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Duke University Dissertation Template Southern Europe Unraveled: Migrant Resistance and Rewriting in Spain and Italy by Martin Repinecz Department of Romance Studies Duke University Date:_______________________ Approved: ___________________________ Roberto Dainotto, Supervisor ___________________________ Norma Bouchard ___________________________ Laurent Dubois ___________________________ Walter Mignolo Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2013 i v ABSTRACT Southern Europe Unraveled: Migrant Resistance and Rewriting in Spain and Italy by Martin Repinecz Department of Romance Studies Duke University Date:_______________________ Approved: ___________________________ Roberto Dainotto, Supervisor ___________________________ Norma Bouchard ___________________________ Laurent Dubois ___________________________ Walter Mignolo An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2013 i v Copyright by Martin Repinecz 2013 Abstract This thesis explores the phenomenon of canonical revision by migrant and postcolonial writers in Spain and Italy. By recycling, rewriting or revising canonical works or film movements of the host countries in which they work, these writers call attention to Spain’s and Italy’s concerted attempts to perform a European identity. In doing so, they simultaneously challenge the literary categories into which they have been inserted, such as “migrant” or “Hispano-African” literatures. Rather, these writers illustrate that these categories, too, work in tandem with other forms of exclusion to buttress, rather than challenge, Spain and Italy’s nationalist attempts to overcome their- “South-ness” and perform European-ness. The thesis consists of four chapters, each focusing on a different migrant writer. The first chapter examines how Amara Lakhous, an Algerian-Italian writer, models his novels after the film genre of the commedia all’italiana in order to make national and ethnic identity categories look like theater and spectacle. The second chapter analyzes how Najat el-Hachmi, a Catalan writer of Moroccan birth, rewrites a classic of Catalan literature (Mercé Rodoreda’s The Time of the Doves) to challenge the oppositions between “immigrant” and “native,” while also articulating a transnational, feminist critique of patriarchy. The third chapter studies how Francisco Zamora Loboch, an Equatorial iv Guinean exile in Spain, re-interprets Don Quijote as an iconically anti-racist text. The fourth chapter studies how Jadelin Mabiala Gangbo, a Congolese-Italian writer, recycles Shakespeare’s play Romeo and Juliet in his novel Rometta e Giulieo in order to challenge the polarized dichotomy of “migrant” and “canonical” writing. My work both draws on and critiques several, interrelated fields of scholarship, including Southern European studies, Afro-European studies, Mediterranean studies, migrant literary studies, and postcolonial studies, as well as criticism pertaining to specific canonical works these writers revisit in their works. In doing so, I hope to demonstrate that a critique of racism or xenophobia in contemporary Spain or Italy necessitates not only a critique of the Global South against Eurocentrism, but also a simultaneous critique of Europe’s North-South divide. v Contents Abstract ......................................................................................................................................... iv Acknowledgements .................................................................................................................. viii Introduction ................................................................................................................................... 1 1. Remaking the Commedia all’italiana: the Theatricality of Identities in the Novels of Amara Lakhous .................................................................................................................... 48 1.1 Amara Lakhous on Coercive Mimeticism .............................................................. 52 1.2 Neorealism vs. Commedia all’italiana in Scontro di civiltà ................................ 57 1.3 Theatricality as Political Resistance ........................................................................ 67 1.4 Unravelling Words and Names in Scontro di civiltà............................................ 71 1.5 Theatricalizing Roman Identity: Ahmed/Amedeo’s Re-Reading of the She- Wolf ............................................................................................................................. 80 1.6 Divorzio all’islamica and the Feminization of the Commedia all’italiana ........ 88 1.7 The “Cinematized” Everyday of Divorzio all’islamica ........................................ 94 1.8 The Re-Signifying Power of Cinematic Images: The Case of Sofia/Safia ......... 101 1.9 Conclusion ................................................................................................................ 114 2. Rewriting Rodoreda and Unravelling the Nation: the others of Catalan Nationalism in the works of Najat El Hachmi ...................................................................................... 116 2.1 Multiculturalism, Integrationist Nationalism, and Xenophobia in Catalonia 122 2.2 Between “catalanisme” and “fronterisme”: El Hachmi’s Brand of “Border Thinking” .................................................................................................................. 132 2.3 Destabilizing the Patriarchal Other: L’últim patriarca and La plaça del Diamant ..................................................................................................................... 137 vi 2.4 Birds and Names in La plaça del Diamant .......................................................... 145 2.5 Pigeons in L’últim patriarca ................................................................................... 154 2.6 Fiction as Bodily Resistance ................................................................................... 165 2.7 Conclusion ................................................................................................................ 183 3. Resurrecting Race through Cervantes: Francisco Zamora Loboch’s Decolonial Reading of Don Quijote ...................................................................................................... 185 3.1 Francisco Zamora and the Artificiality of “Guineidad” .................................... 188 3.2 Zamora’s Essays: Recipes Against Racism........................................................... 201 3.3 Re-reading the Western through Don Quijote .................................................... 215 3.4 Decolonial Humor: Don Quijote and Conspiración en el green ....................... 240 3.5 Popular Fiction and its Consequences in Conspiración ..................................... 251 3.6 Conclusion ................................................................................................................ 262 4. Recycling “Gods” and “Ghettos”: Jadelin Mabiala Gangbo’s Rometta e Giulieo ...... 264 4.1 Cassano on the Mediterranean .............................................................................. 274 4.2 Romeo and Juliet become Rometta e Giulieo ...................................................... 280 4.3 Dual Fundamentalisms: The Case of Tonino ....................................................... 288 4.4 More Dual Fundamentalisms: The Case of Jadelin ............................................ 299 4.5 Grasping for “Misura”: the Reciprocity of Rewriting and the Mediterranean……… .............................................................................................. 312 4.6 Conclusion ................................................................................................................ 326 Conclusion ................................................................................................................................. 329 Bibliography .............................................................................................................................. 333 Biography ................................................................................................................................... 356 vii Acknowledgements This dissertation has been researched and written with the help of grants and fellowships from Fulbright, the Council for European Studies, the Graduate School of Duke University, and the Department of Romance Studies at Duke University. My project would not have been possible without this assistance. I am greatly indebted to my supervisors, Stephanie Sieburth and Roberto Dainotto, for their brilliant ideas, excellent feedback, kind support, and much needed encouragement, not only as I wrote this thesis, but also during my time at Duke more broadly. Stephanie, you have provided a model of teaching and scholarship that I will look up to throughout my career. I can only hope to be as much of an inspiration to my students as you have been to me. Roberto, you have repeatedly challenged me to think outside the box, against the grain, and at a higher level than I thought myself capable of. I thank you for that. I am very grateful to Norma Bouchard for her rigorous, careful readings of my drafts, as well as to Walter Mignolo and Laurent Dubois for their participation in my thesis committee.
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