Browsing by Subject "Allegory"

In my thesis, “Commandeering Aesop’s Bamboo Canon: A 19th Century Confederacy of Creole Fugitive Fables,” I ask and answer the ‘Who? What? Where? When? Why?” of Creole Literature using the 19th century production of Aesopian fables as clues to resolve a set of linguistic, historical, literary, and geographical enigmas pertaining the ‘birth-place(s)’ of Creolophone Literatures in the Caribbean Sea, North and South America, as well as the Indian Ocean. Focusing on the fables in Martinique (1846), Reunion Island (1826), and Mauritius (1822), my thesis should read be as an attempt capture the links between these islands through the creation of a particular archive defined as a cartulary-chronicle, a diplomatic codex, or simply a map in which I chart and trace the flight of the founding documents relating to the lives of the individual authors, editors, and printers in order to illustrate the articulation of a formal and informal confederation that enabled the global and local institutional promotion of Creole Literature. While I integrate various genres and multi-polar networks between the authors of this 19th century canon comprised of sacred and secular texts such as proclamations, catechisms, and proverbs, the principle literary genre charted in my thesis are collections of fables inspired by French 17th century French Classical fabulist, Jean de la Fontaine. Often described as the ‘matrix’ of Creolophone Literature, these blues and fables constitute the base of the canon, and are usually described as either ‘translated,’ ‘adapted,’ and even ‘cross-dressed’ into Creole in all of the French Creolophone spaces. My documentation of their transnational sprouting offers proof of an opaque canonical formation of Creole popular literature. By constituting this archive, I emphasize the fact that despite 200 years of critical reception and major developments and discoveries on behalf of Creole language pedagogues, literary scholars, linguists, historians, librarians, archivist, and museum curators, up until now not only have none have curated this literature as a formal canon. I also offer new empirical evidence in order to try and solve the enigma of “How?” the fables materially circulated between the islands, and seek to come to terms with the anonymous nature of the texts, some of which were published under pseudonyms. I argue that part of the confusion on the part of scholars has been the result of being willfully taken by surprise or defrauded by the authors, or ‘bamboozled’ as I put it. The major paradigmatic shift in my thesis is that while I acknowledge La Fontaine as the base of this literary canon, I ultimately bypass him to trace the ancient literary genealogy of fables to the infamous Aesop the Phrygian, whose biography – the first of a slave in the history of the world – and subsequent use of fables reflects a ‘hidden transcript’ of ‘masked political critique’ between ‘master and slave classes’ in the 4th Century B.C.E. Greece.

This archive draws on, connects and critiques the methodologies of several disciplinary fields. I use post-colonial literary studies to map the literary genealogies Aesop; use a comparative historical approach to the abolitions of slavery in both the 19th century Caribbean and the Indian Ocean; and chart the early appearance of folk music in early colonial societies through Musicology and Performance Studies. Through the use of Sociolinguistics and theories of language revival, ecology, and change, I develop an approach of ‘reflexive Creolistics’ that I ultimately hope will offer new educational opportunities to Creole speakers. While it is my desire that this archive serves linguists, book collectors, and historians for further scientific inquiry into the innate international nature of Creole language, I also hope that this innovative material defense and illustration of Creole Literature will transform the consciousness of Creolophones (native and non-native) who too remain ‘bamboozled’ by the archive. My goal is to erase the ‘unthinkability’ of the existence of this ancient maritime creole literary canon from the collective cultural imaginary of readers around the globe.

The central portion of Paul's letter to the Galatians consists of three main arguments, each of which invokes a different image of Abrahamic descent: sons (3:7) in 3:6-14, seed (3:16, 29) in 3:15-4:11, and children of promise (4:28) in 4:21-5:1. Current interpretations of these Abrahamic appeals typically portray them as logically problematical, collectively inconsistent, and/or generally unpersuasive, a situation that then leads most scholars to identify them as ad hoc responses to the Galatian agitators. This inability to find a coherent model of Abrahamic descent in Galatians, however, threatens to undermine the very gospel itself by suggesting that it cannot effectively counter a Judaizing call that derives from a simple appeal to Abraham.

This dissertation argues that Paul does indeed present the Galatians with a coherent account of Abrahamic descent that accords with his persuasive intent of refuting a law-based circumcision. Its key insight lies in the suggestion that Paul understands the Abrahamic diatheke in 3:15-18 as akin to a Hellenistic adoptive testament. As a result, the promised Abrahamic seed must be both a son of Abraham and, because of Abraham's divine adoption through the diatheke, a son of God, hence Paul's identification of Christ as Abraham's sole seed (3:16).

This twofold nature of the Abrahamic seed then suggests a distinction in Paul's other terms for Abrahamic descent. The dissertation accordingly contends that "sons of Abraham" in 3:7 designates, as it typically did in the mid-first century C.E., the Jews, i.e., those physical descendants of Abraham who also share his faith. In contrast, "children of promise" in 4:28 designates gentiles who have through faith received the Abrahamic blessing, i.e., the Spirit of sonship that makes them children of God. Each group thus requires incorporation into Christ to establish their status as Abrahamic seed: the Jews so that they might share in the gentiles' divine sonship, the gentiles so that they might share in the Jews' Abrahamic sonship. This interdependent union of the Jewish sons of Abraham and the gentile sons of God in Christ then constitutes the single divine Abrahamic seed who inherits (3:29).

Paul employs this model to refute the necessity of law observance as follows. In 3:6-14, he argues that Christ's accursed death on the cross divides faith from law observance as a means of justification for Jews; the full sons of Abraham accordingly become those Jews who, by dying to the law and embracing Christ, exhibit the same radical trust in God as their forefather exhibited. In 3:15-4:11, he argues that God added the law and its curse to ensure that the Jews could not receive the Abrahamic blessing promised to the nations--i.e., the Spirit that would make the Jews sons of God and, thus, Abrahamic seed--apart from the one seed, Christ. Finally, in 4:21-5:1, he argues that, like Hagar, the non-adoptive Sinaitic diatheke produces Abrahamic descendants (i.e., non-Christian Jews) who share the general human enslavement to the stoicheia, whereas the adoptive Abrahamic diatheke produces Abrahamic descendants (i.e., Christian Jews) whose divine adoption frees them from this enslavement. Each appeal to Abraham thus undermines the gentile Christians' motivation for submitting to the law by demonstrating that Jewish Christians do not even remain under the law.

This dissertation argues that one of the distinguishing characteristics of modernist literature is its desire to represent the social totality and that some of the significant modernist narrative-formal experiments can be read as attempts to respond to the complex phenomenon of fragmentation witnessed in modernity. The crisis in the representation of totality is presented as a general framework within which different national situations and their literary works can communicate with each other, and the conventional definition of modernism can be broadened accordingly. This study focuses on the formal solutions offered to the mentioned problem in James Joyce’s Ulysses, A.H. Tanpınar’s A Mind at Peace, and Sadeq Hedayat’s The Blind Owl. The forms it analyzes extensively are Tanpınar’s dream aesthetics and Hedayat’s allegorical and non-oriented narrative resembling a Möbius band.