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| oeuvres:cette_grenade_dans_la_main_du_jeune_negre_est-elle_une_arme_ou_un_fruit [2015/09/23 10:15] – Virginie Savard | oeuvres:cette_grenade_dans_la_main_du_jeune_negre_est-elle_une_arme_ou_un_fruit [2015/09/23 11:06] – Modified from the form at oeuvres:cette_grenade_dans_la_main_du_jeune_negre_est-elle_une_arme_ou_un_fruit Virginie Savard |
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| ### **Abstract**\\ | ### **Abstract**\\ |
| This thesis explores racial discourse in translation; using a semiotic approach, it demonstrates how racial discourse, characterized by a specific language, is subject to a "slippage of meaning" when translated into a target language. The example considered is a novel by Haitian writer Dany Laferrière, and its English translation by David Homel. Considering the widespread yet historically and scientifically discredited concept of "race", we will explore the impacts of translational displacements of meaning on Black identity. The "slippage of meaning", an unconscious "deformation" according to Berman's theory of ethnocentric and hypertextual translation, bears traces of a discourse, of an understanding of the world that can differ from the author's: "transformed" by the translator, "discourse" will be analysed in relation to Teun A. van Dijk's Critical Discourse Analysis. The works by Judith Lavoie and Hélène Buzelin will also be evoked in this research: their analyses of identity in the translation of vernaculars are of great relevance here.\\ | This thesis explores racial discourse in translation; using a semiotic approach, it demonstrates how racial discourse, characterized by a specific language, is subject to a "slippage of meaning" when translated into a target language. The example considered is a novel by Haitian writer Dany Laferrière, and its English translation by David Homel. Considering the widespread yet historically and scientifically discredited concept of "race", we will explore the impacts of translational displacements of meaning on Black identity. The "slippage of meaning", an unconscious "deformation" according to Berman's theory of ethnocentric and hypertextual translation, bears traces of a discourse, of an understanding of the world that can differ from the author's: "transformed" by the translator, "discourse" will be analysed in relation to Teun A. van Dijk's Critical Discourse Analysis. The works by Judith Lavoie and Hélène Buzelin will also be evoked in this research: their analyses of identity in the translation of vernaculars are of great relevance here.\\ |
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| | //La version PDF de la thèse est disponible pour les membres de communautés universitaires qui ont un abonnement institutionnel auprès de [[http://www.proquest.com|UMI - Proquest]]// ### |
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| | PABST, Naomi, « Always a little different: A politics of blackness », thèse de doctorat, University of California, 2000, 216 f. +++ Thèse de doctorat / mémoire de maîtrise |
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| | ### **Abstract**\\ |
| | This dissertation examines literary, filmic, and critical contestations of the cultural and ideological parameters of blackness. Establishing African-American cultural heterogeneity and hybridity as immanent, I demonstrate how narrow, overdetermined constructions of blackness reify deleterious exclusions and hierarchies. I negotiate the "cultural politics of difference" as a disputed socio-political and aesthetic approach to theorizing black collective identity, arguing that a focus on group complexity is neither apolitical nor ahistorical. I suggest that foregrounding, and where necessary forging, connections across and between various spectrums of difference, in combination with more nuanced, compelling articulations of intra-racial alterity, would enable a more inclusive, politically efficacious recasting of black identity. Holding in tension the ways that race, culture, ethnicity, nationality, class, sexuality, and gender are fluid and interactive, I problematize absolutist representations, which serve to homogenize and regulate the sign of blackness. My dissertation is itself a conceptual struggle over and within the sign of blackness, which critically engages other discursive disruptions of fixed, essentialist castings of black culture. |
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| | Chapter One intervenes in academic debates about essentialism and the politics of belonging, examining what is explicitly political about the "cultural politics of difference." Here I also negotiate difference's discontents. Chapter Two historicizes difference as an approach to conceptualizing blackness and investigates its long-standing antecedents. Chapter Three reflexively juxtaposes the already overlapping discourses of black identity and critical mixed race studies. Chapter Four explores multiple modes of transnational border-crossing and addresses the impact of diasporic movement on converging local and global conceptions of blackness. Throughout the dissertation, I critically engage expressive cultural productions and criticism in my effort to disrupt over-determined categories of belonging and to consider how blackness might be cast as a more complex, user-friendly construct. For circulating discursive artifacts influence cultural ideology and common sense, and can constitute a form of cultural theory. Hence, my dissertation's multiple trajectories converge in my exegeses of the works of such cultural producers as Frederick Douglass, W. E. B. Du Bois, Jean Toomer, Nella Larsen, Zora Neale Hurston, Audre Lorde, Marion Riggs, and Dany Laferrière.\\ |
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| //La version PDF de la thèse est disponible pour les membres de communautés universitaires qui ont un abonnement institutionnel auprès de [[http://www.proquest.com|UMI - Proquest]]// ### | //La version PDF de la thèse est disponible pour les membres de communautés universitaires qui ont un abonnement institutionnel auprès de [[http://www.proquest.com|UMI - Proquest]]// ### |