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Journal articles on the topic 'Derek Walcott'

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Published: 4 June 2021
Last updated: 19 February 2022

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1

King, Bruce, and John Thieme. "Derek Walcott." World Literature Today 73, no. 3 (1999): 582. http://dx.doi.org/10.2307/40155020.

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2

Baugh, Edward. "Derek Walcott." Caribbean Quarterly 38, no. 4 (December 1992): xiii—xv. http://dx.doi.org/10.1080/00086495.1992.11829502.

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3

Goodison, Lorna. ""Derek" [on Derek Walcott]." Review: Literature and Arts of the Americas 50, no. 2 (July 3, 2017): 257–59. http://dx.doi.org/10.1080/08905762.2017.1415019.

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4

Phillips, Rowan Ricardo. "Tableau: Derek Walcott." Callaloo 28, no. 1 (2005): 87. http://dx.doi.org/10.1353/cal.2005.0032.

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5

Gidmark, Jill B., and William Baer. "Conversations with Derek Walcott." MELUS 23, no. 2 (1998): 222. http://dx.doi.org/10.2307/468027.

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6

Thomas, Lorenzo, Derek Walcott, and William Baer. "Conversations with Derek Walcott." African American Review 33, no. 4 (1999): 708. http://dx.doi.org/10.2307/2901366.

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7

Harclyde Walcott, C. M. "Tribute to Derek Walcott." Caribbean Quarterly 63, no. 2-3 (July 3, 2017): 368–69. http://dx.doi.org/10.1080/00086495.2017.1352284.

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8

Yeh, M. "Interview with Derek Walcott." Literary Imagination 4, no. 3 (January 1, 2002): 294–302. http://dx.doi.org/10.1093/litimag/4.3.294.

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9

Malroux, Claire. "Gaudebo pour Derek Walcott." Callaloo 28, no. 1 (2005): 115. http://dx.doi.org/10.1353/cal.2005.0024.

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10

Malroux, Claire, and Marilyn Hacker. "Gaudebo for Derek Walcott." Callaloo 28, no. 1 (2005): 116. http://dx.doi.org/10.1353/cal.2005.0026.

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11

King, Bruce, and William Baer. "Conversations with Derek Walcott." World Literature Today 71, no. 1 (1997): 208. http://dx.doi.org/10.2307/40152756.

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12

Hannan, Jim, and Bruce King. "Derek Walcott: A Caribbean Life." World Literature Today 75, no. 2 (2001): 310. http://dx.doi.org/10.2307/40156554.

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13

Hannan, Jim, and Paula Burnett. "Derek Walcott: Politics and Poetics." World Literature Today 75, no. 3/4 (2001): 122. http://dx.doi.org/10.2307/40156788.

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14

Hannan, Jim, and Paul Breslin. "Nobody's Nation: Reading Derek Walcott." World Literature Today 77, no. 1 (2003): 88. http://dx.doi.org/10.2307/40157817.

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15

Dance, Daryl Cumber, and Bruce King. "Derek Walcott: A Caribbean Life." African American Review 36, no. 2 (2002): 333. http://dx.doi.org/10.2307/1512273.

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16

Figueroa, John. "Two Poems for Derek Walcott." Caribbean Quarterly 49, no. 1-2 (March 2003): 53–55. http://dx.doi.org/10.1080/00086495.2003.11672182.

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17

Salkey, Andrew, and Stewart Brown. "The Art of Derek Walcott." World Literature Today 66, no. 3 (1992): 569. http://dx.doi.org/10.2307/40148558.

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18

Joseph, Anthony. "Obituary: Derek Walcott (1930–2017)." Journal of Commonwealth Literature 52, no. 2 (June 2017): 397–400. http://dx.doi.org/10.1177/0021989417712839.

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19

Auser, Cortland P. "Review: Omeros by Derek Walcott." Explorations in Ethnic Studies ESS-12, no. 1 (August 1, 1992): 62. http://dx.doi.org/10.1525/ess.1992.12.1.62.

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20

Riach, Alan, Paul Breslin, and Paula Burnett. "Nobody's Nation: Reading Derek Walcott." Modern Language Review 99, no. 3 (July 2004): 765. http://dx.doi.org/10.2307/3739026.

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21

Fox, Robert Elliot. "Derek Walcott: History as Dis-Ease." Callaloo, no. 27 (1986): 331. http://dx.doi.org/10.2307/2930658.

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22

Baugh, Edward. "Eulogy for Derek Walcott (1930–2017)." Caribbean Quarterly 63, no. 2-3 (July 3, 2017): 351–56. http://dx.doi.org/10.1080/00086495.2017.1352282.

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23

Breslin, Paul. "The Cultural Address of Derek Walcott." Modernism/modernity 9, no. 2 (2002): 319–25. http://dx.doi.org/10.1353/mod.2002.0024.

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24

Ramin, Zohreh, and Monireh Arvin. "The Validity of Hybridity in Derek Walcott’s A Branch of the Blue Nile." Journal of Language Teaching and Research 9, no. 1 (January 1, 2018): 97. http://dx.doi.org/10.17507/jltr.0901.12.

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With A Branch of the Blue Nile (1983) Derek Walcott makes a strong statement for the validity of a hybrid West Indian culture. He portrays the relation between European, specifically English, as well as American and African culture as one that should not be marked by a hierarchy, placing the central culture and languages at the top and African or mixed cultures/languages at the bottom. Walcott’s strategy here is to show that the so–called standards, Shakespeare’s ‘classical’ plays and their language are already of a hybrid nature, and any attempt to characterise them as homogenous entities and preserve them as such may ultimately result in their inertness. What threatens a civilisation or culture, according to Walcott, is not some form of hybridity, but rather the closing off or preservation of artistic forms from other foreign influences because it makes these artistic forms incapable of interacting with the surrounding cultural environment. The authors of this paper while appreciating all the orchestrated bonus of the existing relevant criticisms on hybridity towards Walcott’s A Branch of the Blue Nile intend to examine the use of Bakhtinian notions with regard to language exemplifying Bakhtin’s view of linguistic interanimation and his insights into the “polyglotic” and “heteroglotic” nature of the play. The purpose of this article is to provide the readers with a quest for the formation of Caribbean identity, beyond dualism, through the vernacular. Walcott portrays the vernacular as being capable of voicing the ideas necessary to define one’s identity.
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25

Ramazani, Jahan. "The Wound of History: Walcott's Omeros and the Postcolonial Poetics of Affliction." PMLA/Publications of the Modern Language Association of America 112, no. 3 (May 1997): 405–17. http://dx.doi.org/10.2307/462949.

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The figure of the wound is central to Derek Walcott's Omeros, one of the most ambitious works of postcolonial poetry. Walcott grants a European name to the primary bearer of the wound, the black fisherman Philoctete, who allegorizes African Caribbean suffering under European colonialism and slavery. This surprisingly hybrid character exemplifies the cross-cultural fabric of postcolonial poetry but contravenes the assumption that postcolonial literature develops by sloughing off Eurocentrism for indigeneity. Rejecting a separatist aesthetic of affliction, Walcott frees the metaphoric possibilities of the wound as a site of interethnic connection. By metaphorizing pain, he vivifies the black Caribbean inheritance of colonial injury and at the same time deconstructs the experiential uniqueness of suffering. Knitting together different histories of affliction, Walcott's polyvalent metaphor of the wound reveals the undervalued promise of postcolonial poetry.
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26

Olaniyan, Tejumola. "Dramatizing Postcoloniality: Wole Soyinka and Derek Walcott." Theatre Journal 44, no. 4 (December 1992): 485. http://dx.doi.org/10.2307/3208770.

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27

Rowell, Charles H. "An Interview With Derek Walcott: Part 1." Callaloo, no. 34 (1988): 80. http://dx.doi.org/10.2307/2931109.

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28

Friedman, Donald. "Derek Walcott discusses his painting and poetry." Interfaces, no. 40 (December 21, 2018): 215–16. http://dx.doi.org/10.4000/interfaces.613.

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29

Dabydeen, David. "Derek Walcott in conversation with David Dabydeen." Wasafiri 19, no. 42 (June 2004): 37–41. http://dx.doi.org/10.1080/02690050408589904.

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30

Bagchee, Shyamal. "Derek Walcott and the “power of provincialism”." World Literature Written in English 27, no. 1 (March 1987): 80–86. http://dx.doi.org/10.1080/17449858708589006.

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31

Hamner, Robert D. "Introduction: Out of the Ordinary, Derek Walcott." Callaloo 28, no. 1 (2005): 1–6. http://dx.doi.org/10.1353/cal.2005.0015.

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32

Savory, Elaine. "Derek Walcott and West Indian Drama (review)." Research in African Literatures 31, no. 1 (2000): 202–5. http://dx.doi.org/10.1353/ral.2000.0034.

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33

Breslow, Stephen. "Derek Walcott: 1992 Nobel Laureate in Literature." World Literature Today 67, no. 2 (1993): 267. http://dx.doi.org/10.2307/40149065.

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34

Uddin, Md Abu Saleh Nizam. "Strengthening the Marginalized from Within: Derek Walcott’s Poetic Mission." IIUC Studies 12 (December 10, 2016): 87–100. http://dx.doi.org/10.3329/iiucs.v12i0.30583.

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Caribbean poet Derek Walcott , in his commitment to the Caribbean and, of course, with artistic excellence, disappointingly finds his nation still confined to marginalization which is self-imposed, though it was colonially imposed during the colonial period. The issues contributing to this self-imposed marginalization, an otherwise colonial legacy, are the exigent factors Walcott’s relentless poetic efforts address. This paper aims at exploring how Walcott ’s unalloyed poetic dedication of epistemological siginificance, with a view to strengthening the Antillean from within, concentrates on the marginalized nation’s unconscious, imprudent and self-centred thoughts and measures in the issues of Caribbean self, tourism, urbanization, governance, literary tradition and uniqueness of literature in a post-colonial context of agressive Euro-American economy and culture.IIUC Studies Vol.12 December 2015: 87-100
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35

GUARNIERI, Felipe. "Traduções de Charles Simic, Derek Walcott, Adam Zagajewski, Frank O’hara, Don Paterson, John Keats, Tamîm Ibn Muqbil." Revista Texto Poético 11, no. 18 (June 4, 2015): 296. http://dx.doi.org/10.25094/rtp.2015n18a414.

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36

Fernández Jiménez, Mónica. "Defying Absolutes and Essentialism in Derek Walcott’s Omeros: An Epic of Traces." Miscelánea: A Journal of English and American Studies 62 (January 25, 2021): 29–47. http://dx.doi.org/10.26754/ojs_misc/mj.20205150.

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Using poststructuralist and postmodern theory, this article analyses the postcolonial epic poem Omeros (1990) by the author Derek Walcott. In using such a genre, Derek Walcott opens up a discussion on the literary canon and the role of epics. The authority of canonical genres is established through the use of some of the epic’s formal conventions in order to be subsequently questioned through the subversion of some others relating to register and perspective. In this way, Walcott establishes a poststructuralist approach to identity which is perceived as fluid, heterogeneous, and subject to transformations. The intertextuality and parody at work in the text bring to light postmodern concerns about history and the past, which are presented as non-absolute traces. In the end, the epic recovery of roots becomes in this poem an invocation of anti-essentialism.
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37

Aiyejina, Funso. "Derek Walcott: The poet as a federated consciousness." World Literature Written in English 27, no. 1 (March 1987): 67–80. http://dx.doi.org/10.1080/17449858708589005.

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38

Zoppi, Isabella Maria. "Omeros, Derek Walcott and the Contemporary Epic Poem." Callaloo 22, no. 2 (1999): 509–28. http://dx.doi.org/10.1353/cal.1999.0111.

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39

Breiner, Laurence A. "Creole Language in the Poetry of Derek Walcott." Callaloo 28, no. 1 (2005): 29–41. http://dx.doi.org/10.1353/cal.2005.0001.

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40

Fumagalli, Maria Cristina. "Morning, Paramin." New West Indian Guide 92, no. 3-4 (December 7, 2018): 245–73. http://dx.doi.org/10.1163/22134360-09203002.

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Abstract In Morning, Paramin (2016), 51 new poems by Derek Walcott are in dialogue with 51 paintings by Peter Doig. Walcott, also an accomplished painter, has often engaged with the visual arts, but this is the first volume in which every poem “cor-responds” to a painting, offering unique opportunities to examine Walcott’s ekphrastic practices and the way in which they might offer alternatives to current paradigms. Rejecting the paradigm of a paragonal struggle for dominance, I will argue that Morning, Paramin is shaped by an ekphrasis of Relation (resonating with Glissant’s poetics of Relation) in which the verbal and the visual interact in complex ways, exercising mutual reclaimings of agency and transformative dialogues that engender new composite works of art governed by a noncompetitive, nonexploitative approach; as otherness is reconfigured, the right to “opacity” is upheld, and each image and word contribute to a whole bigger than the sum of its parts.
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41

Griffiths, Michael R. "“The Fortunate Traveller” in transit: On a Walcott manuscript and the vicissitudes of North and South." Journal of Commonwealth Literature 53, no. 3 (July 18, 2016): 345–62. http://dx.doi.org/10.1177/0021989416638713.

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In the early months of 1980, during revision of a collection that was at that time to be called North and South, Derek Walcott typed a 12 page poem. This poem, I argue, would form the kernel of one that would eventually lend its name — “The Fortunate Traveller” — to the renamed title of the whole collection. Far from the suggestive and sparse, if undeniably political, poem that would be published in that 1981 volume, this early draft reads like a manifesto: both of poetics and of politics. This article takes that unpublished manuscript as a point of departure for thinking through issues of vernacular language and its eschewal, the question of centre and periphery, and Walcott’s avoidance of what would come to be known as “South–South” oriented postcolonial criticism. The article ultimately argues that it is through attention to neoliberalism that Walcott produces a novel approach to these questions of language and space.
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42

Botelho, Marcos Cezar. "POR QUE (DES)LER OS CLÁSSICOS EM OMEROS?" Revista Légua & Meia 2, no. 1 (October 8, 2017): 171. http://dx.doi.org/10.13102/lm.v2i1.1960.

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O artigo discute o romance Omeros de Derek Walcott a partir das seguintes perguntas: É realmente possível falar a respeito de uma poética pós-colonial? Quais são as suas estratégias e perspectivas enunciativas?
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43

Sheoran, Bharatender. "A dilemma of Caribbean Populace: Post-Colonial conflicts and Identity crisis in Derek Walcott’s Plays." SMART MOVES JOURNAL IJELLH 1, no. 5 (February 28, 2014): 6. http://dx.doi.org/10.24113/ijellh.v1i5.3046.

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Today, it is said that the colonial age is over, and the new age is called “postcolonial”. However, the traces of colonialism can still be observed in the postcolonial period, for colonialism opened a big wound in the psychology, culture and identity of the once colonized people. Thus, the major themes in the works written in the postcolonial period have been the fragmentation and identity crisis experienced by the once colonized peoples and the important impacts of colonialism on the indigenous. Nobel Prize laureate Derek Walcott, a victim of colonial legacy has represented these conflicts in reference to Caribbean region with depth and self-evaluation through his writings. In this paper I will examine the identity crisis and fragmentation undergone by West Indians in the postcolonial age with reference to selected works of Derek Walcott.
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44

Baugh, Edward. "Derek Walcott and the Centering of the Caribbean Subject." Research in African Literatures 34, no. 1 (March 2003): 151–59. http://dx.doi.org/10.2979/ral.2003.34.1.151.

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45

Rhee, Young Suck. "The Aesthetics of W. B. Yeats and Derek Walcott*." Yeats Journal of Korea 11 (September 30, 1999): 159–75. http://dx.doi.org/10.14354/yjk.1999.11.159.

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46

Phillips, R. R. "Derek Walcott: Imagination, Nation and the Poetics of Memory." Small Axe: A Caribbean Journal of Criticism 6, no. 1 (January 1, 2002): 112–32. http://dx.doi.org/10.1215/-6-1-112.

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47

Baugh, Edward. "Derek Walcott and the Centering of the Caribbean Subject." Research in African Literatures 34, no. 1 (2003): 151–59. http://dx.doi.org/10.1353/ral.2003.0003.

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48

Anthony, Patrick A. B. "Derek Walcott ou le divin au cœur des ténèbres." Pierre d'angle 6 (2000): 109–22. http://dx.doi.org/10.5840/pda200069.

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49

Stephens, Jessica. "Traduire une nouvelle langue : emprunts et néologie chez Derek Walcott." Palimpsestes, no. 25 (October 12, 2012): 167–81. http://dx.doi.org/10.4000/palimpsestes.1812.

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50

Keita, Aminata. "Édouard Glissant et Derek Walcott : une vision fragmentée de l’histoire." Itinéraires, no. 2009-2 (July 1, 2009): 33–46. http://dx.doi.org/10.4000/itineraires.246.

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