Sandra Essays

The poem overdetermines both processes, as we shall shortly see. The poem presents the situation in two guises: It also reminds us that the production of the text, of most texts, lies beyond the total control of the author. Cesaire’s writing is also influenced by different artistic movements that surround him. One fact remains, regardless of our choice, the prophecy burrows itself to the heart of the stanza, hinting through its typographical maneuvering its provision of centrality:

First, however, I would like to issue a disclaimer. Until recently, it was assumed that these two versions were identical. This statement applies across the border. Even if we are able to isolate a particular way of relating to time that contrasts with linear historicity, this alternative relation may co-exist as disquieting contradiction in the colonized culture, as he argues for Martinique. Those of us who have been caught in between the currents of his poetry hear a different note. This observation is as old as Christianity, as old as Vodun, but if we are to keep some semblance of scholarly rigor in our claims about literature, we must at least prove that our interpretational fancies belong to recognizable and predictable patterns. In one of his excellent annotations of the text, Abiola Irele points us to the fleurs de lys branded as logo on the bloody backs of slaves, and thus serve as the inescapable mark of the colonial encounter

The texts themselves provide us enough internal evidence that the Bordas is indeed a later text, to make the archival evidence hold.

Browsing Theses / Dissertations by Author “Oteng-Preko, Ebenezer”

The personal can be easily accessible from our first reading of the poem: Paradoxically, it is what I called above the core of structural meaning, the bulk of the unchanged text, which provides these disparate discourses their center and their coherence. Read until about the middle of the 20th Century as a Good versus Evil story, unwittingly re-enacting the folly of Capt.

  JESUS SHAVES THESIS

The poem blends the two journeys to the point where it becomes impossible to separate them. This is another variation of the figural aporia I spoke of above, which allows the poet to create certain transitions between the body of the land and the body of the people.

The textual history of the poem soon dispels any illusions of linearity in the poem. In its sweep, the tongue also suggests a bend, or retour if you will. Ngal even goes so far as to map this ideal crescendo onto the life of the poet as a young man.

[[La]] plurivocalité dans le “Cahier d’un retour au pays natal” d’Aimé Césaire /

It is, according to him, a denial of differences Bernasconi The event of insurrection at sea proves the rule. The identity of the two versions was not the only assumption made by scholars two decades ago, according to Hale.

aimé césaire cahier dun retour au pays natal dissertation

That is not to say that the morne does not allow some passage, some fluidity in its current condition. Comment posting has been disabled on this doc.

Browsing Theses / Dissertations by Author “Oteng-Preko, Ebenezer”

In the following study, I will look at these dynamic American beginnings with particular attention to the textual variations that define the Cahier during this period.

These themes are expressed through voices in the text. These stanzas hardly need elucidation in light of our discussion thus far, but it helps to add a few important remarks. And then, an event that is occurring at this very moment might pass before them with such dimness that it is as if it had happened one hundred years ago.

As a corollary, the inelegant material body becomes the site or entry point wherein we can reclaim the phantasmal. This kind of reading is disserttation possible, of course, after all versions have been studied in their specificity, but it is well worth the effort.

aimé césaire cahier dun retour au pays natal dissertation

The preceding text is a pre-print draft of a text forthcoming from the Canadian Review of Comparative Literature in I have already suggested two possibilities, one personal and one collective: The rhetorical question becomes a real question: This is exactly what césairs. In the first section, I will rehearse the history of the text as it has been handed down to us, correcting several misconceptions that have accrued along the way.

  BENNINGTON COLLEGE VERMONT MFA CREATIVE WRITING

aimé césaire cahier dun retour au pays natal dissertation

In other words, the present of the poem lives in a post-emancipatory désaire, but without a living memory of the already effected opening unto freedom, a lack exacerbated by the misdirecting memory of endowed freedom provided by History, it remains trapped in pre-emancipatory time.

I do not pretend that for women of colour race and gender can be separated. There is no room in this history for delusions of a glorious past for this is the same history of losers that Benjamin evokes in his meditations. As you can see from Fig. If we take the flowers of blood in their botanical sense, we are probably talking about the flamboyant tree, or Delonix regiaand the useless wind only makes sense if we agree these fallen flowers serve no purpose detached from their branches.

In the next section I will try to argue for the primacy of the text as a sort pyas gravitational center which gives coherence to the other versions.

[[La]] plurivocalité dans le “Cahier d’un retour au pays natal” d’Aimé Césaire /

The hunger of the boy vun as the free-slaver drowns, its voice forgotten for now along the muddy seabed. For Hale, the textual evolution of the poem marked the movement from a personal to a collective consciousness.

A Journal of Poetry, Criticism and Translation 1 For both it is one and the same: