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Colonialism's cacophony: Natives an...

Byrd, Jodi Ann.

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Colonialism's cacophony: Natives and arrivants at the limits of postcolonial theory.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Colonialism's cacophony: Natives and arrivants at the limits of postcolonial theory./
Author:	Byrd, Jodi Ann.
Description:	230 p.
Notes:	Source: Dissertation Abstracts International, Volume: 63-12, Section: A, page: 4320.
Contained By:	Dissertation Abstracts International63-12A.
Subject:	Literature, Caribbean. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3073351
ISBN:	0493945962

Colonialism's cacophony: Natives and arrivants at the limits of postcolonial theory.
Byrd, Jodi Ann.

Colonialism's cacophony: Natives and arrivants at the limits of postcolonial theory. - 230 p.

Source: Dissertation Abstracts International, Volume: 63-12, Section: A, page: 4320.

Thesis (Ph.D.)--The University of Iowa, 2002.

This project examines both the presence and significant absence of indigenous peoples in Anglophone literatures produced in New Zealand, the Caribbean, and the U.S., as well as in the postcolonial theories about those literatures. Its goal is threefold: first, to question whether postcolonial theory sufficiently addresses the experiences of indigenous peoples within former British colonies. The second is to map the figure of Shakespeare's Caliban in <italic>The Tempest </italic>, including several key critical discussion of this figure, as a case study for the cacophonous representations of multiple historical experiences of arrivals and displacements in the “new world.” The third is to discuss indigenous aesthetics that create richer, more complex understandings of racial and colonial conflicts in the U.S., the Caribbean, and New Zealand. As a means to disrupt the binaries of colonizer and colonized, I offer the concept of cacophony which I define as a spatial model of colonial histories that articulates how multiple colonial worldings exist relationally and horizontally. I argue that the condition of (post)coloniality is shaped by cacophonous discourses which represent and suppress ongoing colonization. Both colonial and postcolonial discourses are caught in repetitions that must always propagate themselves with a difference; they contain discordant representations that attempt to pass themselves off as coherent and consistent, a dynamic that I explore via the model of cacophony informed by the theories of Mikhail Bakhtin, Gayatri Spivak, and Leslie Marmon Silko. Through this more inclusive and dialogic model, scholars can begin to discuss the interactions among arrivals, diasporas, and indigenous experiences. Finally, this dissertation seeks to open a conversation between native studies and emerging theories of globalization in order to highlight the transnational pasts, presents, and futures shaping indigenous nations as they struggle to maintain sovereignty and self-determination in the 21<super>st</super> century. Authors discussed in this study include Coco Fusco, Keri Hulme, Wilson Harris, Karen Tei Yamashita, Leslie Marmon Silko, and LeAnne Howe.

ISBN: 0493945962Subjects--Topical Terms:

1019116
Literature, Caribbean.

Colonialism's cacophony: Natives and arrivants at the limits of postcolonial theory.
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500 $a Supervisor: Mary Lou Emery.
502 $a Thesis (Ph.D.)--The University of Iowa, 2002.
520 $a This project examines both the presence and significant absence of indigenous peoples in Anglophone literatures produced in New Zealand, the Caribbean, and the U.S., as well as in the postcolonial theories about those literatures. Its goal is threefold: first, to question whether postcolonial theory sufficiently addresses the experiences of indigenous peoples within former British colonies. The second is to map the figure of Shakespeare's Caliban in <italic>The Tempest </italic>, including several key critical discussion of this figure, as a case study for the cacophonous representations of multiple historical experiences of arrivals and displacements in the “new world.” The third is to discuss indigenous aesthetics that create richer, more complex understandings of racial and colonial conflicts in the U.S., the Caribbean, and New Zealand. As a means to disrupt the binaries of colonizer and colonized, I offer the concept of cacophony which I define as a spatial model of colonial histories that articulates how multiple colonial worldings exist relationally and horizontally. I argue that the condition of (post)coloniality is shaped by cacophonous discourses which represent and suppress ongoing colonization. Both colonial and postcolonial discourses are caught in repetitions that must always propagate themselves with a difference; they contain discordant representations that attempt to pass themselves off as coherent and consistent, a dynamic that I explore via the model of cacophony informed by the theories of Mikhail Bakhtin, Gayatri Spivak, and Leslie Marmon Silko. Through this more inclusive and dialogic model, scholars can begin to discuss the interactions among arrivals, diasporas, and indigenous experiences. Finally, this dissertation seeks to open a conversation between native studies and emerging theories of globalization in order to highlight the transnational pasts, presents, and futures shaping indigenous nations as they struggle to maintain sovereignty and self-determination in the 21<super>st</super> century. Authors discussed in this study include Coco Fusco, Keri Hulme, Wilson Harris, Karen Tei Yamashita, Leslie Marmon Silko, and LeAnne Howe.
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