. Nous verrons donc que la trilogie africaine de Léonora Miano est révélatrice de ces questions socioculturelles car elle décrit un panorama des questions identitaires concentré spécifiquement sur une Afrique fictive mais évocatrice de bien des pays africains réels. Or ces bouleversements sont trop souvent éludés par les Européens et par les Africains eux-mêmes (c’est à la fois cette distanciation et ce retour africain qui fait la particularité de l’œuvre de cette Franco-Camerounaise). Cette thèse essaye en premier lieu de contextualiser notre approche de la trilogie, en donnant un aperçu général, surtout indispensable pour le lecteur chinois, sur la problématique de l’identité, le parcours de Miano (peu connue en Chine), et les contenus thématiques de la trilogie africaine. Dans la deuxième partie, nous travaillons sur toutes sortes de représentations de la désidentification africaine, autour du mal principal provoquant la crise identitaire : la violence (que ce soit la violence physique ou la violence psychologique) ; ses systèmes de fonctionnement sont analysés en détail et thématiquement fondés sur le corpus. Dans la troisième partie, nous traitons des résistances des personnages africains, protagonistes ou personnages secondaires, face à leurs crises identitaires pour élaborer une nouvelle identité africaine à l’époque postcoloniale. Dans toutes les parties, nous prenons en compte la particularité de l’écriture mianesque qui n’a rien de réaliste mais qui laisse entrevoir un sens parabolique, un monde noir mystérieux et tourmenté, des personnages divers mais typés, des histoires frappantes et cruciales rendant compte d’une vision affranchie et sans concession de l’Afrique contemporaine. Cette modalité narrative fait prendre conscience des évolutions identitaires des populations africaines dans le continent africain lui-même, l’ambition de l’auteure, à travers cette trilogie africaine, étant d’attirer notre attention sur ce qui est souvent ignoré volontairement ou non tant du côté africain qu’en dehors du continentLéonora Miano is a "young" but fertile Franco-Cameroonian writer who is already appreciated and recognized by a large-scale public ; she can be considered as a representative among the writers of the postcolonial generation on the African continent. She has published a dozen novels, including two trilogies, one named as african and the other as "afropéenne", many essays and theatres. The African trilogy includes L’Intérieur de la nuit, Plon, 2005 ; Contours du jour qui vient, Plon, 2006 ; Les Aubes écarlates, Plon, 2009 and they are the main corpus of our thesis. The African trilogy is revealing of the socio-cultural questions related to colonization and entry into the postcolonial era, because it describes a panorama of identity questions focused specifically on a fictional Africa but evocative of many real African countries. But these upheavals are too often ignored by the Europeans and by the Africans themselves (at the same time, this distancing and this return to Africa make the work of the Franco-Cameroonian particular). The thesis attempts firstly to contextualize our approach to the trilogy, giving a general overview, especially essential for the Chinese public, on the question of identity, Miano’s course of life (who is still noteless in China), and thematic content of the African trilogy. In the second part, we work on all kinds of representations of African de-identification, around the main causing the crisis of identity: violence (physical violence or psychological violence); their operating systems are analyzed in detail and thematically based on the corpus. In the third part, we deal with the resistance of African protagonists or secondary characters, in front of their identity crises as well as the consequences and perspectives of their attempts to establish a new African identity in the postcolonial era. In all the parts, we take into account the peculiarity of the "mianesque" writing which is not realistic but suggests a parabolic sense, a black world mysterious and tormented, various et typified characters, striking and crucial stories, and making account of a frank and uncompromising vision of contemporary Africa
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Plaiche, Anza Karel. "États et écritures de violence en Afrique contemporaine : la représentation des conflits armés et des violences de masse dans les fictions africaines subsahariennes francophones." Thesis, La Réunion, 2012. http://www.theses.fr/2012LARE0031/document.
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Ce travail de recherche examine la représentation de l'expérience des violences extrêmes dans l'espace fictionnel contemporain de l'Afrique subsaharienne francophone. Les nombreuses fictions en prose produites dans le sillage des conflits armés des années 90 et du génocide au Rwanda soulèvent des interrogations liées à la représentation de la douleur, de la cruauté et de la mort ainsi qu’à l'éthique de l'art. Comment le texte littéraire met-il en récit les événements traumatiques ? Comment l'écrivain pense et problématise-t-il des crises extrêmes relevant de l'histoire immédiate ? Selon quelles modalités littéraires sont-elles constituées en un objet de connaissance et de sensibilisation ? Et quelles sont les stratégies langagières et esthétiques privilégiées pour transmettre la mémoire des atrocités dans une visée de témoignage ou de réflexion critique ? Cette thèse explore la mise en écriture de ces drames collectifs qui inaugurent, sur les plans historique et socioculturel, une nouvelle ère de violence en Afrique subsaharienne. Dans ce contexte, nous nous intéressons surtout aux ouvrages qui – en raison des choix formels et stylistiques singuliers adoptés par leurs auteurs – se caractérisent par une radicalisation du discours et des scénographies particulièrement violentes. Cette étude qui, au final, interroge les pouvoirs et les possibles limites de l'art dans la représentation de faits de violence extrême analyse un vaste corpus de romans et de nouvelles parus entre 1998 et 2010 et propose une approche pluridisciplinaire, puisant, à côté des théories littéraires et esthétiques, dans l'histoire, la sociologie, l'anthropologie et la psychiatrieThis research project examines the representation of the experience of extreme violence in the contemporary fictional space of Sub-Saharan Francophone Africa. The numerous works of prose fiction written in the wake of the armed conflicts of the 1990s and the Rwandan genocide raise questions related to the representation of pain, cruelty and death as well as to the ethics of art. How do literary texts put into narrative traumatic events? How do writers think and problematize extreme crises of immediate history? By the means of what literary modalities are these crises constituted into an object of knowledge and awareness? And what esthetic and language strategies have been privileged to convey the memory of the atrocities in order toprovide testimony or aim at critical reflection? This thesis explores the writing of the collective tragedies that, from a historical and socio-cultural perspective, mark the start of a new period of violence in Sub-Saharan Africa. In this context, we are focusing predominantly on texts that are characterized – through the distinctive choices of form and style operated by the authors – by a radicalization of discourse and particularly violent plots and esthetics. This research which interrogates the powers and the possible limits of art in the representation of facts of extreme violence analyses an extensive corpus of novels and short stories published between 1998 and 2010 and suggests a multidisciplinary approach which, next to literary and esthetic theories, draws on history, sociology, anthropology and psychiatry
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Oladosu, Olayinka Abdulahi. "Femininity and Sexual Violence in the Nigerian Films, Child, not Bride, October 1 and Sex for Grades." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1621857462497919.
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Cullhed, Christina. "Grappling with Patriarchies : Narrative Strategies of Resistance in Miriam Tlali's Writings." Doctoral thesis, Uppsala : Acta Universitatis Upsaliensis : Uppsala universitetsbibliotek [distributör], 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-6762.
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Tie, Tra Bi Irie Fabrice Raoul. "Famille et Violence dans la littérature francophone : le génocide des Tutsis du Rwanda." Thesis, Université Clermont Auvergne (2017-2020), 2018. http://www.theses.fr/2018CLFAL014/document.
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La présente thèse questionne la famille en lien avec des tueries de masse : le génocide des Tutsi du Rwanda. Le sujet a été développé sur deux grands axes. Un point d’histoire a présenté les déterminants socio-historiques qui ont favorisé l’extermination des Tutsi rwandais. Puis une analyse littéraire a établi une corrélation entre l’idée de famille et cette violence extrême, à travers un corpus d’écrivains francophones et de rescapés de cet événement. Ce qui a décloisonné l’étude du génocide contre les Tutsi au Rwanda du seul point de vue historique pour en faire un sujet littéraire. Dans ce travail de recherche, notre propos a insisté sur la situation des familles qui ont résisté et sur celles qui ont été décimées face au génocide ambiant. Et a informé sur une tragédie qui a fragilisé les liens de filiation au sein des membres d’un même ménage et rompue les alliances, la fraternité entre familles voisines. Cette étude a également souligné les configurations possibles de l’institution familiale après le génocide. Elle a montré qu’avec les massacres qui ont déstructuré les ménages, rompu les liens de filiations, les survivants pour amorcer une résilience, recomposent de nouvelles fratries, de nouvelles famillesThis thesis question the notion of family in connection with mass Killing : the genocide of the Tutsi of Rwanda. It was developed on two main axes. A point of history presented the socio-historical determinants which favorised the extermination of the Rwandan Tutsi. Then a literary analysis established a correlation between the idea of family and this extreme violence, through a corpus of French-speaking writers and survivors of this event. What opened up the study of the Tutsi génocide from the only historic point of view to make a literary subject. In this research work, our subject insisted on the situation of the families which resisted and on those who were decimated in front of ambient genocide. And informed about a tragedy which weakened the links of filiation within the members of the same household and broke the relationship, the brotherhood between nearby families. This study also presented the possible configurations of the family institution after the genocide. It showed that with the massacres which deconstructed the household the survivors to begin an impact strength, recompose of new sibships, new families
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Atchade, Joseph Dossou. "Le corps dans le roman africain francophone avant les indépendances : de 1950 a 1960." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2010. http://tel.archives-ouvertes.fr/tel-00881231.
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Le corps humain se définit par sa matérialité envisagée du point de vue de sa forme, de son tempérament, de son fonctionnement physiologique, dans son rapport à l'âme ou à l'esprit. Dans ces conditions, la notion du corps peut servir de critère pour une nouvelle lecture de l'histoire du roman africain de la période se situant entre 1950 et 1960. Pour orienter la perspective analytique, deux démarches ont conduit à saisir la notion du corps dans sa représentation : une, thématique et une autre d'esprit plus sémiotique. La première a consisté à voir ce que l'histoire du roman dit du corps et sur le corps, sa représentation morphologique à partir d'angles thématiques : l'initiation, la féminité, la souffrance et la martyrisation ; sa représentation situationnelle dans sa relation avec son contexte, la perception de ce contexte par les organes du corps, notamment le sens. La démarche d'esprit sémiotique s'est intéressée à ce que la mise en scène du corps dans cette histoire dit, d'une part du roman à travers le réalisme et l'engagement, de l'histoire dont ce roman se fait l'écho ; d'autre part de la culture et de l'idéologie. Ainsi, la mise en évidence des représentations du corps dans les romans de l'époque obéissait en grande partie aux préoccupations idéologiques et fonctionnait sémiotiquement par rapport à elles. L'un des objectifs des romans africains de cette période était la mise en cause de ces stéréotypes coloniaux racistes. Il est vrai que cette contestation du stéréotype culturel n'est évidemment pas explicite et le stéréotype sous-jacent est en filigrane. En tout état de cause, le corps sort réhabilité et prêt à s'affirmer.
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Arrah, Moise Oneke. "A Gift of Nature and the Source of Violent Conflict: Land and Boundary Disputes in the North West Region of Cameroon The Case of BaliKumbat and Bafanji." Diss., NSUWorks, 2015. https://nsuworks.nova.edu/shss_dcar_etd/109.
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Balikumbat and Bafanji are the names of two villages in the Northwest Region of Cameroon that have been warring against one another over Bangang, a tract of fertile land. The conflict hinges on perceived differences about who should have access to this fertile land. Both villages claim ownership. This conflict has persisted from colonial times to the present with no tangible resolution. Understanding the place of land within the political, social, and economic fabric of the lives of both villages prior to and after the arrival of the colonial administration is the centerpiece of this research endeavor. This study sheds light on why the conflict persists. The land tenure decree of 1973, which was later promulgated into Cameroon law in 1984, is the most recent attempt at resolving disputes over land. It did not resolve this conflict. A clash of cultures between the indigenous population and the European colonizers may have triggered a legacy of land conflict between these two communities. This study unravels and seeks to explain when the Balikumbat and Bafanji villages transitioned from being two loving neighbors, capable of sharing their use of and kinship to the land, to hostile enemies ready to fight and kill one another at the earliest opportunity. In this study, interviews, observations, journal intakes, field notes, as well as document reviews, are pivotal tools used in justifying the claims highlighted in the research.
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Santos, Emanuelle Rodrigues dos. "Late postcoloniality : state, violence and wealth in the literatures of early 21st century Portuguese-speaking Africa." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/84460/.
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This study is a comparative analysis of the representations of State, violence and wealth in early 21st Century novels belonging to the literatures of Angola, Cape Verde, Guinea Bissau, Mozambique and São Tomé and Príncipe. It departs from a dialogue with the international criticism of these national literatures and with the field of postcolonial studies to produce a critical intervention which responds to these two wide fields of academic inquiry. As a result, this work argues for a transformation in both fields. It proposes that both the critique of African Literatures written in Portuguese and the field of postcolonial studies must turn their attention to the post-independence internal dimension of these countries in order to promote a much needed refashioning of the concept of postcoloniality.
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Foukara, Abderrahim. "Alienation in South African literature." Thesis, University of Glasgow, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287285.
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Tomás, Cámara Dulcinea. "Una Poética de la Violencia. La práctica discursiva en contextos de conflicto extremo en la literatura africana contemporánea (1980-2010)." Doctoral thesis, Universidad de Alicante, 2014. http://hdl.handle.net/10045/46253.
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Dawson, Karin Christina Synnöve Norlander. "The textualisation of violence in Latin literature." Thesis, University of Manchester, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496235.
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Chapter 1 investigates the metaphor of the text as a body. It is split into sections devoted to the structural analogy between a work and a body (1.2); the application to literary style of corporeal properties such as fatness or thinness, blood and muscles, and gender (1.3.1-3); the metaphor of stylistic features as clothes or other adornments (1.4); the opposite image, of a body as a work of literature (1.5); and the reasons for this imagery.
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Skomp, Elizabeth Ann. "Women and violence in postwar Russian literature." Thesis, University College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406677.
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McCabe, Bryan Thomas. "Cars, collisions, and violence in Southern literature." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003133.
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Flemings, Kyle J. "The Token Project." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1564607176054052.
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Rountree, Wendy Alexia. "THE CONTEMPORARY AFRICAN-AMERICAN FEMALE BILDUNGSROMAN." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin997212820.
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Herlambang, Wijaya. "Exposing state terror : violence in contemporary Indonesian literature /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18905.pdf.
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Boesten, Jelke. "AIDS activism, stigma and violence: A literature review." University of Bradford, 2007. http://hdl.handle.net/10454/3846.
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yesThis paper provides an overview of the literature on AIDS activism, stigma, and violence. The literature on AIDS activism, stigma and violence discussed suggests that the physical, emotional and social violence that AIDS as a disease, and stigma as a social construct tied to that disease, can be turned into an empowering experience that joins HIV positive people in productive and constructive networks, that this empowerment fundamentally changes one¿s identity, and that such disease-based identities are reshaping notions of citizenship around the globe. This hypothesis is built, however, on theory and on experiences in a) richer countries with a completely different epidemiology than that of sub-Saharan Africa, b) a highly politicised and activist country such as South Africa, and on c) initial ethnographic evidence from West African countries. Although this seems enough evidence to tentatively observe a trend, we need far more evidence from diverse contexts if this transformative potential is to be explored to the full. The paper concludes by drawing out a research agenda.
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Hinton-Johnson, KaaVonia Mechelle. "Expanding the power of literature African American literary theory & young adult literature /." Columbus, OH : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054833658.
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Thesis (Ph. D.)--Ohio State University, 2003.Title from first page of PDF file. Document formatted into pages; contains vii, 175 p. Includes abstract and vita. Advisor: Caroline Clark, College of Education. Includes bibliographical references (p. 160-175).
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Luther, Carola. "South African theatre." Thesis, University of Leeds, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.375957.
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Neumann, Stephanie. "Gebrochenes Schweigen." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2003. http://dx.doi.org/10.18452/14973.
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In der zimbawischen Literatur sind die Themen Nation, Körper, Gewalt, Sprache und Erinnerung aufs engste miteinander verbunden. Durch den Einfluß von Yvonne Vera hat sich in den 90er Jahren das Bild des weiblichen Körpers und insbesondere die Diskussion um koloniale und postkoloniale Gewalt deutlich verändert. Im ersten Teil der Arbeit geht es um die Frage nach Nation. Unterschiedliche Darstellungen von Nehanda und den Kämpferinnen des 2. Chimurenga werden näher beleuchtet. Außerdem geht es um Veras "pastoral novel" in der sie von einer weißen Farmersfrau erzählt. Im zweiten Teil geht es um die Körperkonzepte in der zimbabwischen Literatur. Gewalt in der Familie und vor allem der weibliche Körper als Schlachtfeld steht hier im Mittelpunkt. Die Vergewaltigte und die Prostituierte sind auch weiterhin Symbole für den kolonisierten afrikanischen Kontinent. Vera versucht diese Frauen aus einer anderen Perspektive zu betrachten. Bei ihr geht es um die Erfahrung der Frauen selbst. Der dritte Teil der Arbeit befasst sich schließlich mit der Frage nach der Darstellbarkeit von Gewalt. Wie ist es möglich von Gewalt zu erzählen, ohne die Gewalt zu reproduzieren? Vera beantwortet diese Frage mit der Reflexion über des Erzählen. Bei ihr wirkt Sprache heilend.In Zimbabwean literature, the themes of nation, body, violence, language, and memory are closely connected. The dissertation analyses, how the treatment of these themes changed significantly during the 1990s. The focus lies on Yvonne Vera's work and its influence on the image of the female body and the debate about colonial as well as postcolonial violence. The first part deals with the question of nation at the example of various narratives about Nehanda and other female freedom fighters in the Second Chimurenga. Further material is drawn from Vera's "pastural novel", in which she tells about a white settler woman. The second part looks at body concepts in Zimbabwean literature. Special attention is paid to domestic violence and the image of the female body as battlefield. The raped woman and the prostitute are still widely used as symbols for the colonized African continent. Vera tries to break with this tradition by looking at such female characters from the perspective of their own experiences. The third part, finally, raises the issue of the representation of violence. How is possible to write about violence without reproducing it? Vera answers this question by reflecting about narration. Language thus works as a healing power in her texts.
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Pearse, Adetokunbo. "Aspects of madness in contemporary African literature." Thesis, University of Sheffield, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250284.
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Bennett, Jessica. "National Identity in South African Children's Literature." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/3584.
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National identity is an important characteristic of a country and helps to create a sense of national unity between its citizens. Identity is a learned concept that develops at a young age from children's surroundings and interactions. According to Martyn Barrett, this sense of National identity is present as early as the age of 5, with children gaining greater understanding of the significance of national identity to the age of 11. During this time period, picture books play a major role in childhood development. Using picture books to help create a positive, unified sense of national identity and multicultural understanding can help a nation to create a socially stable environment that influences political and economic development. In the case of South Africa, national identity has shifted since the end of the apartheid era, but how it is reflected within children's picture books? This mini-dissertation examines six different children's picture books to ascertain whether or not elements of national identity are included and if these elements are able to create a positive shift in national identity within South African society. The elements of national identity to be examined include, but are not limited to, South African plants and animals that are native/ unique to South Africa, important South African figures, shared history, multiculturalism, and also hope for the future. By examining these elements and other external influences, an image of South African national identity as represented in children's picture books is explored. This leads to an understanding of the role that children's picture books can play in the South African education system and child development.
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Hinson, D. Scot. "Reading the blood : violence, sacrifice, and narrative strategy in the novels of Toni Morrison /." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1248985350.
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Hester-Williams, Kim D. "(Re) making freedom : representation and the African American modernist text /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9945691.
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Jakubiak, Katarzyna Dykstra Kristin. "Performing translation the transnational call-and-response of African diaspora literature /." Normal, Ill. : Illinois State University, 2006. http://proquest.umi.com/pqdweb?index=0&did=1276391711&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1200674412&clientId=43838.
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Thesis (Ph. D.)--Illinois State University, 2006.Title from title page screen, viewed on January 18, 2008. Dissertation Committee: Kristin Dykstra (chair), Christopher Breu, Christopher DeSantis. Includes bibliographical references (leaves 220-237) and abstract. Also available in print.
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Gotz, Hanna Betina. "Luso-African Real Maravilloso? : a study on the convergence of Latin American and Luso-African literatures /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487953204280871.
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