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Dissertations / Theses on the topic 'Subaltern literature'
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Spellman, Jennifer Lee. "Can the Subaltern Sing?" Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1556281880685869.
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Gollnick, Brian. "The bleeding horizon : subaltern representations in Mexico's Lacandón Jungle /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9913152.
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Lehner, Stefanie Florence. "Subaltern aesthethics : tracing counter-histories in contemporary Scottish, Irish and Northern Irish literature." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/3305.
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This PhD thesis proposes an Irish-Scottish comparative framework for examining a range of shared ethical, socio-political and theoretical concerns, pertaining to aspects of class and gender, in contemporary Irish, Northern Irish and Scottish literature. My approach galvanises Lévinasian ethics with the socio-cultural category of the ‘subaltern’ in relation to postcolonial, Marxist and feminist theories in order to trace what I term a ‘subaltern aesthethics’ between selected works of Scottish, Northern Irish and Irish writing that show a specific sensibility to the social inequalities and inequities that are part of the current restructuring of the global capitalist system. My work explores how these texts engage with both the processes of political and economic transformation in the Atlantic archipelago, and critical-theoretical approaches which, I argue, show the tendency to subsume the specificity and intensity of subaltern concerns. The first chapter delineates key debates in Irish and Scottish studies, offering a critique of conventional applications of postcolonial and postmodern theory. I demonstrate that dominant versions of postcolonialism are analytically entrapped in the nation as a paradigm. Additionally, I show that for all its apparent celebration of difference, postmodernism reduces otherness to the terms of the self. Chapter 2 outlines the model of a subaltern counter-history as a theoretical framework for reading ethical issues of historicity on the basis of texts by James Kelman, Patrick McCabe and Robert McLiam Wilson. This engagement with history is continued in chapter 3, which investigates the desire to archive Northern Ireland’s recent past in the context of its peace process in Glenn Patterson’s and Eoin McNamee’s recent novels. The emphasis of the three subsequent chapters turns the attention of my counter-historical method to issues of gender. The fourth chapter evaluates the material consequences that the gendering of the imagined nation has on female bodies in particular. Whereas the focus lies here specifically on the Irish context, the following chapter 5 engages in a comparative reading of traumatic herstories in three Irish and Scottish novels by Roddy Doyle, Janice Galloway and Jennifer Johnston. The purpose of both of these chapters is to examine women’s experience of disempowerment and their struggle to reclaim agency. My last chapter then investigates the relationship between men, gender and nation in the allegorical imagiNation of Alasdair Gray and McCabe with specific regard to the turn to the feminine that has taken place in contemporary criticism.
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Clare, Rebecca. "Elite and Subaltern Voices in Amitav Ghosh's The Hungry Tide." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-5757.
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Fick, Angelo Carlo. "Limited possibilities : agency and subaltern subjectivity in four South African allegories." Master's thesis, University of Cape Town, 1998. http://hdl.handle.net/11427/17940.
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Bibliography: pages. 197-211.This thesis examines the representation of the negotiation of black women's subjectivity in four South African allegorical novels. Using aspects of postmodern discourse, and feminist and postcolonial literary and cultural theories on identity formation and subjectivity, I propose that it is in the allegorical mode that the four writers are able to offer black women as female gendered subalterns the space to negotiate subjectivity and to assert agency. Given the history of sexism, racism and imperialism in South Africa, the politics of place impact crucially on the practice of writing literature, so that the tensions between the representation of others and self-representation becomes crucial in identity formation. Through the four texts, I propose that there is a spectrum of practices, and that each offers different possibilities for black women's subject formation: from the most limiting liberal discourses, through the interrogation of those discourses, to an autobiographical moment of self-reclamation.
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Engberg, Melissa. "Five Lines for the Traveler's Phrasebook." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1209313573.
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Santos, Carolina Correia dos. "Capão Pecado e a construção do sujeito marginal." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-09032009-174435/.
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Nos últimos anos, o Brasil tem testemunhado o surgimento de uma produção literária com características muito próprias do nosso tempo: seus autores são periféricos (favelados), sua forma e conteúdo derivam do momento de extrema violência que assola grande parte da população. Exemplar desta produção, o livro de Ferréz, Capão Pecado é primeiramente publicado em 2000. O objetivo desta dissertação é analisar o romance, compreendendo-o dentro de um escopo maior, que abarca outros setores, da arte e da política. Para isso, a teoria pós-colonial, assim como um estreito diálogo com uma parte da tradição crítico-literária brasileira são utilizadas.In the last few years, Brazil has witnessed the appearance of one type of literary production whose characteristics are typical or our times: its authors are from the suburbs (the slums), its form and content derive from the extreme violence imposed to a great part of the population. An example of this literary production, Ferrézs book, Capão Pecado is first published in 2000. This dissertation aims at analyzing the novel, understanding that it belongs to a greater scope, that comprehends other spheres of the arts and politics. In order to do so, the post-colonial theory will be used, as well as a great deal of the Brazilian literary theory tradition.
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Leonte, Eva. "Enacting the Silence of Subaltern Women : Julie Otsuka and the Japanese Picture Brides." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-144396.
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It is by now a truth universally acknowledged that the world’s subaltern women (in Gayatri Spivak’s understanding of the term) cannot make their voices heard, that what we think we know about them are mostly stereotypes of our own making. It is likewise acknowledged that literature has a privileged status when it comes to representing these women, given its unique prerogative to retrieve their traces and convey their subjectivity through imagining. Literary texts which embark on this task can be seen as symbolic speech acts and, as such, they depend upon their illocutionary force for success in the public sphere. In this thesis I have chosen to discuss The Buddha in the Attic by Julie Otsuka (2011) – a novel I perceive as a collective speech act – from the combined perspective of speech-act criticism (J. L. Austin, S. Petrey), subaltern studies (G. Spivak, G. Pandey) and feminist theory (M. P. Lara, S. Lanser). My analysis explores the interrelation between this little-known story of the first-generation Japanese women immigrants to the US and the sophisticated narrative strategy which sustains it, continually balancing between the women's heterogeneity and their shared experiences, especially their systematic silencing by the dominant population. Finally, the thesis discusses the novel’s larger illocutionary implications for the public sphere, in particular how the reclaiming of the past creates new understandings of the present as well as opens up onto the future. Keywords: Otsuka, The Buddha in the Attic, migrant literature, picture brides, subalternity, feminist theory, communal voice, speech-act criticism, illocutionary force.
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Arigita, Cernuda Neira. "Can the Subaltern Be Silent? : Silence as Resistance to Colonialism in David Malouf’s Remembering Babylon and E.M. Forster’s A Passage to India." Thesis, Högskolan Dalarna, Engelska, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:du-30371.
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Bowen, LaVerne Alexandra. "La Evolución Del Subalterno En Tres Novelas Mexicanas: La Negra Angustias, Balún Canán, Y Neonao." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271784/.
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The subaltern is a recurrent literary figure in Mexican narrative. The objective of this thesis is to investigate three ethnic groups – indeed, subalterns – in Mexico which include: Afro-Mexicans, indigenous groups, and Filipino colonial subjects from the perspectives of the Mexican Revolution, post-revolutionary Mexico, and the conquest of the Philippines in the sixteenth century. The principal characters play crucial roles in events shaping the history and culture of Mexico and thus demonstrate their importance to the country's development while also revealing the reality of subalterns. The literary research shows that trying circumstances or a lack of self-identity were the main causes for a character to be or become a subaltern in addition to their inherent ethnic disadvantages. However, the characters who overcame their subaltern state often changed personality traits or adapted to their surroundings in order to be assimilated into the majority culture.
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Jeppsen, Rachel. "The Compatibility of Containment and Autonomy in Lydia Minatoya's The Strangeness of Beauty." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2563.pdf.
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Lee, Joanne Eun Jung. "Can Bình Speak?: Marginalization, Subversion, and Representation of the Subaltern in Monique Truong’s The Book of Salt." Oberlin College Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1431606888.
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Öhman, Niklas. "Narrativ föreställningsförmåga: ett spivakianskt ”hopp i den andres sjö”? : Nussbaum, Spivak och att (med skönlitteratur) skapa förståelse för den Andra." Thesis, Södertörns högskola, Lärarutbildningen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-24100.
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This survey is a theoretical analysis concerning didactics of literature, in which I problematize what Martha C. Nussbaum describes as ”narrative imagination”. By using postcolonial theory, more specific: Gayatri Spivaks essay ”Can the Subaltern Speak?” and her theoretical formula ”a leap into the other’s sea”, I try to answer the following question: Can ”narrative imagination” be understood as a manifistation or concretisation of ”a leap into the other’s sea”? The answer that is given concerning my general question is simply: No. Nussbaums’ reader is far to active, whereas Spivak strongly argues that hearing and/or listening to the subaltern requires a state of self-suspendedness. Nussbaum also shows a great belief in literature as a representation of something truly real, but also as a representation of the Other. Drawing on Spivaks critique of Deleuze and Foucault, I have suggested that representation of this kind should, from a poststructuralistic and Marxist point of view, be seen as a theoretical misstake, for: representation postulates objectiveness or/and transparentness. Finally Nussbaums goals, in terms of cultivating the humanity, has been problematized. Her cosmopolitan and democratic approach is based upon – a form of – universalism and an ambition towards consensus, which – again: from a poststructuralistic perspective – is highly debatable. With this background I have concluded two implications concerning didactics of literature: Firstly, there are plenty of voices not represented by literature, a fact that needs to be considered. Thus, to base a world citizenship, a democracy or an understanding of the Other on works of literature is to restrict ”the world” or ”the Other” to the fictional, literary characters that has been written. Secondly Spivak urges us to reflect on the reader as an interpreter. A total suspension of the self is a naive statement – but she is right to point to the occidental subject as a member and reproducer of postcolonial discourse.
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Ruggiero, Diana Mabel. "Más allá del fútbol: La Bomba, the Afrochoteño Subaltern, and Cultural Change in Ecuador’s Chota-Mira Valley." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1273711996.
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Hester, Hillary Dawn. "Breaking the Bonds of Silence: The Immigrant Experience in Magical Realist Novels of Katherine Vaz and Chitra Divakaruni." [Johnson City, Tenn. : East Tennessee State University], 2003. http://etd-submit.etsu.edu/etd/theses/available/etd-1108103-143649/unrestricted/HesterH120803f.pdf.
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Thesis (M.A.)--East Tennessee State University, 2003.Title from electronic submission form. ETSU ETD database URN: etd-1108103-143649. Includes bibliographical references. Also available via Internet at the UMI web site.
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Rowe, Keri. "Elevating the Other: A Theoretical Approach to Alexander McQueen." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/4394.
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This thesis examines the relationship between art and fashion in order to first, justify fashion as an art form, and second, demonstrate the applicability of critical theory to the study of fashion through an examination of Alexander McQueen's Spring/Summer 2006 menswear collection, titled “Killa,” presented in Milan, Italy, in 2005. “Killa,” loosely based on William Golding's 1954 novel Lord of the Flies and its 1963 film adaptation, opens with crisp, white, tailored suits worn by neatly groomed models. Steadily throughout the collection, these tailored suits are exchanged for wide-legged, cropped shorts, and tanks in browns and beiges. By the end, models appear on the runway with painted faces, wild hair, and highly patterned, dark-colored body suits and billowing capes. While “Killa” appears to demonstrate the narrative regression from civilized to savage demonstrated in Golding's novel, this thesis argues that McQueen's collection actually strives to promote a more positive ennobling of the Other. A careful study of his life and career suggests that McQueen perceived himself as the Other within the community in which he worked and lived. Frustrated by frequent misinterpretations of his work and false accusations of his character, “Killa” becomes McQueen's ultimate confrontation with Otherness. Positioning the Other at the climax of an elite fashion show, represented by Mesoamerican designs depicted through the highest quality tailoring, McQueen's Other is respected and revered, rather than looked down upon. In this way, McQueen challenges the perception of his own character within the fashion community. Ultimately this thesis seeks to demonstrate the necessity of the application of critical theory to objects of fashion. As demonstrated through the case study of McQueen's 2006 menswear collection, this academic consideration has the potential to reveal important overlooked meanings within the art of fashion. This suggests that McQueen's work, as well as the work of other contemporary fashion designers, merits more thoughtful and careful interpretation in the study of postmodern art history.
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de, Barros Sandro Rodrigo. "Fringing Visibility: Otherness, Marginality and the Question of Subaltern Truth in Antes Que Anochezca, La Virgen De Los Sicarios and Cidade De Deus." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1132267287.
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Perez-Ramos, María Isabel. "A QUEST FOR ENVIRONMENTAL SOVEREIGNTY : Chicana/o Literary Experiences of Water (Mis)Management and Environmental Degradation in the US Southwest." Doctoral thesis, KTH, Historiska studier av teknik, vetenskap och miljö, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-206580.
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The U.S. Southwest is a semi-arid region affected by numerous environmental problems. Chicana/o communities have been directly affected by such problems, especially ever since the region was annexed from Mexico by the United States in the mid-nineteenth century. From this moment onwards they lost their environmental sovereignty, mostly through their dispossession of the natural resources. This environmental humanities dissertation focuses on the ethics, politics, and practices around water (management), for water is a key natural resource and a central element of Chicana/o cultural identity. It explores the ways in which Chicana/o culture is interconnected with environmental practices and sites in subaltern literary works about the Chicana/o experience. It investigates how the hegemonic Anglo-American environmental, political, and economic practices have challenged and undermined Chicana/o culture, identity, and wellbeing, and how this has been addressed in fiction; and it questions whether establishing such a connection adds any useful insights to the larger discussion on the global socio-environmental crisis. This dissertation also analyzes the writer activist character of the subaltern narratives of the corpus, with attention to the relevance of rhetoric in subverting and constructing environmental discourses and ethics. By examining regional and border narratives, as well as fiction and non-fiction narratives about the socio-environmental struggles of other ethnic minorities in the Southwest and in other parts of the world, this dissertation puts literature about the Chicana/o experience in a regional, national, and transnational context. It moreover explores the pivotal role of literature in reclaiming environmental sovereignty, in asserting cultural identities, and in countering the environmental crisis by imagining alternative managerial practices and socio-environmental relations, as much as in challenging cultural hegemonies.QC 20170508
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Horne, Marie E. "Ancient Superstitions Steeped in the Human Heart: Rumors of the Supernatural as Resistance Narrative in The House of the Seven Gables." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/2303.
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Nathaniel Hawthorne's The House of the Seven Gables continuously plays with the idea of narrative authority to explore concepts of class and power within the novel. Since these concepts of class and power are also a central focus of Subaltern Studies, applying some of this body of scholarship to the novel brings into focus these concepts and sheds light on the motivations and types of resistance in the novel. The upper class characters, including the Pyncheons, construct and maintain a narrative based on the declarations of professionals and officials of the state and church. It discusses only the most noble characteristics and events of the upper classes and relies solely on rational, empirical thought. They create this narrative to maintain their authority and dominance. The lower classes, including the Maules, construct an alternate narrative to resist the upper class that is collected and passed down through rumor. Supernatural elements like ghosts and curses figure prominently in this narrative. It is only when the Pyncheon and Maule families begin to listen to and validate multiple narratives that class and power become less important and the reconciliation between families happens.
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García, Oscar. "Guerrilleros de papel : La representación del guerrillero en seis novelas centroamericanas de los años setenta y ochenta." Doctoral thesis, Stockholms universitet, Institutionen för spanska, portugisiska och latinamerikastudier, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-42801.
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The aim of the present study is to analyze and compare the representation of the guerrilla soldier in six contemporary Central American novels. According to Claudio Guillén, the comparison is a dialogue between unity and diversity. It can be defined with the help of two coordinates: a spatial and a temporal. In this study the spatial coordinate includes Nicaragua, Guatemala and El Salvador, and the temporal extends from the mid-seventies to the eighties. The novels written in the seventies are Los compañeros (1976) by Marco Antonio Flores, ¿Te dio miedo la sangre? (1977) by Sergio Ramírez and Caperucita en la zona roja (1977) by Manlio Argueta. The ones written in the eighties are La mujer habitada (1988) by Gioconda Belli, La diáspora (1989) by Horacio Castellanos Moya and El hombre de Montserrat (1994) by Dante Liano. The novels are analyzed from a postcolonial perspective following the ideas of Alfonso de Toro and Santiago Castro-Gómez particularly. The method used is the phenomenological hermeneutics, as proposed by Mario J. Valdés. This implies an analysis performed on four levels: historical, formal, phenomenological and hermeneutic. Two of the key aspects in the analysis are the reader's aesthetic identification with the hero and the postcolonial concept subaltern. The main conclusion is that the representation of the guerrilla soldier in the corpus is very heterogeneous and that almost no protagonist can be considered a subaltern. The reader's identification with the guerrilla soldier ranges from admirative to ironic, though the main type is sympathetic. Hence, the representation may be considered a hybrid, using a term borrowed from anthropologist Néstor García Canclini that opposes binary schemes and essentialist thinking. The guerrilla soldier is regarded as an individual and not as an abstract idea, which indicates that the civil wars in Central America were not just a conflict between two ideologies, but above all a human experience.
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Bertrand, Sandrine. "Représentations des subalternités, de la ligne de couleur et du genre dans les romans et récits mémoriels mauriciens et réunionnais." Thesis, La Réunion, 2014. http://www.theses.fr/2014LARE0005/document.
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Les romans coloniaux tendaient à représenter les Autres de couleur de manière plus précise et réaliste que la littérature exotique. Comme dans un musée colonial, Ulysse cafre ou l'histoire dorée d'un Noir de Marius-Ary Leblond, Ameenah de Clément Charoux exposent la colonie, son fonctionnement et ses habitants. Les romanciers coloniaux mauriciens et réunionnais décrivent dans le détail, grâce au naturalisme l'intimité des races, autrement dit le génie de chaque race. Marius-Ary Leblond affirment qu'ils seraient plus aptes à décrire le réel insulaire. La représentation de l'Autre de couleur génère un conflit de légitimité. Les femmes de couleur, indiennes, noires, cafrines et métisses sont perçues dans les romans coloniaux comme des Autres à la fois racialisés et genrés. Elles sont subalternes des narrateurs et héros blancs qui parlent pour elles et les représentent. A contrario, dans les romans et les récits mémoriels postcoloniaux féminins, À l'autre bout de moi de Marie-Thérèse Humbert, Rouge Cafrine de Véronique Bourkoff et Femme sept peaux de Monique Séverin, les narratrices et les héroïnes critiquent la persistance de l'idéologie coloniale dans les sociétés anciennement colonisées. Elles donnent de nouvelles visions des femmes de couleur, capables de se représenter, de s'analyser et d'observer la société postcoloniale, car elles sont encore marquées par les stéréotypes et les discours colonialistes, orientalistes et phallocrate qui les détruisent. Paradoxalement, les identités complexes, hétérogènes et multiples des narratrices sont davantage présentes dans les fictions romanesques que dans les types autobiographiques, censés rendre compte de vérité identitaire. Ainsi, les autobiographies à Maurice et à La Réunion sont déconstruites dans les textes de notre corpus : Miettes et Morceaux d'Eileen Lohka, Letan lontan de Rada Gungaloo, Tête Haute de Mémona Hintermann et La Magie de Siva Desiles, une comédie musicale autobiograohique de Jasmine DesilesColonial novels try to represant more precisely the Colored people than exotic literature. As colonial museum, Ulysse cafre ou l’histoire dorée d’un Noir written by Marius-Ary Leblond and Ameenah written by Clément Charoux expose colony, its functioning and natives. These colonials mauritians and reunioneses novelists use naturalism style to describe the intimate of races, genius of races. Marius-Ary Leblond say that they are better able to teach insular world than exotic literature. Colored people representations provoke legitimate conflict. In colonial novels, colored women, (Indians, black, “cafrine” , metis) are regarded as racial Other and gendered Other. They are subaltern of white narrators and heros. Conversely, in postcolonial women mauritian and reunionese novels, (Á l’autre bout de moi written by Marie-Thérèse Humbert, Rouge Cafrine written by Véronique Bourkoff and Femme sept peaux written by Monique Séverin) female narrators and heroines criticize continued colonial ideology, which still goes on in societies that were colonized. They give different visions of colored women, enough to represent themselves, to analyze themselves and observe postcolonial society. They still filled with stereotypes and colonialist, phallocrate, orientalist discourses. These rhetorics destroy their identity. Paradoxaly, complex, heterogeneous and multiple identities of female narrators figure into more novelistic fiction than autobiography. However, autobiography is supposed to account for true female narrator’s identity. This way, mauritian autobiography and reunionese autobiography are deconstructed in the texts of our corpus: Miettes et Morceaux written by Eileen Lohka, Letan lontan written by Rada Gungaloo, Tête Haute written by Mémona Hintermann and La Magie de Siva Desiles an autobiographic music hall written by Jasmine Desiles
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Escondo, Kristina A. "Anti-Colonial Archipelagos: Expressions of Agency and Modernity in the Caribbean and the Philippines, 1880-1910." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405510408.
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Fernandes, Ana Carolina. "Vozes subalternas : produções de autoria feminina na pós-colonização do Brasil /." Araraquara, 2016. http://hdl.handle.net/11449/144663.
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Orientador(a): Lucila ScavoneBanca: Jorge Leite Júnior
Banca: Maria Dolores Ramírez Aybar
Resumo: O presente trabalho tem por objetivo analisar as intersecções entre as categorias gênero, raça e classe na passagem da colonização para a pós-colonização brasileira, através da interpretação de narrativas literárias que deram voz aos sujeitos femininos, até então silenciados pela história e vistos apenas sob a óptica do colonizador, no cenário da produção colonial. Tomamos como aparato teórico desta discussão os estudos pós-coloniais e os estudos de gênero e, considerando a imbricação entre estas duas correntes, partimos do pressuposto de que, durante a construção pós-colonial do Brasil, os sujeitos femininos, até então silenciados pelo discurso histórico, tomam voz através da escrita e narram suas próprias histórias sem a mediação do sujeito colonizador. Selecionamos três textos literários produzidos por mulheres entre os séculos XIX e XX e, através destes escritos, analisaremos os sujeitos das produções e os contextos aos quais se inserem, trazendo mostras das especificidades presentes neste período de transição e ressaltando a importância das categorias raça, classe e gênero para tal análise. Em ordem cronológica, a primeira autora a qual iremos nos referir tornou-se importante referência feminista no Brasil e, na primeira metade do século XIX, traduziu de forma livre um importante tratado sobre o direito das mulheres. Trata-se de Nísia Floresta, pseudônimo de Dionísia Gonçalves Pinto. O segundo trabalho, também escrito no século XIX é de acordo com Roberto... (Resumo completo, clicar acesso eletrônico abaixo)
Resumen: Este trabajo tiene como objetivo analizar las intersecciones entre las categorías de género, raza y clase en la transición desde la colonización hasta la poscolonización de Brasil, a través de la interpretación de las narraciones literarias que dieron voz a los sujetos femeninos, hasta ahora silenciadas por la historia y que sólo se refleja en virtud la óptica del colonizador, en el escenario de la producción colonial. Tomamos como aparato teórico de esta discusión los estudios poscoloniales y los estudios de género y tenendo em cuenta la imbricación entre estas dos corrientes, suponemos que durante la construcción post-colonial de Brasil, los sujetos femeninos, hasta ahora silenciados por el discurso histórico, adquieren voz a través de la escritura y narran sus propias historias sin la mediación del sujeto colonizador. Seleccionamos tres textos literarios producidos por las mujeres en el siglo XIX y XX y, por estos escritos, vamos a examinar los sujetos de las producciones y los contextos a los que pertenecen, con lo que muestran las características presentes en este período de transición y haciendo hincapié en la importancia de las categoriasraza, clase y género para dicho análisis. En orden cronológico, la primera autora al que nos referiremos se hizo referencia feminista importante na y en la primera mitad del siglo XIX traducido libremente un importante tratado sobre los derechos de la mujer. Es Nísia Floresta, seudónimoDionísia Gonçalves Pinto. El segundo trabajo, también escrito en el siglo XIX, conforme Roberto Schwarz, es "(...) uno de los buenos libros de la literatura brasileña, y no hay nada a su altura en nuestro siglo XIX, si dejar de lado Machado de Assis "(Schwarz, 1997, p.47). Nos referimos al diario personal de Alice Dayrell Caldeira Brant, escrito entre los años 1893 y 1895 y publicado sólo en 1942 bajo el título deMinha vida de... (Resumen completo clicar acceso eletrônico abajo)
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Hultqvist, Kristian. "Den gröne mannens börda : Kolonial plikt i H G Wells The War of the Worlds." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-196217.
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In 1898, H G Wells published The War of the Worlds, a scathing indictment of colonialism from the perspective of the colonized. The following year, Rudyard Kipling penned The White Man’s Burden, describing colonial conquest as driven by duty, for the sake of the subjugated. They shared a vantage point from the literary pedestal of fin-de-siècle London, but what they saw was very different. The War of the Worlds can be read as an allegory of colonialism where the tables are turned and the colonial masters are suddenly exposed to a ruthless and technologically superior power. What can be inferred about the Martians’ motives? Can they be perceived as driven by duty, by wishing to take care of or serve their captives’ needs? With the information provided in the The War of the Worlds, could a Martian Kipling write “The Green Man’s Burden” to motivate the invasion of the Earth? Using postcolonial tools of analysis, this essay digs into the britishness of Wells’ colonizers and colonized, as well as into the britishness of Wells’ own perspective. Some postcolonial theorists argue that representatives of the colonial powers cannot represent the subjugated. Does his background and nationality disqualify Wells to describe the effects of colonialism? I argue that it does not. Staying in the social space of the West helped Wells erode the ideology of colonialism by tailoring it to be received and understood by his target audience, his contemporary countrymen.
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Zelenenkaya, Ekaterina. "The Projector Principle as a Means of Portraying the Cultural through the Personal in Olive Senior's Summer Lightning and Other Stories." Thesis, Linköpings universitet, Avdelningen för språk och kultur, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-102466.
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The essay represents the projector principle, on which, as the essay’s author believes, the narration of The Summer Lightning and Other Stories by Olive Senior is based. The projector principle illustrates the idea that little details and images in the text serve big purposes, for example, reflect the emotional state of the characters or how the characters construct their identity. The literary analysis of the present essay aims at exploring a complicated identity construction in the context of Jamaica with its half-lost indigenous and half-remained colonial legacies through the identity construction of adolescent Jamaican protagonists of the short stories.
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Roy, Mantra. ""Speaking" Subalterns: A Comparative Study of African American and Dalit/Indian Literatures." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3441.
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“Speaking Subalterns” examines the literatures of two marginalized groups,African Americans in the United States and Dalits in India. The project demonstrates how two disparate societies, USA and India, are constituted by comparable hegemonic socioeconomic-cultural and political structures of oppression that define and delimit the identities of the subalterns in the respective societies. The superstructures of race in USA and caste in India inform, deform, and complicate the identities of the marginalized along lines of gender, class, and family structure. Effectively, a type of domestic colonialism, exercised by the respective national elitists, silence and exploit the subaltern women and emasculate the men. This repression from above disrupts the respective family structures in the societies, traumatizes the children, and confuses the relationships between all the members of the families. While African American women, children, and men negotiate their national identities in USA, Dalits, the former Untouchables, attempt to realize their national identities guaranteed by the Indian Constitution. While successful resistance to oppression informs the literatures written by these historically marginalized peoples, thereby giving voice to the silenced subalterns, I argue that it is equally important to be attentive to the simultaneous silencing that has not ended. Moreover, we must be skeptical about the power seemingly achieved by the subalterns in articulating their claims to legitimate rights because re-presentation of subaltern resistance by the elite intellectualsand by subalterns themselves becomes a critical inquiry.
Thus, while some subaltern women claim agency through representation, their narratives may not be exempt from hegemonic control. Others are thoroughly misrepresented by elitists. While some subaltern mothers undertake outlaw mothering by defying normative patriarchal motherhood, responsible representation can re-cover these tales which are silenced when these mothers succumb to their children and community’s disparagement. While some subaltern children may survive disastrous experiences, others may be traumatized into silence. Representation bears witness to these traumatic silences and the silencing processes. While historically emasculated subaltern men may vent and represent their rightful frustration and wrath against the oppressors, they may be simultaneously silencing their own doubly-oppressed women.
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Fonsêca, Joseana Souza da. "A personagem feminina subalterna na ficção de Nélida Piñon e Francisco Dantas." Universidade Federal de Sergipe, 2010. https://ri.ufs.br/handle/riufs/5741.
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This paper proposes a comparative analysis of the female characters in the novels Caetana s sweet song (1987), of Nélida Piñon, and Cartilha do Silêncio (1997), of Francisco Dantas, through a sociocultural approach. We support the hypothesis that despite the woman in these works, she passes through border areas where oppression and freedom confused each other, many times she is submitted to way of life the patriarchal society. Our aim is to identify what mechanisms of the power that encompass the subaltern character as for gender / sexuality and social class aspect. In the Caetana s sweet song we give priority to the study of prostitutes: Gioconda, Diana, Palmira and Sebastiana, without leaving aside the actress mambembe Caetana. In Cartilha do Silêncio, we emphasize the subordinate place of Arcanja, a poor niece of the rich patriach Romeu Barroso, to Avelina, wife of household Barroso family, Mané Piaba, and D. Senhora, the bourgeois that has her sexuality repressed by her husband. Theoretically, we follow the guidelines that power and oppression are part of the devices of social control according to Michel Foucault. The subaltern identities are studied through sociological proposal that say all identity is mobile and flexible according to Stuart Hall and Zygmunt Bauman. Within the Brazilian literary criticism about the representation of female characters, we follow the guidelines of the studies of Elódia Xavier and Regina Dalcastagnè. Teaching purposes, this dissertation is divided into four chapters. In the first, we situate the place of Nélida Piñon‟s and Francisco Dantas‟s work and we point out the main characteristics of their female characters. In the second, we developed the concept of subaltern and oppression from the devices of gender, class and sexuality. In the third, we analyze how the discourse of the subaltern woman is constructed. In the last chapter, we add the space as an indicator of the condition of the subordinate characters, with emphasis on the study of heterotopias, spaces of crisis and construction of new identities. Thus, this research maps the main characteristics of the subaltern female characters in Nélida Piñon‟s and Francisco Dantas‟ fiction.Este trabalho propõe uma análise comparativa entre as personagens femininas dos romances A doce canção de Caetana (1987), de Nélida Piñon, e Cartilha do Silêncio (1997), de Francisco Dantas, a partir de uma abordagem sociocultural. Partimos da hipótese que a mulher, nessas obras, apesar de transitar por espaços de fronteira onde a liberdade e a opressão, às vezes se confundem, encontra-se subjugada ao modo de vida da sociedade patriarcal. Nosso objetivo é identificar quais os mecanismos de poder que oprimem a personagem subalterna tanto pelas questões de gênero/sexualidade quanto pela questão da classe social. Em A doce canção de Caetana, damos prioridade ao estudo das prostitutas: Gioconda, Diana, Palmira e Sebastiana, sem deixar de lado a atriz mambembe Caetana. Em Cartilha do Silêncio, ressaltamos o lugar subalterno de Arcanja, uma sobrinha distante do rico patriarca Romeu Barroso, o de Avelina, mulher do agregado da família Barroso, Mané Piaba; e o de D. Senhora, a burguesa que tem a sexualidade reprimida pelo marido. Teoricamente, seguimos as orientações de que poder e opressão fazem parte dos dispositivos de controle social conforme Michel Foucault. Para estudar as identidades subalternas, partimos das propostas sociológicas de que toda identidade é construída num contexto marcado por relações de poder conforme Stuart Hall e Zygmunt Bauman. Dentro da crítica literária brasileira sobre a representação das personagens femininas, seguimos as orientações dos estudos de Elódia Xavier e Regina Dalcastagnè. A dissertação está dividida em quatro capítulos. No primeiro, situamos a obra de Nélida Piñon e de Francisco Dantas e apontamos as principais identidades de suas personagens femininas. No segundo, desenvolvemos o conceito de subalterno e de opressão a partir dos dispositivos de gênero, classe e sexualidade. No terceiro, analisamos como o discurso da mulher subalterna é construído. No último capítulo, acrescentamos o espaço como mais um indicativo da condição subalterna das personagens, dando destaque para o estudo das heterotopias, espaços que contribuem para o avivamento da opressão. Assim, esta pesquisa mapeia as principais características das personagens femininas subalternas na ficção de Nélida Piñon e Francisco Dantas.
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Otero, Luque Frank. "Del etnovaivén al etnobúmeran: identidad cultural, estrategias de resistencia e impronta literaria del subalterno en el Perú." FIU Digital Commons, 2017. http://digitalcommons.fiu.edu/etd/3478.
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In my dissertation, I explore social strategies that Peruvian subalterns have developed to survive against racism and discrimination. I have identified and coined one of these strategies as etnovaivén (ethno-sway), which I define as a pendulum-like approach that allows subalterns to swing/sway from blanqueamiento to cholificación, and vice versa. In this context, blanqueamiento (whitening) mainly refers to the subaltern's willingness and efforts to assimilate the white culture in order achieve upward social mobility, whereas cholificación depicts the reluctance of Indian and mestizo subalterns to assimilate the cultural norms of the dominant group in certain circumstances, while asserting their own ethnic identity. Conversely, etnobúmeran (ethno-boomerang) is a self-inflicted boycott to one’s own ethnic groups. I claim that Peruvian subalterns shape their cultural singularity between ethno-sway and ethno-boomerang.
My research has examined these social phenomena as reflected in the Inca Garcilaso de la Vega’s Comentarios reales (1609), Clorinda Matto de Turner’s Aves sin nido (1889), and Enrique López Albújar’s Matalaché (1928). In addition, in La ciudad y los perros (1963) by Mario Vargas Llosa, Montacerdos (1981) by Cronwell Jara, La violencia del tiempo (1991) by Miguel Gutiérrez, and Hienas en la niebla (2010) by Juan Morillo, I have analyzed the historical connection between miscegenation, discrimination, inequality and violence, which progressively led to the Internal Conflict (1980-2000), the goriest and longest war in Peru’s republican history that resulted in the assassination of approximately 70 000 persons, most of them Quechua-speaking, ordinary civilians. Highlanders fleeing from terrorism during those two decades account for the depopulation of over 2/3 of the Andean region.
This study is both relevant and pertinent because it intersects with contemporary debates about national identity formation, and because it provides a means to understand the aftermath of political violence, a phenomenon that periodically threatens the lives of Peruvians. My work contests the traditional thesis of racial and cultural miscegenation as the foundation of Peruvian national identity (the "melting pot" metaphor), which has proven to be ineffective. Instead, I propose a more inclusive identity concept that celebrates cultural diversity and accepts the coexistence of multiple ethnic and cultural groups within the confines of the nation.
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Villoria, Nolla Maite. "El subalterno que empanico a Medellín : rearticulaciones de la ciudad del Sicariato en la novela colombiana contemporanea." Thesis, University of Nottingham, 2007. http://eprints.nottingham.ac.uk/41745/.
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La presente investigación establece la relación existente entre la violencia urbana colombiana y su representación literaria. En realidad, este trabajo presenta la forma en que la literatura rearticula espacios, sujetos y culturas locales desde la industrial global, reafirmando estereotipos e imaginarios construidos desde el afuera. La literatura, particularmente la novela colombiana contemporánea del sicarato, revela los códigos simbólicos que constituyen el imaginario de Medellín, contribuyendo al modo en qué leemos y habitamos la ciudad. En este estudio se intentará demostrar el modo en qué los textos literarios analizados, a partir de la posición de los narradores y la traducción o mediación del discurso y lenguaje del Otro, en este caso el sicario, refuerzan la invisible pere ineludible división interna existente en la ciudad de Medellín y continúan estigmantizándola al definirla como el lugar del caos y la fragmentación. Pero además, se observará cómo las narraciones no soló no logran sostener un diálogo con el discurso oficial, sine que, a partir de ciertos regimenes de valor, convierten al sujeto subalterno en objeto narrativo. Para tales fines, se mostrará cómo la ciudad ha sido un lugar conflictivo por excelencia y, por otra parte, se cuestionará, a partir de una síntesis de distintas teorías sobre subalternidad, el lugar del Otro en la literatura urbana colombiana de entresiglos.
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Reaño, Hurtado Paloma. "Memoria en movimiento. La performance Rosa Cuchillo como agencia subalterna." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2013. http://tesis.pucp.edu.pe/repositorio/handle/123456789/5233.
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Partiendo de la importancia de la representación del otro en tanto es precisamente a
partir de ella que construimos nuestra propia identidad, la recuperación de una memoria
colectiva es básica para el proyecto de reconciliación nacional. Gestadas durante el
conflicto interno (1980-2000), la novela y la performance Rosa Cuchillo (la historia de
una madre que busca a su hijo asesinado) pertenecen al conjunto de expresiones
artísticas y acciones culturales cuyo objetivo es procesar dicho trauma social en un
contexto de impunidad y negación constante. No obstante, existen diferencias
discursivas sustanciales: este ensayo es un análisis comparativo de la representación del
sujeto subalterno en ambas obras, y una argumentación sobre cómo la performance
logra una experiencia simbólica y emotivamente reconstituyente, ahí donde el texto se
estanca discursivamente. Esta nueva representación del sujeto subalterno en la
performance se sostiene, a mi parecer, a través de tres estrategias: la politización del
sujeto, el abandono del discurso mítico, y la producción de un discurso híbrido.Tesis
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Cantalice, Neto Abdias Correia. "Memória, testemunho e escrita de presidiário: Luiz Alberto Mendes e a voz do subalterno." Universidade Estadual da Paraíba, 2014. http://tede.bc.uepb.edu.br/tede/jspui/handle/tede/2421.
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UEPB
This study aims to analyze the work Memórias de um sobrevivente, by Luiz Alberto Mendes, in a witness perspective which resulting from an autobiographical writing, produced on a prison experience, it is placed in the marginal literature condition. We will analyze this author belonging to the field of literary creation, it is him the One who is not allowed to have voice in the midst of a crowd of prisoners, that also seek through this ‗one‘ to represent themselves. The making of this work is performed by memory resources and fits in what is usually called the testimony of literature. It is, therefore, literary conducive to intercultural literary studies because preserves in itself, besides the own literary characteristic, a countless of others possible interpretations. It bears elements of memory and the author's own life story, narrating critical moments experienced in his childhood, suffocated by his father, in the adolescence, enclosed in reformatories and his adulthood, in a prison in São Paulo. Therefore, the following issues arise: to what extent the testimony and the positioning of a subject in the prison experience can impact on the literary field? How is the prisoner, through his memories and writing about himself positioned and repositioned in the literary field according to the condition of him as a witness? To answer these questions, this paper will discuss several other issues related to life in the periphery. We discuss nuances of the autobiography of fictionality and auto fiction. In addition, besides the discourse on memory, history and sociology, we will be framing the study around Interculturalism. This study will address in its first chapter the autobiography and the testimony of an imprisoned writer. In another moment, it will deal on the crowd and what the prisoner represent in the construction of the space of speech. In the third and final chapter, it addresses the question of subordination and the position of the poor and imprisoned writer, which takes the performance of the subordinate. It is observed contemporary forms of life in their paratopics spaces, having the prisoner as belonging to such spaces. Therefore, attempts to adapt the concept of literary work produced in prison with the concept of the multitude of literature. Positioning and repositioning of the subordinate in the literary field.
O presente trabalho analisa a obra Memórias de um sobrevivente, de Luiz Alberto Mendes, que resultando de uma escrita autobiográfica, produzida sobre a experiência de cárcere, se coloca na condição de literatura marginal. Analisaremos o pertencimento desse autor ao campo da criação literária, sendo ele o Um, que não lhe é permitida ter voz, no meio de uma multidão, que também busca através deste ―um‖ se representar. A construção da obra se dá através de recursos de memória e se enquadra naquilo que se convenciona chamar de literatura de testemunho. Sendo, portanto, obra literária propícia aos estudos interculturais, pois conserva em si, além da própria característica literária, inúmeras outras possibilidades interpretativas. A obra traz elementos da memória e da história de vida do próprio autor, narrando os momentos críticos vivenciados por ele na infância, sufocada pelo pai, na adolescência, enclausurado nos reformatórios e sua fase adulta, já num presídio de São Paulo. Sendo assim, levantaremos as seguintes questões: em que medida o testemunho e o posicionamento de um sujeito, na experiência do cárcere, podem repercutir no campo literário? Como o preso, através de suas memórias e escritas de si, se posiciona e reposiciona no campo literário a condição da qual ele é testemunha? Para responder a essas perguntas, discutiremos neste trabalho inúmeras outras questões relacionadas à vida na periferia. Abordaremos nuanças da autobiografia, da ficcionalidade e da autoficção. Além de dissertar sobre a memória, a história e a sociologia, enquadrando o estudo em torno da interculturalidade. O presente estudo abordará em seu primeiro capítulo a autobiografia e o testemunho de um escritor preso. Num outro momento tratará sobre a multidão e o que o preso representa dentre os muitos na construção do espaço do discurso. No terceiro e último capítulo aborda-se a questão da subalternidade e o posicionamento do escritor pobre e preso, o qual assume a performance do subalterno. Observam-se as formas de vida contemporâneas em seus espaços paratópicos, tendo o preso como pertencimento a tais espaços. Portanto, tenta-se adequar o conceito de obra literária produzida na prisão com o conceito de literatura de multidão. Escrita de muitos. Posicionamento e reposicionamento do subalterno no campo literário.
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Nandi, Miriam. "Gayatri Chakravorty Spivak." Universität Leipzig, 2018. https://ul.qucosa.de/id/qucosa%3A31261.
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Gayatri Chakravorty Spivak gilt als eine der Gründungsfiguren des postkolonialen Feminismus. Ihr Profil als postkoloniale Theoretikerin gewann sie mit der Veröffentlichung ihres Werkes In Other Worlds – Essays in Cultural Politics. In ihren Texten weist Spivak auf Widersprüche innerhalb der Nationen des Globalen Südens hin. Sie fokussiert, u. a. mit Hilfe der analytischen Konzepte Repräsentation (representation) und Subalternität (subaltern), insbesondere auf die problematische Rolle von Geschlechter- und Klassenverhältnissen in postkolonialen Widerstandsbewegungen, auf den Gegensatz zwischen den indischen Eliten und den unteren Bevölkerungsschichten und auf die gewaltsame Unterdrückung von Frauen des Südens.
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Ebest, Mario [Verfasser]. "Die Vertreibung der subalternen Hochländer im Rahmen der Highland Clearances : Eine Untersuchung der integrativen Verarbeitung des traumatischen Bruchlinienkonfliktes in vier schottischen Romanen / Mario Ebest." Baden-Baden : Nomos Verlagsgesellschaft mbH & Co. KG, 2016. http://d-nb.info/1106337697/34.
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Sayes, Zevallos Erik. "Un pueblo crucificado o la fuente de la humanización: los personajes subalternos en Los ríos profundos de José María Arguedas." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/102566.
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En este artículo se plantea que los personajes marginales de Los ríos profundos, como el pongo, la opa y los colonos de la hacienda de Patibamba, se configuran como los agentes de la transformación de la estructura social que confina a algunos sujetos a la condición de explotados y convierte a otros en explotadores. En este sentido, al ser los marginados quienes cuestionanun sistema social que reproduce la jerarquización de sus miembros, se propone que la trayectoria vital de estos personajes actualiza la manera como los relatos bíblicos presentan la resurrección de Jesús, es decir, la afirmación fundamental de la fe cristiana según la cual el resucitado antes ha sido crucificado o, en otras palabras, la salvación del mundo proviene de los considerados insignificantes en la historia humana.Palabras clave: personajes marginales, resurrección, crucifixión, José María Arguedas AbstractThis article proposes that the marginal characters of Los ríos profundos, el Pongo, la opa, and the colonist at the hacienda de Patibamba, are the agents of the transformation of the social structure that confines some subjects to the condition of the exploited while it converts others to being the exploiters. In this sense, since the marginal characters question a social system that reproduces the hierarchy of its member, the article proposes that the life trajectory of those characters actualizes the way by which biblical stories present the resurrection of Jesus, that is to say, the fundamental affirmation of Christian faith according to which the resuscitated is previously crucified. In other words, the salvation of the world rests on those that are considered insignificant in the history of humanity.Keywords: marginal characters, resurrection, crucifixion, José María Arguedas
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Household, Sarah C. "Negociating the nation: time, history and national identities in Scott's medieval novels." Doctoral thesis, Universite Libre de Bruxelles, 2005. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210995.
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This thesis examines the relationships between different nations and cultures in Ivanhoe, The Talisman, Quentin Durward, Anne of Geierstein and Count Robert of Paris using Post-colonial theory. An analysis of Scott’s conception of society in general shows that 18th century Scottish historiography is fundamental to his vision of the world because it forms the basis of his systematization of history, social development and interaction between communities. It also profoundly influences his imagery and descriptions, as well as providing him with a range of stereotypes that he manipulates so skilfully that his great dependence upon them is occulted. Contemporary ideas and his own attitude to the Union of Scotland and England lead him to conceive of nation formation in terms of descent and hybridity. In part, he sees the nation as a community of blood. Yet, his acceptance of the Union means that he also considers it to be a body of different ethnic elements that live together. His use of the 18th century metaphor of family to figure the nation allows him to incorporate heredity and miscegenation into his analysis of national development through father-daughter couples. The father represents traditional culture, and the daughter, the nation’s present and future; her marriage to a foreigner signifying that people of differing descent can cross the nation’s porous borders. Religion is the final frontier: Christian nations cannot absorb non-Christians. Scott sees dominance and subordination as a complex part of human relationships. Apparently-subordinate subjects possess occulted power because their support of the hegemonic is often essential if the latter is to maintain its superiority. While his conception of society in patriarchal terms means that his female characters cannot offer violence to men, he shows that passive resistance is very effective. Through mimicry, the subordinate threatens the power and identity of the dominant. Power is not only conceived of in political terms. In Ivanhoe, Scott reveals the importance of moral stature which allows Rebecca to dominate the work although she is at the bottom of the political and racial hierarchy that structures English society. Scott’s conception of time is fundamental to the manner in which he conceives of the nation. Historical cultural forms are physicalised through chronotopes. Politically subordinate cultures base their actions in the present on pedagogic time, while the dominant ignore their past and live only in the present and the future. He also expresses dominant-subordinate relationships through speed, with time moving quickly for the powerful and slowly for the weak. Time, whether in the form of history, the characters’ perception of it or speed amalgamates all the various elements of Scott’s conception of nationhood into a seamless whole.Cette thèse analyse par le biais la théorie post-coloniale les relations internationales dans Ivanhoe, Quentin Durward, Anne of Geierstein et Count Robert of Paris. Les théories historiques élaborées en Écosse au XVIIIème siècle sont fondamentales dans la vision scottienne parce qu’elles forment la base de la systematisation de l’histoire, du développement sociale et, par conséquent, des relations entre les différentes communités. Ces théories influencent profondement les images qu’il utilise et la façon dont il décrit les caractères et les scènes. De plus, elles lui fournissent une gamme de stéréotypes qu’il manipule très adroitement. Sa conception de la manière dont se forment les nations vient des idées contemporaines et de sa propre expérience de l’union politique de l’Angleterre et de l’Écosse. Il considère la nation comme une communauté fondée sur l’ascendance par le sang mais aussi comme un groupe d’ethnies différentes qui vivent ensemble. Sa description de la nation emprunte à la métaphore de la famille courante au XVIIIième. Celle-ci lui permet d’inclure dans son analyse l’héridité et la mixité au moyen des couples formés par un père et sa fille. Le père représente la culture traditionelle, et la fille, le présent et le futur national. Son marriage avec un étranger signifie que les gens d’ascendance différente peuvent traverser les frontières perméables d’une nation. La religion est la frontière ultime: les nations chrétiennes ne peuvent absorber de non-chrétiens. Scott considère que la domination et la sujetion forment une partie complexe des relations humaines. Les sujets qui paraissent subordonnés possèdent en fait un pouvoir occulte, le dominant ayant besoin de leur soutien pour maintenir sa position. Bien que sa conception patriarcale de la société fasse que les caractères feminins ne manifestent pas d’agression envers les hommes, il montre que la résistance passive est très efficace. En imitant le sujet dominant, le sujet subordonné menace le pouvoir et l’identité de ce dernier. Le pouvoir ne s’exprime pas seulement dans la politique. Rebecca dans Ivanhoe revèle l’importance que revêtent le caractère et la moralité. Bien qu’elle soit au bas de la hiérarchie structurante de la société anglaise, elle domine le roman.
La conception que Scott se fait du temps est fondamentale à celle de la nation et de la culture. Au moyen du chronotope, les cultures historiques prennent des formes physiques. Les cultures qui sont subordonnées politiquement basent leur action au présent sur le “temps pédagogique”. Au contraire, le dominant rejette son passé et ne vit qu’au présent et au futur. Les relations entre le pouvoir dominant et le subordonné s’expriment aussi par la vitesse: le temps passe vite pour les puissants, mais lentement pour les faibles. En définitive, tous les éléments de la conception scottienne de la nation sont liés au temps, qu’il s’agisse de l’histoire, de perception par les caractères, ou de la vitesse.
Doctorat en philosophie et lettres, Orientation langue et littérature
info:eu-repo/semantics/nonPublished
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Ribeiro, Claudeci da Silva. "A primeirização dos segundos: uma leitura dos personagens secundários em Viva o povo brasileiro." Universidade Estadual da Paraíba, 2016. http://tede.bc.uepb.edu.br/jspui/handle/tede/2944.
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It is common for reading certain desperate literary works in readers expectations regarding the actions of their characters, especially in the tasks of their main characters. However, there are narratives that feature many minor characters with more interesting ways of life than the protagonists. When considering a deconstruction of the profile in terms of quality, a need arises to analyze other factors of the narrative that sustain and impel other glances for the literary text from the perspective of the secondary characters. The research proposes an approach to reading literary text from secondary characters, analyzing them in their ways of life, from analyzes of actions that value a power of the poor and of the blacks, through an integrative relation that they put in the foreground as forms of appearance of alterities and ways of coexistence with the most common, political and cultural. The choice of the work Live the Brazilian people is pertinent to intercultural studies, as it provides other interpretative possibilities and questions that allow the deepening of a critical reading about a discursive tradition. In order to delineate the corpus of this research, we will try to present the secondary characters in order to read the ways of life and to make potential of each one, so that, by their ability to surpass themselves, they gain visibility in this novel of João Ubaldo, considering as many of the ambulances of the secondary characters, entering and leaving the plot, in their secondaries of seconds and subordinates of the subalternity, according to Justino (2014, p.189). It is the people, in their most different forms of representation, who are the true "protagonists" of their stories. In this paper we present a review of the work of Spivak (2010), Glissant (2005), Olivieri-Godet (2009), Dalcastagnè (2005), Deleuze and Guattari (2011), Justino (2014), Williams (2014) Oswald de Andrade (1928), (Lígia Chiappini, 2002), Maria Cândida Almeida (2002), Caetano Veloso (2012), in addition to other authors who contributed to sustain the more secondary characters present in the narrative, they are not limited by the social condition or by the ethnic group which they belong, and thus constitute themselves in other ways of being.
É comum que a leitura de determinadas obras literárias desperte nos leitores expectativas em relação às ações de suas personagens, especialmente nas configurações de suas personagens principais. Contudo, há narrativas que apresentam muitos personagens secundários com modos de vida mais interessantes que a dos protagonistas. Ao considerar a desconstrução do perfil eurocêntrico dos personagens principais, surge a necessidade de analisar outras configurações da narrativa que sustentem e impulsionem outros olhares para o texto literário a partir da perspectiva dos personagens secundários. A pesquisa propõe uma abordagem de leitura do texto literário a partir dos personagens secundários, analisando nestes os seus modos de viver, a partir de análises das ações que valorizam a potência dos pobres e dos negros, através de uma relação integradora que coloca em primeiro plano as formas de aparição das alteridades e dos modos de convivência com os diferentes aspectos sociais, políticos e culturais. A escolha da obra Viva o povo brasileiro é pertinente aos estudos interculturais, pois propicia outras possibilidades interpretativas e o levantamento de questões que sinalizam o aprofundamento de uma leitura da crítica sobre a tradição discursiva. A fim de delinear o corpus desta pesquisa, procuraremos apresentar os personagens secundários tendo em vista uma leitura dos modos de vida e do potencial de cada um, de modo que, por sua capacidade de superar-se a si mesmo, eles ganham visibilidade neste romance de João Ubaldo, tendo em vista as muitas deambulações dos personagens secundários, entrando e saindo da trama, nas suas secundariedades de segundos e de subalternos da subalternidade, segundo Justino (2014, p.189). É o povo, em suas mais diferentes formas de representação, que são os verdadeiros “protagonistas” de suas histórias. Fundamentamos nossa pesquisa com os textos de Spivak (2010), Glissant (2005), Olivieri-Godet (2009), Dalcastagnè (2005), Deleuze e Guattari (2011), Justino (2014), Williams (2014) Oswald de Andrade (1928), Lígia Chiappini (2002), Maria Cândida Almeida (2002), Caetano Veloso (2012), além de outros autores que contribuíram para sustentarmos nossa tese de que os muitos personagens secundários presentes nesta narrativa não são limitados pela condição social ou pelo grupo étnico ao qual pertencem, e assim constituem-se em outros modos de ser.
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Khan, Azeen. "The Subaltern Clinic." Diss., 2015. http://hdl.handle.net/10161/9956.
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The Subaltern Clinic explores a certain legacy of unreason that Sigmund Freud identified throughout the course of his writings as the "death drive," or the compulsion to repeat. In Freud's work, the death drive is often thought as the opposite of the pleasure principle, which situates the pleasure-unpleasure binary at the center of psychoanalytical thinking and Freud's conceptualization of the psyche as well as morality, ethics, and civilization. The Subaltern Clinic traces a legacy of the death drive and a series of thematic concerns that emerge from it, specifically the instability of the pleasure-unpleasure binary that ostensibly upholds the "principle of reason," through a colonial-postcolonial archive. In doing so, the dissertation attends to those subaltern figures who are constituted as the "unreason" of society, particularly the mentally ill, women, and homosexuals.
In particular, the dissertation looks to the intersection of psychoanalysis and deconstruction, specifically to Jacques Derrida's engagements with Freud's "Beyond the Pleasure Principle," to argue that deconstruction needs to be thought of as a marginal and politicized form of psychoanalytic thinking, the stakes of which emerge through Derrida's readings of Freud's death drive. The dissertation follows the thread of these readings to consider the problems of difference, violence, sadism and masochism, and anxiety in the work of colonial and postcolonial practitioners of psychoanalysis as well as postcolonial artists and novelists. The Subaltern Clinic makes the argument that an attention to the legacy of the death drive in the postcolonial archive allows for a more robust critique of postcolonial reason, which would attend to questions of ethics and aesthetics.
Dissertation
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Lawrence, Alicia Marie. "Shattered hearts: Indigenous women and subaltern resistance in Indonesian and Indigenous Canadian literature." Thesis, 2012. http://hdl.handle.net/1828/4209.
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Revolutionary goals of Indigenous movements against colonial oppression during historic periods of insurgency are complicated by the fact that Indigenous women continue to suffer at the hands of those who claim to be the oppressed. Rukiah S. Kertapati describes Indonesia’s movement for independence from Dutch rule in Kedjatuhan dan Hati, while contemporary literature, such as Eden Robinson’s “Queen of the North” examines the oppression of Indigenous peoples of Canada. Women’s interests in intervening in the momentum of revolutionary violence may be interpreted in different ways – from subversive, to reactionary, to dissenting. However, women’s literary voices resist the impact of colonial oppression by illuminating the need for social change that emerges with awareness, combines emotion with intelligence, and recognizes the political relevance of personal experience.Graduate
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Amin, Kadji. "Agencies of Abjection: Jean Genet and Subaltern Socialities." Diss., 2009. http://hdl.handle.net/10161/1604.
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This dissertation explores the concept of
"Agencies of Abjection" carefully situates Genet's writing within the discursive fields in which it intervenes, including that of the memoirs and testimonies of former inmates of the boys' penal colonies, of Francophone decolonizing poets and intellectuals, and of Black Panther prison writings. This method illuminates subaltern genealogies of thought on the problems of abjection, subjection, and subaltern agency so central to Genet's writing. By charting the twists and turns between Genet's writing and that of other subaltern writers of abjection, "Agencies of Abjection" reads Genet as a thinker continually involved in a process of exchange, intervention, borrowing, and revision concerning the specific histories and experiences of social abjection.
Dissertation
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Rhode, Aletta Cornelia. "The subaltern `speaks': agency in Neshani Andreas' The purple violet of Oshaantu." Diss., 2003. http://hdl.handle.net/10500/1259.
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This dissertation critically evaluates the issue of the `silencing' of the subaltern woman in the 1988 version of Gayatri Spivak's essay `Can the Subaltern Speak?' The conclusions reached are then related to the novel The Purple Violet of Oshaantu by the Namibian woman writer Neshani Andreas. Chapter 1 deals with the essay `Can the Subaltern Speak?' and the `silenced' subaltern woman, examining both Spivak's theory on this issue as well as criticism of this theory by different postcolonial theorists. Chapter 2 presents aspects of both the creative and political practice of women, specifically the woman writer, in certain countries in Africa. Chapter 3 deals with the novel The Purple Violet of Oshaantu by Neshani Andreas and explores issues like the `silencing' of the subaltern women in the novel, opposition to patriarchal oppression and the engendering of agency by both the writer and the characters in the novel.English Studies
M. A. (English)
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"Desterritorialización y reterritorialización en los testimonios de Asunta Quispe Huamán, Munú Actis, Cristina Aldini, Liliana Gardella, Miriam Lewin y Elisa Tokar, y Reyna Grande." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.53496.
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abstract: RESUMEN
Esta tesis investiga la escritura femenina testimonial de tres obras latinoamericanas. El testimonio de Asunta Quispe Huamán, publicado en Gregorio Condori Mamani. Autobiografía (1977), producido por Ricardo Valderrama y Carmen Escalante; Ese infierno: conversaciones de cinco mujeres sobrevivientes de la ESMA de Munú Actis, Cristina Aldini, Liliana Gardella, Miriam Lewin y Elisa Tokar (2001); y La distancia entre nosotros (2012) escrito por Reyna Grande. Los testimonios han sido analizados a través de diversas premisas teóricas compuestas de las ideas sobre la heterogeneidad latinoamericana de Antonio Cornejo Polar y teorías sobre el territorio, espacio y geografía de Henri Lefebvre, Rogerio Haesbaert, Edward Soya, Gilles Deleuze que nos han servido de plataforma para nuestro estudio. Asimismo se ha recurrido a escritos sobre el cuerpo y la frontera con teoristas feministas como Lucia Guerra, Nelly Richards, Jean Franco, Gloria Anzaldúa y Rosi Braidotti, entre otras. Este estudio se ha propuesto demostrar que estos testimonios Latinoamericanos en su polifonía social y cultural emplean discursos de dimensión multifocal que les permite reterritorializarse desde las márgenes a través de tácticas de resistencia en un proceso de permanente descolonización. Esos cuerpos nómades han sido hablados y programados por el discurso legitimador para desterritorializarlos pero ellos vuelven a reterritorializarse como “líneas de escape” que se transforman creando interconexiones de supervivencia creadora.
Consecuentemente, a través del nomadismo de los sujetos analizados se forma una resistencia política que representa nuevos horizontes que son los proyectos en variados ámbitos: de género, raciales, culturales, de justicia del espacio y ambientales. Todos éstos en contrapunteo con el discurso hegemónico.Dissertation/Thesis
Embargo
Doctoral Dissertation Spanish 2019
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Allouch, Hanen. "Bios éducatifs : problèmes du biopouvoir dans les représentions littéraires et filmiques du milieu éducatif (1984-2015)." Thèse, 2018. http://hdl.handle.net/1866/22634.
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Saldivia, Pereira Leyla Tatiana. "Entre historia y memoria : Días y noches de amor y de guerra y Memoria del fuego de Eduardo Galeano." Thesis, 2020. http://hdl.handle.net/1866/24192.
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Ce mémoire de maîtrise porte sur deux œuvres que l’écrivain uruguayen Eduardo Galeano a rédigé dans le but de « dévoiler le passé de l’Amérique latine tel quel il s’est produit » pour ainsi donner représentativité et visibilité aux expériences historiques des Latino-Américains. Tout d’abord, Días y noches de amor y de guerra (1978), œuvre où l’auteur remémore les dictatures militaires du Cône Sud des années 70, ainsi que les expériences déterminantes qu’il a vécues tout au long de sa vie, y compris la mémoire de ces sujets avec lesquels il a interagi. Ensuite, la trilogie Memoria del fuego (1982, 1984 y 1986) où il reconstruit cinq siècles d’histoire à partir des expériences qu’il considère comme subalternes.
Dans cette étude, nous verrons comment l’auteur aborde les événements historiques qu’il raconte par une analyse détaillée des sujets mise en évidence et des ressources narratives employées ainsi que par l’observation de l'utilisation qu'il fait de sa mémoire et des archives consultées. Nous pensons que ses expériences de vie et le contexte régional de troubles sociaux et de dictatures ont influencé l'articulation narrative de ces textes, rendant ces versions du passé non seulement historiques, sinon à la fois littéraires, politiques, et surtout personnelles.This master's thesis is about two works that the Uruguayan writer Eduardo Galeano wrote with the aim of “revealing the past of Latin America as it happened” and, in this way, giving representativeness and visibility to the historical experiences of the Latin American collective. The first work, Días y noches de amor y de guerra (1978) remembers the military dictatorships of the Southern Cone of the 70s, as well as those significant experiences that he had throughout his life, including the memory of those subjects whom he interacted with. The second is, the trilogy Memoria del fuego (1982, 1984 and 1986) in which he recreates five centuries of history from experiences considered by the author as subaltern. In this study we try, through a detailed analysis of the subjects highlighted by Galeano, as well as the narrative resources used, to see how the writer approaches the historical events that he narrates, paying special attention to the use he makes of his memory as well as the archival sources consulted. We believe that his life experiences and the regional context of social unrest and dictatorships have influenced the narrative articulation of these texts, going beyond their historical character, becoming at the same time literary, political, and, above all, personal documents.
Este trabajo de maestría trata sobre dos obras que el escritor uruguayo Eduardo Galeano redactó con el objetivo de “revelar el pasado de América Latina tal como ocurrió” y darle, de esta manera, representatividad y visibilidad a las experiencias históricas los latinoamericanos. La primera, Días y noches de amor y de guerra (1978) en donde rememora las dictaduras militares del Cono Sur de los años 70, así como aquellas experiencias significativas que tuvo a lo largo de su vida, incluyendo también la memoria de esos sujetos que alguna vez interactuaron con él. La segunda, la trilogía Memoria del fuego (1982, 1984 y 1986) en la que recrea cinco siglos de historia a partir de experiencias que el mismo autor considera subalternas. En este estudio intentamos, mediante un análisis detallado de los sujetos destacados por Galeano, así como de los recursos narrativos empleados, ver de qué manera el escritor aborda los hechos históricos que narra, prestando especial atención al uso que hace de su memoria, así como de las fuentes archivísticas consultadas. Creemos que sus experiencias vitales y el contexto regional de agitación social y dictaduras han influido en la articulación narrativa de estos textos, haciendo que sobrepasen el carácter histórico y se vuelven a su vez literarios, políticos, pero, sobre todo, personales.
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Fernández-Meardi, Hernán. "La razón de los tontos : protagonismo de los grupos subalternos en la formación de una conciencia de unidad nacional en Latinoamérica." Thèse, 2010. http://hdl.handle.net/1866/4538.
Full textAbstract:
Cette thèse est une étude des groupes subalternes en Amérique Latine qui se concentre principalement sur l’examen de la production littéraire que ces groupes ont inspirée mais aussi sur les tensions sociales, idéologiques et culturelles dérivées de leur présence au sein d’une nation. Ces groupes qu’on va identifier méthodologiquement comme étant des Groupes Subalternes sont apparus dans le panorama littéraire et politique d’une manière peu habituelle, plus par leur négativité en relation au projet moderne d’institutionnalisation positiviste que par les particularités de leur culture. Néanmoins, ils sont devenus, par la suite, le symbole iconographique de l’identité nationale de leurs pays respectifs. Ces groupes qui, par définition, étaient destinés à sombrer dans l’oubli historique sont devenus plus tard les protagonistes des «guiding fictions» de la formation d’une conscience d’unité nationale.
Les textes qui seront examinés au cours de cette recherche sont ceux qui montrent de manière paradigmatique la réalité et les modes d’existence de ces populations qui ont été caractérisées par leur négativité par rapport aux normes de la pensée hégémonique moderne dans l’espace socio-culturelle et -politique de l’Amérique latine. Ces textes nous montrent une déviation dans l’évolution historico-discursive de la vision que les artisans idéologiques des États-nation naissants ont voulu imposer sur ces groupes vers la fin du XIX e. Dans cette étude, on analysera deux exemples paradigmatiques : celui de la communauté de Canudos au Brésil, à travers le texte « Os Sertões » d’Euclides Da Cunha, et celui des gauchos de l’Argentine, à travers l’examen du texte « El Martin Fierro » de Jose Hernandez.
Dans la première partie de cette thèse on dessine, à grands traits, les repères historiques et socio-politiques des idéologies qui ont abouti au processus de modernisation de l’Amérique latine. On propose, au même temps, quelques concepts critiques vis-à-vis de l’analyse des groupes subalternes. Dans les chapitres suivants, on procède à une lecture attentive des textes mentionnés plus haut, tout en considérant, à la fois, la nécessité de cette analyse, la difficulté des problèmes et la nature de notre propos. On explique aussi la place qu’occupent les groupes subalternes dans la représentation littéraire de leur pays d’origine et l’impact qu’ils ont eu dans la formation de l’imaginaire national. En réfléchissant sur les données engendrées lors de l’analyse, la conclusion de la thèse aborde les conséquences épistémologique et idéologique provoquées par le régime discursif de l’État-nation latino-américain.This dissertation represents a study of subaltern groups in Latin America focusing mainly on the study of the literary production that these groups inspired but also on the social, ideological and cultural tensions derived from their presence within a nation. These groups, which I identify methodologically as Subaltern Groups, appeared in the literary and political panorama in an uncommon way, originating more from their negativity in relation to the modern project of positivist institutionalization than through the distinct characteristics of their culture. Nevertheless, they went on to become the iconographical symbol of national identity in their respective countries. Although, by definition destined to be forgotten historically, they later became protagonists of the “guiding fictions” forming an awareness of national unity. The texts chosen for review in this research project reveal, paradigmatically, the reality and modalities of existence of these communities, characterised by their negativity in relation to the norms of modern hegemonic thought within the socio-cultural and political space of Latin America. These texts reveal a deviation in the course of the countries’ historical-discursive evolution with regards to the vision that the new Nation-states’ ideological artisans wished to impose on these groups at the end of the 19th century. In this study, two paradigmatic examples are analysed: that of the Canudos community in Brazil presented in Da Cunha’s Os sertões and that of the gauchos in Argentina, as portrayed in José Hernández’. The first part of this thesis gives a general outline of the historical and socio-political references corresponding to the ideologies that lead to the modernisation of Latin America. I also put forward critical concepts the analysis of subaltern groups. In the following chapters, I proceed with a close reading of the above-mentioned texts, while considering, at the same time, the necessity of this analysis, the inherent challenges related to the problems as well as the nature of the subject. In this context, the thesis also characterizes the place that subaltern groups hold in the literary representations of their own countries as well as the impact that have had on the development of their nation’s collective imaginary. By reflecting on the data generated by the analysis, the conclusion of this thesis addresses the epistemological and ideological consequences caused by the discursive regime of the Latin-American Nation-state.
Esta tesis consiste en un estudio de los grupos subalternos en Latinoamérica que se focaliza principalmente en el examen de la producción literaria que esos grupos inspiraron, pero también en las tensiones sociales, ideológicas y culturales derivadas de su presencia en el seno de una nación. Esos grupos que denominamos metodológicamente Grupos Subalternos surgieron en el ámbito político y literario de una manera poco común, más por su negatividad en relación con el proyecto de institucionalización positivista que por las particularidades de su cultura. Sin embargo, luego se convirtieron en el símbolo iconográfico de la identidad nacional de sus respectivos países. Esos grupos que por definición estaban destinados al olvido histórico lograron, no obstante convertirse luego en los protagonistas de las “guiding fictions” para la formación de una consciencia de unidad nacional. Los textos que se examinarán en esta investigación son aquellos que muestran de manera paradigmática la realidad y los modos de existencia de esas poblaciones que se caracterizaron por su negatividad con respecto a las normas del pensamiento hegemónico moderno dentro del espacio socio-político-cultural de Latinoamérica. Esos textos ponen a la vista una desviación en la evolución histórico-discursiva de la visión que los artesanos ideológicos de los Estados nación nacientes desearon imponer a esos grupos hacia finales del siglo XIX. En este estudio, se analizarán dos ejemplos paradigmáticos: el de la comunidad de Canudos en Brasil, a través del texto « Os sertoes » de Euclides Da Cunha y el de los gauchos de Argentina, a través del examen de « El Martin Fierro » de José Hernández. En la primera parte de esta tesis, se hará mención a grandes rasgos de los puntos de referencia históricos y socio-políticos de las ideologías que desembocaron en el proceso de modernización de Latinoamérica. Simultáneamente, se proponen algunos conceptos críticos con respecto al análisis de los grupos subalternos. En los capítulos subsiguientes, se procederá a una lectura atenta de los textos antes mencionados, considerando al mismo tiempo la necesidad de este análisis, la dificultad de los problemas y la naturaleza de nuestro tema. Además se explicará el lugar que ocupan los grupos subalternos en la representación literaria de sus países de origen y el impacto que ejercieron en la construcción del imaginario nacional. Al reflexionar sobre los datos generados durante el estudio, la conclusión de la tesis aborda las consecuencias epistemológicas e ideológicas provocadas por el régimen discursivo del Estado-nación latinoamericano.