Tesi: "Literature, Comparative African literature Caribbean literature"

1

Okagbue, Osy A. "Aspects of African and Caribbean theatre : a comparative study". Thesis, University of Leeds, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249811.

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2

Higgins, MaryEllen. "Questions of apprenticeship in African and Caribbean narratives gender, journey, and development /". Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3034547.

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3

Alston, Vermonja Romona. "Race-crossings at the crossroads of African American travel in the Caribbean". Diss., The University of Arizona, 2004. http://hdl.handle.net/10150/280506.

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Traversing geographical borders frequently allows people the illusion of crossing social, political, and economic boundaries. For African-Americans of the early twentieth century, crossing physical borders offered the promise of freedom from racial segregation and discrimination in all aspects of social, political, and cultural life. Haiti became a site for African-American imaginings of a free and just society beyond the problem of the color line. From the 1920's through the 1980's, African-American travel writing was strategically deployed in efforts to transform a U.S. society characterized by Jim Crow segregation. In the process, Haiti and the rest of the Caribbean were romanticized as spaces of racial equality and political freedom. This project examines the ways in which the Caribbean has been packaged by and for African-Americans, of both U.S. and Caribbean ancestry, as a place to re-engage with romanticized African origins. In the selling of the Caribbean, cultural/heritage tourism, romance/sex tourism and ecotourism all trade on the same metaphors of loss and redemption of the innocence, equality, and purity found in a state of nature. Through analyses of standard commercial tourism advertising alongside of travel writing, I argue that with the growth of the black middle-class in the late 1980's crossings to the Caribbean have become romantic engagements with an idealized pastoral past believed lost in the transition to middle-class prosperity in the United States. African-American travel writers, writing about the Caribbean, tend to create a monolithic community of cultural belonging despite differences of geography and class, and gender hierarchies. Thus, African-American travelers' tales constitute narratives at the crossroads of celebrations of their economic progress in the United States and nostalgia for a racial community believed lost on the road to suburban prosperity. For them, the Caribbean stands in as the geographical metaphor for that idealized lost community.

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4

Carr, Rachel McKenzie. "But What Has Helga Crane to Do with the West Indies? Plantation Afterlives in the Black Atlantic". UKnowledge, 2019. https://uknowledge.uky.edu/english_etds/102.

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“But What Has Helga Crane to Do with the West Indies? Plantation Afterlives in the Black Atlantic” situates the emergence of the southern gothic in modernist American and Caribbean works as a response to the shifting cultural narrative of the plantation in the twentieth century. In this project, I argue that the plantation seeps out of its place and time to haunt landscapes it may never have touched and times in which slavery is long over. While the plantation system is broadly recognized as a literary, political, and cultural force in nineteenth-century literary studies, I conceive it is also a driving force of southern literature even after the physical plantations begin to fade. In this project, I examine how literary portrayals of plantations flourish in the 1920s and 30s, from the writings of the Nashville Agrarians to the popularity of Gone with the Wind, arguing that this period represents a literary re-mythologizing of the plantation’s legacy as a benevolent and positive model for the south. A significant contribution of this dissertation is then in demonstrating how plantations are present in works that are not traditionally understood as plantation fiction, and that these works offer a resistance to this re-mythologizing through turning to the gothic: the transatlantic plantation gothic in Nella Larsen’s Quicksand and Jean Rhys’ Voyage in the Dark, the impact of environmental labor on the plantation gothic in Jean Toomer’s Cane and Eric Walrond’s Tropic Death, and finally, how plantation modernity affects portrayals of natural disasters in plantation territories in Zora Neale Hurston’s Their Eyes Were Watching God and M. NourbeSe Philip’s Zong!. Ultimately, this project contributes to the discussion of plantation modernity currently occurring in Southern Studies beyond the nineteenth century and into the modernist period, while also demonstrating how movements often construed as disparate in American literary studies, like the Harlem Renaissance and the Nashville Agrarians, were actually in close conversation.

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5

O'Connell, Grainne Marie Teresa. "A comparative analysis of HIV/AIDS, transnationalism, sexuality, gender and ethnicity in selected Anglophone Caribbean and South African literature and film". Thesis, University of Sussex, 2014. http://sro.sussex.ac.uk/id/eprint/48857/.

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In this thesis, I demonstrate that the historical, and ideological, trajectories of HIV/AIDS discourses mirror the tensions between the local, global and transnational in my analysis of selected Anglophone Caribbean and South African literature and film. My methodology is adamantly a comparative studies approach as I overview the broader socio-historical narrative of HIV/AIDS whilst concurrently incorporating the idea of texts as always inflected by the wider historical and ideological processes behind transnationalism. I then link the competing histories of HIV/AIDS with textual depictions of HIV/AIDS, Indo-Caribbean histories, black Atlantic histories, and same-sex desire whilst foregrounding the socio-historical backdrop of transnationalism since the colonial period. A central thread running throughout is that transnational dialectics signify both the effects of the past on the present and the importance of comparative analyses for transnational textual engagements. Texts under discussion are the feature film Dancehall Queen by Rick Elgood and Don Letts, the novel The Swinging Bridge by Ramabai Espinet, the documentary film The Darker Side of Black by Isaac Julien, the feature film Children of God by Kareem Mortimer, the novella Welcome to Our Hillbrow by Phaswane Mpe, and the feature film The World Unseen by Shamim Sarif. Given the concurrent focus in postcolonial/queer around specific regional histories, I pinpoint that the dialectics between local, global and transnational discourses convey more nuanced, yet also more contradictory, textual engagement(s) with HIV/AIDS, transnationalism, sexuality, gender and ethnicity than some of the dominant narrative threads and debates surrounding postcolonial/queer. This point is particularly stressed in light of how many postcolonial/queer discussions readily fix the idea of the local as distinct from the global and the transnational. I thus re-read the contradictory registers of these discourses whilst foregrounding the relationship between these and HIV/AIDS discourses since the 1970s. I concurrently situate ny transnational comparative approach within the broader field of postcolonial/queer theory and approaches.

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6

Powell-Bennett, Claudette. "The Influence of Culture on Conflict Management Styles and Willingness to Use Mediation| A Comparative Study of African Americans and Afro-Caribbeans (Jamaicans) in South Florida". Thesis, Nova Southeastern University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10623422.

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Conflict management style preference and use of mediation within the Black population in the United States (US) is not well understood. The purpose of this study is to find out if there is a significant difference in conflict management style preference and use of mediation by African Americans and Afro-Caribbean (Jamaicans) living in the United States. Based on Hofstede's theory of individualism-collectivism cultural orientation, the US culture emphasizes individualism while Jamaica’s culture emphasizes collectivism. Responses were collected from 108 African American and Jamaican respondents anonymously, of which 96 were deemed usable. The Rahim (1983) Organizational Conflict Management Style Inventory was used to collect data on the five styles and was analyzed with the appropriate statistic test. A thematic analysis was used to analyze the text-based data gathered from the two open-ended questions at the end of the survey. The thematic analysis revealed two major themes: personal and workplace relationship conflict situations. It is recommended that future study includes three groups of Blacks instead of two groups. The preferred conflict management style from the combined group result is the compromising style. A significant difference was found in the obliging and compromising conflict management styles between African Americans and Jamaicans. No significant difference was found between the groups’ conflict management style and willingness to use mediation. The open-ended questions and individual textual description of conflict experience and willingness to use mediation were used to clarify the quantitative results and provide a better understanding of the similarities and differences among people of African descent from different cultural orientations.

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7

Soric, Kristina Maria. "Empires of Fiction: Coloniality in the Literatures of the Nineteenth-Century Iberian Empires after the Age of Atlantic Revolutions". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1502913220147523.

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8

Istomina, Julia. "Property, Mobility, and Epistemology in U.S. Women of Color Detective Fiction". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429191876.

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9

Halil, Karen. "Conjuring power in Caribbean and African-American literature". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0001/NQ39535.pdf.

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10

Canfield, Robert Alan 1964. "Renaming the rituals: Theatralizations of the Caribbean in the 1980s". Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/282638.

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Helen Gilbert and Joanne Tompkins, in their recently published Postcolonial Drama: Theory, Practice, Politics, highlight the significance of metatheatrical tendencies in the resistance drama of Anglophone arenas of decolonization, particularly those of the Anglophone Caribbean. Insisting on such metatheater as more than simply postmodern play, Gilbert and Tompkins crucially note the emergence of a critically conscious theater that explores and explodes notions of subjectivity, ideologies of difference and monologies of mastery. My studies in postcolonial drama and theory have led me toward similar sites and modes of struggle, culminating in a project that focuses upon this act of metatheater in the Caribbean and seeks to interpret its socio-ideological/cultural implications in light of recent postcolonial, feminist, discursive critique. Generated out of nationalist Theaters of Dissimulation that enact an unmasking of the discourses of race and mastery so crucial to the dissemblances of colonial master-scripts, I argue that Caribbean theater in the West Indies, Puerto Rico, and the Antilles translates these early nationalist revolutions into an involutionary act, one that avoids the reinscription of patriarchal, racialist, essentializing notions of identity and attempts instead to deconstruct what Stuart Hall has termed the "politics of representation." Through this spotlighting of image and image systems rather than identity politics, 80s playwrights make Edouard Glissant's concept of theatralization--the very act of cultural ontology--the main actor on the stage, creating a Theater of Dissimilation that, like Kamau Brathwaite's idea of "nation language," represents a cultural process of critical creolization.

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11

Ojo, Adegboye Philip. "Mortuary tropes and identity articulation in Francophone Caribbean and Sub-Saharan African narratives /". view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3095268.

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Thesis (Ph. D.)--University of Oregon, 2003.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 198-215). Also available for download via the World Wide Web; free to University of Oregon users.

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12

Lagapa, Jason S. "Inarticulate prayers: Irony and religion in late twentieth-century poetry". Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280295.

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Inarticulate Prayers: Irony and Religion in Late Twentieth-Century Poetry examines irony and its implications for religious belief within texts ranging from the New York School Poets to the Language Poets and, in Caribbean literature, within the poems of Derek Walcott and Kamau Brathwaite. Taking Jacques Derrida's distinction between deconstruction and negative theology as a point of departure, I argue that contemporary poets employ ironic language to articulate an ambivalent, and skeptical, system of belief. In "How to Avoid Speaking: Denials," Derrida contrasts his theory of differance--as a fundamentally negative and critical mode of inquiry--with negative theology, which ultimately affirms God's being after a process of negation. My study asserts that contemporary poets, in accord with principles of negative theology, engage in inarticulate, self-canceling and negative utterances that nevertheless affirm the possibility of belief and enlightenment. By postulating the affinity between contemporary poets and the apophatic tradition, I explain how the work of these poets, despite often being dismissed as arid exercises in poststructuralist thought, productively draws on linguistic theories and also advances beyond the "negativity" of such theories. Moreover, as it intervenes in recent debates over the absence of a spiritual dimension to contemporary poetry, my dissertation opens new perspectives through which to theorize postmodern literature. Demonstrating that experiments in language and form are driven by an ironic stance towards belief, authorship and literary tradition, Inarticulate Prayers ultimately redefines contemporary lyric and narrative poetry and asserts negation, inarticulateness, and contradiction as determining characteristics of postmodern writing.

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13

Kyoore, Paschal Baylon Kyiiripuo. "The Francophone African and Caribbean historical novelist and the quest for cultural identity /". The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487688507505108.

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14

Ngue, Julie Christine Nack. "Critical conditions refiguring bodies of illness and disability in francophone African and Caribbean women's writing /". Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467886381&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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15

De, La Cruz Garcia Katia. "African historical religions and Africana spirituality in the Caribbean literature: an analysis of Afro-Caribbean philosophical archetypes in contemporary Caribbean literature using Ifá philosophy as a signifying system". Doctoral thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/30356.

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This research analyses the presence of Afro-Caribbean philosophical archetypes in Caribbean literature as fundamental elements in the identity formation and racial dynamics of African descendants in the Caribbean. The main focus is on the spiritual component of African historical religions and Africana spirituality. The spiritual component, considering its level of transcendence in the human being, is essential in the formation of the identity since it allows the creation of moral archetypes that can be recognized in literary creations. The research uses Ifá philosophy, Yoruba mythology, and Africana religions, as signifying systems. The research considers the religious foundations of the Ewe-Fon, Kongo and especially, Yoruba traditions, with a focus on the Yoruba Oracle as Literary Corpus as well as the basis for the analysis of the following novels: Of Love and other Demons by Gabriel García Márquez, Changó, the biggest badass by Manuel Zapata Olivella, Ecué Yamba Ó by Alejo Carpentier, The red of his shadow by Mayra Montero and Gabriela, clove and cinnamon by Jorge Amado. This project establishes that the moral philosophy, implicit in the divinatory system of the Yoruba people, known as Ifá, can be traced through the literary structures of Caribbean literature and can be used as a reference for transnational identity in the Caribbean.

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16

Eidlin, Barry. "Crossed Wires, Noisy Signals: Language, Identity, and Resistance in Caribbean Literature". Oberlin College Honors Theses / OhioLINK, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1323646674.

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17

Pierce, Linda M. "Displaced memory: Oscar Micheaux, Carlos Bulosan, and the process of United States decolonization". Diss., The University of Arizona, 2004. http://hdl.handle.net/10150/280790.

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"Displaced Memory: Oscar Micheaux, Carlos Bulosan, and the Process of U.S. Decolonization," uses new applications for existing colonial and postcolonial theories in order to explain common incongruities in ethnic minority autobiographies in early twentieth-century America. Using Carlos Bulosan (1914-1956) and Oscar Micheaux's (1894-1951) "fictional autobiographies" as case studies, I argue that the seemingly contradictory coexistence of assimilationist and subversive narratives can be explained when understood as textual representations of the process of decolonization. Reading these narrators as postcolonial subjects, however, would require both a radical rethinking of colonial and postcolonial theory and careful revaluation of early American mythology. While recognizing the United States as a former (or neo-) colonial power poses no insuperable problem for scholars in Philippine American studies, analyzing other disenfranchised ethnic communities in terms of a U.S. colonial context is more problematic. My project addresses precisely this problem: part one begins with the Philippine context and asks why even this overt example of colonization remains unacknowledged within U.S. cultural memory. The answer to this question is grounded in the literary, political and ideological national foundations emergent during nascent U.S. development. In the second part of my project, I stress the necessity of comparing multi-ethnic experiences within parallel historical trajectories, addressing questions about how a U.S. postcolonial theory would become complicated when applied to slavery and its aftermath. I argue that the unique position of displaced colonials occupied by African slaves and the colonial memory instilled in their offspring suggest the applicability of postcolonial theory to the African American community. Questions of U.S. postcoloniality are invariably tethered to multiple perspectives from early literature, from captivity to emancipation and reconstruction. Thus, understanding the ways in which African Americans have been colonized is important not only for re-reading African American literature like that of Micheaux, but for revising American ideological holdovers from the seventeenth century to the present. Read together within the postcolonial context, Bulosan's and Micheaux's views on nation, race, masculinity and women take on new significance.

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18

Scott, Mikana S. "AN AFROCENTRIC ANALYSIS OF SCHOLARLY LITERATURE ON THE CAYMAN ISLANDS: LOCATION THEORY IN A CARIBBEAN CONTEXT". Master's thesis, Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/272658.

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African American Studies
M.L.A.
This work addresses the following question: How has the prominent scholarly literature on the Cayman Islands promoted a discourse that serves to undermine the acknowledgment of African contributions as well as African self-identification in the country? Utilizing an Afrocentric inquiry, the method of content analysis was employed to interrogate selected texts using location theory. It was found that the majority of literature on the Cayman Islands, as well as the dominant ideology within the Caribbean has indeed undermined the acknowledgement of African contributions as well as African self-identification in the country. More scholarship is needed that examines the experiences of African descended people living in the Caribbean from their own perspective, and critically engages dislocated texts.
Temple University--Theses

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19

Jackson, Akia. "The mobility of memory and shame: African American and Afro-Caribbean women’s fiction 1980’s-1990’s". Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6962.

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The purpose of this dissertation is to understand the mixed legacy of shame. I work through the interrelationship between productive shame and debilitating shame and a character’s journey through this spectrum. In my research, I define shame not in the pejorative, but rather I repurpose the term to show its beneficiality in reshaping Black female characters during the period of Black Arts and Power Movements in America and the Caribbean. Essentially, my dissertation will argue that although debilitative shame seems overwhelmingly negative for the female characters, gradually they come to reassess this shame as a positive asset that helps them reevaluate societal and nationalistic expectations associated with their Blackness. I seek to redefine the globalized multiple dimensions of shame that Black authors confront throughout their novels because shame involves an often painful, sudden awareness of the self and trauma previously endured. Thus, the fluidity of Black transnational experiences frame my interrogation of the impact of colonialism and post-colonialism on the cultural history and collective shame of Afro-diasporic descended characters in Morrison’s Tar Baby (1981), Kincaid’s Annie John (1985), Cliff’s No Telephone to Heaven (1987), and Danticat’s Breath, Eyes, Memory (1994). My project complicates mobility by dissecting the disconnections that arise from separation from homelands, family, and cultural familiarity. I analyze the four novels through an ordered methodology of migration, disruption, discontinuity, and the renaming debilitative shame as a positive asset. This methodology informs my argument on the middle ground and Black female characters occupying multiple identities in their movement through different nation-states and empires.

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20

Schindler, Melissa Elisabeth. "black women writers and the spatial limits of the African diaspora". Thesis, State University of New York at Buffalo, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10163890.

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My dissertation contends that diaspora, perhaps the most visible spatial paradigm for theorizing black constructions of identity and self, is inherently limited by the historical conditions of its rise as well as the preoccupations with which it has been most closely associated. I propose that we expand our theoretico-spatio terms for constructions of blackness to include the space of the home, the space of the plantation and the space of the prison (what I call the space of justice). These three spaces point to literary themes, characters, and beliefs that the space of diaspora alone does not explain. Each chapter analyzes the work of three or four writers from the United States, Brazil and Mozambique. These writers include: Paulina Chiziane, Conceição Evaristo, Octavia E. Butler, Toni Morrison, Zora Neale Hurston, Carolina Maria de Jesus, Bernice McFadden, Wanda Coleman, Ifa Bayeza and Asha Bandele.

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21

Phillips, Kathryn Bednarzik. "A comparative content analysis of illustrated African American children's literature published between 1900-1962 and 1963-1992". Full-text version available from OU Domain via ProQuest Digital Dissertations, 1995. http://catalog.hathitrust.org/api/volumes/oclc/35695362.html.

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22

Nwosu, Maik. "The reinvention of meaning cultural imaginaries and the life of the sign /". Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2005. http://wwwlib.umi.com/cr/syr/main.

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23

Arimitsu, Michio. "Black Notes on Asia| Composite Figurations of Asia in the African American Transcultural Imagination, 1923-2013". Thesis, Harvard University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3611509.

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Black Notes on Asia: Composite Figurations of Asia in the African American Transcultural Imagination, 1923-2013 sheds new light on the hitherto neglected engagements of African American writers and thinkers with various literary, cultural, and artistic traditions of Asia. Starting with a reevaluation of Lewis G. Alexander's transcultural remaking of haiku in 1923, this dissertation interrogates and revises the familiar interracial (read as "black-white") terms of the African American struggle for freedom and equality. While critics have long taken for granted these terms as the sine qua non of the African American literary imagination and practice, this dissertation demonstrates how authors like Alexander defied not only the implicit dichotomy of black-and-white but also the critical bias that represents African American literature as a nationally segregated tradition distinctly cut off from cultural sources beyond the border of the United States and made legible only within its narrowly racialized and racializing contexts. More specifically, Black Notes on Asia argues that the ruling conceptions of the so-called "Harlem Renaissance in black and white" and the reductive understanding of the Black Arts Movement as an uncomplicated, propagandistic expression of black nationalism, fail to pay due attention to their underlying multiracial/multicultural/transnational aesthetics and perspectives. In order to understand the full complexity and heterogeneity of the African American imagination from the beginning of the twentieth century to the present, it is necessary to account for cultural ebbs and flows, echoes and reverberations, beyond the United States, Europe and Africa, to include Asia. Rediscovering the hitherto overlooked traces and reflections of Asia within the African American imagination, this dissertation argues that Asia has provided numerous African American authors and intellectuals, canonized as well as forgotten, with additional or alternative cultural resources that liberated them from, or at least helped them destabilize, what they considered as the constraining racial and nationalist discourse of the United States.

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24

Quatro, Jamie Jacqueline. "Postcolonial Parodies of the Creation Story in Olive Schreiner and Wilson Harris". W&M ScholarWorks, 1999. https://scholarworks.wm.edu/etd/1539626223.

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25

Agboluaje, Oladipo. "Constructions of identity in contemporary African drama : a comparative study of Wole Soyinka and Zakes Mda". Thesis, Open University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272894.

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26

Borilot, Vanessa. "Feminine strategies of resistance comparative study of two XIXth century French literary pieces and two XXth century French Caribbean writings /". Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 111 p, 2009. http://proquest.umi.com/pqdweb?did=1885467531&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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27

Codner, Paul Martin. "The repeating text : Signifyin(g), creolization and marronage in African diaspora womanist narratives". FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/2394.

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This thesis studied African-American and Caribbean fiction using models of African diasporization, creolization and womanism to discover how those theoretics affected understandings of black subjectivities. The diverse theoretics above-mentioned were examined to discover how their intersections enabled productive cross-fertilizations, notwithstanding differences. Black women's literary texts crossing diverse locations and experiences were examined. It was shown that their metadiscursivity enabled creative theorizations of creolization and African diasporization around the repeating text formulation. Their Eyes Were Watching God was analyzed as a prototypical womanist diasporic text, whose attributes were repeated and re-elaborated across various boundaries in Jane and Louisa Will Soon Come Home and No Telephone to Heaven. This study found that African diaspora womanist texts and theoretics, unbounded by location, engaged each other in conversations and contestations, affirmed kinship beyond differences and challenged various hegemonies. It concluded that the repeating text expanded parameters of black literary criticism and theory.

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28

Harding, Warren. "Dubbin' the Literary Canon: Writin' and Soundin' A Transnational Caribbean Experience". Oberlin College Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1370484912.

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29

Blaise, Aboua Kumassi Koffi. "Macunaíma / Kaydara: dois espelhos face a face. Ler Macunaíma sem rir". Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-12092012-120553/.

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Explorar outros caminhos, até agora pouco seguidos, no intuito de participar de forma pertinente do debate acerca da inteligibilidade de Macunaíma de Mário de Andrade, isto, pode ser considerado o eixo que norteia este estudo comparado. Para levar adiante esta pesquisa comparativa apelamos para Kaydara, não apenas por ser uma obra prima da literatura africana de expressão francesa, mas também porque traz o olhar de dentro para fora de uma sociedade tradicional africana, capaz de dialogar com a literatura brasileira a ponto de lançar luz sobre alguns elementos culturais de origem afro-brasileira presentes nela. Por isso, fomos mergulhar naquilo que a maioria das sociedades africanas considera sua referência na Antiguidade: o Egito Antigo. Agora, quando se põem duas obras de grande valor estético frente a frente, o que sói acontecer é uma ajudar a ler a outra, por isso, nossa abordagem deixa de ser unilateral para privilegiar uma relação de leitura mútua, dando destaque às mais variadas consequências disso.
Explore other ways, until now little followed in order to participate in a meaningful way to the debate about the intelligibility of Macunaíma, this can be taken as the shaft that drives this comparative study. To carry out this comparative research we appeal to Kaydara, not only because it is a masterpiece of african french literature, but also because it brings - the look of the inside of a traditional african society, capable to converse with the brazilian literature, point to shed light on some cultural elements of afro-brazilian origin present in it. So we have been diving in what the vast majority of african societies consider his reference in antiquity: Ancient Egypt. Now, when you put two works of great aesthetic value face to face, which is usually happen is one help to read other, so our approach is no longer unilateral and privilege a relationship of mutual reading, highlighting various consequences.

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30

Lin, Tzu Yu. "Detoured, deferred and different : a comparative study of postcolonial diasporic identities in the literary works of Sam Selvon and Weng Nao". Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/10582.

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This thesis provides a comparative reading to selected writings from Anglophone Trinidadian writer Sam Selvon and Japanophone Taiwanese writer Weng Nao, demonstrating the link between these two authors’ specific representation of multiple diasporic models of Caribbean diaspora and Taiwanese diaspora respectively and its influence on diasporic identity narratives. This study provides a cross-linguistic/ cultural perspective on comparative postcolonial literary studies, which helps to move beyond the primary focus of Anglophone texts and contexts. Although the focused two authors Sam Selvon and Weng Nao come from different historical specificities and linguistic backgrounds that urge them produce their narratives in different ways and tones of tackling issues that they have encountered in each socio-political and cultural contexts respectively, their works provides outstanding examples of how contemporary diasporic routes—both geographically and metaphorically, have significant influence on literary productions that should not be categorised by its geographical or linguistic boundaries, and can only be fully understood by linking one to another from the legacies of colonialism and the triangle models of diasporic routes. The diasporic identity, as being illustrated in both of their works, has been evolved with geographical movements and transformed into an iconic concept that makes new forms of artistic production possible. Diasporic literature, therefore, should not be limited into traditional disciplinary compartmentalisation of national literary studies. By bringing the focus on the multiple diasporic journeys, the identity representation reflected in the literary work in this study helps to identify the complexity and boundary crossing within Anglophone literature and Japanophone literature, which have already transformed into literary works of being able to depict a more complex model of modern cultures—endless traveling and hybrid. By bringing forth the excluded Japanophone texts in the field of postcolonial studies to be compared with the texts from the prominent Anglophone postcolonial writer Sam Selvon, this thesis hopes to offer some insights into the reassessment of the literary status of Weng Nao and the significance of his works in the world literary stage, and, furthermore, to identify how Japanophone literary works might be compatible with postcolonial analysis.

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31

Phetlhe, Keith. "Decolonizing Translation Practice as Culture in Postcolonial African Literature and Film in Setswana Language". Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1585864989276825.

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32

Kennon, Raquel. "Transforming Trauma: Memory and Slavery in Black Atlantic Literature since 1830". Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10396.

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Transforming Trauma: Memory and Slavery in Black Atlantic Literature since 1830 examines the interplay between remembering and forgetting in literary and cultural engagements with the trauma of transatlantic slavery. The dissertation considers how intergenerational, trans-temporal trauma becomes re-narrativized and re-envisioned over time in four symbolic sites of slavery (five countries)—Africa (Ghana and Mozambique), the Caribbean (Cuba), Brazil, and the United States—with the goal of exposing differences and emphasizing ruptures. Each chapter functions like a slave schooner arriving at an outpost of the African Diaspora, touring an eclectic transatlantic archive of slavery including art, public space, newspaper clippings, telenovelas, monuments (both imagined and built), song, and advertising copy, then dropping an anchor to explore a more traditional cross section of literature from each national context, juxtaposing canonical and non-canonical works. Taken together, the chapters probe the ways nineteenth and twentieth century Inter-American and African “texts,” broadly defined, register the trauma of slavery in the Black Atlantic. Chapter 1 discusses Brazilian author Bernardo Guimarães’ short novel, A Escrava Isaura (1875) and its wildly popular telenovela adaption in 1976 as an example of one of slavery’s twentieth century kitsch manifestations. The theme of Exodus in African American literature is considered in chapter 2 with a reading of Frances E.W. Harper’s 1869 poem, “Moses,” followed by an extended exploration of the early twentieth century Mammy cult including the 1922 statue proposal. Chapter 3 explores scenes of racial violence and offers a reading of the horrific American ritual of lynching in Jean Toomer’s “Kabnis” and “Portrait in Georgia” in Cane (1923) followed by textual analysis of Robert Hayden’s “Middle Passage” (1962, 1966). Chapter 4 focuses on the Brazilian collective memory of the old historic district of Pelourinho in Salvador, Bahia as the former site of punishment at the pillory (whipping post) for enslaved Africans. Close readings in this chapter include Castro Alves’s classic epic poem, “O navio negreiro” from Os Escravos (1883) and Carolina Maria de Jesus’s diary of favela life, O Quarto de Despejo (1960) in addition to shorter readings of the poetry of Alzira Rufino, Esmeralda Ribeiro, Francisco Alvim, and a short novel by Dudda Seixas. Chapter 5 engages with the charged metaphor of sugar and compares the only extant nineteenth century Cuban slave narrative, Juan Francisco Manzano’s Autobiografía de un esclavo (1839) with a twentieth century account of maroon Esteban Montejo’s slave narrative as related to anthropologist/writer Miguel Barnet in Cimarrón: Historia de un esclavo (1966). The final chapter addresses the so-called literary African amnesia around slavery and examines vestiges of the memory of slavery in three African texts: Noémia de Sousa’s “Negra” (1949), Ama Ata Aidoo’s The Dilemma of a Ghost (1965), and Ayi Kwei Armah’s Two Thousand Seasons (1973).

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Koziatek, Zuzanna Ewelina. " Formal Affective Strategies in Contemporary African Diasporic Feminist Texts ". Cleveland State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=csu1621007445234777.

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34

Van, Niekerk Jacomina. "Kultuurtekste oor verstedeliking 'n vergelyking van Afrikaner- en swart verstedeliking in literêre tekste /". Pretoria : [s.n.], 2009. http://upetd.up.ac.za/thesis/available/etd-08032009-182300.

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35

Arimitsu, Michio. "Black Notes on Asia: Composite Figurations of Asia in the African American Transcultural Imagination, 1923-2013". Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11208.

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Abstract (sommario):

Black Notes on Asia: Composite Figurations of Asia in the African American Transcultural Imagination, 1923-2013 sheds new light on the hitherto neglected engagements of African American writers and thinkers with various literary, cultural, and artistic traditions of Asia. Starting with a reevaluation of Lewis G. Alexander's transcultural remaking of haiku in 1923, this dissertation interrogates and revises the familiar interracial (read as "black-white") terms of the African American struggle for freedom and equality. While critics have long taken for granted these terms as the sine qua non of the African American literary imagination and practice, this dissertation demonstrates how authors like Alexander defied not only the implicit dichotomy of black-and-white but also the critical bias that represents African American literature as a nationally segregated tradition distinctly cut off from cultural sources beyond the border of the United States and made legible only within its narrowly racialized and racializing contexts.
African and African American Studies

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36

Neigh, Janet Marina. "Rhythmic Literacy: Poetry, Reading and Public Voices in Black Atlantic Poetics". Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/83661.

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English
Ph.D.
"Rhythmic Literacy: Poetry, Reading and Public Voices in Black Atlantic Poetics" analyzes the poetry of the African American Langston Hughes and the Jamaican Louise Bennett during the 1940s. Through an examination of the unique similarities of their poetic projects, namely their engagement of performance to build their audiences, their experiments with poetic personae to represent vernacular social voices, their doubleness as national and transnational figures, their circulation of poetry in radio and print journalism and their use of poetry as pedagogy to promote reading, this dissertation establishes a new perspective on the role of poetry in decolonizing language practices. While Hughes and Bennett are often celebrated for their representation of oral language and folk culture, this project reframes these critical discussions by drawing attention to how they engage performance to foster an embodied form of reading that draws on Creole knowledge systems, which I term rhythmic literacy. Growing up in the U.S and Jamaica in the early twentieth century, Hughes and Bennett were both subjected to a similar Anglophone transatlantic schoolroom poetry tradition, which they contend with as one of their only available poetic models. I argue that memorization and recitation practices play a formative role in the development of their poetic projects. As an enactment and metaphor for the dynamics of colonial control, this form of mimicry demonstrates to them the power of embodied performance to reclaim language from dominant forces. This dissertation reveals how black Atlantic poetics refashions the institutional uses of poetry in early twentieth-century U.S and British colonial education for the purposes of decolonization.
Temple University--Theses

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37

Dadey, Bruce. "Rhetorics Rising: The Recovery of Rhetorical Traditions in Ralph Ellison's Invisible Man and N. Scott Momaday's House Made of Dawn". Thesis, University of Waterloo, 2006. http://hdl.handle.net/10012/2789.

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This study suggests, through a rhetorical analysis of the role of orators and oration in Ralph Ellison's Invisible Man and N. Scott Momaday's House Made of Dawn, that literature can be a valuable resource for the study of comparative and contrastive rhetoric; conversely, it also demonstrates that a knowledge of culturally-specific rhetorical and narrative practices is important for understanding ethnic-American novels and their social significance. Written during periods of intense racial upheaval in the United States, Invisible Man and House Made of Dawn are, to use a term coined by George Kennedy, metarhetorics: works that explore, from cross-cultural and intercultural perspectives, the ends and means of rhetoric and the ways in which rhetoric is linked to the formation of individual, ethnic, and national identities. This exploration is undertaken through the diegetic rhetoric of the novels, the depiction of rhetorical practice within their fictional worlds. Ellison's young orator, who vacillates between accommodationist, communist, and African American vernacular rhetorics, and Momaday's alienated protagonist, who is healed through the postcolonial rhetoric of a Peyotist street preacher and the ritual rhetoric of a displaced Navajo chanter, both illustrate how the recovery of traditional rhetorical practices is an integral part of cultural empowerment. The interaction of culturally-specific systems of rhetoric is also embodied in the extradiegetic rhetoric of the novels, the means by which the novels themselves influence their readers. Central to the novels' own rhetorical effectiveness is their authors' strategic appropriation of modernist techniques, which allowed the works to negotiate multiple literary traditions or social contexts, to penetrate and transform the American canon, and to accommodate and affect readers from a broad range of cultural backgrounds.

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38

Smith, Logan A. "MONUMENTS IN THE MAKING: CAPTURING TRAUMA(S) OF COMMUNAL ABSENCE IN THE POST-PLANTATION FICTION OF MARYSE CONDÉ AND WILLIAM FAULKNER". Miami University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=miami1533330599127457.

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39

Cyzewski, Julie Hamilton Ludlam. "Broadcasting Friendship: Decolonization, Literature, and the BBC". The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461169080.

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40

Zadi, Samuel. "L'écriture hybride dans le roman francophone African et Antillais : resemblances et différences /". free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p3115603.

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41

Antill, Drew M. "A COMPARATIVE ANALYSIS ON THE PORTRAYAL OF MARGINALIZED POPULATIONS IN RICHARD WRIGHT’S NATIVE SON AND ART SPIEGELMAN’S MAUS". Ohio Dominican University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=odu159565417796252.

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42

McNair, Jonda Cecole. ""Yes, it'll be me" a comparative analysis of The Brownies' Book and contemporary African American children's literature written by Patricia McKissack /". Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1059412014.

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Thesis (Ph. D.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains xi, 147 p. Includes bibliographical references (p. 118-126). Available online via OhioLINK's ETD Center.

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De, La Cruz-Guzman Marlene. "Of Masquerading and Weaving Tales of Empowerment: Gender, Composite Consciousness, and Culture-Specificity in the Early Novels of Sefi Atta and Laila Lalami". Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1417002139.

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44

Ratcliff, Anthony J. "Liberation at the end of a pen writing Pan-African politics of cultural struggle /". Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/open_access_dissertations/74/.

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45

McCallum-Bonar, Colleen Heather. "Black Ashkenaz and the Almost Promised Land: Yiddish Literature and the Harlem Renaissance". Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1207704355.

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46

Bartin-Yansen, Nadiège Firmin. "Assimilation ou rejet: L’étranger au creuset de l'hospitalité française". Thesis, Boston College, 2019. http://hdl.handle.net/2345/bc-ir:108466.

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Thesis advisor: Régine Jean-Charles
Practice whereby a host (the one who receives) open his/her door to a guest (the one who is either invited or simply received), hospitality is nowadays under fire as the migrant crisis unfolds the plight of countless strangers who, at the end of their perilous journey across the Mediterranean Sea, come and knock at the doors of Europe, in particular France—birthplace of the Rights of Man. Taking the stand of Louis de Jaucourt on the socio-political challenges of hospitality outlined in his 18th century French article, Hospitalité, as the point of departure of our study, we focus on how hospitality intersects with social criticism through the person of the stranger in the following corpus of literary texts, which spans from the 18th to the 20th century: 1. Lettres persanes (Montesquieu), Lettres philosophiques (Voltaire), and L’Ile des Esclaves (Marivaux); 2. L’Ingénu (Voltaire), Lettres d’une Péruvienne (Françoise de Graffigny), and Ourika (Claire de Duras) ; 3. La Noire de… (Sembène Ousmane), and Xavier, le drame d’un émigré Antillais (Tony Delsham). Here, we enter in dialogue with Julia Kristeva’s essay, Etrangers à nous-mêmes, namely the chapter she writes about philosophers of the Enlightenment: L’Etranger : alter ego du philosophe. She argues that, as a satirical modus operandi, these philosophers withdraw behind the figure of the stranger, who then becomes their “double”, their “mask” (196). We show that Kristeva’s argument is not only limited to the works of 18th century French philosophers, but also to those of their literary heirs, who ascribe rather to the “mask” of the stranger of color, and moreover the hospitality he/she receives in France, as a satirical tool to lay bare the flaws of their own society
Thesis (PhD) — Boston College, 2019
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Romance Languages and Literatures

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47

Jones, Esther L. "Traveling discourses subjectivity, space and spirituality in black women's speculative fictions in the Americas /". Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1155665383.

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48

Bailey, Ebony Lynne. "Re(Making) the Folk: The Folk in Early African American Folklore Studies and Postbellum, Pre-Harlem Literature". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594919307993345.

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49

Pérez-Padilla, Rita M. "De pura cepa: Seis cuentos de Puerto Rico, 1548–2017". Oberlin College Honors Theses / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1526397339724881.

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50

Anderson, Tiffany Miranda. "Power to the People: Self-determined Identity in Black Pride and Chicano Movement Literature". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343826432.

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Tesi sul tema "Literature, Comparative African literature Caribbean literature"

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