Bibliografie tematiche / Colonial fantasy

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Letteratura scientifica selezionata sul tema "Colonial fantasy"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 18 febbraio 2022

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Articoli di riviste sul tema "Colonial fantasy"

Verma, K. D. "The Structure of Colonial Fantasy". South Asian Review 25, n. 1 (novembre 2004): 3–15. http://dx.doi.org/10.1080/02759527.2004.11932320.

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Novac, Fevronia. "Maitreyi. From Authenticity to Colonial Fantasy". Theory in Action 9, n. 3 (31 luglio 2016): 13–37. http://dx.doi.org/10.3798/tia.1937-0237.16016.

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Solomon, Richard. "Sexual Practice and Fantasy in Colonial America and the Early Republic". IU Journal of Undergraduate Research 3, n. 1 (5 settembre 2017): 24–35. http://dx.doi.org/10.14434/iujur.v3i1.23364.

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The sexual practices of European colonists, Native Americans, and African-American slaves of the American colonies and early republic reflected economic and religious disparities, providing specific cultural phenomena in which power relations are established and reaffirmed. These hierarchies not only prescribed the role of sex in quotidian American life; they created lasting traditions in sexual practices that continue to the present day. For this thesis, I rely on contemporary and classic historiography, religious studies, and gender scholarship to make claims about the role of women in colonial society and the treatment and fantasy-construction of marginalized peoples: namely, African-American slaves and Native Americans. Specifically, I will show how colonial women leveraged their scarcity and sexual desirability to secure their gender’s procreative role and social utility in Puritan and Southern colonies. I will show how the formation and subjugation of the Black slave class acquired distinct and lasting sexual fault lines, how political pressures and economic incentives to justify and nurture slavery shaped whites’ sexual attitudes and behavior, and finally how national myths of manifest destiny and the fecundity of the land came dominate whites experience of native American sexuality.

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Hight, Eleanor M. "Dean Worcester’s Fantasy Islands: Photography, Film, and the Colonial Philippines". History of Photography 39, n. 3 (3 luglio 2015): 307–10. http://dx.doi.org/10.1080/03087298.2015.1071925.

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정종화. "A Study on ‘Fantasy’ and Practice of Colonial Korean Cinema". Film Studies ll, n. 63 (marzo 2015): 225–57. http://dx.doi.org/10.17947/kfa..63.201503.008.

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O'Toole, Rachel Sarah. "Devotion, Domination, and the Work of Fantasy in Colonial Peru". Radical History Review 2015, n. 123 (ottobre 2015): 37–59. http://dx.doi.org/10.1215/01636545-3088144.

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Stuelke, Patricia. "Writing Refugee Crisis in the Age of Amazon: Lost Children Archive's Reenactment Play". Genre 54, n. 1 (1 aprile 2021): 43–66. http://dx.doi.org/10.1215/00166928-8911498.

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This essay analyzes Valeria Luiselli's 2019 novel Lost Children Archive's attempt to imagine anti-imperialist solidarity aesthetics in a moment of the increasing imbrication of the US literary sphere and settler colonial capitalist surveillance of the US-Mexico border, as well as the nonprofit care regime that has arisen to oppose and ameliorate its effects. Because these structures converge around overt and subterranean investments in settler colonial frontier fantasy, the essay focuses particularly on Lost Children Archive's engagement with the tradition of the white male road novel Western in the Americas—Luiselli's attempts to write both through and against this form—as part of the novel's larger attempt to grapple with the formal problems that adhere in representing the temporality and scale of ongoing Central American Indigenous dispossession and refugee displacement in settler colonial capitalism. In exploring the degree to which the Western genre's tradition of, per Philip Deloria, “playing Indian” might oppose the brutal bureaucratic violence of the xenophobic carceral settler US state, the novel builds a critique of the frontier road novel fantasy that it cannot quite sustain.

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Dias, Jocimar. "Bacurau as Science-Fiction Revenge Fantasy". Film Quarterly 74, n. 2 (2020): 84–86. http://dx.doi.org/10.1525/fq.2020.74.2.84.

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When Bacurau (dir. Kleber Mendonça Filho and Juliano Dornelles, 2019) was released in Brazil, it was mainly received as a left-wing critique of the rise of the far right in the country’s political landscape. But some critics argued that the feature’s insistence on graphic violence was actually a celebration of barbarism, equating the oppressed villagers to their genocidal oppressors. This article refutes this view, borrowing from the analysis of science-fiction revenge fantasies and also following Foucault’s genealogical perspective. It argues that Bacurau actually reenacts Brazil’s foundational colonial violence through its complex temporality, in order to rediscover the forgotten past of real struggles that remain surreptitiously inserted in all levels of society, perhaps in the hope that new ways of resistance may flourish from its spectatorial experience.

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Salam, Aprinus. "Discursive Construction of Subject and Ideological Fantasy in Postcolonial Indonesia". Jurnal Humaniora 32, n. 1 (31 gennaio 2020): 68. http://dx.doi.org/10.22146/jh.50562.

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This paper tries to explain the contestation at the discursive construction level of the subject. The subject in question is Indonesia in postcolonial era. The problem that will be answered was how the ideological fantasy constructed its subject. The data were chosen purposively from several novels. The paper approach is discourse-like in nature. The results of this paper show that in the contestation there is competition of colonial discourse, modernism; in which will also crossed with religion or local values. It can be concluded that there has been overlapping ideological fantasy of Indonesian postcolonial subject.

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Cunningham Bissell, William. "Between Fixity and Fantasy: Assessing the Spatial Impact of Colonial Urban Dualism". Journal of Urban History 37, n. 2 (13 gennaio 2011): 208–29. http://dx.doi.org/10.1177/0096144210391598.

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Tesi sul tema "Colonial fantasy"

Nuttall, Alice. "Fur, fangs and feathers : colonial and counter-colonial portrayals of American Indians in young adult fantasy literature". Thesis, Oxford Brookes University, 2015. https://radar.brookes.ac.uk/radar/items/c2b39c47-ca72-43df-ad6d-615dba4faa49/1.

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Although there have been many postcolonial studies of the portrayals of Native American characters in children’s and young adult literature, the majority of these have focused on historical novels, rather than analysing fantasy literature. Additionally, I have found no direct comparisons between texts by Native and non-Native authors, and the impact of authorship on the representations of American Indian characters. I believe that a study of this area of literature is important, as it will serve to examine how the portrayal of Native characters in texts varies depending on the insider or outsider experience of the author. In my thesis, using critical theory around Gothic, gender and queer studies, I analyse three examples of young adult fantasy literature; the Twilight saga by Stephenie Meyer, the Tantalize series by Cynthia Leitich Smith, and the novel Wolf Mark by Joseph Bruchac. In the first chapter, I study the texts’ portrayals of Native American spiritual beliefs, comparing Meyer’s use of Quileute legends to bolster her series’ mythology with Bruchac’s reinterpretation of Abenaki beliefs in Wolf Mark. In the next chapter, I focus on the role of Christianity in the novels, considering historical contexts of missionary movements and colonisation. Chapter Three analyses the novels from a gender studies perspective, considering the racialised representations of masculinity and femininity in the texts, while Chapter Four studies the theme of sexuality in the novels. Finally, in the fifth chapter, I look at postcolonial Gothic space in the novels, and its connections to frontiers and borders, both physical and psychic. ii As a result of my research, I discovered that the Quileute characters in Meyer’s novels correspond with images of Native peoples as ‘savage’ and animalistic, with Native men portrayed as violent and sexually threatening, and Native women as pitiable and subordinate. Her focus on the ‘treaty line’ established by the vampires, and the ‘civilising process’ the main Quileute character Jacob undergoes during his time with the Cullen family, perpetuate colonialist narratives. By contrast, Leitich Smith and Bruchac write against these stereotypes. Bruchac focuses directly on Abenaki characters, writing from an insider perspective that allows him to create a nuanced, non-stereotypical portrayal of a Native protagonist. Although Leitich Smith does not write directly about Native characters or cultures, her representations of gender, sexuality and race correspond with a counter-colonialist perspective. My direct comparison of texts by Native and non-Native authors shows that an author writing from an outsider perspective is far more likely to use stereotypical portrayals of American Indian characters and cultures than an author with an insider perspective of a Native culture. It also indicates that young adult fantasy literature, with its emphasis on the boundaries between childhood and adulthood, can be used as a site for both conservative and radical narratives on colonialism and postcolonialism.

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Klammer, Ivana R. "Reinventing the Colonial Fantasy in the Post-WWII era: Jovita Epp's Amado Mio". BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2285.

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Austrian playwright Jovita Epp's German language novel Amado mío, which takes place in post-WWII Argentina, is a modern adaptation of the traditional colonial novel. As such, the romances between the female main character, an Argentine of German descent, and her two love interests, an Argentine of Spanish descent (Criollo), and an Austrian Argentine, reflect the hopes and fears of persons and/or cultures caught up in the imperialist dreams of their nation. In the wake of WWII, Argentina becomes a space in which European(-descended) settlers can look back at Europe's "barbarism," questioning the imperialist worldviews that brought Europe to the brink of destruction. At the same time, these colonists search for European values that are salvageable from the cultural wreckage in Europe and employable in reconstructing a new identity in Argentina.

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Malmon, Isabelle. "Le tupapau et le génie à capuche : étude d'une figure entêtante dans l'oeuvre de Paul Gauguin". Thesis, La Réunion, 2017. http://www.theses.fr/2017LARE0019.

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En 1892, la toile Manao tupapau de Paul Gauguin présente, à l’arrière d’une vahiné dénudée, un petit personnage encapuchonné. L’artiste explique qu’il s’agit d’un tupapau, d’un revenant dans les traditions polynésiennes. Le motif en réalité est déjà apparu en France en 1888, sans référence à l’Océanie, et ne cessera de hanter l’œuvre jusqu’au décès de Gauguin en 1903. Cette figure thanatique, intrusive dans une œuvre qualifiée d’exotique et d’érotique, méritait réflexion, d’autant que la critique l’a souvent banalisée ou effacée. Ce personnage montre-t-il que l’artiste cède au fantastique fin-de-siècle ? S’agit-il d’alimenter l’exotisme, comme les Orientalistes, en faisant cohabiter cette entité ténébreuse avec la «belle des îles» ? Y a-t-il, de la part d’un homme exécrant l’Europe mercantiliste et racialiste, un intérêt sincère pour le surnaturel polynésien persécuté par les missions chrétiennes ? Notre travail a montré que l’excursion dans les îles du Pacifique pouvait virer à la descente aux Enfers. Face à la normalisation coloniale et chrétienne des mœurs et croyances polynésiennes, la peur de la damnation, la mortalité effrayante dû au mal vénérien, le démon à capuche est la mort qui gagne sur les plaisirs, la diabolisation de la liberté sexuelle. Mais il exprime aussi une ingression dans les ténèbres de la psyché, une tension entre volonté de jouissance dans la nouvelle Cythère et peur d’une sexualité féminine diabolisée et indomptée, entre désir de régression vers la mère et envie de fuir une figure tutélaire anxiogène. Le petit génie macabre contribue enfin à orienter l’œuvre vers une esthétique originale, mettant à mal les stéréotypes artistiques et idéologiques
In 1892, Paul Gauguin’s painting Manao tupapau shows, behind a naked Tahitian woman, a little hooded character. The artist explains that this is a tupapau, that is to say a ghost in the Polynesian traditions. In reality the pattern already appeared in France in 1888, without any reference to Oceania, and it will haunt the work of Gauguin until he died in 1903. This figure, invasive in a so-called exotic and erotic work, deserves special attention, especially as most critics often trivialised or deleted it. Does this character prove that the artist is yielding to fin-de-siècle fantasy ? Is it a way to feed exotism, like the Orientalists painters, by the coexistence between this shadowy ghost and the « belle des îles » ? Knowing that Gauguin hated the mercantilist and racialist Europe, does he have a real interest in the Polynesian occult world and beliefs as they were fought by Christian missions ? Our dissertation showed that Gauguin’s excursion in the Pacific islands went a downward spiral. When the Polynesian customs and religion are standardized by colonialism and Christianism, when guilt of damnation and mortality caused by the syphilis are spreading, the hooded genius represents death prevailing over pleasure, the demonization of sexual freedom. This figure expresses also a descent into the dark room that is Gauguin’s psyche, his being torn between will of enjoyment in the new Cythère and fear of a demonized and untamed female sexuality, between his desire to come back to the mother image and his avoidance of a stressful domination figure. At last the little genius helps to give the work an original esthetics, challenging artistic and ideological stereotypes

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Sonnekus, Theo. "Invisible queers investigating the 'other' Other in gay visual cultures /". Diss., Pretoria [S.n.], 2009. http://upetd.up.ac.za/thesis/available/etd-10152009-152556.

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Parson, Ben. "Sovereign Savage". 2019. https://scholarworks.umass.edu/englmfa_theses/113.

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The thesis presented here is a novel, which attempts to blend the genres of fantasy and noir with a colonial narrative. It interacts with themes of capitalism, systemic violence, identity, and free will. It draws inspiration from the writings of Maxine Hong Kingston, Eleanor Catton, Thomas De Quincy, Kiran Desai, Dashiell Hammett, and Sir Arthur Conan Doyle, as well as films such as John Ford’s The Searchers and Henry Hathaway’s True Grit. The thesis here constitutes a draft which will be further developed with the goal of publication.

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Liao, Hsin-Yi, e 廖心儀. "A Post-Colonial Reading of Fantasy Literature: An Examination of Howl’s Moving Castle". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/gwjjcv.

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碩士
國立臺北教育大學
兒童英語教育學系碩士班
103
The question of poetics is always historical. Whenever the truth of poetry is doubted, history withers to be a fictional narrative. As a narrative strategy, the post-colonial writing aims at, after the ebb of western colonialism, reconstructing a new historical vision. However, its “core-periphery” ideology, rooted in the western binarism, misdirects the post-colonial views to over-focus on the situation of “the other,” developing a pan-politically historical perspectivism. Such a visual angle ironically makes the West another neglected marginalization. Therefore, to take fantasy literature as the studying object is to reversely examine—with the post-colonial narrative angle—the ignored internalized others in the western subject. I choose Diana Wynne Jones’ Howl’s Moving Castle—a fantasy text of the first world—to specially survey the contemporary floating conscious in the western colonialism of globalization. In the first chapter, the thesis begins with the relationship between fantasy literature and globalization, to explain the fantastic reality in fantasy texts and the uniqueness of “world-picture.” Also, this chapter introduces three synthetic theories as reading approaches in the thesis: post-colonial discourse, mythical archetype, and carnivalization poetics. In the second chapter, we discuss fantasy literature as the healing ritual, which sutures reality after the division of imperialism, illustrating how it took shape in the modern colonial history, and how wizard Howl, in the form of vampire, executed the rootless Globalized Consumer Capitalism and performed colonial witchery by symbolic goods. In the third chapter, we take Howl in the moving castle as an example to unmask the western world vision in fantasy literature, and also investigate how the world-picture gradually developed into today’s closed sphere of globalization. Chapter four retraces Holy Grail Complex, interpreting how it evolved into colonialism, and its core function in fantasy text to drive the subject to float. We also start with the aphasia of Calcifer, the fire demon, to review those demonized characters in the history of colonial literature, and to probe into the identifying anxiety of the cultural other and the female, including their psychological self-fetishization. In the fifth and the last chapter, we explore the cultural and psychological origins of Masquerade and Carnival to explain the significance of those characters’ behavior modes in fantasy texts—especially in Howl’s Moving Castle—and to diagnose the western literature and history after WW II as the quest of “heart.” Besides the aforementioned chapters, which realize the theoretical reading of the text, the close of the thesis attempts, from the view of meta-criticism, to reveal the latent blind spots of post-colonial discourse, and to provide some possible re-interpretations. Thereby, we, for the contemporary new subjectivity, may search for the post-historical dawn of the West.

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Huxdorff, Claus. "Spuren visionärer Multikulturalität: Fantasie und Wirklichkeit in Campes "Robinson der Jüngere": Auf dem Weg vom Kolonialismus zum Kosmopolitismus". 2010. http://trace.tennessee.edu/utk_gradthes/720.

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This thesis aims to investigate the traces of multicultural implications in Joachim Heinrich Campe’s Robinson der Jüngere 1779/80. On one level, Campe’s adaptation of Defoe’s Robinson Crusoe appears to awaken or sustain potential colonial fantasies among its German readers. However, Campe’s Robinson der Jüngere does not follow colonial conventions, such as exhibited in Defoe, but instead depicts a society based much more on the concept of a common humanity shared by Europeans and Caribbean natives alike. It conceives of cooperation and exchange as a mutual gain for both parties. Robinson’s island functions as a kind of social testing ground offering opportunities for trial runs of Campe’s social-utopian concepts. In this way, the society Campe portrays offers an implicit critique of the colonial realities in his era as practiced by the European colonial powers. Thus, Robinson der Jüngere goes beyond the obvious pedagogical aim, inspired by Rousseau, to raise pious, self-sufficient and industrious citizens. Instead its underlying socio-political message deserves attention. In comparison with Defoe, Campe distances himself from practices of then-current colonial behavior, such as slavery and self-enrichment from exploiting natural resources. Among the indications that Campe was attempting to establish an ideal alternative to the colonialism of his era are his depictions of an amicable bond between Robinson and Freitag, the marriages of Europeans and natives and even the distinct wish of the Spaniards and Englishmen to remain in the ideal society Robinson had crafted on his island, rather than returning to Europe. The international success of Robinson der Jüngere suggests the lasting influence it had on generations of readers. In the analysis I present, Campe subliminally educates the listening children in the book and the reading public to become open-minded citizens of future societies.

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Libri sul tema "Colonial fantasy"

Stow, Randolph. Midnite: The story of a wild colonial boy. Basingstoke: Macmillan Education, 1986.

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Thomas, Richards. The imperial archive: Knowledge and the fantasy of empire. London: Verso, 1993.

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Helland, Jenna. The fanged crown. Renton, WA: Wizards of the Coast, 2009.

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Imperial masochism: British fiction, fantasy, and social class. Princeton: Princeton University Press, 2007.

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Larry, Niven. The moon maze game. New York: Tor, 2011.

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National myth and imperial fantasy: Representations of Britishness on the early eighteenth-century stage. Houndmills, Basingstoke, Hampshire [England]: Palgrave Macmillan, 2008.

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Rusch, Kristine Kathryn. Alien influences. New York: Bantam, 1997.

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McDevitt, Jack. Moonfall. New York: HarperCollins, 2009.

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Sean, Williams. The dying light. Pymble, N.S.W: Voyager, 2000.

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Sean, Williams. The dying light. New York: Ace Books, 2000.

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Capitoli di libri sul tema "Colonial fantasy"

Durix, Jean-Pierre. "From Fantasy to Magic Realism". In Mimesis, Genres and Post-Colonial Discourse, 79–148. London: Palgrave Macmillan UK, 1998. http://dx.doi.org/10.1057/9780230377165_4.

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Padamsee, Alex. "Fantasy and Civilian Identity". In Representations of Indian Muslims in British Colonial Discourse, 83–102. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230512474_8.

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Gooding, Francis. "Missing the End: Falsehood and Fantasy in Late Colonial Cinema". In Film and the End of Empire, 287–92. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-349-92502-5_20.

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Tricoire, Damien. "Enlightened Colonialism? French Assimilationism, Silencing, and Colonial Fantasy on Madagascar". In Enlightened Colonialism, 47–70. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-54280-5_3.

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McMahon, Christina S. "Recasting the Colonial Past: History, Imagination, and Fantasy on Festival Stages". In Recasting Transnationalism through Performance, 68–96. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137006813_3.

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Nelson, Robert L. "The Fantasy of Open Space on the Frontier: Max Sering from the Great Plains to Eastern Europe". In Cambridge Imperial and Post-Colonial Studies, 41–62. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-53206-2_3.

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Weiss, Allan. "Colonial Visions: The British Empire in Early Anglophone and Francophone Canadian Science Fiction and Fantasy". In Studies in Global Science Fiction, 31–48. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15685-5_2.

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Ramos, Alexandre. "“Fantastic” colonial cities: Portuguese colonial utopia". In Intelligence, Creativity and Fantasy, 199–204. CRC Press, 2019. http://dx.doi.org/10.1201/9780429297755-34.

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Gardner, Daniel. "“A Ramona in Reverse”: Writing the Madness of the Spanish Past in Ask the Dust". In John Fante's Ask the Dust, 83–108. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823287864.003.0005.

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At the turn of the twentieth century, real estate boosters seeking to promote southern California drew upon the national popularity of Helen Hunt Jackson’s 1884 novel Ramona, in particular its fantasy of the Spanish past. The fantasy’s colonial discourse deployed stereotypes marked by an ambivalence that romanticized “going Spanish” even as it portrayed Mexican communities as burdens necessitating subjugation through various strategies including repatriation. John Fante’s Ask the Dust (1939) repudiates the stereotype of the colonial fantasy by critically mimicking the Spanish past. By reversing the discourse of Ramona, Ask the Dust exposes the imperialist nostalgia of the fantasy, recognizes the instability of the regional sense of colonial authority, protests the racial injustice of the discourse, and recuperates the voice of the Other that the fantasy seeks to silence.

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"Chapter 1. Lost and Found: Antiquarianism and the Fantasy of Preservation". In Colonial Revivals, 25–51. University of Pennsylvania Press, 2019. http://dx.doi.org/10.9783/9780812295511-003.

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