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The politics of representation in Af...

Khannous, Touria.

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The politics of representation in African women's literature and film: Gender, identity and nationalism.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	The politics of representation in African women's literature and film: Gender, identity and nationalism./
Author:	Khannous, Touria.
Description:	197 p.
Notes:	Source: Dissertation Abstracts International, Volume: 64-04, Section: A, page: 1252.
Contained By:	Dissertation Abstracts International64-04A.
Subject:	Literature, African. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3087286
ISBN:	9780496350568

The politics of representation in African women's literature and film: Gender, identity and nationalism.
Khannous, Touria.

The politics of representation in African women's literature and film: Gender, identity and nationalism. - 197 p.

Source: Dissertation Abstracts International, Volume: 64-04, Section: A, page: 1252.

Thesis (Ph.D.)--Brown University, 2003.

My dissertation explores counter-discourses in the works of African women writers and filmmakers, who problematize hegemonic discourses of representation in their narratives. Such discourses comprise historical narratives such as colonial archives, nationalist narratives, media and Orientalist texts, anti-colonial narratives such as Frantz Fanon's, and nationalist ideologies such as South African Apartheid. My material includes film and literature by Assia Djebar, Ama Ata Aidoo, Farida Benlyazid, Moufida Tlatli, Bessie Head, Leila Sebbar, and others, as well as recent scholarship on postcolonial and cultural studies. I demonstrate that the way gender redefines these writers' representation of political formations such as nationalism, Orientalism, (neo)colonialism, revolution and Islamic fundamentalism, forms a contextual basis for understanding their cultural production. Furthermore, because these writers are writing and filming against the backdrop of (neo)colonialism and nationalism, they have to cast gender identity in national terms as well. The authors' gender also helped to shape their representations of history and their visions of the future. Beginning with films intent on creating a revisionist historiography and feminist revisions of socio-political realities, this project moves to examine literature from several different genres: novels, short stories and autobiography. Working on this dissertation has entailed both engaging with established critical theories and paradigms and learning how to come up with an alternative critical frame for the study of African women's cultural production. In particular, I challenged critical theories oriented narrowly around the transition from colonialism to postcolonialism, and from modernism to postmodernism, by labeling African women's texts as modernist texts. I argue that these writers propose a revolutionary modernism that is opposed to colonialism, conservative hegemonic nationalisms, as well as religious fundamentalism.

ISBN: 9780496350568Subjects--Topical Terms:

1022872
Literature, African.

The politics of representation in African women's literature and film: Gender, identity and nationalism.
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500 $a Source: Dissertation Abstracts International, Volume: 64-04, Section: A, page: 1252.
500 $a Adviser: Neil Lazarus.
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520 $a My dissertation explores counter-discourses in the works of African women writers and filmmakers, who problematize hegemonic discourses of representation in their narratives. Such discourses comprise historical narratives such as colonial archives, nationalist narratives, media and Orientalist texts, anti-colonial narratives such as Frantz Fanon's, and nationalist ideologies such as South African Apartheid. My material includes film and literature by Assia Djebar, Ama Ata Aidoo, Farida Benlyazid, Moufida Tlatli, Bessie Head, Leila Sebbar, and others, as well as recent scholarship on postcolonial and cultural studies. I demonstrate that the way gender redefines these writers' representation of political formations such as nationalism, Orientalism, (neo)colonialism, revolution and Islamic fundamentalism, forms a contextual basis for understanding their cultural production. Furthermore, because these writers are writing and filming against the backdrop of (neo)colonialism and nationalism, they have to cast gender identity in national terms as well. The authors' gender also helped to shape their representations of history and their visions of the future. Beginning with films intent on creating a revisionist historiography and feminist revisions of socio-political realities, this project moves to examine literature from several different genres: novels, short stories and autobiography. Working on this dissertation has entailed both engaging with established critical theories and paradigms and learning how to come up with an alternative critical frame for the study of African women's cultural production. In particular, I challenged critical theories oriented narrowly around the transition from colonialism to postcolonialism, and from modernism to postmodernism, by labeling African women's texts as modernist texts. I argue that these writers propose a revolutionary modernism that is opposed to colonialism, conservative hegemonic nationalisms, as well as religious fundamentalism.
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