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Choi, Sze-wai Tony. "A study of tense and aspect in Caryl Phillips crossing the river." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21161525.
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Le, François Frédéric. "Figures de l'exil dans l'œuvre de Caryl Phillips." Antilles-Guyane, 2008. http://www.theses.fr/2008AGUY0247.
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Consacrée à l’œuvre de l’écrivain anglo-caribéen Caryl Phillips, cette thèse met en relation ses textes autobiographiques, dramatiques et romanesques. Nous avons voulu montrer comment le sentiment d’appartenir a deux cultures différentes pouvait influer sur son écriture. Notre corpus est constitue de trois pièces de théâtre et de trois romans, rapproches de plusieurs textes autobiographiques – nouvelles et interviews. En croisant l’approche psychocritique et la sociocritique, nous avons cherche à identifier le principe essentiel de ce qu’il conviendrait d’appeler la « poétique de l’exil » de Phillips. Le fondement de cette esthétique dramatique et romanesque résiderait dans une irrésistible sympathie pour le sujet postcolonial en situation d’entre-deux, et pour le dialogue interculturel. Cette orientation se traduit par la récurrence de personnages théâtraux et romanesques, figures obsédantes de l’exil, qui reflètent l’anxiété fondamentale habitant la « double conscience » de l’écrivain. L’intérêt pour la condition du migrant et de l’exile s’observe encore a travers les choix thématiques et stylistiques qui caractérisent son écriture. Ainsi, les pièces de théâtre étudiées donnent a voir le spectacle émouvant du dilemme identitaire black british. Dans ses romans, Phillips développe la thématique de l’exil dans un contexte géoculturel plus diversifie, tout en approfondissant la réflexion sur la question de l’appartenance déjà entamée dans ses pièces théâtrales. Il existe des passerelles entre les œuvres théâtrales et romanesques, car l’œuvre phillipsienne est structurée autour de la notion de roman familial, et traduit un désir de reconstituer une unité familiale briséeThis thesis is dedicated to the work of the black british writer Caryl Phillips. We contend that there is a strong link between his novels, plays and autobiographical texts. To this end, we have tried to show that the feeling of double belonging is at the heart of the aesthetics that informs most of his fiction. Our corpus consists of three novels and three stage plays that are constantly related to diverse autobiographical texts. By combining conceptual tools proper to psychoanalysis and textual sociology, we endeavoured to bring to light the essential principle of what might be called Phillips’ “poetics of exile”. At the core of his dramatic and fictional aesthetics lies a compulsive interest for the postcolonial subject marked by in betweenness and by cross-cultural dialogism. This orientation can be observed through the recurrence of obsessing exilic figures found in a large array of fictional characters. It reflects the “high anxiety of belonging” deeply rooted in the writer’s “double conscience”. The sympathy for the migrant and the exiled also appears in the thematic and stylistic choices that give such a peculiar character to Phillips’ writing. Thus, the plays under study offer the moving spectacle of the black british dilemma. In his novels, the writer studies the theme of exile in different geographical and cultural contexts, while examining in more detail the question of belonging that he already had tackled in his plays. We have proven that there is always a relationship between Phillips’ plays and novels since his fiction hinges on a “family novel”, and reflects his desire to reconstitute a broken family unit
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Pedreira, Márcia. "Vozes narrativas em A Distant Shore de Caryl Phillips." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-04122008-173328/.
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Através do manejo do foco narrativo,dentre outros recursos literários, o Autor alterna e entrelaça narrativas de experiências de personagens oriundas de formações culturais diferentes com a representação do pensamento de cada uma delas sobre o passado, sobre si, sobre o outro e sobre vários espaços em que atuam. Esses espaços se revelam incongruentes com a idéia de um mundo sem fronteiras conforme se apregoa na modernidade tardia. O objetivo desta tese é discutir como aspectos do real histórico e do real psicológico nos tempos em que vivemos se sedimentam na forma deste romance contemporâneoThrough shifts in point-of-view, among other literary resources, the Author alternates and intertwines narratives of the experiences of two characters from contrasting cultural formations with narratives of their thoughts about the past, themselves, each other and the various settings in which they act. These spheres are rendered as incongruent with the idea of a world without borders, so often celebrated in late modernity. The aim of this thesis is to discuss how elements of present-day historical and psychological experience solidify in the form of this particular contemporary novel
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Choi, Sze-wai Tony, and 蔡詩偉. "A study of tense and aspect in Caryl Phillips crossing the river." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31951934.
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Takors, Jonas. "Caryl Phillips' "Foreigners: Three English Lives" als kollektive Biographie des schwarzen Britannien." [S.l. : s.n.], 2008. http://nbn-resolving.de/urn:nbn:de:bsz:25-opus-60128.
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Lin, Ching-huan. "Imagining Europe in selected works by Caryl Phillips, Ian McEwan and Kazo Ishiguro." Thesis, University of Leeds, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.595845.
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This thesis aims to explore the changing imagination of post-war Europe in contemporary British literary works by Caryl Phillips, Ian McEwan and Kazuo Ishiguro. It suggests that these authors, rather than exploring Britain's relationship with Europe defensively, show British national identity to be deeply ingrained with a consciousness of Europe. Recognising the demand for new cognitive maps of Europe after the end of the Cold War, Phillips, McEwan and Ishiguro see that new modes and models of European identity are needed at a time when memories of the overlapping histories of racism, dehumanisation and violence are being collectively refashioned, and when European self-understandings are being reorganised in the twentieth-century contexts of decolonisation and globalisation. The thesis demonstrates that these writers' works not only deal with the British Empire and its aftermath, with the traumatic experiences of two world wars, and with the domestic tensions of multiculturalism and ethnic conflict; they also reflect critically on ongoing processes of European expansion and integration. Situated within a longstanding tradition of Europe as an idea or ideal characterised by ambivalence and driven by a cosmopolitan ethos, the thesis looks at Phillips's, McEwan's and Ishiguro's respective representations of an imagined Europe, using qualifying adjectives-'black', 'double', 'cosmopolitan'-to set universal ideals against the open wounds of history, unmet demands for justice, and the realities of uneven power. These three connecting strands emphasise the need for a cosmopolitan worldview that takes full responsibility for humanity, both in the Europe of the past and the Europe of the present. In examining the idea or ideal of Europe from the vantage point of Britain, the thesis contributes towards the further understanding of a troubled continent, demonstrating the salience of otherness to its necessarily unresolved vision of itself
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Lam, Law-hak, and 林羅克. "Constructions of black identity in the works of Toni Morrison and Caryl Phillips." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31952070.
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Lam, Law-hak. "Constructions of black identity in the works of Toni Morrison and Caryl Phillips." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21161434.
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Ranguin, Josiane. "Fonction scopique et investigation du réel anglo-caribéen dans l’oeuvre de Caryl Phillips." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCD043.
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Dans cette recherche intitulée « Fonction Scopique et Investigation du Réel Anglo-Caribéen dans l’OEuvre de Caryl Phillips », il s’agit de suivre le développement de l’oeuvre de Caryl Phillips qui se déploie à partir du sentiment d’extranéité né d’un sentiment de dissociation ressenti dès l’enfance. Les scènes fondatrices sont celles de la remise en cause par l’autorité visualisante de son appartenance à la nation en tant qu’Anglo-Caribéen, puis adolescent, de la découverte de l’antisémitisme et de la possibilité du génocide au cœur même de l’Europe. Elles sont suivies de l’apprentissage volontariste de la culture caribéenne durant ses années d’études à Oxford, de sa découverte de la littérature afro-américaine aux Etats-Unis, et d’un voyage à travers l’Europe entant qu’Anglo-Caribéen, expériences qui vont fixer les trois pôles de la triade à partir de laquelle se déploie l’oeuvre de cet écrivain également dramaturge. La source de la pulsion d’écrire serait donc à trouver dans un sentiment de différence ontologique naissant de l’appréhension du soi essentiellement scopique, vécue comme anxiogène. Le sentiment d’extranéité trouve sa source dans la discrimination et l’angoisse d’appartenance qu’elle déclenche. Elle remet en cause le vécu en toute plénitude de l’être, et les bases de l’inclusion sociale de l’enfant et de l’adolescent. L’oeuvre se déploie de manière constructiviste et spiralée à partir de l’exploration des regards croisés que nous classerons selon cinq thématiques qui rassemblent les principaux fils de cet écheveau, éclairés par cinq films servant de contrepoint au discours de l’auteur. Une intention didactique existe au cœur de l’écriture de Caryl Phillips qui procède de la remédiation historique, et tente de faire voir au lecteur toute la complexité humaine sans volonté de jugement. Alors que l’esthétique fait épouser à la structure de ses écrits le bouleversement des vies diasporiques, et met à l’épreuve les capacités du lecteur à discerner le programme de création de chacun de ses ouvrages, le souci éthique de l’auteur est de redonner le droit de regard, le droit à la compassion, et le droit d’être compris à tous ceux et celles qui se voient nier le droit d’appartenir pleinement au monde qu’ils habitentThe purpose of this work is to follow the development of Caryl Philips’s work from a feeling of unbelonging finding its root in the experience of being dissociated from his peers at an early age through systemic visualizing.Founding scenes show how the author as an Anglo-Caribbean child is denied his Englishness and how he discovers as a teenager the possibility of genocide at the heart of Europe. These experiences will be part of the foundation of his anxiety of belonging. A determined exploration of Caribbean culture, of African-American writing and an investigation of the European gaze on the Anglo-Caribbean person he is, will determine the three strands with which will be woven the increasing spiraling scope of his work.The writing impulse is then born out of an ingrained feeling of dissociation created by the alarming discriminating gaze which forfeits the inclusion of the Anglo-Caribbean child and questions the fulfillment of his human potential in all its plenitude.We will argue that the work develops along a constructivist and spiraling approach from an exploration of comparative views. Novels, plays and essays will be observed along five thematic lines which will start with a short analysis of five corresponding cinematographic works acting as a counterpoint to the author’s stance. There is a didactic intention in the writing which proceeds from historical remediation and aims at making the reader see the whole human complexity, encouraging the willing suspension of blaming. While aesthetic concerns model the structure of his works on the fractured lives he is exploring, and challenge the cognitive capability of the reader to discern the patterns of production of each of his works, the ethical demand evinced by Caryl Phillips’s work is to give the scrutiny right, the right to be understood, and the right to compassion back to those who see their right to fully belong to the world they inhabit denied
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Ward, Abigail Lara. "Representing slavery in selected works of Caryl Phillips, David Dabydeen and Fred D'Aguiar." Thesis, University of Leeds, 2006. http://etheses.whiterose.ac.uk/11274/.
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This thesis explores how the authors Caryl Phillips, David Dabydeen and Fred D' Aguiar represent Britain's involvement in the transatlantic slave trade in their recent fiction, poetry and non-fictional works. My approach is enabled by the novel engagements I make across postcolonial, poststructuralist and Holocaust theory, and my readings are also informed by a close attention to the history of Britain's involvement in slavery between the mid-sixteenth and mid-nineteenth centuries. I explore each author's imaginative return to slavery in the late twentieth and early twentyfirst centuries, and the diverse problems experienced by Phillips, Dabydeen and D' Aguiar in so doing. I contend that three central concerns in returning to this past are: the history of slavery, the ethics of representing the trade, and the difficulty of how to remember slavery. In my first chapter, I explore Phillips's interest in, and concerns with, the historical archive and the voices missing from received history. In my second chapter, I discuss Dabydeen's struggle with the ethics of representing slavery and the problems of articulating this past. The third chapter focuses on the work of D' Aguiar, foregrounding his difficulties with the memory of slavery and the importance of counter-remembrance of this past. The UK's involvement in slavery has often been overlooked by historians or, when remembered, the focus tends to fall upon Britain's abolitionists; these authors arguably write partly in response to this inadequacy. To this end, this thesis is divided into three chapters: one on each of my primary authors. These chapters are preceded by a general introduction to the ethical, creative, historical and theoretical issues surrounding an imaginative return to the past of British slavery. I conclude by exploring the divergence and convergence of these varying issues in the works of Phillips, Dabydeen and D' Aguiar. Ultimately, this thesis asserts that imaginatively returning to the past of slavery" is all too necessary when faced with the struggle of multiculturalism in late-twentieth and early twenty-first-century Britain.
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Pirker, Eva Ulrike. "Erinnerung in Caryl Phillips' Romanen der Neunzigerjahre Cambridge, Crossing the River, The Nature of Blood /." [S.l. : s.n.], 2004. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11078316.
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van, Bever Donker Vincent. "Ethics and recognition in postcolonial literature : reading Amitav Ghosh, Caryl Phillips, Chimamanda Adichie and Kazuo Ishiguro." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:368d90cc-f186-4e26-a749-64b717758320.
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This thesis undertakes a critical study of ethics in the postcolonial novel. Focusing on four authors, namely Amitav Ghosh, Chimamanda Adichie, Caryl Phillips, and Kazuo Ishiguro, I conduct a comparative analysis of the ethical engagement offered in a selection of their novels. I argue that the recognitions and related emotional responses of characters are integral to the unfolding of these novels’ ethical concerns. The ethics thus explored are often marked by the complexity and impurity characteristic of the tragic – an impurity which is productively thought together with Jacques Derrida’s understanding of “radical evil”. I arrive at this through deploying an approach to ethics in the postcolonial novel that is largely drawn from the work of Martha Nussbaum, David Scott, and Terence Cave. This approach is attentive to both the particular contexts in which the novels’ ethical concerns unfold, as well as the general ethical questions in relation to which these can be understood. Crucial to this is the concept of anagnorisis, that is, the recognition scene. Functioning as both a structural and a thematic element, it serves as a hinge between the general and the specific ethical considerations in a novel. There are three ethical themes that I consider across the thesis: the ethics of remembrance, the human, and religion. The works of these four authors cluster around these concerns to differing degrees and with differing perspectives. What emerges is that while each engagement is focused on the particular details that the novel represents, the range of perspectives can nevertheless be productively read alongside one another as interventions into these general concerns. Following from this I also conclude that as a suitable, if not privileged, form in which to engage questions of the ethical, the postcolonial novel hosts the ethical difficulty that I name as the tragic, and which is characterised by the term radical evil.
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Bakkenberg, Mikael. ""Crossing the River" : the complexity of colonialism and slavery." Thesis, Högskolan i Gävle, Akademin för utbildning och ekonomi, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-8538.
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Caryl Phillips’s novel Crossing the River deals with European colonialism and the consequences of it. Crossing the River is a novel which embraces characters from colonized cultures as well as characters from colonizing cultures. Following a timeline that begins in 1752 and ends in 1963, the novel shows slavery in progress as well as what transpires in the aftermath of slavery In this essay I will argue that Caryl Phillips demonstrates the complexity of colonialism and slavery in his novel Crossing the River; he approaches the two concepts from different perspectives and shows us that colonialism and slavery are complicated concepts. Caryl Phillips uses narrative to demonstrate the negative sides of colonialism and slavery, to show that the negative aspects of the two concepts can affect not only the colonized people but also the colonizing people. Colonialism, in its traditional sense, is present in some of the novel’s episodes but slavery, in different forms, appears in all episodes. Nevertheless, all episodes in Crossing the River have a common origin; which Phillips reminds us about by using the relationship between plot and story. Diversity is an important theme in the novel. From a narrative perspective, Crossing the River has a diversity of narrators who tell their stories as well as other persons’ stories. There are female narrators as well as male ones; some narrators are known while other narrators are unknown. The ways the episodes are told are diversified. Some of the episodes follow a chronological line (“The Pagan Coast” and “Crossing the River”) while other episodes jump back and forth in time (“West” and “Somewhere in England”). The forms of narration are diversified, not only between the individual episodes but also within some of the episodes. Crossing the River plays with diversity in several layers. The structure of the novel is as diversified as the number of narrators, a diversity of ways of dealing with the main themes results in a diversity of fates for Phillips’s characters. Caryl Phillips combines structure with content to demonstrate that colonialism and slavery are problematic concepts: the negative consequences of the two concepts can, in different ways and in different degrees, affect colonized people as well as those responsible for colonialism.
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Mill, Solveig. "Artikulationen kultureller Differenz und Transdifferenz in anglo-karibischen Romanen der Gegenwart : Caryl Phillips, Paule Marshall, Pauline Melville /." Hamburg : Kovac, 2009. http://www.verlagdrkovac.de/978-3-8300-4190-0.htm.
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Sjöö, Emilie. "Lost (and Returned) in Africa : a Juxtaposition of Joseph Conrad’s Mr Kurtz and Caryl Phillips’ Nash Williams." Thesis, University of Gävle, Department of Humanities, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-7545.
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The aim of this essay is to investigate the attitudes and assumptions made about Africa in Joseph Conrad’s Heart of Darkness and Caryl Phillips’ Crossing the River from a postcolonialist perspective. In this context, the main two characters Mr Kurtz and Nash Williams are given specific critical attention. On the surface, these characters share similar destinies, but when examining them more closely it becomes apparent that they do not. The critical model used is taken from Edward Said’s notion of the binary division between the East and the West. Thematically, both novels address the issue of the ‘other’, the unknown qualities of other races and other cultures, the Western world’s construct of what separates us from them. The analysis shows that Conrad’s Heart of Darkness is a scathing late nineteenth-century critical account of the imperialist forces behind Europe’s colonization of Africa, but does not succeed in depicting the Africans as a people worthy of respect. Phillip’s Crossing the River, on the other hand, clearly avoids stereotypes. Instead, it is an account of how humans, regardless of race or sex, have hurt each other through the slave trade. Furthermore, the juxtaposition of Mr Kurtz and Nash Williams shows that while Mr Kurtz loses himself in Africa, engrossed in the hunger for money and power, Nash Williams actually finds his identity when he is freed of the metaphorical shackles put on him by the white man.
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Mill, Solveig. "Artikulationen kultureller Differenz und Transdifferenz in anglo-karibischen Romanen der Gegenwart Caryl Phillips, Paule Marshall, Pauline Melville." Hamburg Kovač, 2008. http://d-nb.info/996953515/04.
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Silvestre, Nelci Alves Coelho. "O jogo das máscaras : uma análise sobre a (perda da) identidade em Dançando no escuro, de Caryl Phillips." Universidade Estadual de Londrina. Centro de Letras e Ciências Humanas. Programa de Pós-Graduação em Letras, 2015. http://www.bibliotecadigital.uel.br/document/?code=vtls000199346.
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Nossa pesquisa tem como proposta uma análise da obra Dançando no Escuro (Dancing in the Dark), oitavo romance de Caryl Phillips, publicado na Grã-Bretanha, no ano de 2005 e traduzido para o português por Francesca Angiolillo, em 2007. O romance apresenta Bert, um negro caribenho que vivencia a diáspora (deslocamento do Caribe para os Estados Unidos) e o racismo institucionalizado e apoiado pela lei nos EUA do início do século XX, mesmo assim tornando-se um artista de destaque na época em que viveu. Sua vida ficcional e histórica parece evidenciar um jogo de máscaras (blackface o uso de pinturas negras sobre a face para representar negros estereotipados) e a perda da identidade, ocultada tanto pela máscara física quanto pela máscara social. Assim, o objetivo geral da investigação é analisar o sujeito fragmentado no romance, observando os movimentos narrativos, históricos e psicológicos que deflagraram essa fragmentação. Para tanto, analisamos a condição do negro caribenho na sociedade estadunidense, investigando sua representação e resistência ao racismo; buscamos verificar também as estratégias de resistência à marginalização e o revide discursivo contra o racismo. Mediante essas questões, defendemos a tese de que Caryl Phillips, ao contar ficcionalmente a trajetória de Bert Williams, faz uma recodificação do negro no início do século XX nos EUA, não só prestando uma homenagem ao Bert histórico como também tecendo uma crítica tanto à ideologia e ao modo de convivência na sociedade estadunidense quanto às relações raciais em geral, do ponto de vista do marginalizado, pois transforma a vida de um cômico em uma tragédia e representa uma época cheia de contradições. Outro ponto defendido em nossa análise é que, apesar de demonstrar a perda de identidade de um homem negro, o Bert ficcional, além de restabelecer um Bert Williams histórico desacreditado e que, na ideia dos intelectuais da época, reforçava os estereótipos, Phillips o coloca paradoxalmente como um agente iniciador dos movimentos artísticos negros atuais que se espalharam pelo mundo. Frente a esses apontamentos, dividimos nosso trabalho em três capítulos. No primeiro capítulo, discorremos sobre os aspectos políticos e históricos no contexto do romance, de grande importância para a compreensão dos aspectos abordados pela narrativa. No segundo capítulo, trabalhamos com máscaras e ocultação da identidade, a partir de uma retomada histórica e simbólica sobre o que é a máscara e como seus sentidos vão permeando o romance e o mostrar-se e esconder-se da personagem Bert. No terceiro capítulo, realizamos uma pesquisa sobre os reflexos da colonização, tais como a diáspora, o racismo, o binarismo e os aspectos que eles englobam, para contextualizar e esclarecer os aspectos identitários que constroem a personagem e sua angústia. A análise evidenciou que a tese proposta se comprova, pois, ao problematizar o binarismo, Caryl Phillips restabelece o papel e a importância não apenas do artista negro, Bert Williams, mas de todos os negros para a formação da sociedade estadunidense, tanto daquele período quanto atualmente por meio de heranças como o jazz, o blues, a poesia, entre outros aspectos de formação identitária.Current research comprises an analysis of the eighth novel by Caryl Phillips called Dancing in the Dark, published in the UK in 2005 and translated into Portuguese by Francesca Angiolillo in 2007. The novel introduces Bert, a Caribbean Negro who experiences diaspora (the displacement from the Caribbean to the US) and institutionalized racism foregrounded by law in that country in the early 20th century. In spite of great disadvantages, he becomes a renowned artist during his life. His fictional and true story seems to put into relevance a play of masks (blackface the use of dark paints on the face to represent stereotyped Negroes) and the loss of identity underlying the physical and social masks. The general aim of current investigation is the analysis of the fragmented subject in the novel, with special reference to narrative, historical and psychological events that reveal the fragmentation. The conditions of the Caribbean Negro in US society are analyzed coupled to an investigation on their representation and resistance to racism. Resistance strategies against marginalization and the discursive counter-attack on racism are also underscored. We therefore hold that, when Caryl Philips fictionally retells the life history of Bert Williams, he recodes the Negro in the US in the early 20th century. Coupled to a homage to the historical Bert Williams, the author forwards a critique against the ideology and the life-style in US society with regard to racism in general from the point of view of marginalized people. In fact, he transforms the life of a comedian into tragedy through the representation of an era full of contradictions. Another aspect in current analysis focuses on the loss of identity of the Negro: when the author places the fictional Bert on the stage of life, he does not merely establishes a slurred historical Bert Williams reinforcing stereotypes of the époque´s elite society but paradoxically installs him as an agent who triggers current Negro artists´ movement disseminated through the world. The thesis is divided into three chapters. The first chapter describes the political and historical aspects within the novel´s context. Their relevance lies in the aspects taken up by the narrative. The second chapter includes masks and the occultation of identity given through a historical and symbolic review of the nature of masks and their meanings. They pervade the novel throughout and the hide-and-appearance of the fictional Bert. The third chapter researches items of colonization comprising diaspora, racism, binarism and other aspects that contextualize and elucidate the identity that constructs the character and his angst. Analyses show that the hypothesis is sustainable. When Phillips problematizes binarism, he establishes the role and the importance of the Negro artist Bert Williams but also of all Negroes within the formation of US society of that and of the contemporary period through the heritage of jazz, blues, poetry which make up identity formation.
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Hawkins, Christiane. "Historiographic Metafiction and the Neo-slave Narrative: Pastiche and Polyphony in Caryl Phillips, Toni Morrison and Sherley Anne Williams." FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/741.
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The classic slave narrative recounted a fugitive slave’s personal story condemning slavery and hence working towards abolition. The neo-slave narrative underlines the slave’s historical legacy by unveiling the past through foregrounding African Atlantic experiences in an attempt to create a critical historiography of the Black Atlantic. The neo-slave narrative is a genre that emerged following World War II and presents us with a dialogue combining the history of 1970 - 2000. In this thesis I seek to explore how the contemporary counter-part of the classic slave narrative draws, reflects or diverges from the general conventions of its predecessor. I argue that by scrutinizing our notion of truth, the neo-slave narrative remains a relevant, important witness to the history of slavery as well as to today’s still racialized society. The historiographic metafiction of the neo-slave narrative rewrites history with the goal of digesting the past and ultimately leading to future reconciliation.
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Chan, Wing-chun Julia. "Towards an aesthetics of cliché cultural recycling and contemporary fiction /." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B42182311.
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Tait, Michelle Louise. "Navigating terragraphica : an exploration of the locations of identity construction in the transatlantic fiction of Ama Ata Aidoo, Paule Marshall and Caryl Phillips." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71769.
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Thesis (MA)--Stellenbosch University, 2012.ENGLISH ABSTRACT: Seeking to navigate and explore diasporic identity, as reflected in and by transatlantic narrative spaces, this thesis looks to three very different novels birthed out of the Atlantic context (at different points of the Atlantic triangle and at different moments in history): Our Sister Killjoy or Reflections from a Black-eyed Squint (1977) by Ama Ata Aidoo, The Chosen Place, The Timeless People (1969) by Paule Marshall and Crossing the River (1993) by Caryl Phillips. Recognising the weight of location – cultural, geographic, temporal – on the literary construction of transatlantic identity, this thesis traces the way in which Aidoo, Marshall and Phillips use fictional texts as tools for grappling with ideas of home and belonging in a world of displacement, fracture and (ex)change. Uncovering the impact of roots, as well as routes (rupta via) on the realisation of identity for the diasporic subject, this study reveals and wrestles with various narrative portrayals of the diasporic condition (a profoundly human condition). Our Sister Killjoy presents identity as inherently imbricated with nationalism and pan-Africanism, whereas The Chosen Place presents identity as tidalectic, caught in the interstices between western and African subjectivities. In Crossing the River on the other hand, diasporic identification is constructed as transnational, fractal and perpetually in-process. This study argues that in the absence of an established sense of terra firma the respective authors actively construct home through narrative, resulting in what Erica L. Johnson has described as terragraphica. In this way, each novel is perceived and explored as a particular terragraphica as well as a fictional lieux de mémoire (to borrow Pierre Nora’s conception of “sites of memory”). Using the memories of transatlantic characters as (broken) windows through which to view history, as well as filters through which the present can be understood (or refracted), are techniques that Aidoo, Marshall and Phillips employ (although, Aidoo’s use of memory is less obvious). Tapping into various sites of memory in the lives of the fictional characters, the novels themselves become mediums of remembering, not as a means of storing facts about the past, but for the ambivalent purpose of understanding the impact of the past on the present.
AFRIKAANSE OPSOMMING: In ’n poging om diasporiese identiteit te karteer en te ondersoek, betrek hierdie verhandeling drie uiteenlopende romans wat in die Atlantiese konteks, naamlik vanuit die verskillende hoeke van die Atlantiese driehoek en verskillende geskiedkundige Atlantiese momente, ontstaan het. Die drie romans sluit in: Our Sister Killjoy or Reflections from a Black-eyed Squint (1977) deur Ama Ata Aidoo, The Chosen Place, The Timeless People (1969) deur Paule Marshall en Crossing the River (1993) deur Caryl Phillips. Deur die belangrikheid van plek – kultureel, geografies en temporeel – in die literêre konstruksie van transatlantiese identiteit, te beklemtoon, spoor hierdie verhandeling die manier waarop Aidoo, Marshall en Phillips fiktiewe tekste aanwend na om sin te maak van idees oor tuiste en geborgenheid in ’n wêreld van verdringing, skeuring en (ver)wisseling. Deur die impak van die oorsprong op, asook die weg (rupta via) na, die verwesenliking van identiteit vir die diasporiese subjek te toon, onthul en worstel hierdie tesis met verskeie narratiewe uitbeeldings van die diasporiese toestand (’n toestand eie aan die mens). Our Sister Killjoy stel identiteit as inherent vermeng met nasionalisme en pan-Afrikanisme voor, terwyl The Chosen Place identiteit as tidalekties uitbeeld – vasgevang tussen westerse en Afrika-subjektiwiteite. In Crossing the River word diasporiese identifisering egter gekonstrueer as transnasionaal, fraktaal en ewigdurend in ’n proses van ontwikkeling. Hierdie studie voer verder aan dat die onderskeie skrywers tuiste aktief deur narratief konstrueer in die afwesigheid van ’n gevestigde bewustheid van terra firma, of onbekende land of plek. Die gevolg is ’n voortvloeiing van wat deur Erica L. Johnson beskryf word as terragraphica. Vervolgens word elk van die romans gesien en verken as ’n spesifieke terragraphica asook ’n fiktiewe lieux de mémoire, gegrond in Pierre Nora se konsep “sites of memory”. Die benutting van transatlantiese karakters se herhinneringe as (gebreekte) vensters waardeur die geskiedenis bespeur kan word en filters waardeur die hede verstaan (of gerefrakteer) kan word, is die tegnieke wat Aidoo, Marshall en Phillips aanwend – alhoewel Aidoo se gebruik van geheue minder ooglopend is. Deur verskeie terreine van geheue in die lewens van die fiktiewe karakters te betrek, ontwikkel die romans tot mediums van onthou, nie in die sin van feite van die verlede wat gestoor word nie, maar met die dubbelsinnige doel om die impak van die verlede op die hede te verstaan.
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Woods, David. "The Giving Up of Greer: The Hypocrisy at the Heart of the Janus-Faced Empire : Writing Back Against the British Imperial Discourse." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-35862.
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The aim of this essay is to examine the tension at the heart of the British colonial discourse as it affects the relationship of Travis and Joyce in the chapter "Somewhere in England", in Caryl Phillips's 1993 novel, Crossing the River. The thesis of the essay is that the colonial discourse of the British insists on a racial signifier in the imagined community of the British, and thus resists the idea that a person can be both black and British. The postcolonial analysis shows that it is Joyce's rejection of the national discourse along with the displacement of Travis from a segregated America into a superficially kinder environment that allows their relationship to develop. Yet, along with Travis's death, the contradictions and hypocrisy of the colonial discourse serve to undermine Joyce's lack of racial prejudice and contribute to her giving up her baby at the end of the war.
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Wike, Sofia. "The Denial of Motherhood in Beloved and Crossing the River : A Postcolonial Literary Study of How the Institution of Slavery Has Restricted Motherhood for Centuries." Thesis, Högskolan i Gävle, Engelska, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-23447.
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The aim of this essay is to explore motherhood in two postcolonial literary works by African American author Toni Morrison and British author Caryl Phillips, who was born in the Caribbean. The essay is based on Morrison’s award winning novel Beloved, which was published in 1987 and was inspired by the escaping African American slave Margareth Garner. It is set just after the American Civil War and the novels deals with the trauma of slavery from the perspective of Sethe, a slave who kills her own daughter to save her from slavery. The second novel on which this essay is based is Caryl Phillips’ novel Crossing the River, which was published 1993 and focused on the African diaspora from different perspectives. Crossing the River is a non-chronological narrative covering four different characters (three African American people and one white slave trader during the eighteenth century). This essay, however, only deals with the last of the four narratives depicting white British Joyce who mothers a child with African American soldier Travis. The hypothesis on which the essay is based is that the institution of American slavery has denied the female protagonists in the two novels, Sethe and Joyce, their maternal selves. The analysis revealed that both women suffer from racial domination, and race, or simply skin color, is what leads to the maternal loss of the two protagonists. Both authors depict the world of the colonizer and the colonized and they address the common pain and guilt shared by black as well as white people.
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Wan, Pauline Gail. "Female trauma and memory in constructions of black identity." Thesis, Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21510969.
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Faulkner, Marie-France. "Belonging-in-difference : negotiating identity in Anglophone Caribbean literature." Thesis, Anglia Ruskin University, 2013. http://arro.anglia.ac.uk/294464/.
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Through the critical discourse analysis of Anglophone Caribbean literature as a polyrhythmic performance, this research sets out to examine the claim that, in a world in a state of constant flux, emerging Caribbean voices are offering a challenging perspective on how to negotiate identity away from the binary constructs of centre and margin. It argues that the Caribbean writer, as a self-conscious producer of alternative discourses, offers an innovative and transcultural vision of the self. This research consists of three stages which integrate critical discourse and literary analysis with colonial/postcolonial and socio-cultural theories. Firstly, it investigates the power of language as an operation of discourse through which to apprehend reality within a binary system of representation. It then examines how the concept of discourse, as a site of contestation and meaning, enables the elaboration of a Caribbean counter-discourse. Finally, it explores the role, within the Caribbean text, of literary techniques such as narrative fragmentation, irony, dialogism, intertextuality, ambivalence and the carnivalesque to challenge, disrupt the established order and offer new perspectives of being. My study of Anglophone Caribbean texts highlights the power of language and the authority of the ‘book’ as subtle, insidious tools of domination and colonisation. It also demonstrates how, by allowing hitherto marginalised voices to write themselves into being, Caribbean writers enable linear narratives and monolithic visions of reality to be contested and other perspectives of understanding and of meaning to be uncovered. It exposes the plurality and the interweaving of discourses in the Caribbean text as a liberating, dynamic force which enables new subject positions and realities to emerge along the lines of similarity and difference. At a time when the issue of identity is one of the central problems in the world today, the research argues that this celebration of the plural, the fluid and the ambivalent offers new ways of being away from the stultifying perspective of essentialist forms.
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Holmlind, Ann-Louise. "The Adopted Daughter of Africa : A Close Reading of Joyce in Crossing the River from Postcolonial and Feminist Perspectives." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-35935.
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Abstract The aim of this essay is to explain why Caryl Phillips presents Joyce as "the adopted daughter of Africa" at the end of Crossing the River (1993). This will be done by performing a close reading. This essay will focus on Joyce’s actions and behaviour. Aspects of feminism and postcolonial theory will act as the theoretic basis for the analysis. The analysis of Joyce’s character will be put in relation to the whole of Phillips’ “Black Atlantic” narrative and to gender and third wave feminist theories. The analysis will show that Joyce, by breaking racial norms, renouncing her faith, defying her mother, divorcing her husband, and falling in love with Travis, is the person who defines hope in the novel. Her character, together with her son Greer, shows a path to reconciliation between races in the aftermath of colonialism.
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Moudouma, Moudouma Sydoine. "Re-visiting history, re-negotiating identity in two black British fictions of the 21st Century: Caryl Phillips’s A distant shore (2003) and Buchi Emecheta’s The new tribe (2000)." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2120.
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Thesis (MA (English Literature))--University of Stellenbosch, 2009.Notions of home, belonging, and identity haunt the creative minds of fiction writers belonging to and imagining the African diaspora. Detailing the ways in which two diasporic authors “re-visit history” and “re-negotiate identity”, this thesis grapples with the complexity of these notions and explores the boundaries of displacement and the search for new home-spaces. Finally, it engages with the ways in which both authors produce “new tribes” beyond the bounds of national or racial imaginaries. Following the “introduction”, the second chapter titled “River Crossing” offers a reading of Caryl Phillips’s A Distant Shore, which features a black African man fleeing his home-country in search of asylum in England. Here, I explore Phillips’s representation of the “postcolonial passage” to the north, and of the “shock of arrival” in England. I then analyse the ways in which the novel enacts a process of “messing with national identity”. While retracing the history of post-Windrush migration to England in order to engage contemporary immigration, A Distant Shore, I argue, also re-visits the trans-Atlantic slave trade. In the final section, I discuss “the economy of asylum” as I explore the fates of the novel’s two central characters: the African asylum-seeker and the outcast white English woman. My reading aims to advance two points made by the novel. Firstly, that individuals are not contained by the nations and cultures they belong to; rather, they are owned by the circumstances that determine the conditions of their displacement. Phillips strives to tell us that individuals remain the sites at which exclusionary discourses and theories about race, belonging and identity are re-elaborated. Secondly, I argue that no matter the effort exerted in trying to forget traumatic pasts in order to re-negotiate identity elsewhere, individuals remain prisoners of the chronotopes they have inhabited at the various stages of their passages. The third chapter focuses on Buchi Emecheta’s The New Tribe. Titled “Returning Home?”, it explores the implications of Emecheta’s reversal of the trajectory of displacement from diasporic locations to Africa. The New Tribe allows for the possibility of re-imagining the Middle Passage and re-figuring the controversial notion of the return to roots. In the novel, a young black British man embarks on a journey to Africa in search of a mythic lost kingdom. While not enabling him to return to roots, this journey eventually encourages him to come to terms with his diasporic identity. Continuing to grapple with notions of “home”, now through the trope of family and by engaging the “rhetoric of return”, I explore how Emecheta re-visits the past in order to produce new identities in the present. Emecheta’s writing reveals in particular the gendered consequences of the “rhetoric of return”. Narratives of return to Africa, the novel suggests, revisit colonial fantasies and foster patriarchal gender bias. The text juxtaposes such metaphors against the lived experience of black women in order to demythologise the return to Africa and to redirect diasporic subjects to the diasporic locations that constitute genuine sites for re-negotiating identity.
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Krige, Nadia. "Hybridity, the uncanny and the stranger : the contemporary transcultural novel." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1876.
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Thesis (MA (English))--University of Stellenbosch, 2009.ENGLISH ABSTRACT: During the past century, for a variety of reasons, more people have been crossing national and cultural borders than ever before. This, along with constantly developing communication technology, has seen to it that clear-cut distinctions, divisions and borders are no longer as easily definable as they once were. This process, now commonly referred to as ‘globalisation,’ has led to a rising trend of ‘multiculturalism’ and ‘cultural hybridity,’ terms often connected with celebratory views of our postmodern, postcolonial world as a colourful melting pot of cultures. However, what these celebratory views conveniently avoid recognising, is that the increasing occurrence of hybridity places a growing number of people in a painful space inbetween identities where they are “neither just this/nor just that” (Dayal 47), “neither the One… nor the Other… but something else besides” (Bhabha Commitment 41). Perhaps in an effort to combat this ignorance, a new breed of authors – who have experienced the rigours of migration first-hand – are giving voice to this pain-infused space on the periphery of cultures and identities through a developing genre of transcultural literature. This literature typically deals with issues of identity closely related to globalisation and multiculturalism. In my thesis I will be looking at three such novels: Jamal Mahjoub’s The Drift Latitudes, Kiran Desai’s Inheritance of Loss, and Caryl Phillips’ A Distant Shore. These authors move away from an idealistic, celebratory view of hybridity as the effortless blending of cultures to a somewhat disenchanted approach to hybridity as a complex negotiation of split subjectivity in an ever-fracturing world. All three novels lend themselves to a psychoanalytic reading, with subjects who imagine themselves to be unitary, but end up having to face their repressed fractured subjectivity in a moment of crisis. The psychoanalytic model of the split between the conscious and the unconscious, then, resonates well with the postcolonial model of the intrinsically fractured hybrid identity. However, while psychoanalysis focuses on internal processes, postcolonialism focuses on external processes. Therefore, I will be making use of a blend of psychoanalytic and postcolonial concepts to analyse and access discursive meanings in the texts. More specifically, I will use Homi Bhabha’s concept of ‘hybridity’, Freud’s concept of the ‘uncanny’, and Zygmunt Bauman’s concept of ‘the stranger’ as distinctive, yet interconnected conceptual lenses through which to view all three of these transcultural novels.
AFRIKAANSE OPSOMMING: In die afgelope eeu het meer mense as ooit vantevore, om ‘n verskeidenheid redes, lands- en kultuurgrense oorgesteek. Tesame met die voortdurende vooruitgang van kommunikasietegnologie, het dit tot gevolg dat afgebakende grense, skeidings en verskille nie meer so maklik definieerbaar is as wat hulle eens was nie. Hierdie proses, waarna in die algemeen verwys word as ‘globalisering’, het gelei tot die groeiende neiging van ‘multikulturalisme’ en ‘kulturele hibriditeit’. Dit is terminologie wat dikwels in verband gebring word met feestelike beskouings van ons postmoderne, post-koloniale wêreld as ‘n kleurryke smeltkroes van kulture. Wat hierdie feestelike beskouings egter gerieflikheidshalwe verkies om te ignoreer, is die feit dat die toenemende voorkoms van hibriditeit ‘n groeiende aantal mense in ‘n pynlike posisie tussen identiteite plaas waar hulle nòg vis nòg vlees (“neither just this/nor just that” [Dayal 47]), nòg die Een… nòg die Ander is… maar eerder iets anders buiten.. (“neither the One… nor the Other… but something else besides” [Bhabha Commitment 41]). Miskien in ‘n poging om hierdie onkunde die hoof te bied, is ‘n nuwe geslag skrywers – wat die eise van migrasie eerstehands ervaar het – besig om met ‘n ontwikkelende genre van transkulturele literatuur ‘n stem te gee aan hierdie pynlike ‘plek’ op die periferie van kulture en identiteite. Hierdie literatuur handel tipies oor die kwessies van identiteit wat nou verwant is aan globalisering en multikulturalisme. In my tesis kyk ek na drie sulke romans: Jamal Mahjoub se The Drift Latitudes, Kiran Desai se Inheritance os Loss en Caryl Phillips se A Distant Shore. Hierdie skrywers beweeg weg van die idealistiese, feestelike beskouing van hibriditeit as die moeitelose vermenging van kulture na ‘n meer realistiese uitbeelding van hibriditeit as ‘n ingewikkelde vergestalting van verdeelde subjektiwiteite in ‘n verbrokkelende wêreld. Al drie romans leen hulle tot die lees daarvan uit ‘n psigo-analitiese oogpunt, met karakters wat hulself as eenvormig beskou, maar uiteindelik in ‘n krisis-oomblik te staan kom voor die werklikheid van hul onderdrukte verbrokkelde subjektiwiteit. Die psigo-analitiese model van die breuk tussen die bewuste en die onbewuste weerklink welluidend in die post-koloniale model van die intrinsiek verbrokkelde hibriede identiteit. Terwyl psigo-analise egter op interne prosesse toegespits is, fokus post-kolonialisme op eksterne prosesse. Derhalwe gebruik ek ‘n vermenging van psigo-analitiese en post-koloniale konsepte om uiteenlopende betekenisse in die onderskeie tekste te analiseer en hulle toeganklik te maak. Meer spesifiek gebruik ek Homi Bhabha se konsep van hibriditeit, Freud se konsep van die ‘geheimsinnige / onheilspellende’ en Zygmunt Bauman se konsep van ‘die vreemdeling’ as kenmerkende, maar steeds onderling verwante konseptuele lense waardeur aldrie transkulturele romans beskou word.
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Su, Ping, and 苏娉. "Word into image : cinematic elements in Caryl Phillips's fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/197091.
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Caryl Phillips, best known as a novelist, is a versatile writer who has also written for theater, radio, television and film. His experience in writing screenplays has made a considerable impact on the texture, style, technique and structure of his novels, which display either explicitly or implicitly many visual and formal features that resemble the narrative strategies of cinema.
This study explores the many ways in which the cinematic art has influenced Phillips’s writing, focusing specifically on his four major novels: The Final Passage, The Nature of Blood, Dancing in the Dark, and In the Falling Snow. The chapters of this dissertation demonstrate that Phillips’s sustained interest and work in the area of cinema have profoundly shaped his novelistic craft, which is visibly manifested in the form, style and even themes of his fiction. He has used techniques analogous to film substantially in his novels for the purpose of formal experimentation, demonstrating a filmic sensibility that contributes considerably to his uniqueness in theme, characterization and form, enriches the meaning of his texts, and enhances his writing in a great many ways. Thus a reading of his novels in relation to the language and grammar of cinema will lead to a deeper understanding of his fictional art.
This thesis uses cinema as an analytical framework to demonstrate the filmic quality of Phillips’s fiction. Chapter One discusses the dynamic exchanges, interactions, and cross-influences between the novel and film, thus establishing a theoretical context for a cinematic reading of Phillips’s major novels. Chapter Two investigates Phillips’s visual imagination by analyzing how literary equivalents of various camera shots such as long shots, medium shots, close-ups, pan shots, dolly shots, tilt shots, and freeze frames are produced by his use of language. It shows that Phillips visualizes his scenes as if through a camera lens, with medium shots, as a mode of characterization, predominating in his novels and sequences of shots displaying a recurring rhythm created by a continuous switching between the long, medium and short camera-to-object distances. Chapter Three, focusing on the editing processes, examines Phillips’s adaptive use of the different types of montages: quick sequences of brief shots, metaphorical montages, repetitive montages, jump cuts, parallel montages and flashback montages. This chapter demonstrates that the construction of literary montages in Phillip’s works has contributed to the author’s visual, rhythmic and concise language style and the predominance of different montage types in the four novels results in their distinct structural features. Chapter Four studies Phillips’s use of the cinematic devices of lighting, color and sound to illustrate that the three elements are a significant and expressive part of the author’s themes and narrative techniques. The reading of Phillips’s novels in the light of cinematic aesthetics will uncover some of the unexplored aspects of his fictional style, draw attention to those formal patterns that are associated with his literary translation of filmic devices, place him in the tradition of literary modernism, and ensure a fuller appreciation of his artistic achievement.published_or_final_version
English
Doctoral
Doctor of Philosophy
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Doyle, Susan. "Ambiguity and Ambiguous Identities in Caryl Phillips's Crossing the River." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-23161.
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In the first chapter of Crossing the River (1993), Caryl Phillips depicts the dilemma of a fluid identity for the peoples of the African diaspora and their descendants by using ambiguity to simulate feelings of contradiction, liminality and a double consciousness. The first character, Nash Williams, struggles with his cultural identity as an emancipated, black slave and missionary who is repatriated in Africa to convert the pagans of Liberia. A postcolonial reading of Nash’s hybrid position illustrates his experiences of unhomeliness, of religious doubt and realisation in the shortcomings of mimicry. The second character, Amelia Williams is divided by her dual identity as the wife of a slave owning-slave liberator in antebellum America. Via a contrapuntal reading of Amelia as the antagonist of the tale, her hostile manner supports the suggestion that she sought to control the peculiar situation which was threatening her livelihood, depreciating her social status and debasing her imperialist values. Her proslavery standpoint could not, however, be established unequivocally. Nevertheless, both Amelia and Nash are unmistakably troubled by inner conflicts engendered through slavery and polarised ideologies.
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Bürger, Carl Phillip [Verfasser], and Reinhard [Akademischer Betreuer] Diestel. "Fundamental substructures of infinite graphs / Carl Phillip Bürger ; Betreuer: Reinhard Diestel." Hamburg : Staats- und Universitätsbibliothek Hamburg, 2020. http://d-nb.info/1217408959/34.
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Bürger, Carl Phillip Verfasser], and Reinhard [Akademischer Betreuer] [Diestel. "Fundamental substructures of infinite graphs / Carl Phillip Bürger ; Betreuer: Reinhard Diestel." Hamburg : Staats- und Universitätsbibliothek Hamburg, 2020. http://nbn-resolving.de/urn:nbn:de:gbv:18-106855.
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Odenyo, Tanya. "The African Presence and Limits of Double Consciousness in Caryl Phillips's Crossing the River." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-36079.
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Set against the backdrop of the Transatlantic slave trade, Caryl Phillips’s Crossing the River can be read as a novel which explores severed family ties and the intertwined relationship between the dominant and the subdued within the African diaspora. Questions concerning “race”, identity and representation can be traced in all the narratives and are also the focus of this essay. Diasporic identities most often involve a double consciousness, seeing and/or identifying with different perspectives. All of the characters are clearly affected by slavery and/or racism directly or indirectly. This essay will argue that this is evident in all the narratives, using Paul Gilroy’s concept of the Black Atlantic to illustrate this point. However, when it comes to representation and whose voice is heard, Phillips’s choices of focalization have adverse implications for the representation of Africa and Africans. Although the novel explores identities of people of the African diaspora and one of the narratives, “The Pagan Coast”, is set in Liberia, the country remains anonymous, and no African is awarded a voice in that narrative. In his attempt at capturing the essence of African diasporic identities, Phillips has neglected the influence of Africa and Africans.
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Tüllmann, Carl Phillip [Verfasser], and Paul [Akademischer Betreuer] Knochel. "Preparation and applications of new solid organozinc reagents for the functionalization of aromatics, heteroaromatic and alkykynyl compounds / Carl Phillip Tüllmann ; Betreuer: Paul Knochel." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2020. http://d-nb.info/1209472953/34.
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Schatteman, Renee Therese. "Caryl Phillips, J. M. Coetzee, and Michael Ondaatje: Writing at the intersection of the postmodern and the postcolonial." 2000. https://scholarworks.umass.edu/dissertations/AAI9960787.
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This study examines the novels of Caryl Phillips, J. M. Coetzee, and Michael Ondaatje, writers originally from post-colonial countries—St. Kitts, South Africa, and Sri Lanka respectively—who explore the ambivalences engendered by colonialism rather than conforming to a one-dimensional understanding of postcolonial literature which focuses exclusively on the reactionary nature of this type of writing. What enables these writers to transcend the simple binarisms of colonizer and colonized and to concentrate on the ambiguities of the postcolonial condition is their use of postmodern stylistic elements which emphasize complexity and irresolution. Phillips embraces postmodern fragmentation by segmenting his fiction into multiple, often unrelated stories. In opting to juxtapose fragments of stories, Phillips matches his narrative form to his thematic interest in the dislocation experienced by people of the African diaspora. The first chapter examines The Final Passage, Higher Ground, and The Nature of Blood to demonstrate that fragmentation becomes more deeply embedded in Phillips's narrative structure as his novels advance. Coetzee's fiction is reflective of a postmodern aesthetic in its unreliability and indeterminancy. This stylistic feature enables Coetzee to address postcolonial concerns in South Africa where the reliability of any subject position has been undermined by rigid racial divisions. The second chapter analyzes Coetzee's various types of narrative voices: the untrustworthy narrator whose views are clearly objectionable (Dusklands); the unreliable narrator whose perspective is limited (Waiting for the Barbarians); and the unreadable narrator who escapes any certainties (Life & Times of Michael K). The third chapter explores Michael Ondaatje's use of a self-conscious playfulness with language. Ondaatje incorporates magic realism, intertextuality, and a poetic perspective in his novels, which are either situated in one particular setting (In the Skin of a Lion) or in a plurality of locals (The English Patient, to highlight the bizarre and traumatic circumstances that mark the postcolonial experience of exile and to depict the way that his characters' lives tend to be mythic in scale as a consequence. In turning to the intersection of the postmodern and the postcolonial, Phillips, Coetzee, and Ondaatje convey a highly nuanced understanding of postcolonial existence and of the human condition.
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Ursin, Reanna A. "Slavery as a site of memory interracial intersubjectivity in the historical novels of Sherley Anne Williams, Caryl Phillips and Edward P. Jones /." 2006. http://etd.nd.edu/ETD-db/theses/available/etd-12142006-195327/.
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Lin, Yu-Fang, and 林俞方. "African Victimization in Caryl Phillips’s Crossing the River." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/vu36mg.
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碩士國立中正大學
外國語文研究所
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Abstract African victimization plays an important part in Caryl Phillips’s Crossing the River. With his unique fragmented writing style, Phillips retells the slavery history with four different stories in different periods of time and each story shows the African victimization. After the shameful discourse between the African father and the slave trader, the tragic lives of Nash, Martha and Travis can be seen as the continuity of African victimization. Phillips reveals the fact that both the white and the black share the same responsibility of the slavery history. By adopting Benjamin Mendelsohn’s and Hans von Hentig’s victim typology, I discover that these characters separately fall into different victim types according to their situations. Their victimization can be divided into the active victimization and passive victimization based on the sources of victimization. If the oppression comes from the internal thought, it is called active victimization. If the oppression comes from the external world, it is called passive victimization. Nash and Martha belong to the type of active victimization. Travis and the slaves on Hamilton’s slave ship belong to the type of passive victimization. By comparing the passive victimization, I find that Phillips brings up the idea that the white in the racial mix-up family can be the victim, instead of the oppressor. My purpose is to demonstrate that African victimization is not equal to the unwritten rule that the white one-sidedly oppress the black. Through analyzing the types of African victimization, I consider that Phillips points out the importance of humanity which people need in the future. Keywords: Caryl Phillips, Crossing the River, African victimization
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Yang, I. kwei, and 楊一逵. "The Sound of the Black Atlantic: Caryl Phillips’s The Atlantic Sound." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/83857937637510349220.
Full textAbstract:
碩士國立清華大學
外國語文學系
95
This thesis proposes to read Caryl Phillips’s The Atlantic Sound (2000) in light of sound and its transition. The Atlantic Sound has been related to black diaspora, especially in the framework of Paul Gilroy’s The Black Atlantic (1993). As a result, critics often silence the role of sound with sole attention to the politics of belonging. It is ironic that these critics overlook the role of sound while Paul Gilroy highlights it in The Black Atlantic. This thesis suggests that it is misleading for critics merely to highlight the politics of belonging. I propose to use sound as a key to decode, comprehend or appreciate The Atlantic Sound, since its title highlights the “sound” of the Atlantic. Chapter One attempts to place Caryl Phillips in terms of his writing career. The chapter discusses why Caryl Phillips should be significant in our study and suggests placing Caryl Phillips as a black Atlantic writer. Chapter Two considers the sound of pan-African festivals. I trace the sound of Panafest to be strategically performed active in relation to the African homeland. Secondly, I investigate the tunes of these festivals from the feature of their performance. Chapter Three highlights the narrative voice as a figurative device of the Atlantic in each episode. In contrast to the tunes of pan-African festivals, those mnemonic voices are more historically illuminative and locally particular. More importantly, these narrative voices re-negotiate the standard tunes of pan-African festivals and provide a diasporic intimacy to re-map the transatlantic community of black diaspora. The last chapter concludes by offering further perspective on black diasporas. I find the sound of the ship to be related to black Atlantic, framing it with depth, highlighting its engagement with the Burmese labors.