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Mort, mots, et liberte: L'ecriture d...

Rejouis, Rose-Myriam.

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Mort, mots, et liberte: L'ecriture de l'identite dans les oeuvres de Cesaire, Chamoiseau et Conde.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Mort, mots, et liberte: L'ecriture de l'identite dans les oeuvres de Cesaire, Chamoiseau et Conde./
Author:	Rejouis, Rose-Myriam.
Description:	271 p.
Notes:	Adviser: Suzanne Nash.
Contained By:	Dissertation Abstracts International62-11A.
Subject:	Literature, Caribbean. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3033033
ISBN:	9780493456621

Mort, mots, et liberte: L'ecriture de l'identite dans les oeuvres de Cesaire, Chamoiseau et Conde.
Rejouis, Rose-Myriam.

Mort, mots, et liberte: L'ecriture de l'identite dans les oeuvres de Cesaire, Chamoiseau et Conde. - 271 p.

Adviser: Suzanne Nash.

Thesis (Ph.D.)--Princeton University, 2002.

In this thesis "Mort, mots, liberte" [Death, Words, Freedom], I interpret the fictional texts of three writers from the French-speaking Antilles---Aime Cesaire and Patrick Chamoiseau from Martinique, and Maryse Conde from Guadeloupe---who have been defining voices in the on-going debate surrounding concepts of identity known as Negritude, Antillanite, and Creolite. After introducing the theoretical context and relationship of these terms to each other, I begin with an analysis of Aime Cesaire's Et les chiens se taisaient (1946) a poem-play written at the beginning of his career which bears the mark of Creole and was written as Cesaire was becoming a controversial political leader. In choosing this text I want to reveal the underlying filiations which link Cesaire to a second generation of writers, despite their stated opposition to his founding theory of Negritude either with new theories (Edouard Glissant's Antillanite, Chamoiseau's Creolite) or a nouveau humanist discourse (Conde). In my second chapter I analyze Chamoiseau's experimental novel, Solibo Magnifique (1988), in an effort to understand the relationship of this innovative use of Creole to the themes of death, resistance, cultural identity, and liberation I have looked at in Cesaire's play and to point out certain inconsistencies between his theory and practice of "Creolite". I have chosen to include Maryse Conde in a final chapter, not only because she has openly stated the importance of Cesaire's work for her own career, but also because her more universal concept of identity, as it unfolds in Traversee de la mangrove, written only one year after Solibo, challenges that of Chamoiseau and "les creolistes." Existing criticism has not highlighted the ways in which death stands for the crucial juncture from which spring processes of mourning and renewal. I argue that the ways in which Cesaire, Chamoiseau, and Conde stage death in their fictional works reveal complementary insights concerning the complex mixture of French and native cultures and that these insights are ultimately more valuable than the differences set forth in their polemical stands on "Negritude" and "Creolite."

ISBN: 9780493456621Subjects--Topical Terms:

1019116
Literature, Caribbean.

Mort, mots, et liberte: L'ecriture de l'identite dans les oeuvres de Cesaire, Chamoiseau et Conde.
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245 1 0 $a Mort, mots, et liberte: L'ecriture de l'identite dans les oeuvres de Cesaire, Chamoiseau et Conde.
300 $a 271 p.
500 $a Adviser: Suzanne Nash.
500 $a Source: Dissertation Abstracts International, Volume: 62-11, Section: A, page: 3775.
502 $a Thesis (Ph.D.)--Princeton University, 2002.
520 $a In this thesis "Mort, mots, liberte" [Death, Words, Freedom], I interpret the fictional texts of three writers from the French-speaking Antilles---Aime Cesaire and Patrick Chamoiseau from Martinique, and Maryse Conde from Guadeloupe---who have been defining voices in the on-going debate surrounding concepts of identity known as Negritude, Antillanite, and Creolite. After introducing the theoretical context and relationship of these terms to each other, I begin with an analysis of Aime Cesaire's Et les chiens se taisaient (1946) a poem-play written at the beginning of his career which bears the mark of Creole and was written as Cesaire was becoming a controversial political leader. In choosing this text I want to reveal the underlying filiations which link Cesaire to a second generation of writers, despite their stated opposition to his founding theory of Negritude either with new theories (Edouard Glissant's Antillanite, Chamoiseau's Creolite) or a nouveau humanist discourse (Conde). In my second chapter I analyze Chamoiseau's experimental novel, Solibo Magnifique (1988), in an effort to understand the relationship of this innovative use of Creole to the themes of death, resistance, cultural identity, and liberation I have looked at in Cesaire's play and to point out certain inconsistencies between his theory and practice of "Creolite". I have chosen to include Maryse Conde in a final chapter, not only because she has openly stated the importance of Cesaire's work for her own career, but also because her more universal concept of identity, as it unfolds in Traversee de la mangrove, written only one year after Solibo, challenges that of Chamoiseau and "les creolistes." Existing criticism has not highlighted the ways in which death stands for the crucial juncture from which spring processes of mourning and renewal. I argue that the ways in which Cesaire, Chamoiseau, and Conde stage death in their fictional works reveal complementary insights concerning the complex mixture of French and native cultures and that these insights are ultimately more valuable than the differences set forth in their polemical stands on "Negritude" and "Creolite."
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