株式会社極東書店トップ ＞ 商品一覧 ＞ The Author as Cannibal : Rewriting in Francophone Literature as a Postcolonial Genre, 1969-1995.
商品詳細
The Author as Cannibal : Rewriting in Francophone Literature as a Postcolonial Genre, 1969-1995.
・ISBN 978-1-4962-1842-1 hard US$ 60.00
￥14,058.- (税込) ※（※）価格はご注文時の参考価格となります。
納品価格につきましては書籍の入荷時点で確定となります。
版元の原価改定、外国為替の変動等により異なる場合がございますので、予めご了承下さい。
お気に入り
★★★
| 著者・編者 | Reynolds, Felisa Vergara, |
|---|---|
| 出版社 | (University of Nebraska Press, US) |
| 出版年月 | 2022 |
| ページ数 | 288 pp. |
| 言語 | ENG |
| ニュース番号 | ＜L25-37953＞ |
解説
In the first decades after the end of French rule, Francophone authors engaged in an exercise of rewriting narratives from the colonial literary canon. In The Author as Cannibal, Felisa Vergara Reynolds presents these textual revisions as figurative acts of cannibalism and examines how these literary cannibalizations critique colonialism and its legacy in each author's homeland. Reynolds focuses on four representative texts: Une tempEte (1969) by AimE CEsaire, Le temps de Tamango (1981) by Boubacar Boris Diop, L'amour, la fantasia (1985) by Assia Djebar, and La migration des coeurs (1995) by Maryse CondE. Though written independently in Africa and the Caribbean, these texts all combine critical adaptation with creative destruction in an attempt to eradicate the social, political, cultural, and linguistic remnants of colonization long after independence.
The Author as Cannibal situates these works within Francophone studies, showing that the extent of their postcolonial critique is better understood when they are considered collectively. Crucial to the book are two interviews with Maryse CondE, which provide great insight on literary cannibalism. By foregrounding thematic concerns and writing strategies in these texts, Reynolds shows how these rewritings are an underappreciated collective form of protest and resistance for Francophone authors.
The Author as Cannibal situates these works within Francophone studies, showing that the extent of their postcolonial critique is better understood when they are considered collectively. Crucial to the book are two interviews with Maryse CondE, which provide great insight on literary cannibalism. By foregrounding thematic concerns and writing strategies in these texts, Reynolds shows how these rewritings are an underappreciated collective form of protest and resistance for Francophone authors.