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Tung, Jaime C. ""The sea is history" : reading Derek Walcott through a melancholic lens /." Connect to online version, 2006. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2006/157.pdf.
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Brislin, Claire. ""His Strokes Rhyme Couplets Now" the "Prismatic light" of impressionist poetry in Walcott's Tiepolo's Hound /." Diss., Connect to the thesis, 2007. http://hdl.handle.net/10066/987.
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Burnett, Paula. "Derek Walcott and the apple of his island." Thesis, University of Kent, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264573.
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Keita, Aminata. "Etude de poétique comparée : Edouard Glissant, Derek Walcott." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030105.
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Cette étude comparative des œuvres d’Edouard Glissant et de Derek Walcott examine le devenir de la littérature antillaise ainsi que l’évolution des littératures dites postcoloniales.A partir des notions critiques d’esthétique, de politique, de culture et de stratégie discursive, nous avons examiné les œuvres de Glissant et celles de Walcott selon une perspective historique. En effet, la question de la place de l’Histoire étroitement liée à l’expérience personnelle des auteurs est au cœur des textes. Ils mettent en avant l’odyssée d’une Histoire antillaise marginale et fantasmée qui cherche à se frayer un chemin et concurrencer une Histoire traditionnelle.De cette tension, se dégage un jeu de dualité où continuités et ruptures, résistance et appropriation du discours de l’Occident constituent au fil de l’étude un trait distinctif de l’approche des textes. Mais ce qui en montre l’intérêt et l’originalité, c’est leur capacité à s’ériger comme un exposé représentatif du monde contemporain. La question de l’Histoire va au-delà du parcours colonial du monde occidental et le discours qui s’en rattache est loin d’une dénonciation ou l’expression d’une culpabilité et encore moins celle des bienfaits de la colonisation. Les auteurs appellent en revanche à l’expression d’une vision fragmentée de l’Histoire dont l’approche se situe dans la reconnaissance de la diversité des représentations historiques, littéraires et culturelles. Qu’il s’agisse d’épopées, de récits de vie, de chroniques historiques ou politiques, de simples anecdotes ou de réflexions philosophiques qui ponctuent le vaste champ de leur production, Walcott et Glissant apportent un souffle nouveau à la pensée postcoloniale et prolongent son avenir. Ensemble, ils communiquent, échangent et s’opposent parfois pour faire apparaître des procédés conceptuels et méthodologiques qui permettent d’appréhender autrement la littérature, les sciences humaines et socialesThis comparative study of the works of Edouard Glissant and Derek Walcott examines the development of postcolonial literatures especially west indies literature.Based on the critical notions of aesthetic, political, cultural and discursive strategy, we assessed the works of authors through a historical perspective. Indeed, the question of the place of history and personal experience is at the heart of the texts. The authors highlight the fantasised odyssey of a marginal Caribbean History which is trying to make its way and to be in competition with a traditional History.From this tension, emerges a set of duality where continuities and ruptures, resistance and appropriation of the discourse of the West are honoured hallmark of this works. However, what shows interest and originality, is their ability to establish themselves as a functional presentation of the contemporary world. The question of history goes beyond the colonial path of the Western world, hence the discourse that is coming from it isn’t relegated to complaint or quest of guilt and even less of the benefits of colonization. On the contrary, the authors call the expression of a fragmented view of History. Whether epics of life story, historical or political columns, simple stories or philosophical reflections that punctuate the vast field of production, Walcott and Glissant give new impetus to the postcolonial thinking and extend its future. Together, they communicate, interact and sometimes clash to reveal the conceptual and methodological processes that allow us to understand literature in antoher way, humanities and social sciences
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Valcavi, Monica <1964>. "Il teatro e Derek Walcott. Prospettive postcoloniali e multiculturali." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2009. http://amsdottorato.unibo.it/2124/.
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This thesis explores the function of the theatre in Derek Walcott's literary achievements. Focusing on the semiotic theories that characterize the study of drama as a literary text and as a staged text, the initial approach aims at creating a relationship between semiotics and postcolonial theories. In particular Pavis's concept of intercultural semiotics and Peter Brook's innovative visions about the regenerative function of the space of the theatre represent a useful theoretical basis to consider the specificity of postcolonial theatre as an innovative space, where new cultural meanings emerge. Derek Walcott's dramatic production is studied according to this approach, in order to be defined as a new hybrid, syncretic and multicultural space. After considering the development of drama from a postcolonial and Caribbean perspective, this study begins with an insight into Walcott's views on theatre, taking into consideration his linguistic depth, linked to the European tradition, but also his strong concern with the Caribbean public's cultural needs. The double tension characterizing Walcott's cultural identity as well as
his art represents an essential element to analyse his dramatic texts. With an ambivalent approach, which takes into consideration language and performance, this thesis offers an insight into Walcott's plays to detect their postcolonial and multicultural elements. The analysis of the
different texts are divided into two chapters (third and fourth). The third chapters - mainly focused on postcolonial themes - explores issues such as language, identity and space, whereas the fourth chapter centers on multiculturalism in text and performance. Dealing with interracial interactions, issues like re-writing classical texts and the manipulation of personal and collective
memory as a way to re- establish new historical perspectives, the last part of the thesis aims at demonstrating the idea that Walcott has created a new space in the theatre made by the harmonic fusion of different and opposed cultural elements, which are visible in the literary as well as in the staged text. The textual perspective of Walcott's drama fits into Pavis's definition of intercultural semiotics, as the faithful representation of a multicultural creole society: that of the West Indies.
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Bailach, Teresa. "West Indian theatre : Derek Walcott and the infinite rehearsal." Thesis, University of Warwick, 2005. http://wrap.warwick.ac.uk/103796/.
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This thesis analyses three of Derek Walcott's plays in the light of Wilson Harris's ideas of 'infinite rehearsal' and 'unfinished genesis.' The purpose of this thesis is to explore Walcott's definition of the artist and his relation to society in the context of decolonisation. Throughout the thesis the struggle against nihilism appears as a constant underlying goal that both writers relate to the essence of the Caribbean, as a symbol of survival and regenesis. The first part of the thesis offers a deep analysis of Harrisian concepts of literature and its connection to reality, and an exploration of the links between Harris's ideas and the theatrical genre in the context of Walcott's early theatrical endeavours. The second part of the thesis presents a reading of Ti-Jean and His Brothers, Dream on Monkey Mountain, and Pantomime, that highlights the development of Walcott's notions of the artist in relation to his society and to the world. The unresolved conflicts of the pre-1970 period give way to a coherent and grounded set of principles that offer an example of one Caribbean artist's attempt at restoring the pieces of his fragmented identity. Reading Derek Walcott's plays in a Harrisian context throws new light into his theatrical production, and brings to the surface elements that had remained hidden and overlooked. The use of Wilson Harris as a theoretical background responds to two main aspects of these writers' work. On the one hand, the scope of Wilson Harris's philosophical world draws links with manifold cultures and literary traditions. More importantly, Wilson Harris proposes a fluid environment in which Walcott's divided self can find a suitable malleable ground.
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Vieira, LÃlian Cavalcanti Fernandes. "Omeros: vozes de identidade e cultura em Derek Walcott." Universidade Federal do CearÃ, 2012. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=7979.
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nÃo hÃEste trabalho tem como objetivo investigar e analisar a questÃo da identidade e cultura de matriz africana por meio da obra do autor afro-caribenho e PrÃmio Nobel de Literatura em 1992, Derek Walcott, cuja obra ainda nÃo encontra no Brasil um estudo e divulgaÃÃo adequados. Com essa proposta, estamos cooperando com a lei no. 10.639/03 para a afirmaÃÃo do processo de consciÃncia negra por meio da busca de um processo identitÃrio que permeia os escritos do autor, analisando o entre-lugar do discurso do poeta e suas possÃveis influÃncias na produÃÃo de identidade e cultura no Brasil. Parte-se do pressuposto da pertinÃncia de se fazer uma reflexÃo sobre identidade e cultura como atos polÃticos, ao divulgar e expor a riqueza cultural afro ou afrodescendente sob uma nova Ãtica, recuperando o escravizado como sujeito de uma histÃria social, mostrando a infÃmia do escravismo e reforÃando as aÃÃes afirmativas no contexto brasileiro. O conhecimento e o estudo dessa literatura identitÃria pode contribuir tanto para a formaÃÃo de educadores como abrir caminhos para as Ãreas de filosofia da educaÃÃo brasileira pelo aprofundamento na cultura de base africana na diÃspora, servindo de aporte Ãs diversidades culturais.
The main purpose of this work is to analyze the thematic identity and culture of African basis through the work OMEROS written by the afro Caribbean writer and Literature Nobel Prize winner (1992), Derek Walcott. His work allows the focus to issues like the discussion of concepts such as identity and culture as political acts and artifacts of a good education, the affirmation of the process of black consciousness and the recovery of the enslaved one as the subject of a social history through post-colonial literature. The knowledge and study of this literature can contribute a great deal to the intellectual formation of educators as well as it may open paths to areas of philosophy of Brazilian education through the deepening in the culture of African basis during the Diaspora serving as a contribution to cultural diversity.
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Tardière, Dominique. "Temps, Histoire et Identités dans l’œuvre de Derek Walcott." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100189.
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Derek Walcott est né en 1930 à Sainte Lucie, petite île perdue dans l’archipel des Caraïbes. Son œuvre poétique et théâtrale est à la conjonction de deux influences majeures : l’une est héritée du colonialisme britannique, la seconde lui vient de son ascendance africaine.J’ai essayé, dans mon travail, de toujours garder en mémoire cette ambivalence, voire cet écartèlement, que Walcott revendique puisqu’il se définit comme le divided child. L’œuvre de Walcott est multiple. Néanmoins, c’est son rapport au Temps, à l’Histoire et à la création picturale qui m’ont paru essentiels. Dans le premier chapitre de mon étude, j’ai réservé une large part au long poème de Walcott, Another Life, où Walcott se livre à une véritable reconstruction autobiographique. C’est le déchirement du poète qui constitue le nœud central de Another Life : balancement entre hier et aujourd’hui, le dedans et le dehors, l’art et la vie, sur cette terre meurtrie par l’esclavage. Dans la seconde partie, j’ai tenté d’analyser la perception walcottienne de l’Histoire, à travers deux poèmes essentiels, The Schooner Flight et Omeros. Sur le mode de l’épopée, Walcott y raconte la vie des habitants de Sainte Lucie, leurs odyssées intérieures, et leur quête d’Histoire. Il en résulte une vision protéiforme de l’Histoire, proche de celle de Walter Benjamin et en totale opposition avec celle des historiens classiques. La dernière partie est consacrée à l’analyse des liens entre la poésie de Walcott et l’art pictural. L’influence est évidente dans Another Life, Midsummer et Tiepolos’s Hound. J’ai choisi d’étudier Tiepolo’s Hound, non seulement parce que cet hommage à Pissaro, Veronèse et Tiepolo ressemble à une grande fresque, mais aussi pour mettre en exergue la filiation que s’invente Walcott avec le peintre impressionnisteDerek Walcott was born in 1930 in Saint Lucia, a small island lost in the Caribbean archipelago. His poetry has been deeply influenced by two main strains : one is marked by British colonialism, the other is rooted in his African ascendancy.I have tried to keep in mind this duality, which Walcott is still claiming for since he defines himself as a “divided child”. Walcott’s works are complex and multi-faced. However, I choose to study more particularly his relations to time, history and artistic creation. I have reserved a large part of the first chapter to the analyse of Another Life, which can be compared to the experiment of an autobiographical reconstruction, on Walcott’s behalf. The narrator’s splitting is at he core of the poem. Another Life’s hero is constantly balanced between present and past, home life and outdoor life, art and reality. In the second part of this thesis, I have tried to scrutinize Walcott’s perception of History, through two main poems, The Schooner Flight and Omeros. Walcott adopts the epic pattern to describe every day life in Saint Lucia, giving a new birth to homeric myths. Because of the closeness between past and present, we are given another vision of History, quite similar to Walter Benjamin’s theories, and far from classical issues.The last part is focused on the ties which link Walcott’s poetry to the art of painting. These connections are obvious in such poems as Another Life, Midsummer or Tiepolo’s Hound. I choose to examine Tiepolo’s Hound for two main reasons: on the one hand, the poem could be compared to a large frescoe; on the other hand, it enlightens Walcott’s personnality, because of the fictional parallel introduced beween the poet and the painter
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VIEIRA, Lílian Cavalcanti Fernandes. "Omeros: vozes de identidade e cultura em Derek Walcott." www.teses.ufc.br, 2012. http://www.repositorio.ufc.br/handle/riufc/7652.
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VIEIRA, Lílian Cavalcanti Fernandes. Omeros: vozes de identidade e cultura em Derek Walcott. 2012. 154f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2012.Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-03-12T17:29:18Z No. of bitstreams: 1 2012-TESE-LCFVIEIRA.pdf: 1359253 bytes, checksum: 01a1295b5eea11cc0a9f6cecb0c1f126 (MD5)
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The main purpose of this work is to analyze the thematic identity and culture of African basis through the work OMEROS written by the afro Caribbean writer and Literature Nobel Prize winner (1992), Derek Walcott. His work allows the focus to issues like the discussion of concepts such as identity and culture as political acts and artifacts of a good education, the affirmation of the process of black consciousness and the recovery of the enslaved one as the subject of a social history through post-colonial literature. The knowledge and study of this literature can contribute a great deal to the intellectual formation of educators as well as it may open paths to areas of philosophy of Brazilian education through the deepening in the culture of African basis during the Diaspora serving as a contribution to cultural diversity.
Este trabalho tem como objetivo investigar e analisar a questão da identidade e cultura de matriz africana por meio da obra do autor afro-caribenho e Prêmio Nobel de Literatura em 1992, Derek Walcott, cuja obra ainda não encontra no Brasil um estudo e divulgação adequados. Com essa proposta, estamos cooperando com a lei no. 10.639/03 para a afirmação do processo de consciência negra por meio da busca de um processo identitário que permeia os escritos do autor, analisando o entre-lugar do discurso do poeta e suas possíveis influências na produção de identidade e cultura no Brasil. Parte-se do pressuposto da pertinência de se fazer uma reflexão sobre identidade e cultura como atos políticos, ao divulgar e expor a riqueza cultural afro ou afrodescendente sob uma nova ótica, recuperando o escravizado como sujeito de uma história social, mostrando a infâmia do escravismo e reforçando as ações afirmativas no contexto brasileiro. O conhecimento e o estudo dessa literatura identitária pode contribuir tanto para a formação de educadores como abrir caminhos para as áreas de filosofia da educação brasileira pelo aprofundamento na cultura de base africana na diáspora, servindo de aporte às diversidades culturais.
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Jefferson, Ben Thomas. "'If I listen, I can hear' : Derek Walcott and place." Thesis, University of Essex, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.559261.
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This thesis examines place in the poetry of Derek Walcott. Through the close reading of a number of key topoi in Walcott's poetry, this thesis investigates the meanings that Walcott associates with different places. Threaded through these investigations, and forming the main argument, this thesis asserts that Walcott privileges place over space. Walcott rejects 'space' as an invention and abstract 'design' associated with colonial dominion and with neocolonial practices. For Walcott, space, as an abstraction, disavows local experience. Because of this, privileging space knowingly or unknowingly attempts to rid marginalised or oppressed people of their agency. In his poetry, Walcott consistently emphasises embodied ways of knowing, and draws upon human experience as an appropriate, and often counterhegemonic, form of knowledge. Walcott has consistently shown that one person's space is in fact another person's place, and suggests that, because of this, space is imagined over place. Drawing on the works of Edward Casey and phenomenology, this thesis argues that the idea that place precedes space goes against many academic discourses that assume the contrary. Walcott consistently draws his reader's attention to plant and animal life in association with place, and in doing so counteracts anthropocentric definitions of place. Reading Derek Walcott's poetry with an emphasis on place and experiential or a posteriori knowledge creates room for new critical readings of Walcott's work. Specifically, emphasis on place helps to contextualise Walcott's emphasis on the Caribbean as 'nothing' and of the Caribbean people's Adamic relationship with the landscape. This thesis argues that Walcott's notion of place is inherently political: most obviously, the poet's ideas concerning place form part of his arsenal in the very real fight against the multinational hotel/tourist industry's incursion on, and appropriation of, Caribbean sites. This thesis shows that Walcott's project of investing uninhabited landscapes with a sense of place, and blurring the delineations between privileged sites such as churches and "open space/' Walcott challenges the forces that operate within the Caribbean as a consumable, commodified space.
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Issen, Laura Michelle. "Expressions of Socioeconomic and cultural complexities in works by Derek Walcott, Jamaica Kincaid, and Michelle Cliff /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
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Anthony, Patrick. ""Adam's task" the poetry of Derek Walcott and Caribbean theology (A study in the relationship between literature and Christian theology) /." Theological Research Exchange Network (TREN), 1987. http://www.tren.com.
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Prince, Charles Weston. "Resonant forms, architecture in the poetry of Seamus Heaney and Derek Walcott." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ49886.pdf.
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Hammond, Rhona Bobbi. "The influence of the classical tradition on the poetry of Derek Walcott." Thesis, Open University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368004.
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Hanford, Harold Robin. "Metaphor in the poetry of Derek Walcott : reflections in the shield of Achilles." Thesis, Open University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262688.
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Wallart, Kerry-Jane. "La poétique du trickster dans le théâtre de Derek Walcott : la référence en jeu." Paris 4, 2005. http://www.theses.fr/2005PA040127.
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Héritiers de l'esclave contraint à parler par sous-entendus afin de déjouer son maître, les personnages déploient, dans le théâtre de Derek Walcott, une rhétorique qui n'est claire que lorsqu'on devine leur système d'encodage. Tous les niveaux sémantiques de la pratique théâtrale sont touchés par une volte-face du sens. Une même référence désigne deux référents, une même mimesis renvoie à deux objets dans cette dramaturgie diabolique. Elle est orchestrée par la figure immuable mais métamorphique du trickster, clochard céleste et habile qui plonge ses racines à la fois dans les contes africains, dans le carnaval européen, dans la mythologie américaine de l'escroc vagabond et dans la tradition noire américaine du " singe signifiant ". Le spectateur doit sans relâche se demander de quoi on l'entretient. Dans la bouche inspirée du trickster, qui fait souvent figure d'auteur, ajoutant par là l'autoréférence à toutes les références, cette rhétorique complexe devient une véritable poétiqueThe characters in Derek Walcott's plays prove to be heirs to the slave who had to resort to double entendre so as to trick his master ; their rhetoric can only be understood if one already knows how to decipher it. Meaning is turned upside down at all semiotical levels, the encoding remaining largely concealed. One signifier will designate two signifieds, one representation will refer to two objects. The encoding is endemic. Such a diabolical dramaturgy is orchestrated by the immutable figure of the trickster, a celestial fool ; he is as shape-shifting as his roots are varied, from African tales to European Carnival, from the American hobo and hustler to the Black American tradition of the signifying monkey. The spectators find themselves questioning what exactly the topic is, what every reference stands for, and what the frame of reference could be. The trickster also often appears as the author, thus adding self-reference to proliferate references ; with him, complex rhetorics turn to poetry
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Ferdinand, Patrice Malik. "Omeros, Aimé Césaire, la mer : Paysages antillais du détour dans la poésie de Derek Walcott." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030126.
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Omeros, le long poème du Saint-lucien Derek Walcott, est mis en relation avec le recueil Moi, laminaire... du Martiniquais Aimé Césaire et avec le roman Otra vez el mar du Cubain Reinaldo Arenas. Dans ces trois oeuvres, la focalisation sur la Grèce antique permet aux trois auteurs de réinvestir les paysages antillais. Cette pratique du détour constitue une esthétique antillaise commune : le passage par des motifs grecs donne lieu à des constructions textuelles originales de ces paysages antillais. Dans une première partie, nous étudions les stratégies mises en place pour montrer le paysage à partir de sculptures grecques et de personnages grecs incorporés aux paysages. Dans une seconde partie, nous montrons comment l'imaginaire grec nourrit l'art de la métaphore chez Walcott. Dans Omeros, l’artisanat de la pêche [coupe et fabrication des gommiers, sciage et évidage des troncs, navigation, pêche à la nasse] constitue une mise en abîme de la technique walcottienne. La fonction de la mer dans le roman Otra vez el mar confirme l'antillanité de la composition d’Omeros. Dans la troisième partie, nous étudions les relations entre discours et paysages. Chez Walcott, la mangrove permet le renouvellement de la mémoire antillaise de la traite. Chez Césaire, ce milieu lagunaire constitue une réponse métaphorique au contexte politique martiniquais. Enfin, dans Omeros, la représentation de l'oralité créole est associée au motif de la cendre et de la forêt saint-lucienne. Finalement, nous affirmons que la variété des procédés esthétiques chez Walcott se fonde sur la diversité des paysages antillaisOmeros, the long poem written by the Saint-Lucian Derek Walcott is analyzed in relation with the poetic collection Moi, laminaire… by the Martiniquan Aimé Césaire and with the Cuban writer Reinaldo Arenas’s novel Otra Vez el mar. In their works, the focus on Ancient Greece enables the authors to reinvest the West Indian landscape. This common practice of the detour creates a common West Indian aesthetics: the use of Greek motifs gives birth to original textual constructions of Caribbean landscapes. In the first part, we are studying the strategies set up to portray the landscape through Greek sculptures and characters involved in the landscapes. In the second part, we are showing how the Greek imagination nurtures the art of the metaphor in Walcott’s work. In Omeros, the fishing craft [the cutting of the gommier trees, the sawing and the hollowing out of their trunks, for the building of the canoes, navigation and net fishing] reveals the techniques at work in Walcott’s writings. The function of the sea in Arenas’s novel confirms the West Indian aspect in the aesthetic process of Omeros. In the third part, the relations between discourse and landscapes are brought into light. In Walcott’s work the mangrove allows the renewal of the Caribbean memory of the slave trade. In Césaire’s work, this lagoon environment constitutes a metaphoric response to the Martiniquan political background. Then, in Omeros, the representation of creole orality is linked with the motif of the ashes and the Saint Lucian forest. Finally, we assert that the diversity of Caribbean landscape sets in motion Walcott’s poetics
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Barghi, Oliaee Faezeh. "Derek Walcott's Engagement with creole identity." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCC266.
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Cette étude porte sur l’exploration du processus et du phénomène par lesquels l’identité nationale et culturelle des Caraïbes a été construite. Dans la poursuite de cet objectif, deux poèmes majeurs et une pièce de théâtre dramatique de Derek Walcott seront examinés. La première s’agit de son poème épique créole, Omeros, qui se concentre sur les enjeux de l’identité créole et le concept de l’héros national.Étant donnée que la poésie de Walcott est fortement influencée par sa vie personnelle et en conséquence,par la vie dans son pays natal, l'île de Sainte-Lucie, il paraît indispensable à examiner son poème autobiographique, Another Life, qui est un compte rétrospectif de Walcott et son parcours artistiquejusqu’à l’âge de 33 ans. En outre, puisque Omeros met en parallèle la poésie homérique, cette étude bénéficie également d’une exploration de son autre réécriture de la poésie homérique, The Odyssey : aPlay. Cette étude tente à monter que ces deux réécritures se sont complémentaires : le poème épique antillais est la quête d’identité du point de vue du sujet colonial, tandis que la pièce de théâtre dramatique antillaise est la quête d’identité de la perspective du colonisateur. L’étude de la poésie et des pièces de théâtre dramatiques de Walcott nous aident à percevoir les façons dont le poète antillais tente à déconstruire l’importance de la tradition littéraire occidentale à travers la réécriture de la poésie homérique. Cette tradition perpétue l’opposition binaire de supériorité/infériorité qui joue un rôle déterminant dans la construction de l’identité d’un individu. En déplaçant les personnages et la littérature de Saint Lucie de leur emplacement dans les marges vers le centre, Walcott décentre la poésie homérique, et la littérature occidentale. Créolisation, Colonialisme, Postcolonialisme,Déconstruction, Poésie homérique, Histoire, Mémoire, RéécritureThis thesis seeks to explore the process and phenomenon through which Caribbean national and cultural identity has been constructed. In order to achieve this goal, two of Derek Walcott’s major poems and one of his dramas have been chosen. The first is his Creole epic poem, Omeros, which concentrates on the issues of Creole identity and the concept of national hero. Since Walcott’s poetry is highly influenced by his personal life and consequently life in his homeland, the island of Saint Lucia, it seems indispensable to study his autobiographical poem, Another Life, which is Walcott’s retrospective review of his artistic journey until the age of 33. Moreover, since Omeros draws parallelswith Homeric epics, it seems highly beneficial to this study to include his other rewriting of Homericepics, The Odyssey : a Play. This study makes an effort to show that these two rewritings are complementary to each other: the West Indian epic poem is the quest for identity seen from the point of view of the colonized subject, whereas the West Indian stage drama is the quest for identity from the colonizer’s perspective. Studying Walcott’s poetry and dramas helps one perceive the ways in which the West Indian poet makes an effort to deconstruct the importance of the Western literary tradition through rewriting the Homeric epics. This tradition perpetuates the binary opposition of superiority/inferiority which plays a seminal role in the construction of individual identity. By displacing the Saint Lucian characters and literature from their place in the margins to the center, Walcott decenters the Homeric epics, and Western literature. Creolisation, Colonialism, Postcolonialism,Deconstruction, , History, Memory, Rewriting
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Campbell, Christopher Michael. "Visions of interconnection : ecocritical perspectives on the writings of Wilson Harris and Derek Walcott." Thesis, University of Warwick, 2004. http://wrap.warwick.ac.uk/4064/.
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This thesis provides a 'green' reading of selected writings from Wilson Harris and Derek Walcott, demonstrating each writer's profound and sustained engagement with the philosophy, politics and poetics of environmentalism. The environmental ethic evident in the work of Harris and of Walcott has been fashioned in relation not only to personal experiences of lived reality in the Caribbean, but also as a result of prevalent ecological thinking world-wide. In addition, an integral part of the construction of such literary ecology is the formation of dialogues with an earlier eco-literary heritage, especially the inspiration taken from an understanding of 'green' Romanticism in the form of the poetry of William Blake and of John Clare. Part one of the study examines examples from across the corpus of Wilson Harris's work, tracing the representation of ecologically-conscious interconnected vision from his earliest published writings up until his final novels. Harris textually re-maps journeys of incursion, ethnocentric and anthropocentric, into the forests of Guyana to arrive at a position of redemptive possibility for the history of the land. Part two of the study looks at the formation of Derek Walcott's environmental ethic through his construction of an ecopoetic body of work, which comprises various modes, tones and genres of writing. Walcott, too, arrives at a representation of 'interconnected vision' which demands the re-figuring of relations between humanity and the extra-human world. This thesis hopes to offer some insights into the reassessment of the Romantic inheritance to literary ecology in general, and, furthermore, to indicate how the processes of 'green' reading might be compatible with postcolonial analysis. It is the contention that the cross-cultural nature of the eco-narratives and ecopoetics of Harris and of Walcott locate them very much at the forefront of discussions of cultural ecology both in the Caribbean and beyond.
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Knee, Anne L. "Taking everything in : poetic persona and poetic voice in the poems of Derek Walcott /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487951595503662.
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Allen, Jason D. "Le theatre d'Aime Cesaire et de Derek Walcott et le 'probleme de la Relation'." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:7c5d322e-12e9-426a-bd7f-411f75fb515a.
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This thesis considers crucial questions relating to the theatrical works of Aimé Césaire and Derek Walcott and argues that the authors' quest for identity is framed by a dialectic which Édouard Glissant has termed "philosophy of Relation". I show that it is this "philosophy of Relation" which helps the authors formulate a theatrical vision that transcends the chaotic aspects of Antillean history. By examining the dialectical thrust of Walcott's and Césaire's theatre, the study seeks to develop an overarching theory of modern West Indian drama that accounts for its specific Antillean nature.
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Nelson, John C. M. "The two antilles : power and representation in the West Indies /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/6693.
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Vitagliano, Joseph Antony. "'Cloven tongues' : a cross-cultural exploration of the poetry of Derek Walcott and Tony Harrison." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.620270.
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León, Pinto Rosario. "La Revolución Haitiana como gran metáfora de la historia del Caribe en The Haitian Trilogy de Derek Walcott." Tesis, Universidad de Chile, 2018. http://repositorio.uchile.cl/handle/2250/171792.
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Reese, Michele. "Following Phia /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9998505.
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Chapon, Cécile. "Le Figuier d'or : intertextualités classiques et représentations de l'oralité dans l'espace caribéen (Alejo Carpentier, Édouard Glissant, Derek Walcott)." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL107.
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À l'horizon de ce travail se trouve la volonté d'affirmer la cohésion et les nuances d'un imaginaire caribéen, construit en dialogue avec tous les substrats culturels et les expériences de l'histoire et du paysage dont il est issu. L'étude se concentre sur les œuvres de trois auteurs qui ont fourni une réflexion critique sur la création littéraire et sur le rôle de l'artiste caribéen ou latino-américain : Alejo Carpentier, Édouard Glissant, Derek Walcott. Ils arpentent le réel caribéen, dans une tension toujours renouvelée entre un canon littéraire inculqué depuis l'autre rive européenne, et la volonté de représenter dans et par le texte littéraire les pratiques vives de l'oralité. Comment concilier les tensions entre médiation (inter)textuelle et immédiateté ou coïncidence rêvée du chant, pour écrire avec justesse l’histoire oblitérée d’un archipel ou d’un continent ? Je développe à partir de leurs usages une conception dynamique de l'intertextualité comme dialogue, confrontation et revitalisation de la mémoire écrite, qui entend dépasser l'axe binaire de la soumission ou la subversion à un canon écrit surtout européen. J'envisage en particulier l'axe Méditerranée-Caraïbe pour penser les phénomènes de transferts et de différenciation et montrer comment l'Antiquité gréco-latine peut servir à articuler le désir de fondation et la rencontre entre performance orale et trace écrite. J'examine enfin comment le désir d'oralité, allié à la notion de communauté, travaille les textes du corpus, à travers un certain nombre de scènes de passage, de scènes rituelles, ou de scènes limites de la représentationThis work intends to stand for the cohesion and the nuances of a Caribbean imaginary, which is based on a constant dialogue with all the cultural substrates and the experiences of history and landscape. The study focuses on the works of three writers who produced a critical appraisal of literary creation and the role of the Caribbean or Latin-American artist: Alejo Carpentier, Édouard Glissant, Derek Walcott. They keep measuring the Caribbean reality, in a continuous tension between a literary canon often brought and taught from the European shore and view, and the will to represent in and by the literary text the vivid practices of orality. How can we conciliate the tensions between (inter)textual mediation and immediacy or coincidence of the song, in order to write the obliterared history of an archipelago or a continent? Reading their intertextual uses, I develop a dynamic conception of intertextuality as dialogue, confrontation and revitalization of literary memory, which intends to go beyond the binary axis of submission or subversion to European written canon. I study in particular the Mediterranean-Caribbean axis to think about the cultural transfers and differentiation, in order to show how the Greek and Roman tradition can be used to articulate the desire for foundation and the encounters between oral performance and written traces. Finally, I examine how the desire for orality, which seems to traduce a desire of community, influences the textual composition, through the study of scenes of passing, ritual scenes and boundary scenes of representation
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Rumbold, Matthew. "Epic relation : the sacred, history and late modernist aesthetics in Hart Crane, David Jones and Derek Walcott." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/104944/.
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In order to answer questions about the nature, viability and shape of what would constitute a modernist epic, this thesis explores three very different twentieth century writers, Hart Crane, David Jones and Derek Walcott. Rather than being a narrowly genre based study, however, I argue that in the twentieth century the ‘epic’ mode has become a malleable form with which to explore troubling legacies of history, empire and, to exhibit a dimension of the sacred in modernity. All three poets penned challenging epic poems (The Bridge, The Anathemata and Omeros respectively) in a condition of modernity. Haunted by the ruptures of history, in various ways, Crane, Jones and Walcott attempted to create an aesthetic which seeks cultural reintegration, recovery and reconciliation with the past. I analyse the formal experimental modernist aesthetic of each poet as they are anxiously and sometimes ambivalently influenced by the increasingly dominant institution of a particular form of metropolitan high modernism. This allows for a critique of modernity whilst contextualising a modernist inscription of imperialism. Finally, I show that the spiritual and religious concerns of these writers are essential in the recuperative or compensatory ideals of the epic. I argue that far from being an obsolete and impossible genre, for poets the epic is the very mode which best captures the transitions and conditions of an uneven and unequal modernity. I seek to show how through the trope of place (bridge, city, ruins, sacred sites and island), journey and the sea and other aesthetic devices, Crane, Jones and Walcott attempt to re-enchant emptied and destroyed cultural heritages.
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Roy, Sneharika. "The Migrating Epic Muse : conventions, Contraventions, and Complicities in the Transnational Epics of Herman Melville, Derek Walcott, and Amitav Ghosh." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030108.
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Cette thèse propose une lecture croisée des épopées traditionnelles et postcoloniales dans un cadre transculturel. Une analyse comparée de Moby Dick de Herman Melville, Omeros de Derek Walcott et la trilogie de l’Ibis d’Amitav Ghosh nous permet de cerner spécificités de l’épopée moderne postcoloniale. Celle-ci s’inscrit dans la lignée des épopées traditionnelles d’Homère, Virgile, Arioste, Camões et Milton, tout en rivalisant avec elles. Les épopées traditionnelles et modernes ont recours à des conventions qui esthétisent l’expérience collective comme les comparaisons épiques, la généalogie présentée sous forme de prophétie et la mise en abyme ekphrastique. L’épopée traditionnelle met en avant la vision d’une société unifiée grâce à des conjonctions harmonieuses entre le trope et la diégèse, des continuités généalogiques entre l’ancêtre et le descendant ainsi que des associations autoréflexives ekphrastiques entre l’histoire impériale et le texte qui la glorifie. Dans cette perspective, la spécificité de l’épopée postcoloniale semble résider dans l’articulation ambivalente de la condition postcoloniale. Ainsi, chez Melville, Walcott et Ghosh, le style héroï-comique contrebalance les comparaisons épiques opérant des transfigurations héroïques. De même, de nouvelles affiliations hybrides forgées par les personnages coexistent avec des généalogies discontinues, sans en combler toutes les lacunes créées par le déracinement et la violence coloniale. Cette vision équivoque trouve son expression la plus franche dans les séquences ekphrastiques où les textes sont confrontés au choix impossible entre commémoration de l’expérience et regard critique vis-à-vis d’elleThis thesis offers collocational readings of traditional and postcolonial epics in transcultural frameworks. It investigates the specificities of modern postcolonial epic through a comparative analysis of Herman Melville’s Moby Dick, Derek Walcott’s Omeros, and Amitav Ghosh’s Ibis trilogy. It explores how these works emulate, but also rival, the traditional epics of Homer, Virgil, Ariosto, Camões, and Milton. Both traditional and postcolonial epic rely on generic conventions in order to aestheticize collective experience, setting it against the natural world (via epic similes), against history and imperial destiny (via genealogy and prophecy), and against the epic work itself (via ekphrasis). However, traditional epic emphasizes a unified worldview, characterized by harmonious conjunctions between trope and diegesis, genealogical continuities between ancestor and descendant, and self-reflexive ekphrastic associations between imperial history and the epic text commissioned to glorify it. From this perspective, the specificity of postcolonial epic can be formulated in terms of its ambivalent articulation of the postcolonial condition. In the works of Melville, Walcott, and Ghosh, tropes of heroic transfiguration are held in check by the mock-heroic, while empowering self-adopted hybrid affiliations co-exist, but cannot entirely compensate for, discontinuous genealogies marked by displacement, deracination, and colonial violence. This ambivalence finds its most powerful expression in the ekphrastic sequences where the postcolonial texts are most directly confronted with the impossible choice between commemorating experience and being critical of such commemoration
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Kamada, Roy Osamu. "Postcolonial romanticisms : landscape and the possibilities of inheritance in the work of Jamaica Kincaid, Garrett Hongo, and Derek Walcott /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2005. http://uclibs.org/PID/11984.
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Sylvanise, Vanessa. "Poétique de la dissimulation dans les œuvres de Toni Morrison et de Derek Walcott : différence et nouveauté dans la culture." Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080033.
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Tous deux écrivains afro-descendants de langue anglaise, faisant partie de la « diaspora noire », Toni Morrison et Derek Walcott sont reconnus pour l’éclairage poétique qu’ils offrent sur leur histoire et sur leur culture respective : les États-Unis pour Morrison et les Caraïbes pour Walcott. Cependant dans les œuvres, à la place des normes de révélation et de visibilité, se perçoit un « non-pouvoir » voir la culture, rejoignant un « non-pouvoir » dire l’histoire à la naissance des groupes culturels représentés. Malgré leurs spécificités poétiques, tous deux donnent forme à une même poétique de la dissimulation, qui problématise le concept de culture en le soumettant aux secrets entourant l’histoire de l’esclavage et du colonialisme qui leur est commune. Bouleversant les normes énonciatives, et à travers des personnages signés par un même mal ontologique relié à la différence raciale, les deux écritures donnent forme poétiquement au « problème noir » énoncé par Frantz Fanon, et « disent sans dire tout en disant » (Édouard Glissant) des secrets historiques et culturels que nous partageons. Poétique performative venant perturber les frontières linguistiques et énonciatives, la dissimulation engendre les questionnements suivants : qu’est-ce que signifie « noir », renvoyant à une différence raciale aussi bien en anglais (black) qu’en français, et aussi bien dans les textes, qu’au sein de notre contexte ? Comment passe-t-on de la différence raciale à la différence culturelle ? Comment cette différence est-elle produite ? Que signifie la « diaspora » ? Et comment les œuvres poétiques renouvellent-elles la culture, quand celle-ci apparaît problématique et négativée au départ ?Toni Morrison and Derek Walcott, both English mother tongue writers from Afro-descendants, being part of the "black diaspora", are famous for the poetic analysis they propose about their history and their culture; the United States for Morrisson on the one hand, the Caribbean for Walcott on the other hand. However in their works, instead of the revelation and visibility standards, one can perceive a "no-power" to see culture along with a "no-power" to tell the history that gave birth to the cultural groups which are represented. Despite their poetic specificities, both give shape to the same poetics of dissimulation that puts the concept of culture into question submitting it to the secrets related to the history of slavery and colonialism that they both have in common. Shaking up the enonciation standards, using characters struck by the same ontological evil related to racial difference, both writings give shape poetically to the "black problem" enounced by Frantz Fanon and "say without saying while saying anyway" (Édouard Glissant) historical and cultural secrets that we share. As a performative poetics perturbing the linguistic and enunciative frontiers, the dissimulation produces the following questions: What does "black" mean, referring to a racial difference in English (black) as well as in French, but also in literature and within our context? How do we shift from a racial difference to a cultural difference? How is this difference produced? What does "diaspora" mean? How poetic works can renew culture when it appears problematic and negative from the very start?
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Georges, Richard William Ethan. "Charting the sea in Caribbean poetry : Kamau Brathwaite, Derek Walcott, Dionne Brand, Alphaeus Norman, Verna Penn Moll, and Richard Georges." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/66040/.
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This thesis consists of a poetry manuscript and a critical component that considers the poetics and history that inform the writing of that manuscript. Critical Component: Charting the Sea in Caribbean Poetry This thesis focuses on the influence of the sea in constructing identity in the writing of Kamau Brathwaite, Derek Walcott, and Dionne Brand. It is particularly interested in examining how these poets trace identity primarily in The Arrivants, Omeros, and No Language is Neutral through their various employments of the sea and liquidity in those works. I then read selections from two of my poetic forbearers from the British Virgin Islands - Alphaeus Norman and Verna Penn Moll - in order to examine the construction of the sea in their poetry against the canonised work of Brathwaite, Walcott, and Brand. I argue through close contextual readings of the selected works that through engagement of various approaches each poet arrives at a portrait of Caribbean identity that is constructed integrally through the fluid, mutable natures of the sea. The five poets are scrutinised in four chapters, in relation to their personal philosophies regarding national or regional identity through essay writings and interviews but more prominently in close readings of their poetry and in particular their representations of the sea. I begin by arguing that in Brathwaite's The Arrivants (1980), the importance of the sea in the various formations of West Indian identity is represented through the exercising of his tidalectic process in his reconstructions of the archetypes of Legba and Ananse, and his ritualising of cricket and calypso. In Walcott's Omeros (1990), the sea is presented as the embodiment of history itself through which all of Saint Lucia's contemporary inhabitants must access their ancestral memories. Walcott utilises the Atlantic as a creolising force in his reimagining of the Homeric archetypes of Philoctetes, Achilles, Hector, and Helen. Brand however, departs from this metaphorical interpretation of the sea and turns inward, redefining the boundaries of land, sea, and sexual desire in Trinidad through a remapping of that island that is focused on the ocean, waterways, and the bodies of women. Lastly, British Virgin Islander poets Alphaeus Osario Norman and Verna Penn Moll embrace different mythic versions of the sea. Norman's work creates a distinct sailor aesthetic that resonates with classic European naval and militaristic poetry as a way to invoke a national pride, while Penn Moll focuses on performances of cultural and communal waterside rituals to frame narratives of local history and village culture. Ultimately, I argue that the sea is presented variously as a portal through which history and tribal memory can be accessed, and as a supernaturally transformative force for the poet. Creative Component: Make Us All Islands Make Us All Islands is a poetry manuscript based in the British Virgin Islands that explores historical and personal relationships with the sea. The first section revolves around the various arrivals of liberated Africans rescued from slave ships wrecked or captured by the British Navy in the early 1800s. The liberated Africans were not enslaved, but rather forced into indentureship before ultimately being segregated from society and then disappearing from history. The second section is built around the departure of a generation of Tortolan men to work in the sugar plantations of the Dominican Republic at the turn of the following century, alongside other Anglophone Afro-Caribbean migrants. A large portion of these poems are built around accounts of the greatest boating disaster in the islands' history, the loss of a schooner christened Fancy Me which wrecked in a hurricane in 1926 off the coast of the Dominican island Saona. The final movement personalises this exercise and focuses on the poet's interactions with the sea and memory.
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Carvalho, Isaías Francisco de. "Omeros e Viva o povo brasileiro: outrização produtiva e identidades diaspóricas no Caribe Estendido." reponame:Repositório Institucional da UFBA, 2013. http://www.repositorio.ufba.br/ri/handle/ri/10482.
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Proponho a reflexão sobre literatura, cultura e, especialmente, o Outro. O Outro da política da representação e da representação política e cultural na produção literária, em companhia do Outro linguístico, abordado sob a denominação de ―chulice‖ ou ―cânone grosseiro‖. Trata-se de um estudo de viés duplo, portanto. Nos textos literários que constituem o corpus deste trabalho – Omeros, do poeta caribenho Derek Walcott (1994), e Viva o povo brasileiro, de João Ubaldo Ribeiro (1984) -, ausculto essa linguagem ―baixa‖ no mesmo patamar do Outro social, étnico, sexual e mais: estão ali e aí, em toda parte, mas o discurso hegemônico de que participo (e do qual também participa o leitor implícito-explícito desta tese-ensaio) os torna recalcados e invisibilizados no imaginário dominante. Essa escrutação ou perscrutação do Outro cultural e linguístico se faz com o fio condutor da ―outrização produtiva‖, conceito-atitude que tem seu primeiro significante advindo do inglês othering, que foi modulado inicialmente por Gayatri Spivak (1985). ―Outrização‖, como neologismo e significante único, implica um procedimento intersociocultural que se constitui de práticas discursivas de enaltecimento de uma identidade positivada de certo grupo e a estigmatização e o rebaixamento, com violência, de outro. Por seu turno, ―outrização produtiva‖ funciona como contraponto a essa atitude reificante, já que propõe uma abordagem ressignificada da memória recalcada nas relações de trocas simbólicas do colonialismo e dos neocolonialismos de hoje entre culturas de diversos territórios geográficos e imaginados, como é o caso do Caribe Estendido (WALLERSTEIN, 1974), que compreende a costa sul dos Estados Unidos até o Recôncavo Baiano. A proximidade do conceito de outrização produtiva com outras teorizações do campo dos estudos da cultura, a exemplo de mestiçagem, é conveniente para se analisar a mistura cultural, em sentido lato, e linguística, em sentido estrito, nas obras sob análise. Conceitos de outros pensadores fora desse campo também são acionados, a exemplo de Roland Barthes, com sua noção de ―Texto‖ (1998), Northrop Frye, com seu ―modo ficcional irônico‖ e Linda Hutcheon, com ―metaficção historiográfica‖ (1988), entre outros. Trata-se, portanto, de uma discussão que aborda questões de subalternidade, língua, gênero e possibilidade de fala, como uma forma de unir os dois vieses da tese: o político-cultural e o linguístico, ambos tomados para análise numa postura de outrização produtiva, no desrecalque de vozes historicamente silenciadas.
Universidade Federal da Bahia. Instituto de Letras.Salvador-Ba, 2012.
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De, Mel Fyona Neloufer Sharain. "Responses to history : the re-articulation of post-colonial identity in the plays of Wole Soyinka and Derek Walcott 1950-1976." Thesis, University of Kent, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.587555.
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The thesis will discuss the plays of the Nigerian Wole Soyinka and St.Lucian Derek Walcott as sites in which the playwrights are engaged in a dialogue with their colonial history, and in response to its impositions, re-• articulate post-colonial identities. Soyinka and Walcott have been chosen as case studies of the post-colonial re-articulation of identity because they offer two important broad options available to the post-colonial today. Soyinka has recourse to a viable indigenous Yoruba culture which he posits as an alter/native tradition to the coloniser's. Walcott on the other hand, the victim of a far more deracinated saga, feels he has no such "native" tradition to recoup, and re-writes the history of the Caribbean through European metaphors. The thesis will show however that although the playwrights re- articulate their identities in radically different ways, their strategies for doing so are less divergent than they appear at first. Both Soyinka and Walcott negotiate their post-coloniality from within the coloniser's own discourse, with the references and paradigms of the European "Centre". In marking this, the thesis points to the fact that their work reflects the contradictions that constitute post-coloniality itself, for by challenging the coloniser's impositions of colonial identity through the coloniser's discourse they affirm that which they deny and deny that which they affirm, rehearsing the contradictions and complicities their post-colonial identities are predicated on. The thesis is in two parts. Part 1 begins with a general introduction to both playwrights in which their autobiographies Ake and Another Life are looked at to situate them in the context of their personal and larger histories. Chapters 2, 3 and 4 deal specifically with Soyinka. Myth, Literature and the African World is discussed as a site in which Soyinka is engaged in a de-colonizing project, constructing paradigms from the Ogun myth for the benefit of both a wider English speaking/reading audience and "alienated" African, after which A Dance of the Forests, The Strong Breed, Death and the King's Horseman and The Bacchae are read as texts which illustrate the paradigms constructed in Myth. Part 11 deals with Walcott. Chapter 5 discusses Walcott's essays on history against other articulations of identity such as Black Power, and his use of the Crusoe story as a paradigm for the West Indian experience is analyzed. Chapters 6, 7 and 8 discuss Henri Christophe, Sea at Dauphin, Ti- Jean and His Brothers and Dream on Monkey Mountain as plays informed by Walcott's central concerns on the nexus of history and identity in the West Indies.
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Beecroft, Simon. "Reading Caribbean writing : a cross-cultural approach to the work of Edward Kamau Braithwaite, V.S. naipaul, Derek Walcott and Wilson Harris." Thesis, University of Sheffield, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275074.
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Ndour, Emmanuel. "L’influx d’une poétique antillaise : l’intertextualité entre Saint-John Perse et Derek Walcott dans “Eloges, the Castaway” et “The Star-Apple Kingdom”." Thesis, Paris Est, 2014. http://www.theses.fr/2014PEST0003.
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Cette thèse explore les relations intertextuelles entre Saint-John Perse et Derek Walcott en abordant des thèmes sur lesquels se penchent leurs oeuvres, à travers le prisme de l’influence et de la Relation glissantienne. L’appartenance de ces oeuvres à une sphère géohistorique – l’esclavage et la colonisation antillaise –, autorise une démarche postcoloniale qui étudie les contextes d’émergence d’Eloges (1911), The Castaway (1965) et The Star-Apple Kingdom (1979). Notre objectif est de démontrer que l’identité antillaise est constituée de facettes multiples : une identité-légion. Nous rappelons ainsi les phases d’exploitation humaine, de domination et de luttes sociopolitiques,idéologiques et culturelles qui ont donné naissance à une culture créole, à une littérature qui s’élève contre la déliquescence de l’homme et défend l’expression totale de sa diversalité. Aussi nous analysons d’abord le cadre dans lequel sont apparues des propositions qui renouvellent les approches classiques de l’histoire antillaise, pour examiner comment les théories postcoloniales permettent d’approcher la question de la mémoire, du lieu et de l’identité antillaise.Nous analysons ensuite comment la rencontre entre Saint-John Perse et Derek Walcott se traduit dans les oeuvres par une poétisation du réel antillais à travers l’errance, une fiction de l’histoire, une vision de l’entour et des identités plurielles. Enfin, nous étudions comment les poètes expriment une Intention qui mène au tout-monde, à travers la présence d’une langue créole, baroque, métaphorique et rhétorique, pour une Relation totale dans les Amériques et dans le mondeThis dissertation explores the inter-textual relations between Saint-John Perse and Derek Walcott, focusing on the themes discussed in their works, through the prism of influence and Glissant’s poetics of Relation. The fact that these works belong to the same geo-historical sphere —West Indian slavery and colonisation —, allows a postcolonial approach to the contexts of Eloges(1911), The Castaway (1965), and The Star-Apple Kingdom (1979). Our aim is to demonstrate thatWest Indian identity is multifaceted: a legion-identity. We thus recall the phases of human exploitation, domination, and socio-political, ideological and cultural struggle, which gave rise to Creole culture, to a literature which rises against the decay of man and champions the total expression of its diversality. Consequently, we first discuss the context in which new approaches to classical histories of the West Indies have appeared, to examine the way in which post-colonial theories envision the questions of memory, place, and West Indian identity. We then analyse how the encounter between Saint-JohnPerse and Derek Walcott translates into their works, in a poetizing of West Indian reality through wandering, a fiction of history, a vision of the entour, and multiple identities. Finally, we study theway in which the poets express an Intention towards the whole-world, through the presence of aCreole, baroque, metaphorical, and rhetorical language, for a total Relation in the Americas and in the world
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Meryan, Dania. "Sites of (post)colonial becomings : body, land and text in the writings of Wilson Harris, Derek Walcott, Mahmoud Darwish and Ghassan Kanafani." Thesis, University of Leicester, 2013. http://hdl.handle.net/2381/28181.
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This thesis explores the reflexive relationship between sites of body, land and text and the potential of becoming in each one of them, in the literary works of four postcolonial writers: Wilson Harris, Derek Walcott, Mahmoud Darwish and Ghassan Kanafani. The study suggests a cross-cultural literary alliance between the Caribbean and Palestinian literatures by means of utilising theories of nomadic writing and ‘necropolitics’ in order to investigate the three physical territories of body, land, and text as ‘sites of becoming’. Engaging with a diverse range of theorists including, Gilles Deleuze, Achille Mbembe, Frantz Fanon, Emmanuel Levinas, Michel Agier, Edward Said, Zygmunt Bauman, Judith Butler and Edouard Glissant among others, this thesis investigates the possibility of representing violent pasts inscribed on lands and bodies in texts, and contends that the very impossibility of representation of bruised memory is what opens a literary space for the postcolonial writer to write on the wounds of history and give voice to the dispossessed. In the introduction to this thesis, the rationale and theoretical framework of the study is offered. The chapter on Wilson Harris’s Palace of the Peacock and Jonestown focuses on literary postcolonies used by Harris to suggest chaos theory as an alternative to linear narratives and a formula for transcending historical traumas. The study then moves to investigate Derek Walcott’s Omeros and the author’s attempt at crossing the literary parallels with the Homeric literary tradition. The chapter on Mahmoud Darwish explores the poet’s threatened longings for his Beloved/Land and how he encrypts desire in his literary writing. The politicized subject as an emblem of becoming is discussed in Ghassan Kanafani’s Men In The Sun and All That’s Left To You. In the conclusion, a crystallization of the main argument is given.
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Eidlin, Barry. "Crossed Wires, Noisy Signals: Language, Identity, and Resistance in Caribbean Literature." Oberlin College Honors Theses / OhioLINK, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1323646674.
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Thurgar-Dawson, Christopher Paul Joseph. "The contemporary long poem : spatial practice in the work of Kamau Brathwaite and Derek Walcott, Ed Dorn and Susan Howe, Robert Kroetsch and Daphne Marlatt." Thesis, Durham University, 1998. http://etheses.dur.ac.uk/1054/.
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Moffett, Joe. "The search for origins in the twentieth-century long poem : Sumerian, Homeric, Anglo-Saxon /." Morgantown, W. Va. : West Virginia University Press, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=015671691&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Ortlieb, Lalaine Arbuthnot. "Authenticating voice : authenticating culture." Honors in the Major Thesis, University of Central Florida, 1999. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/85.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
English
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Barnard, Donald Edwin. "A critical edition of Derek Walcott's Omeros." Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/46005/.
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The thesis is a Critical Edition of Derek Walcott’s Omeros, consisting of a Critical Introduction and Annotations. The Critical Introduction analyses: - Narrative - Settings - Metaphor and Paronomasia - Symbolism - Historiography - Intertexts - Dualism - Autobiography - Dialects - Prosody. The Annotations comment on more than 1000 references that may be obscure and on specifics of narrative, language and prosody. This study presents new conclusions about some aspects of Omeros: - It challenges the prevailing view that the work is written substantially in a variation of terza rima and shows that regular quatrains predominate. - It demonstrates ways in which the metrics follow the sense of the narrative and takes a more balanced position on the use of Caribbean as opposed to classical metrics than that put forward previously. - It identifies a paragraphic structure to the verse. - It proposes a new prosodic structure for the significant Chapter XXX/iii. - It extends Walcott’s recognised use of numerology into word counting the names of characters. - It develops the idea of Walcott’s dualism and his use of pairing and contradiction as a dialectical method. - It defines his wide use of paronomasia and shows that many of the puns have a metaphorical aspect beyond mere word-play. - It analyses some of Walcott’s symbolism. - It identifies intertextual links to his earlier works and to some thirty other writers, and suggests homage to Hemingway and possibly Heaney. - It provides the first complete analysis of Walcott’s rhyme types in Omeros. In its analysis of Omeros and in the Annotations it has included commentary from across the critical literature, to provide some sense of other views on Walcott’s writing, and has included as many as possible of Walcott’s own comments on Omeros and on the writer’s task, as a background to understanding the poem.
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Callahan, Lance Russell. "In the shadows of divine perfection, Derek Walcott's Omeros." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0016/NQ46289.pdf.
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Marks, Susan Jane. "That terrible vowel, that I : autobiography and Derek Walcott's Another life." Master's thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/22151.
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Bibliography: pages 135-141.In this thesis, I approach autobiography in Another Life by exploring the linguistic means Derek Walcott uses to set up subjectivity in the text. In particular, I respond to Emile Benveniste's question: "what does I refer to" by examining the role of the first person pronoun in Another Life. In chapter one, I introduce the problem of "being in the text", attend to comments Walcott has made about the self, review criticism of the poem, raise issues which concern critics of autobiography, outline Benveniste's theory of subjectivity and Philippe Lejeune's observations on the use of the third person in autobiography. A thematic summary of the poem follows in the second chapter. The pronominal structure underlying Walcott's autobiography and the "biography" of a West Indian intelligence is traced in chapter three where I relate Walcott's dual perspective to Benveniste's definitions of discourse and historical narration. In the final chapter, close readings of selected textual extracts demonstrate the complexity of language phenomenalizing the pronoun I in different sequences of the poem. The readings support Benveniste's claim that the I "refers to the act of individual discourse in which it is pronounced" and the post-structuralist notion that the "self" is a linguistic construct. I conclude that Walcott's I assimilates both romantic and post-structuralist properties.
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Pfeffer, Sarah [Verfasser]. "“Palms require translation”: Derek Walcott’s Poetry in German : Three Case Studies / Sarah Pfeffer." Kassel : Kassel University Press, 2016. http://d-nb.info/1108324371/34.
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"The synergistic relationship between painting and poetry in Derek Walcott." 2011. http://library.cuhk.edu.hk/record=b5894704.
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Mao, Yuanbo."November 2010."
Thesis (M.Phil.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (leaves 149-153).
Abstracts in English and Chinese.
ABSTRACT (ENGLISH) --- p.ii
ABSTRACT (CHINESE) --- p.iii
INTRODUCTION --- p.1
Chapter CHAPTER I: --- "Hybridity, Responsibility, and Aspiration: Walcott's Multiple Anxieties" --- p.21
Chapter CHAPTER II: --- "From ""the Burden of Representation"" to ""the Burdened Representation"": Walcott's Poetic Meditation through the Visual Art" --- p.48
Chapter CHAPTER III: --- Working Through and Against Representation: The Visual-Verbal Synergy as an Empowering Strategy --- p.74
CONCLUSION --- p.144
REFERENCES --- p.150
APPENDIX --- p.155
APPENDIX II --- p.162
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Kay, Kristin Alexandra Mary. "Walt Whitman, Hart Crane, and Derek Walcott : American poetry and American empire /." 1999. http://wwwlib.umi.com/dissertations/fullcit/9948461.
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Johnson, Eugene. "The poetics of cultural healing: Derek Walcott's Omeros and the modernist epic." Thesis, 2007. http://hdl.handle.net/1974/660.
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This thesis examines the complex intersections between Derek Walcott’s Omeros and modernist versions of the epic. Critics generally acknowledge the pervasive presence of modernist allusions in Walcott’s early work, but see the relevance of modernism diminishing as Walcott develops his “mature” poetic strategies of mimicry and hybridity. I challenge this reading of Walcott, arguing that the modernist practices of Ezra Pound in The Cantos, T.S. Eliot in The Waste Land, and Hart Crane in The Bridge are crucial to illuminating the central theme of cultural healing in Walcott’s most ambitious work, Omeros. These four authors share the goal of creating an epic poem that encapsulates the experiences of modernity (the modern epic). Walcott adopts and transforms elements from The Cantos, The Waste Land and The Bridge in order to articulate the complex relations among self, tradition, land, and language that can allow the postcolonial subject to overcome the traumatic legacy of imperialism in the Caribbean. I define the relation between Omeros and its modernist intertexts according to this pattern of imitation and divergence (which Joseph Farrell calls the pattern of imitatio and aemulatio in the epic tradition).
I organize my dissertation into four chapters, each focused on a particular issue: the process of redefining the epic, the construction of indigenous status by means of myth and imperialism, the search for alternative modes of understanding the past that would resist the hegemony of chronological history, and the mystical process of cultural healing that synthesizes the human, the divine, and the natural world. This study demonstrates the tremendous utility and ideological ambiguities generated by the specific practices of
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literary modernism when Walcott deploys them to articulate his cultural vision. My approach to Omeros provides a corrective to the critical tendency to view modernism in the postcolonial milieu as either the postcolonial artist’s response to the conditions of modernity or as a tradition whose form and meaning is radically transformed by a postcolonial vision. Walcott’s relation to modernism suggests that this postcolonial cultural vision is itself shaped by modernist poetics in ways that both empower and constrain.Thesis (Ph.D, English) -- Queen's University, 2007-08-27 11:56:30.559
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Yeh, Yi-chun, and 葉怡君. "Women Characters as Heroines in Derek Walcott''s Omeros." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/2axypf.
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碩士國立中山大學
外國語文學系研究所
98
A stunning poem that draws the attention of the reading public, Omeros is often regarded as the most famous and most successful of Derek Walcott’s works. In one sense, Omeros is the Greek name for Homer, and Walcott chose it for the title of the poem to show his ambition to be a Caribbean Homer, a poet developing an epic from a West Indian perspective. With the epic form and resonant mythic Greek namesakes, Omeros is built upon Walcott’s innate love for St. Lucia. Structurally, the epic form provides the vast framework he needs to describe the multicultural Creole society. However, after a close reading of the text, we can actually find that it does not follow so much the conventions of a classical tradition, since it is not actually a heroic poem. Unlike the superhuman characters in Homeric epics, the male protagonists in Omeros are common people who endure the suffering of individual in exile and try to put down roots in a place where they think they belong. One famous critic, Robert D. Hamner, reads Omeros as an epic of the dispossessed, one in which each of its protagonists is a castaway in one sense or another. In this respect, the male characters are injured (either spiritually or physically). In contrast, the female characters in Omeros, though few in number, play the important roles of heroines to heal the wounds of the male protagonists and to help them trace their roots. This thesis will, therefore, analyze three female characters in the poem. Chapter 1 will focus on Ma Kilman, a black obeah woman. She embodies the memories of the past as well as the connection between African experience and West Indian culture. Through the practice of obeah, a holistic healing method different from Western diagnosis, she is capable of soothing wounds caused by past sufferings. Chapter 2 will examine Maud Plunkett, a white Irish housewife. She represents the physical link between Ireland and St. Lucia due to their inherent similarities –both are being colonized with St. Lucia being divided by race and class, while Ireland is split along religious and class lines. Maud’s existence symbolizes the alienation gap on the island; her death, at the end, bridges the gap and relieves historical traumas. Chapter 3 will deals with Helen, an ebony local woman. Appropriating mythical as well as historical allusions, Walcott gives new voice to this Caribbean Helen. She demonstrates her autonomy to male characters and becomes an unapproachable goddess that they attempt to possess. She reestablishes peace and achieves a new harmony in St. Lucia as a way of cross-cultural healing.
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Chang, Shu-ting, and 張舒婷. "Mimicry, Multiple Voices and the Construction of Cultural Identity in Derek Walcott''s The Haitian Trilogy." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/x6er4t.
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碩士國立中山大學
外國語文學系研究所
96
This thesis aims to interpret the construction of cultural identity of the Caribbean islands in Derek Walcott’s The Haitian Trilogy: Henri Christophe, Drums and Colours, and The Haitian Earth. To rely on the postcolonial and cultural critics’ study on mimicry, multiple voices and identity construction, I take the construction of cultural identity as a transitional process to fabricate a way to identify with the land that people live on. The colonial background and the postcolonial exploration in the Caribbean islands combined with its diverse racial components, the Caribbeans always experience the predicament in identity construction. Derek Walcott composes his writings from this complex environment and represents the identity formation through continuing observation and exploration. In Introduction, the historical context and the literary development in the Caribbean islands introduce the theme of history and cultural as the common consideration of Caribbean writers; therefore, among their writings, the construction of cultural identity situates a significant position in their writings. The Haitian Revolution plays a significant role in the cultural identity formation in the Caribbean literary writings, since it is the turning point to lead this area from colonization to postcolonial situation, and it inspires writers to review the historical incident and to rewrite the history that they, at this time, write by themselves. Derek Walcott’s The Haitian Trilogy comes not from a planned writing sequel, but from spontaneously reiterative consideration of the Haitian Revolution as a means to write the history of one’s own land and to construct the cultural identity from the self-articulation. Chapter Two—Henri Christophe examines the means of mimicry to loosen the colonial control over the colonized and furthermore subvert the colonial power. Chapter Three—Drums and Colours portrays the colonial and postcolonial subject relation by way of writing the colonial history and juxtaposing multiple voices of the different classes of characters. Chapter Four—The Haitian Earth aims to demonstrate the struggle to free from the colonization in order to construct the cultural identity from the identification with the land rather than with the remorse of the suffering past. The conclusion collocates the above discussion about the trilogy for the transitional process of the cultural identity formation and illuminates Walcott’s position on the construction of the cultural identity in the Caribbean islands and other similar areas.
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Wu, Kai-su, and 吳凱書. "Writing Survival: Death, Debt and Self in the Works of V. S. Naipaul, Derek Walcott and J. M. Coetzee." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/8wg86f.
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博士國立中山大學
外國語文學系研究所
103
What does it mean, “writing survival”? In what way does the fact of living after (or living over, or surviving) the significant others relate to writing? In posing these questions, this dissertation is interested in the dynamic convocation in which a writer approaches his legacy while he becomes a writer. In the works of three postcolonial writers, namely V. S. Naipaul, Derek Walcott, and J. M. Coetzee, this project looks into three different manners in which legacy is claimed and employed in the act of writing about oneself. It asks the basic question of what makes it necessary, with each author, to survive by way of writing? How, the query goes on, does writing provide its unique footage for them to deal with death, to turn dead death into living debt, to crack self from past as one cracks salt from earth? With Naipaul, writing survival involves a serial transfiguration of death into debt, and debt further into acts of reckoning that keeps turning the self around and eventually makes him whole. A House for Mr. Biswas (1961) is case in point of how writing is exactly the vocation in which “writing survival” is coterminous with “writing to survive.” Twenty years later, in “Prologue to an Autobiography” (1982), Naipaul reaffirms this aesthetics of transfiguration employed in his fiction with facts dug up from the life and times of his father. Even when this filial linearity of legacy turns somewhat awry when it goes transnational in The Enigma of Arrival (1987), survival in life still hinges around literary legacy for Naipaul. Chapters One and Two of this dissertation look into Naipaul’s take on how the matter of filiation on the personal level is congenial to that of affiliation on the transnational and transcultural level. Chapters Three and Four, on the other hand, study how Walcott takes issue with the conflict involved in both the fact of survival and the act of writing. If, as it is with Naipaul, writing is also the vocation in which the matter of survival is a lived experience, Walcott brings in a different set of factors that lend an elemental, material force to writing. In Another Life (1973), the divided child finds a congenial voice from the sea that promises healing to the heart of the writer who mourns. In Omeros (1990), the transatlantic site gives rise to a convocation of the multiple I in the narrative that, together with the legacy that is invoked and the venues around the seas that are visited, opens up a whole new horizon of reconciliation with the conflicts. The bard is the New World survivor who, with boost from the cosmopolitan ancestry he invokes, writes the vernacular larger than the local, contemporary life it appears to live. Chapter Five examines the many points of fleeing from the fixation with the sense of belonging that haunts Coetzee’s early life in two of his autobiographical work. Different from Naipaul’s filial piety and Walcott’s transatlantic linkage in his literary affiliation, Coetzee’s texts understand debt in ways of de-(af)filiation. In Boyhood (1997) John mourns for the life on the farm and in Youth (2002) he mourns for his aborted child. In both cases, home, like the nation that is called South Africa, is where the heart yearns to leave and to leave totally behind. The tales of fleeing in Boyhood and Youth are thus petite narratives of sort in which the self of the author can be written in exactly the manner in which he survives the totalizing dictation of the state apparatus. Writing, for these three authors, is an act of survival in an ethical sense because death is enunciated in the transfigured form of debt that they invoke, employ and make present in their writing. And survival, which always involves more than one self and more than one life, is therefore a unique mode of being in which writing can live up to the creative transformative enterprise it is.