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Marios Vasiliou Writing Cyprus: Homecoming and Cosmopolitanism in Colonial, Anti-Colonial, and Postcolonial Anglophone Literary Texts Marios Vasiliou Vasiliou Department of English Studies MariosMay 2014 Abstract The present thesis explores the divergent meanings of homecoming and cosmopolitanism for Anglophone literary narratives that write Cyprus in three distinct periods: the colonial, the anti-colonial and nationalist, and the postcolonial. While all three periods manifest a plurality of Anglophone narratives that write the island and inscribe it with an identity which reflects their ideological intentions, they also exemplify significant differences regarding the meanings invested on the above themes. In other words, reaching a ‘homecoming’ or finding a cultural arrival in the Anglophone narratives that write Cyprus often passes through the idiom of cosmopolitanism, but the latter manifests different meanings at different historical periods in the literary history of the island. While the first colonial narratives (which contribute to a literary colonial cosmopolitanism on the island) waver between domesticating and vilifying depictions of the island to the extent that only the first ones imbibe some form of ‘homecoming’ to the island, anti-colonial texts uniformly envisage ‘home’ along nationalist strictures and exude a sense of homecoming in their glorification of the nation and its nostalgia for ethnic homogeneity. In contrast to both, the Anglophone postcolonial texts that I deal with envisage ‘home’ across ethnic lines and imbibe an idiom of cosmopolitanism of the utopian and heterotopian kinds that is unlike any former cosmopolitan visionsVasiliou that have been observed before in the island’s literary topographies. Cultural arrival, for these latter texts, is envisaged in rapprochement and cross-cultural friendship and is often deferred since the notions of home, homecoming, and community are often deemed to be implicated in, and traversed by, disruption and dislocation. The first part of the thesis (Chapters 1& 2) focuses on colonial narratives: while Chapter 1 explores the initial role of English on the island through archival material and its impact on literary modernity, chapter 2 looks at travel narratives by women, and argues that despite their domesticating aesthetic thatMarios promises a ‘homecoming’ to the island, they are actually not ‘at home’ in their own genre of the ‘feminine picturesque’ which affords them only aesthetic descriptions. Chapters 3 and 4 address the tense ambience of the 1950s and 1960s when Cyprus emerged as an independent nation-state: whereas Chapter 3 portrays how the literary friendship of Durrell and Seferis, and their alleged cosmopolitanism, collapsed under the weight of colonialist and nationalist alliances, chapter 4 looks at attempts to write back to the empire through the anti-colonial texts of Montis’ Closed i Doors and Roufos’ The Age of Bronze, which imbibe a nostalgia for a halcyon Hellenic past. In contrast to the nationalist nostalgia of these texts, the chapter examines the nostalgia for a cosmopolitan community that never came to fruition through the post-nationalist text of Baybars’ Plucked in a Far-Off Land. The departure of the British colonial administration in the early 1960s signals also the silence of English in the literary sphere of the island. Yet, while English failed to make an impression on the island’s cultural sphere during the early years of the new postcolonial state, recently, it re-emerged as a literary language and has grown to such an extent that it warrants attention in its own right. In the latter part of my thesis, I attempt to explore the literary identity of this recent Anglophone corpus of literature in the debates between nationalism, colonialism, and cosmopolitanism. My exploration will foreground the ‘minor character’ of these writers. Using a major language to express their affective relationship to the island, these Cypriot writers are caught between their desire to deterritorialize both the major language they use and the dominant local paradigms. Chapter 5 explores the ways that these writers revisit the past and invite effaced voices from the past into their narratives, and Chapter 6 examines the gender displacements brought about by deterritorializations that aim at re-envisioning community beyond the patriarchal nationalist paradigms that continue to dominate on the island. The writers I discussVasiliou are Alev Adil, Miranda Hoplaros, Andriana Ierodiaconou, Aydin Mehmet Ali, Nora Nadjarian, Lysandros Pitharas, and Stephanos Stephanides. Marios ii Περίληψη Η παρούσα διατριβή εξερευνεί τους τρόπους με τους οποίους Αγγλόφωνα λογοτεχνικά κείμενα από τρεις διαφορετικές περιόδους, την Αποικιακή, την Αντιαποικιακή, και την πρόσφατη Μετααποικιακή, πραγματεύονται τις έννοιες του ‘νόστου’ και του ‘κοσμοπολιτισμού’. Παρόλο που και οι τρεις περίοδοι περιέχουν μια πολυφωνία κειμένων που τοπογραφούν το νησί με ταυτότητες που αντικατοπτρίζουν τους διαφορετικούς ιδεολογικούς τους σκοπούς, οι περίοδοι αυτές παρουσιάζουν ταυτόχρονα σημαντικές διαφορές στην πραγμάτευση τους με τις έννοιες του ‘νόστου’ και του ‘κοσμοπολιτισμού’. Επεξηγηματικά, στα Αγγλόφωνα αυτά κείμενα, η ιδέα του ‘νόστου’ ή της πολιτισμικής πραγμάτωσης συχνά συνδέεται με το θέμα του ‘κοσμοπολιτισμού’, το οποίο όμως παρουσιάζει διαφορετικές ερμηνείες στις διάφορες περιόδους της λογοτεχνικής ιστορίας του νησιού. Ενώ οι πρώτες αποικιακές αφηγήσεις (που έχουν τη δική τους συμβολή στη δημιουργία ενός λογοτεχνικού αποικιακού κοσμοπολιτισμού) αμφιταλαντεύονται μεταξύ απεικονίσεων που σκοπεύουν στην εξοικείωση ή στη δυσφήμηση του νησιού (στο βαθμό που μόνο οι πρώτες αναδύουν την αίσθηση του ‘νόστου’ στο νησί) τα αντιαποικιακά κείμενα ομοιόμορφα οραματίζονται τον πολιτισμικό νόστο μέσα από εθνικιστικές στενώσεις και αποπνέουν μια αίσθηση νοσταλγίας μέσα από την εξύμνηση του έθνους και την εξιδανίκευση τηςVasiliou εθνικής ομοιογένειας. Σε αντίθεση με τα παραπάνω, τα πρόσφατα αγγλόφωνα μετααποικιακά κείμενα τα οποία συζητάω (εμφανίζονται περίπου κατά τη διάρκεια της τελευταίας εικοσαετίας) οραματίζονται την ‘κοινότητα’ και το ‘οικείο’ μέσα από την εθνική ετερογένεια και αποπνέουν ένα ιδίωμα του ‘κοσμοπολιτισμού’ που έχει ουτοπικό ή/και ετεροτοπικό χαρακτήρα και που δεν μοιάζει με κανένα προηγούμενο είδος κοσμοπολιτισμού που έχει παρατηρηθεί στο παρελθόν στις λογοτεχνικές τοπογραφίες του νησιού. Η πολιτισμική πραγμάτωση γι’ αυτά τα κείμενα εστιάζεται στην επαναπροσέγγιση και στη διαπολιτισμικήMarios φιλία και συχνά παρουσιάζεται ως μία αναβαλλόμενη και ανεκπλήρωτη διαδικασία, δεδομένου ότι οι έννοιες του ‘οικείου’, του ‘νόστου’, και της ‘κοινότητας’ θεωρούνται συχνά ότι είναι αλληλένδετες με την εξορία, τον εκτοπισμό, και την καθημερινή δυσλειτουργία. Το πρώτο μέρος της διατριβής (Κεφάλαια 1ο&2ο) εστιάζεται σε αποικιακά κείμενα. Συγκεκριμένα, ενώ το 1ο κεφάλαιο εξερευνεί την αρχική δράση και επίδραση της αγγλικής λογοτεχνίας στο νησί και τη συνεισφορά της στη λογοτεχνική νεωτερικότητα μέσω μελέτης των iii αρχείων του αγγλόφωνου Τύπου, το 2ο κεφάλαιο καταπιάνεται με τα ταξιδιωτικά αφηγήματα από γυναίκες και επιχειρεί να αποδείξει ότι παρόλο που το λογοτεχνικό είδος του Γραφικού (Picturesque) (και των μεθόδων εξημέρωσης και εξοικείωσης του διαφορετικού που δύνανται μέσω αυτού) δίνει την εντύπωση ότι οι γυναίκες συγγραφείς βρίσκουν την πολιτισμική πραγμάτωση, τα αφηγήματα τους αναδείχνουν επίσης και τον εγκλωβισμό αυτών των συγγραφέων μέσα στον αντρικό αποικιακό λόγο τον οποίο και προσπαθούν να αναπαράγουν. Το 3ο και 4ο κεφάλαιο καταπιάνονται με την τεταμένη ατμόσφαιρα της αντιαποικιακής περιόδου: ενώ το 3ο κεφάλαιο ερμηνεύει την κατάρρευση της λογοτεχνικής φιλίας των Σεφέρη και Durrell, όπως και του υποτιθέμενου κοσμοπολιτισμού τους, ως μετωνυμία της ασυμβατότητας των εθνικών τους επιδιώξεων, το 4ο κεφάλαιο εξερευνεί τα αντιαποικιακά κείμενα των Κώστα Μόντη «Κλειστές Πόρτες» και Ρόδη Ρούφου, «Η Εποχή του Χαλκού» που απαντούν στα «Πικρολέμονα» του Durrell, και που αποπνέουν μια νοσταλγία για ένα ένδοξο Ελληνικό παρελθόν. Σε αντίθεση με την εθνικιστική νοσταλγία των πιο πάνω αφηγημάτων, το κεφάλαιο επίσης εξετάζει το μετά-εθνικιστικό κείμενο του Taner Baybars Plucked in a Far-Off Land το οποίο αποπνέει μια νοσταλγία για μια κοσμοπολίτικη κοινότητα που δεν ευδοκίμησε ποτέ. Η αποχώρηση της Αγγλικής διακυβέρνησης στις αρχές του 1960 σήμανε επίσης και τη σιγή της Αγγλικής ως λογοτεχνική γλώσσαVasiliou στο νησί. Ωστόσο, παρόλο που η Αγγλική ως λογοτεχνική γλώσσα απέτυχε να εδραιωθεί στο νησί κατά τα πρώτα χρόνια μετά την ανεξαρτησία, την τελευταία εικοσαετία υπάρχουν δείγματα μιας δυναμικής επανεμφάνισης της Αγγλικής στα λογοτεχνικά δρώμενα του νησιού. Το τελευταίο μέρος της διατριβής μου καταπιάνεται με τους κύριους εκπροσώπους αυτής της Αγγλόφωνης λογοτεχνίας και αναλύει τις ιδεολογικές, αισθητικές, και πολιτικές αναζητήσεις αυτής της λογοτεχνίας μέσα από το θεωρητικό πρίσμα της «Ελάσσονας Λογοτεχνίας» των Φελίξ Γκουατταρί και Ζιλ Ντελέζ. Οι Κύπριοι συγγραφείς που χρησιμοποιούνMarios την Αγγλική ως λογοτεχνική τους γλώσσα εκφράζουν στα κείμενα τους την διάσπαση, τον τεμαχισμό, και την δυσλειτουργία που προκύπτουν από την επισφαλή και απροσάρμοστη θέση τους στα περιθώρια των εγκαθιδρυμένων λογοτεχνικών κατηγοριών, με τέτοιους τρόπους που μπορούν να ερμηνευθούν ως κείμενα «Ελάσσονης Λογοτεχνίας». Ενώ το 5ο κεφάλαιο εξερευνεί τους τρόπους που τα κείμενα αυτά «επαναπροσεγγίζουν» το παρελθόν μέσω μιας φιλοξενίας στις σβησμένες φωνές του παρελθόντος, το 6ο κεφάλαιο εστιάζεται σε ανατροπές φύλου iv που αποσκοπούν
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