Academic literature on the topic 'Postcolonial intertextuality'
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Journal articles on the topic "Postcolonial intertextuality"
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Feldman, Yael S. "Postcolonial Memory, Postmodern Intertextuality: Anton Shammas's Arabesques Revisited." PMLA/Publications of the Modern Language Association of America 114, no. 3 (May 1999): 373–89. http://dx.doi.org/10.2307/463377.
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This article challenges the interpretive consensus on Anton Shammas's 1986 Hebrew novel Arabesques. A narrow application of theoretical postcolonial constructs (e.g., making the events of 1948 the historical trauma that defines the collective memory of Shammas's narrative) misrepresents the complexity of the text as a whole. Analyzing the limitations of readings based solely on minority-discourse assumptions, the essay offers a counterreading, balancing the postcolonial grid with a postmodernist one. Tracing the novel's screen memories and its most daring (yet well-camouflaged) intertextuality opens up possibilities of representation and redefines the minority-majority relations in the novel. This reading strategy, attentive to the text's “difference from itself,” allows for a nuanced redefinition of the identities constructed in Arabesque and suggests a new explanation for the choice of Hebrew as the language for this remembrance of lost Arab time.
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Merten, Kai. "Caribbean-English Passages: Intertextuality in a Postcolonial Tradition." Poetica 34, no. 3-4 (December 18, 2002): 443–50. http://dx.doi.org/10.30965/25890530-034-03-04-90000009.
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Wicomb, Zoë. "SETTING, INTERTEXTUALITY AND THE RESURRECTION OF THE POSTCOLONIAL AUTHOR1." Journal of Postcolonial Writing 41, no. 2 (November 2005): 144–55. http://dx.doi.org/10.1080/17449850500252268.
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Trivedi, Harish. "Colonial Influence, Postcolonial Intertextuality: Western Literature and Indian Literature." Forum for Modern Language Studies 43, no. 2 (January 1, 2007): 121–33. http://dx.doi.org/10.1093/fmls/cqm006.
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Mongia, Padmini. "African Fiction and Joseph Conrad: Reading Postcolonial Intertextuality (review)." MFS Modern Fiction Studies 53, no. 3 (2007): 634–37. http://dx.doi.org/10.1353/mfs.2007.0066.
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Reddick, Yvonne. "Tchibamba, Stanley and Conrad: postcolonial intertextuality in Central African fiction." Tydskrif vir Letterkunde 56, no. 2 (October 18, 2019): 54–66. http://dx.doi.org/10.17159/2309-9070/tvl.v.56i2.5639.
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Paul Lomami Tchibamba (1914–85) is often described as the Congo’s first novelist. Previous research in French and English has depicted Tchibamba’s work as a straightforward example of ‘writing back’ to the colonial canon. However, this article advances scholarship on Tchibamba’s work by demonstrating that his later writing responds not only to Henry Morton Stanley’s account of the imperial subjugation of the Congo, but to Joseph Conrad’s questioning of colonialist narratives of ‘progress’. Drawing on recent theoretical work that examines intertextuality in postcolonial fiction, this article demonstrates that while Tchibamba is highly critical of Stanley, he enters into dialogue with Conrad’s exposure of colonial brutality. Bringing together comparative research insights from Congolese and European literatures, this article also employs literary translation. This is the first time that excerpts from two of Tchibamba’s most important responses to colonial authors have been translated into English. Also for the first time, Tchibamba’s novella Ngemena is shown to be a crucial postcolonial Congolese response to Heart of Darkness. Through close textual analysis of Tchibamba’s use of irony and imagery, this article’s key findings are that, while Tchibamba nuances Conrad’s disparaging portrait of a chief, he develops the ironic mode of Conrad’s An Outpost of Progress, and updates the journey upriver into the interior in Heart of Darkness. This article illustrates the complex and nuanced way in which Tchibamba interacts with his European intertexts, deploying close analyses of his responses to Conradian imagery.
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Băniceru, Ana Cristina. "Going Back to One’s Roots: The Revival of Oral Storytelling Techniques in The English Contemporary Novel." Romanian Journal of English Studies 9, no. 1 (December 1, 2012): 166–81. http://dx.doi.org/10.2478/v10319-012-0018-7.
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Abstract My paper examines the interplay between the sophisticated postmodernist techniques of intertextuality, parody, metafiction and a return to orality or better said of pseudo-orality, a simulated-oral discourse or what the Russian Formalists called “skaz”, brought about by much postcolonial, ethnic or feminist literature.
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Choudhury, Romita. "‘Is there a ghost, a zombie there?’ Postcolonial intertextuality and Jean Rhys'sWide Sargasso Sea." Textual Practice 10, no. 2 (June 1996): 315–27. http://dx.doi.org/10.1080/09502369608582249.
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Merten, Kai. "Tobias Döring: Caribbean-English Passages: Intertextuality in a Postcolonial Tradition (Routledge Research in Postcolonial Literatures), London/New York: Routledge, 2002. X-236 S." Poetica 34, no. 3-4 (June 27, 2002): 443–50. http://dx.doi.org/10.30965/25890530-0340304008.
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LIE, NADIA. "Postcolonialism and Latin American literature: the case of Carlos Fuentes." European Review 13, no. 1 (January 20, 2005): 139–49. http://dx.doi.org/10.1017/s106279870500013x.
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Postcolonialism is briefly presented as an academic approach in contemporary literary studies, with two opposite currents as far as the study of Latin American literature is concerned. The first constructs the relationship between Latin American and European literature as oppositional, whereas the second focuses in a more harmonious way on their interrelationship. It is argued that both currents cluster around a divergent reading of the ‘cannibal’ metaphor. The article then centres on the position of the Mexican writer Carlos Fuentes, who covers both postcolonial tendencies. This is shown by focusing upon a specific case, his early novella Aura. Attention is paid to the tension between Europe and Latin America, both on a literary level (intertextuality) and on a historical level (colonization and nation-building).
Dissertations / Theses on the topic "Postcolonial intertextuality"
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Caminero-Santangelo, Byron. "African fiction and Joseph Conrad : reading postcolonial intertextuality /." Albany : State university of New York press, 2004. http://catalogue.bnf.fr/ark:/12148/cb40052366r.
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Weir, Zachary A. "-The place from when I read- intertextuality and the Postcolonial present reading Elizabeth Costello (and J.M. Coetzee) /." Huntington, WV : [Marshall University Libraries], 2004. http://www.marshall.edu/etd/descript.asp?ref=404.
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Krüger, Johanna Alida. "The Cherry Orchard transposed to contemporary South Africa : space and identity in cultural contexts / J.A. Krüger." Thesis, North-West University, 2009. http://hdl.handle.net/10394/5001.
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The transposition of Chekhov's The Cherry Orchard (originally published in Russian in 1904) to contemporary South Africa in Suzman's The Free State (2000) is based on the corresponding social changes within the two contexts. These social changes cause a binary opposition of past and present in the two texts. Within this context memory functions as a space in which the characters recall the past to the present and engenders a dialogue between past and present. Memory is illustrated in the two plays by associations with place as an important aspect of identity formation. Memory and place are fused in the plays by means of Bakhtin's concept of the chronotope which is best observed in the plays in memories of specific places such as the respective orchards, houses and rooms such as the nursery and the ballroom in. The Cherry Orchard and the garden in The Free State. Furthermore, the influence of the past is also evident in the present when ideas of social status, class, race (in the case of The Free State) and behaviour are contrasted and when various characters express their perceptions of personal relationships and ideas about marriage. The influence of the past is also evident when the characters voice their different perceptions and expectations of the past and future. In The Cherry Orchard these cultural differences are evident in the concept of heteroglossia. However, in The Free State, these dialogues are directed by a specific politically liberal view which diminishes the heteroglossia in the text. The juxtaposing of past and present is also illustrated in The Cherry Orchard by various subversive strategies such as comedy of the absurd in order to portray the behaviour of the characters as incongruous. Another subversive strategy is the contrasting of characters and ideas in order to expose pretensions and affectations in speech and actions to parody both the old establishment and the ambitions of former peasants. These conventions are best illustrated by the concept of the carnivalesque that also features as one of Bakhtin's terms to capture incongruous ideas and situations in literature. In The Free State, comedy is unfortunately much diminished and in contrast to Chekhov's ambiguity, only directed against politically conservative characters. The prevalence of these three Bakhtinian concepts in the texts shows how identity formation is to a large extent influenced and defined by occupied space. When social change affects the distribution of land, a character's concept of identity is destabilised. Although Suzman uses this similarity in the two contexts in order to transpose Chekhov's text to contemporary South Africa, she organises the various stances in the text to advocate a specific politically liberal view. Thus, Suzman's transposition leads to an interesting comparison between the Russian and South African contexts as well as between the two texts. However, her text is limited by her political interpretation of Chekhov's text.Thesis (M.A. (English))--North-West University, Potchefstroom Campus, 2009.
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Johansson, Lena. ""The Speciesism Gaze!?" : An ethical discursive analysis of animal right posters from a postcolonial, eco-critical and new materialist feminist perspective." Thesis, Karlstads universitet, Institutionen för sociala och psykologiska studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-55367.
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Our western society and lifestyle is to a considerable extent depended on the way we perceive and treat our co-existing non-human species. Industrial farming, vivisection, sports, circuses etcetera are just a few examples of how human use and exploit animal bodies for own gain. A phenomenon that in many ways, is perceived, as natural and normal, and therefore seldom discussed. The thesis purpose is to problematize this phenomenon by examine, what I call “The Speciesism Gaze”, through analysis of posters that promote animal rights, selected online, through the search domain Google. The theoretical framework used, are theories focusing on intersectionality, derived within postcolonial-, eco-critical and new materialist feminism. A brief introduction of animal right movements, its linking to feminism activism and theories derived within affect theory is presented as background for the analysis. As method, I use critical discourse analysis, focusing on intertextuality of the posters context. Asking what discourses emerge, challenging the anthropocentric and androcentric western dualistic hierarchy, whilst displaying mutually reinforced structures of sexism, racism and speciesism? I discuss the western historical and cultural human idea that the human species is separated from nature and animal, and where the “right” human subject standard is perceived as male, white, heterosexual and western in the Anthropocene age. I found that, this standard is displayed, played on, and questioned in the posters selected, in relation to animal materiality, grievability, killability, species necropolitics, sexism and racism. I discuss in my conclusion that oppression based on speciesism is not a power relation discussed in society today to the same extent as expressions of sexism and racism are. It is however an oppression that we all take part in every day and that affect all of us, despite species belonging. In that context, I hope the theorization and meaning of the speciesism gaze will have significance within the field of feminist theorizations and practices.
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Lorphelin, Elsa. "Intertextualité, interdiscursivité et autorité dans les nouvelles de Jean Rhys, Janet Frame et Anita Desai." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL113.
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Couvrant la quasi-totalité du XXe siècle, les écrits de Jean Rhys, Janet Frame et Anita Desai témoignent de la relation de la Caraïbe, de la Nouvelle-Zélande et de l’Inde à l’Empire britannique. Cette thèse s’intéresse en particulier aux nouvelles de trois auteures plus connues en tant que romancières, car, genre marginal et fragmentaire, la nouvelle fait écho à un certain nombre de problématique postcoloniales, modernistes et postmodernes. Il s’agira en l’occurrence de s’attarder sur la question de la voix et du discours, et notamment sur la façon dont l’omniprésence de discours idéologiques, politiques, sociaux, se trouve doublé de la présence d’un réseau intertextuel mis en œuvre par les auteures. La récupération de la voix d’autrui, et en particulier du canon littéraire occidental, dans un contexte où l’autorité féminine et postcoloniale est des plus précaires, pose la question de l’autorité littéraire. On observera que sous la plume de ces auteures, la nouvelle devient plus que jamais un genre hybride, plurivocal, aux contours fuyants, dont le genre est sans cesse requalifié. Loin du monolithisme du roman, la nouvelle apparaît comme un espace de liberté et de création où l’autorité est sans cesse réaffirmée tout autant que diffractée, et où les présences auctoriales tout à la fois s’effacent et se manifestent. Véritables lieux d’une mise en scène de la figure de l’Auteur, la nouvelle et le recueil déjouent les limites du genre, tissant un réseau discursif et intertextuel complexe, où Jean Rhys, Janet Frame et Anita Desai élaborent une esthétique de la voixThe literary production of Jean Rhys, Janet Frame, and Anita Desai, which covers nearly all the twentieth century, testifies to the relationship between the Caribbean, New-Zealand, India and the British Empire. Even though Rhys, Frame and Desai are mostly known as novelists, this thesis dwells on their short stories. As a marginal and fragmentary genre, the short story echoes a variety of issues related to Postcolonialism, Modernism and Postmodernism. My issue is the study of the themes of the voice and of discourse, and especially of the way in which the omnipresence of ideological, political and social discourses is further complexified by the presence of intertextuality. The use of alien voices, borrowed notably from the western literary canon, poses the question of literary authority – especially in a context where postcolonial and feminine authority is so precarious. We shall observe that, in these authors’ short stories, the genre becomes hybrid, plurivocal, harder to define, which entails its requalification. Far from the monolithic nature of the novel, the short story appears as a space of liberty and creation where authority is both tampered with and constantly reaffirmed, and where authorial presences in turn appear and disappear. As places where the figure of the Author is continuously staged, the short story and the collection of short stories redefine the limits of the genre by weaving an intricate discursive and intertextual fabric where Jean Rhys, Janet Frame and Anita Desai work towards the elaboration of an aesthetic of the voice
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Grati, Manel. "L’aliénation et la fragmentation dans la littérature postcoloniale de Chinua Achebe et de V.S. Naipaul." Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100086.
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La fragmentation et l’aliénation, thèmes récurrents dans la littérature postcoloniale, sont représentées par le contenu et la forme des œuvres étudiées dans cette recherche. Dans un cadre historique et fictionnel, les romans postcoloniaux de Chinua Achebe et de V.S. Naipaul inscrivent le postcolonisé fragmenté et aliéné dans des lieux et des milieux différents. La quête identitaire de ce dernier, entre tradition et modernisation, a déclenché son déracinement. En effet, tiraillé entre l’Occident et l’Orient, le postcolonisé, dans les romans de ces deux écrivains, est aliéné géographiquement et culturellement, ce qui explique son instabilité et sa quête identitaire interminable. L’espace dans le roman postcolonial est fragmenté pour aliéner davantage le postcolonisé qui cherche à mettre fin à cette aliénation. La double culture – orientale et occidentale – participe non seulement à la perte d’identité culturelle, mais aussi à celle des personnages. À la rencontre de l’Autre ou de l’Occidental, les personnages achibiens et naipauliens essayent de cacher leur « peau noire » avec un « masque blanc » par le biais du mimétisme de cet Autre. Cette littérature est distinguée par son métissage, son intertextualité ainsi que son aspect linguistique qui font d’elle une littérature dialogique avec la littérature occidentale et notamment la littérature coloniale. Une telle littérature indigène, exprimée dans une langue étrangère, reflète un attachement et un détachement. La non-linéarité joue un rôle important dans cette fiction, vu que les récits sont décomposés et fragmentés tout comme les personnages. C’est ainsi qu’on peut dire que selon des thématiques et des stylistiques divers que ces deux écrivains postcoloniaux ont réussi à présenter au lecteur la fragmentation et l’aliénation du postcolonisé dans son milieu et son èreFragmentation and alienation: recurring themes in the postcolonial literature, are represented by the content and the form of the studied literary works in this research. Within a historical and fictional setting, the novels of Chinua Achebe and V.S. Naipaul set the fragmented and alienated postcolonial figures in different places and surroundings. The quest for identity of these postcolonial figures, between tradition and modernization, has caused their uprooting. In fact, in the novels of these two writers, the postcolonial figures, who are torn between the Occident and the Orient, are geographically and culturally alienated. Hence, they are unstable and are in a never-ending quest. The setting in the postcolonial novel is itself fragmented so that it alienates more the postcolonial figures who try to make an end to this alienation. The double culture – oriental and occidental – does not only participate in losing the cultural identity, but also in losing the figures’ ones. While meeting the Other or the Occidental, the characters of Achebe and Naipaul try to hide their « black skin » under a « white mask » through the mimicry of this Other. This literature stands out by its hybridization, its intertextuality, as well as its linguistic aspect, which has turned into a dialogic literature, in a discourse with the occidental literature and notably the colonial one. Such an indigenous literature, revealed in a foreign language, shows an attachment and a detachment. The non-linearity plays an important role in this fiction, given that the tales are distorted and fragmented like the major characters of these stories. In this way, one can say that through varied thematic and stylistic features these two postcolonial writers have succeeded in presenting to readers the alienation and fragmentation of postcolonial figures within their surroundings and in their era
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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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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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Kane, Bouna. "L'Interculturalité au regard du roman victorien et africain : essai d'analyse des romans de Chinua Achebe et Ngugi wa Thiong'o au miroir de Thomas Hardy et Joseph Conrad." Paris 3, 2008. http://www.theses.fr/2008PA030011.
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L’étude de l’hybridité culturelle en littérature est restée liée à la théorie qui définit les littératures postcoloniales en termes d’opposition avec l’Occident. Dans cette étude, nous avons tenté de porter un regard différent, en allant au-delà du « writing back to the center ». Nous ne négligeons pas les différentes positions révélées par la critique mais nous avons choisi, à travers cette approche comparative, de montrer que l’Afrique est un acteur à part entière d’une littérature universelle. En s’appropriant les techniques littéraires de Thomas Hardy et Joseph Conrad, les écrivains africains confirment la porosité des cultures et la communication entre des peuples d’horizons divers. En comparant le clan écossais et la tribu africaine, nous avons trouvé plusieurs similitudes en termes d’organisation sociale et de mode de vie. Comme Scott et Hardy, Ngugi et Achebe tirent la substance de leurs romans du folklore et des traditions populaires de leurs communautés. Les romanciers africains et victoriens ont une claire conscience du malaise de l’individu et montrent combien le destin peut être cruel envers luiThe study of cultural hybridity in literature remained tied to a theory which defines postcolonial literatures in terms of their oppositional relationship with the West. In this thesis, we attempted to go beyond the “writing back to the center”. We have not ignored the debate over standard criticism but we have chosen to demonstrate by means of this comparative study that the African novel is part of a larger fictional universe. By appropriating the techniques of the Victorian literary tradition associated with Thomas Hardy and Joseph Conrad, African writers create a useful device for developing greater understanding and improved communication among people from different cultural, racial and ethnic groups. We found striking similarities between the Scottish clan and the African tribe in terms of social organisation and way of life. Like Scott and Hardy, Ngugi and Achebe draw the substance of their novels from the folklore and popular traditions of their communities. African and Victorian novelists have a clear awareness of the human predicament and show how fate can be cruel to the individual
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Thibaudeau, Isabelle. ""Catching at the design" : la construction du savoir dans l'oeuvre fictionnelle de Louise Erdrich." Angers, 2006. http://www.theses.fr/2006ANGE0018.
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Ce projet étudie le processus de la construction du savoir dans six romans et quelques nouvelles de Louise Erdrich, écrivain contemporain d’origine amérindienne (Ojibwa). L’analyse des mécanismes par lesquels le texte guide l’activité interprétative permet d’identifier la présence d’un ensemble de stratégies de brouillage qui semblent faire obstacle à l’interprétation. Aussi troublante soit-elle, cette esthétique du dépaysement force le lecteur à s’interroger sur l’état et la pertinence de ses connaissances et de ses méthodes de lecture. Guidée par le regard réaliste magique, l’insolence du discours comique et par un ensemble de figures de fusion, l’activité interprétative est amenée à explorer l’espace hybride qu’est l’écart, et ainsi à comprendre ce qui se joue dans la rencontre de divers codes culturels. La poétique du lien permet alors de discerner la présence d’un vaste réseau de relations fonctionnant sur les principes du rhizome. C’est en effet ce modèle complexe qui régit la mythopoétique mise en place par la fiction d’Erdrich, et permet de saisir la définition de l’identité culturelle amérindienne qu’elle propose. C’est aussi lui qui commande sa réflexion métatextuelle et la définition qu’elle offre de sa propre identité artistiqueThis project analyses the process of the construction of knowledge in some fictional works by Native American (Ojibwa) writer, Louise Erdrich. The study of the mechanisms by which her fictions guide the readers’ interpretative activity underscores the presence of a number of strategies aimed, as it seems, at leading them to question the state and relevance of their knowledge and approach to the text. In the meantime, the use of magic realism, comic discourse and a number of rhetorical and epistemic figures tends to highlight the necessity for readers to draw links in order to have access to the epistemology of the text and of the reality it features. The materialisation of such links helps shape a vast network of relationships functioning on the principles of the rhizome. The rhizome becomes an appropriate epistemological model giving access to the mythopoeic dimension of Erdrich’s fiction, to its conception of Native American cultural identity, and to the definition of its own artistic identity. Theories drawn from pragmatics, semiotics and epistemological criticism nourish this analysis which also implies a reflection on such issues as hybridity, History, myth, orality, intertextuality, metatextuality and postcolonialism
Books on the topic "Postcolonial intertextuality"
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African fiction and Joseph Conrad: Reading postcolonial intertextuality. Albany: State University of New York Press, 2005.
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Caribbean-English passages: Intertexuality in a postcolonial tradition. New York: Routledge, 2002.
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Ricciardi, Caterina. In un altro paese: Intertestualità postcoloniale. Reggio Emilia: Diabasis, 2008.
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Brillenburg Wurth, Kiene, and Ann Rigney. The Life of Texts. NL Amsterdam: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789463720830.
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This innovative introduction to literary studies takes 'the life of texts' as its overarching frame. It provides a conceptual and methodological toolbox for analysing novels, poems, and all sorts of other texts as they circulate in oral, print, and digital form. It shows how texts inspire each other, and how stories migrate across media. It explains why literature has been interpreted in different ways across time. Finally, it asks why some texts fascinate people so much that they are reproduced and passed on to others in the form of new editions, in adaptations to film and theatre, and, last but not least, in the ways we look at the world and act out our lives. The Life of Texts is designed around particular issues rather than the history of the discipline as such. Each chapter concentrates on a different aspect of 'the life of texts' and introduces the key debates and concepts relevant to its study. The issues discussed range from aesthetics and narrative to intertextuality and intermediality, from reading practices to hermeneutics and semiotics, popular culture to literary canonisation, postcolonial criticism to cultural memory. Key concepts and schools in the field have been highlighted in the text and then collected in a glossary for ease of reference. All chapters are richly illustrated with examples from different language areas.
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Caminero-Santangelo, Byron. African Fiction And Joseph Conrad: Reading Postcolonial Intertextuality. State University of New York Press, 2004.
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Caminero-Santangelo, Byron. African Fiction And Joseph Conrad: Reading Postcolonial Intertextuality. State University of New York Press, 2004.
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DORING, TOBIAS. Caribbean-English Passages: Intertexuality in a Postcolonial Tradition (Postcolonial Literatures). Routledge, 2006.
Find full textBook chapters on the topic "Postcolonial intertextuality"
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Werbanowska, Marta. "A Palimpsest of Herstories: Intertextuality as a Womanist Practice in Gloria Naylor’s Linden Hills." In Palimpsests in Ethnic and Postcolonial Literature and Culture, 191–211. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-64586-1_10.
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"Paternity, Illegitimacy and Intertextuality." In Ngugi wa Thiong’o, Gender, and the Ethics of Postcolonial Reading, 125–58. Routledge, 2016. http://dx.doi.org/10.4324/9781315598253-8.
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"Intertextuality and the Postcolonial Novel of History." In Australian Fiction as Archival Salvage, 23–56. Brill | Rodopi, 2016. http://dx.doi.org/10.1163/9789004311671_004.
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Batchelor, Kathryn. "Postcolonial Intertextuality and Translation Explored through the Work of Alain Mabanckou." In Intimate Enemies, 196–215. Liverpool University Press, 2013. http://dx.doi.org/10.5949/liverpool/9781846318672.003.0014.
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Batchelor, Kathryn. "Postcolonial Intertextuality and Translation Explored through the Work of Alain Mabanckou." In Intimate Enemies, 196–215. Liverpool University Press, 2013. http://dx.doi.org/10.2307/j.ctt5vjhp4.18.
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Phillips, Christina. "Introduction: Religion and the Novel." In Religion in the Egyptian Novel, 3–33. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474417068.003.0001.
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This chapter introduces the topic of religion and literature, theorises the novel as a secular genre, and develops a concept of religion as the other in the Arabic novel. It begins with a discussion of the relationship between religion and literature, identifying imagination, metaphorical language and mythos as areas of overlap, before turning to the question of religion and the Arabic novel as a modern form which eschews faith and dogma but is nevertheless packed with religious themes, images, characters, language and intertextuality. This is accounted for by the form’s secularism, which is theorised in terms of Charles Taylor’s conditions of belief. Literary secularism is not static and stable however, thus religion emerges as the other in the Egyptian novel, with all the ambivalence which alterity characteristically entails. This religious other calls into question postcolonial studies’ over-valorisation of the East/West binary insofar as it has obscured the critical role of religion in Arab postcolonial literature and identity.
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"13. Mapping Identity in a Postcolonial City: Intertextuality and Cultural Hybridity in Zhu Tianxin’s Ancient Capital." In Writing Taiwan, 301–23. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822388579-015.
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Goyal, Yogita. "Talking Books (Talking Back)." In Runaway Genres, 141–70. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9781479829590.003.0005.
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This chapter takes up questions of literary ventriloquism and surrogate authorship that always plagued the slave narrative and are imaginatively reinvented by such black Atlantic writers as Toni Morrison and Caryl Phillips in their revisiting of Shakespeare’s Othello. To do so, they return to the founding scene of the “Talking Book” of the Atlantic slave narrative, where the slave worries that the master’s book will not speak to him or her. Staging a range of responses to analogy, these writers place slavery next to colonialism and the Holocaust, renovating but also complicating a classic postcolonial project of writing back to the empire in order to decolonize the mind. Their explorations return us to the meaning of slavery itself, its singularity, its relation to narrative, and to modern conceptions of racial formation. Such efforts transform the classic project of writing back to the text of Western authority, evenly negotiating the pull of influence, intertextuality, and adaptation.
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El Shakry, Hoda. "The Polyphonic Hermeneutics of Assia Djebar’s L’amour, la fantasia." In The Literary Qur'an, 100–116. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823286362.003.0005.
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Chapter 4 examines Assia Djebar’s (1936–2015) celebrated 1985 novel L’amour, la fantasia [translated as Fantasia: An Algerian Cavalcade]. The work is a palimpsest of texts that weaves together: French archival records and eyewitness accounts of the occupation of Algeria in the 1830s, oral histories recorded in Algerian dialect and Tamazight by women involved in the war of independence from 1954 through 1962, as well as Djebar’s personal memories and reflections. The chapter argues that Djebar models a practice of ethical reading [ijtihād] in her re-narration of official histories and archives—colonial, national, as well as Islamic. It resituates L’amour, la fantasia, outside of the postcolonial, feminist, and Francophone critical paradigms that dominate the copious scholarship on her work. However, rather than reading gender and language as external to Qurʾanic intertextuality, the chapter emphasizes how they inform and shape Djebar’s narrative ethics—largely through the novel’s insistence on orality and embodiment.