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Haiti Unbound a Spiralist Challenge to the Postcolonial Canon H
HAITI UNBOUND A SPIRALIST CHALLENGE TO THE POSTCOLONIAL CANON H Both politically and in the fields of art and literature, Haiti has long been relegated to the margins of the so-called ‘New World’. Marked by exceptionalism, the voices of some of its AITI most important writers have consequently been muted by the geopolitical realities of the nation’s fraught history. In Haiti Unbound, Kaiama L. Glover offers a close look at the works of three such writers: the Haitian Spiralists Frankétienne, Jean-Claude Fignolé, and René Philoctète. While Spiralism has been acknowledged by scholars and regional writer- intellectuals alike as a crucial contribution to the French-speaking Caribbean literary tradition, the Spiralist ethic-aesthetic has not yet been given the sustained attention of a full-length U study. Glover’s book represents the first effort in any language to consider the works of the three Spiralist authors both individually and collectively, and so fills an astonishingly empty NBO place in the assessment of postcolonial Caribbean aesthetics. Touching on the role and destiny of Haiti in the Americas, Haiti Unbound engages with long- standing issues of imperialism and resistance culture in the transatlantic world. Glover’s timely project emphatically articulates Haiti’s regional and global centrality, combining vital ‘big picture’ reflections on the field of postcolonial studies with elegant analyses of the U philosophical perspective and creative practice of a distinctively Haitian literary phenomenon. Most importantly, perhaps, the book advocates for the inclusion of three largely unrecognized ND voices in the disturbingly fixed roster of writer-intellectuals who have thus far interested theorists of postcolonial (francophone) literature. -
A Symbolic Analysis of Ritualistic Crime: the Forensics of Sacrifice 1
RBSE 8(24): 524-621, Dez2009 ISSN 1676-8965 ARTIGO A Symbolic Analysis of Ritualistic Crime: The Forensics of Sacrifice 1 Dawn Perlmutter Resumo: O assassinato ritual inclui uma grande variedade de atos sagrados e temporais cometidos por grupos e por indivíduos e é atribuído o mais frequentemente aos praticantes de ideologias ocultas tais como o Satanismo, o Palo Mayombe, a Santeria e outras tradições mágicas, ou aos assassinos em série e aos sadistas sexuais que assassinam ritualmente as suas vítimas. Devido a muitas controvérsias legais, práticas e éticas o estudo da violência religiosa contemporânea está em sua infância. Não houve nenhum estudo empírico sério dos crimes ou das classificações ritualísticas que distingam adequadamente entre os homicídios rituais cometidos para sagrado versus motivações temporais. Este artigo é o resultado de minha pesquisa na fenomenologia da adoração da imagem, de rituais contemporâneos do sangue, e da violência sagrada. Reflete meu esforço contínuo para proteger as liberdades religiosas de membros de religiões alternativas ao ajudar profissionais da lei de lei na investigação de crimes ritualísticos. Unitermos: Sacrifício; Violência Ritual; Análise Simbólica. Abstract : Ritual murder includes a wide variety of both sacred and secular acts committed by groups and individuals and is most often attributed to practitioners of occult ideologies such as Satanism, Palo Mayombe, Santeria, and other magical traditions, or to serial killers and sexual sadists who ritually murder their victims. Due to many legal, practical, and ethical controversies the study of contemporary religious violence is in its infancy. There have been no serious empirical studies of ritualistic crimes or classifications that adequately distinguish between ritual homicides committed for sacred versus secular motivations. -
A Vudu Tanulói a Vudu – 12
SZKA 212_25 A VUDU TANULÓI A VUDu – 12. ÉVFOLYAM 34 25/1 VALLÁSOK A VILÁGBAN Páros feladatlap Kapcsoljátok vonalakkal egymáshoz azokat a kifejezéseket, amiket összetartozónak érez- tek a következő két oszlop listájában! Egyistenhit Kereszténység Többistenhit Szellem-/lélekhit Buddhizmus Szertartásrend Az ősök tisztelete Iszlám Lélekvándorlás Mágia (fehér és/vagy fekete) Szantéria Boszorkányság Állatáldozat Zsidó vallás Körülmetélési szertartás Étel-/italáldozat Vudu A védőszellemek tisztelete Az ártó szellemekben való hit Hindu Mágikus tárgyak használata Szent helyek Spiritizmus A különböző vallások elemeinek találkozása Gyertyák használata A legfőbb istenségbe vetett hit 30 SZOCIÁLIS, ÉLETVITELI ÉS KÖRNYEZETI KOMPETENCIÁK TANULÓI 25/2A A VUDU vallás ELEMEI a vudu fogalma, története és elterjedése A vudu vallás a Karibi-térségben alakult ki. Nyugat-Afrikából, a régi Dahomey királyság- ban (ma Benin) erednek gyökerei. A rabszolgahajóknak a fekete embereken kívül voltak láthatatlan utasai is. A rabszolgák vallása, istenei és szertartásai. Ezek később egymással és a kereszténységgel találkozva új vallások kialakulását eredményezték, amelyekben a sokszor egymástól teljesen eltérő vallások elemei találkoznak. A folyamat neve vallási szinkretizmus. Ennek eredménye a vudu vallási kultusz is. Egy filozófiai, társadalmi, vallá- si rendszerről van szó, amely semmivel sem kevesebb, mint bármely más vallás a világon. Bonyolult, többistenhiten alapuló vallás, afrikai animista és keresztény jegyekkel. A vudu neve a fon nyelvcsaládban használt vodun szóból származik. Jelentése: isten, lé- lek, szent tárgy. Többféle írásmódja létezik, és mindegyik elfogadott: vodu, voodoo, vau- doux, vaudou, vodou, vudu. A vudu egy kígyókultuszra épülő, naturalista és misztikus elemekből felépülő vallási rendszer. A kígyó a lélek szimbóluma. A származási helyeken a királyi család jelképe volt, de ez a hagyomány eltűnt a történelem folyamán, csak a kígyó- szimbólumokban őrzik. -
Bodies Scared Sacred at the Crossroads: Vodou Loa Erzulie in Mayra Montero’S the Red
Urbistondo 1 Bodies Scared Sacred at the Crossroads: Vodou Loa Erzulie in Mayra Montero’s The Red of His Shadow and Ana-Maurine Lara’s Erzulie’s Skirt Josune Urbistondo University of Miami Édouard Glissant argues that “immobility and alienation are the necessary consequences and the facilitating circumstances of exploitation” (xliii). Through representations of Dominican- Haitian Vodou loa, Erzulie, Mayra Montero’s The Red of His Shadow (2001) and Ana-Maurine Lara’s Erzulie’s Skirt (2006) critique the doubly vulnerable position disenfranchised women face in local and global exchanges. Both novels present traditions of the spirit and more specifically the women’s relationship to loa, Erzulie as a conduit to negotiate sexual agency and citizenship. The relationship between sexual agency and citizenship in the novels critiques heteropatriarchal notions of normative couples as the nucleus and foundation for family and, by extension, social recognition and continuity for the nation. Montero and Lara move away from heteropatriarchal relationships and present the women protagonists Zulé, Miriam, and Micaela, as accessing their sacral and sexual personas as critical registers for identity construction. According to William J. Spurlin “One dimension of the study of sisterhood [within post-colonial queer theory] must include…attention to erotic ties between women and the ways in which these operate oppositionally as sites of decolonization and erotic autonomy, thereby constituting other forms of resistance to heteropatriarchy” (196). In this essay, I argue that the relationships between Zulé and Erzulie and then Miriam and Micaela with Erzulie introduce a sacral feminist politics. Within worldly and otherworldly exchanges, these women resist their bodies becoming social tools for physical labor, gendered control, and sacral discipline. -
O Universo Espiritual E Cultural Da Primeira República Negra: Haiti
O Universo Espiritual e Cultural da Primeira República Negra: Haiti Joseph Handerson* A explosão não terá lugar hoje. É pronto demais... Ou tarde demais. Não venho armado de verdades absolutamente decisivas. Minha consciência não está transida de resplendores essenciais. Embora, com autoridade e muita certeza, penso que seria importante dizer algumas coisas que vale a pena que sejam expressas (FANON, 1973, p. 7). Resumo: Este artigo apresenta a realidade religiosa e cultural do mundo haitiano, especialmente a religião popular sincretista deste povo o “Vodu”. O estudo não pretende promover o voduísmo, não é uma defesa dele, nem sequer uma análise filosófica do universo espiritual e cultural desse povo, mas intenta reportar seus mistérios e crenças exóticas, esclarecendo e informando nossos leitores. Apresenta-se o Vodu como uma visão do mundo, a luta de um povo para afirmar a sua identidade, por meio de uma revolta contra as condições dramáticas de sua história. O “Vodu”, de certa maneira, é a história da resistência à escravidão. Essa resistência se fez justamente sobre a base das crenças dos antepassados. O objetivo final deste trabalho é mostrar como o “Vodu” não é só Religião, mas também Cultura, uma tomada de consciência do povo negro para garantir-se contra a existência infeliz. Em suma, ele oferece enraizamento e finalidades para este povo. Permite-lhe encontrar-se no mundo, interpretar-se como seres racionais e apreender-se, em sua qualidade especificamente humana. Palavras-chave: cultura; religião; Vodu; Haiti; civilização-negritude. * Haitiano. Acadêmico do Curso de Graduação em Filosofia da UCPel. O universo espiritual e cultural da primeira república negra VODU COMO RELIGIÃO A interpretação aqui feita é nova: apresenta o Vodu como uma visão original do mundo e traduz o esforço de um povo para afirmar-se, a despeito das condições dramáticas de sua história, que o fizeram passar da escravidão e da dominação estrangeira para o subdesenvolvimento e ditadura política. -
The Sacred in Cuba, Haiti, Brazil and Benin Republic: Aspects of a Linguistic and Cultural Dialogue
Studia Religiologica 51 (3) 2018, s. 179–193 doi:10.4467/20844077SR.18.013.10097 www.ejournals.eu/Studia-Religiologica The Sacred in Cuba, Haiti, Brazil and Benin Republic: Aspects of a Linguistic and Cultural Dialogue Hippolyte Brice Sogbossi http://orcid.org/0000–0003–3047–244X Departamento de Ciências Sociais e Programa de Pós-Graduação em Antropologia Universidade Federal de Sergipe [email protected] Abstract The so-called Transatlantic Traffic imposed new linguistical and cultural configurations on the three continents involved in this tragedy: Africa, America and Europe. Such configurations acquire a complex of dynamics that, nowadays, we speak of flux and reflux of traffic, because of the in- tense and broad cultural and social exchange between these continents. Religion is one of the main or fundamental elements that is diluted in the cultural exchanges between Africa and America, especially those of the so called Sudanese nations, which receive various denominations: Santeria, Vodun, and Candomblé, among others. I will deal with the presentation of the jeje-nagô pattern in order to promote a dialogue, taking in account manifestation in Cuba, Haiti, Brazil and Benin. I will choose, describe and analyse from a comparative perspective a sample of songs and ritual lexicon (including terms of kinship) of Dahomean and Ewé-Fon origin in Arará Santeria, Vodun in Haiti, and Mina-Jeje Candomblé in Brazil in one part of the study, and in the other part, with the Vodun of Benin. This experience will undoubtedly shed light on the diversity and richness of meanings attributed from cultural and social relations in religious spaces and in society as a whole. -
(/Lwa/, Du Français « Les Lois ») Sont Les Esprits De La Religion Vaudou. on Les Appelle Aussi « Les Mystères » Ou « Les Invisibles »
Loas : Les Lwas ou Loas (/lwa/, du français « les lois ») sont les esprits de la religion vaudou. On les appelle aussi « les Mystères » ou « les Invisibles ». Ils servent d'intermédiaires entre le Créateur (Bondye ou Bon Dieu) et les humains. Ils sont priés mais aussi honorés et servis en fonction de leurs goûts et attributs, au moyen de rites, de rythmes sacrés, de chansons, de danses, d'offrandes et autres services spécifiques. Les Lwas ne sont pas des divinités en elles-mêmes, ce sont des intermédiaires avec un Dieu lointain et indifférent. (source : wkipédia) Wanga et Baka : Tout vaudouisant est convaincu qu'on peut capter les forces surnaturelles, les enfermer dans des bouteilles ou dans des paquets, qu'on appelle wanga, et avec eux préparer et jeter des mauvais sorts. (source : protestansdanslaville.org) Bòkò : Les bokors figurent dans plusieurs contes haïtiens et sont souvent associés à la création de zombis à l'aide d'un breuvage ou d'une potion qui plonge dans un état de catalepsie donnant l'apparence de la mort, contenant généralement des poisons à des doses sub-mortelles (extraits e tétraodon et stramoine notamment). Dans ces légendes, cette potion donne l'impression que le buveur est mort, à la suite de quoi il est enterré. Quelques jours plus tard, le bokor revient chercher le "cadavre" et le force à agir suivant sa volonté, par exemple pour le travail manuel. La personne est, cependant, tout à fait vivante mais dans un état de conscience dissocié dans lequel elle ne peut pas maîtriser ce qu'elle dit ou fait. -
University of California, Merced Cave Vodou in Haiti
University of California, Merced Cave Vodou in Haiti: The Use of Caves as Sacred Space in Modern Haitian Ritual Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in World Cultures by Patrick Richard Wilkinson Committee in Charge Professor Linda-Anne Rebhun, Chair Professor Mark Aldenderfer Professor Marco García-Ojeda Professor Holley Moyes © Patrick Wilkinson, 2019 All rights reserved. This Dissertation of Patrick Wilkinson is approved; it is acceptable in quality and form for publication on microfilm and electronically: ________________________________________________________________________ Dr. Mark Aldenderfer ________________________________________________________________________ Dr. Marco García-Ojeda ________________________________________________________________________ Dr. Holley Moyes ________________________________________________________________________ Dr. Linda-Anne Rebhun Chair University of California, Merced 2018 iii DEDICATION To my wife Marieka, without whom none of this would have been possible, and to the people of Haiti, who welcomed a blan with open arms and hearts. iv TABLE OF CONTENTS LIST OF FIGURES ......................................................................................... VIII LIST OF TABLES ............................................................................................ XII ACKNOWLEDGEMENTS ................................................................................ XIII CURRICULUM VITA .................................................................................... -
Rochester's Imperialist Drive in Charlotte Bronte's Jane Eyre and Jean Rhys' Wide Sargasso Sea Chloe Whitaker Clemson University, [email protected]
Clemson University TigerPrints All Theses Theses 5-2016 The Zombi of the British Empire: Rochester's Imperialist Drive in Charlotte Bronte's Jane Eyre and Jean Rhys' Wide Sargasso Sea Chloe Whitaker Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Recommended Citation Whitaker, Chloe, "The Zombi of the British Empire: Rochester's Imperialist Drive in Charlotte Bronte's Jane Eyre and Jean Rhys' Wide Sargasso Sea" (2016). All Theses. 2339. https://tigerprints.clemson.edu/all_theses/2339 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. THE ZOMBI OF THE BRITISH EMPIRE: ROCHESTER’S IMPERIALIST DRIVE IN CHARLOTTE BROTNE’S JANE EYRE AND JEAN RHYS’ WIDE SARGASSO SEA A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts English by Chloe Whitaker May 2016 Accepted by: Dr. Kimberly Manganelli, Committee Chair Dr. Cameron Bushnell Dr. David Coombs Abstract This paper examines the character of Rochester as he is presented both in Charlotte Brontë’s Jane Eyre (1847) and Jean Rhys’ post-colonial response work Wide Sargasso Sea (1939). In both works, Rochester is portrayed as the consummate colonist who dominates the women he comes into contact with, metaphorically turning them into his colonized possessions. In order to explore the process of feminine subjugation and colonial mastery, Rhys utilizes the figure of the zombi, a traumatized victim deprived of all free will by a sorcerous bokor who uses the zombi as a source of labor. -
I V Whosoever Doubts My Power: Conjuring Feminism in the Interwar
Whosoever Doubts My Power: Conjuring Feminism in the Interwar Black Diaspora by Marina Sofia Magloire Department of English Duke University Date:_______________________ Approved: ___________________________ Aarthi Vadde, Co-Supervisor ___________________________ Priscilla Wald, Co-Supervisor ___________________________ Laurent Dubois ___________________________ N. Gregson Davis ___________________________ Nathaniel Mackey Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2017 i v ABSTRACT Whosoever Doubts My Power: Conjuring Feminism in the Interwar Black Diaspora by Marina Sofia Magloire Department of English Duke University Date:_______________________ Approved: ___________________________ Aarthi Vadde, Co-Supervisor ___________________________ Priscilla Wald, Co-Supervisor ___________________________ Laurent Dubois ___________________________ N. Gregson Davis ___________________________ Nathaniel Mackey An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2017 Copyright by Marina Sofia Magloire 2017 Abstract This dissertation uses the revolutionary potential of Caribbean religion to theorize black feminism between the two World Wars. It argues that women artists and performers across the diaspora produced both ethnographic and artistic representations of Haitian Vodou (and its sister religions) in order to formulate a radical and pan-African feminism. Unlike accounts of the savagery and hedonism of a sensationalized “voodoo” perpetuated by white male travelers to Haiti, black women’s narratives of Vodou focused specifically on its status as a theology of resistance. By re-animating apolitical narratives of “voodoo” with their original spiritual provenance in Vodou, women of color laid claim to the political force of the religion behind the largest successful slave revolt in the Western hemisphere. -
Digital Loa and Faith You Can Taste: Hoodoo in the American Imagination
Digital Loa and Faith You Can Taste: Hoodoo in the American Imagination BY Copyright 2014 Crystal M. Boson Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. _____________________________________________ Chairperson: Dr. Randal Jelks _____________________________________________ Dr. Giselle Anatol _____________________________________________ Prof. Darren Canady _____________________________________________ Dr. Jennifer Hamer _____________________________________________ Dr. Beverly Mack _____________________________________________ Dr. Sherrie Tucker Date Defended: April 7, 2014 The Dissertation Committee for Crystal Boson certifies that this is the approved version of the following dissertation: Digital Loa and Faith You Can Taste: Hoodoo in the American Imagination _____________________________________________ Chairperson: Dr. Randal Jelks Date approved: April 7, 2014 ii Abstract Utilizing popular culture mediums and artifacts, this dissertation examines the ways in which the American imaginary plasticizes the faith of Hoodoo and continually strips it of its religious, historic, and cultural impacts. Rather than being acknowledged as a religion, Hoodoo is presented in cultural mediums as something inherently consumable, commercial, and capable of endless, identical reproductions. The artifacts produced around this plastic representation are contemporary reproductions of racist, colonial, -
Women Possessed
Women Possessed LIZA BET H PARAVISINI~GEBERT Eroticism and Exoticism in the Representation of Woman as Zombie They are dead bodies-zombies, the living dead. corpses taken from their graves who are made to work in sugar mills and the fields at night. -White Zombie, 1932 There's no beauty here . onlydeath and decay . -1 Walked witha Zombie, 1943 IF IT IS TRUE that, as Edward Brathwaite writes, traces of African religion, frag ments of ancestral rituals, echoes of African deities form "the kernel or core" of Caribbean cultures, it is also true, as Joan Dayan has argued, that the local or folk religions that germinated from them have been for the West the "mark of savagery" that has justified invasion and imperialism .' Pro-Western ideo logues of "progress" and "civilization" have derided ritualistic practices of Af rican origin as proof of the Caribbean folk's inability to embrace "modernity." of their incapacity for emancipation and sovereignty. Given a glimpse of Car ibbean people's resolut ion to assert their autonomy, they are quick to invoke the titillating figure of the zombie as representative of the Afro-Caribbean folk as bogeyman. In Haiti-Zora Neale Hurston wrote in Tell My Horse-"there is the quick, the dead, and then there are zombies," "the word which never fails to 37 38 LIZABETH PARAVISINI-GEBERT The Representation of Woman as Zombie 39 interest rourists.V Katherine Dunham, American dancer and Vodou initiate, to reconsider, earnestly cataloguing the dangers to which she was exposing offers two possible definitions of a zombie: a truly dead creature brought back herself: "Surely Mademoiselle would be made into a zombie wife or, worse still, to life by black magic "but by such a process that memory and will are gone sacrificed to one of the bloodthirsty gods and eaten by the priest and his chief and the resultant being is entirely subject to the will of the sorcerer who re hounci, all of whom were men.