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To speak or not to speak?: Postcolon...

Newell-Amato, Domenica.

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To speak or not to speak?: Postcolonial readings of silence in Racine's theatre.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	To speak or not to speak?: Postcolonial readings of silence in Racine's theatre./
Author:	Newell-Amato, Domenica.
Description:	260 p.
Notes:	Source: Dissertation Abstracts International, Volume: 70-11, Section: A, page: 4308.
Contained By:	Dissertation Abstracts International70-11A.
Subject:	Language, Modern. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3379287
ISBN:	9781109473612

To speak or not to speak?: Postcolonial readings of silence in Racine's theatre.
Newell-Amato, Domenica.

To speak or not to speak?: Postcolonial readings of silence in Racine's theatre. - 260 p.

Source: Dissertation Abstracts International, Volume: 70-11, Section: A, page: 4308.

Thesis (Ph.D.)--Emory University, 2009.

This dissertation examines silence in Racine's theatre not only as an inability of the characters to express themselves, but as a subtle and complex account of negotiating cultural difference and interdependency. Coinciding with the inception of the French colonial system and its emergent discourses on cultural and racial differences (such as Louis XIV's edict of 1685 that denies rights to the African slaves in the French Antilles), Racine's theatre explores the troubled encounter between Western self and Oriental or African other. I argue that the Western self is afflicted by a loss of speech in the face of cultural alterity. Subsisting at the margins of Western imperial power and discourse, the silencing of Oriental or African characters marks the difficulty of entering classical representation as a culturally delineated space. However, the difficulty of achieving representation leads the cultural other to find alternative assertions of agency. Engendered as an unstable composite that is constructed across the borders of onstage and offstage, of speech and silence, and of self and other, identity ceases to reinforce Classical values. Just as the marginalized other destabilizes the Western imperial perspective, the muting of the culturally dominant self further signals the failure of hegemonic discourse. It is thus at the height of French seventeenth century classicism that Racine paves the way to postcolonial discourse on otherness through his use of silence. Engaging with questions of subaltern speech and cultural difference, my analysis is informed by the postcolonial writings of Edward Said, Gayatri Spivak, Edouard Glissant, and Homi Bhabha. I conclude by showing that Racine's explorations of silence inaugurate and provide a critical legacy for understanding the destabilization and muting of the voice in the postcolonial theatre of Marguerite Duras and Maryse Conde.

ISBN: 9781109473612Subjects--Topical Terms:

1018098
Language, Modern.

To speak or not to speak?: Postcolonial readings of silence in Racine's theatre.
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100 1 $a Newell-Amato, Domenica. $3 1684011
245 1 0 $a To speak or not to speak?: Postcolonial readings of silence in Racine's theatre.
300 $a 260 p.
500 $a Source: Dissertation Abstracts International, Volume: 70-11, Section: A, page: 4308.
500 $a Advisers: Dalia Judovitz; Valerie Loichot.
502 $a Thesis (Ph.D.)--Emory University, 2009.
520 $a This dissertation examines silence in Racine's theatre not only as an inability of the characters to express themselves, but as a subtle and complex account of negotiating cultural difference and interdependency. Coinciding with the inception of the French colonial system and its emergent discourses on cultural and racial differences (such as Louis XIV's edict of 1685 that denies rights to the African slaves in the French Antilles), Racine's theatre explores the troubled encounter between Western self and Oriental or African other. I argue that the Western self is afflicted by a loss of speech in the face of cultural alterity. Subsisting at the margins of Western imperial power and discourse, the silencing of Oriental or African characters marks the difficulty of entering classical representation as a culturally delineated space. However, the difficulty of achieving representation leads the cultural other to find alternative assertions of agency. Engendered as an unstable composite that is constructed across the borders of onstage and offstage, of speech and silence, and of self and other, identity ceases to reinforce Classical values. Just as the marginalized other destabilizes the Western imperial perspective, the muting of the culturally dominant self further signals the failure of hegemonic discourse. It is thus at the height of French seventeenth century classicism that Racine paves the way to postcolonial discourse on otherness through his use of silence. Engaging with questions of subaltern speech and cultural difference, my analysis is informed by the postcolonial writings of Edward Said, Gayatri Spivak, Edouard Glissant, and Homi Bhabha. I conclude by showing that Racine's explorations of silence inaugurate and provide a critical legacy for understanding the destabilization and muting of the voice in the postcolonial theatre of Marguerite Duras and Maryse Conde.
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650 4 $a Literature, Modern. $3 624011
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790 1 0 $a Judovitz, Dalia, $e advisor
790 1 0 $a Loichot, Valerie, $e advisor
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790 1 0 $a Moudileno, Lydie $e committee member
790 $a 0665
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792 $a 2009
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3379287