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| Autore principale: | |
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| Natura: | Artículo científico |
| Lingua: | en |
| Pubblicazione: |
Universidade Federal do Maranhão
2009
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| Accesso online: | https://www.redalyc.org/articulo.oa?id=159113069010 |
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Sommario:
- Postcoloniality and Resistance in Earl Llovelace's The Wine of Astonishment and The Dragon Can't Dance Mawuena Logan Estudios Culturales Identity Carnival Folklore Decolonization Baptist Church It is relatively 'safe', in this 21st century, to opine that no people ever existed without a history, even in predominantly oral and pre-industrial societies, or that no culture is static. But not too long ago, two-thirds of the world was once under some form of control of a people, "the empire builders," who thought differently and sought to dominate the "Other." As elsewhere in the postcolonial world, resistance to this hegemonic thinking, a thinking thatgave birth to slavery, colonialism, and neo-colonialism in the Caribbean, took many forms: oraltraditions, martial practices, syncretic African religions, and militancy, among other things, form an integral part of this tradition of resistance to tyranny. This history of resistancecoincides with what has been referred to as a "postcolonial moment," a liminal space, where cultures meet and diverge and where identities are continually created and contested, attesting to the dynamism of African Diasporic cultures. This paper endeavors to show howLovelace'sThe Wine of Astonishment and The Dragon Can't Dance create that moment of postcolonialityand resistance that defies any preconceived notion of a static Caribbean culture, and redefine the postcolonial subject in his/her own terms. 2009 artículo científico 1518-6784 https://www.redalyc.org/articulo.oa?id=159113069010 en http://www.redalyc.org/revista.oa?id=1591 Revista Brasileira do Caribe application/pdf Universidade Federal do Maranhão Revista Brasileira do Caribe (Brasil) Num.18 Vol.IX