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首页> 外文学位 >Satyajit Ray's 'The Chess Players': The discourse of British colonial enterprise and its representation of the other through the expanded cultural critique.
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Satyajit Ray's 'The Chess Players': The discourse of British colonial enterprise and its representation of the other through the expanded cultural critique.

机译：萨蒂亚吉特·雷（Satyajit Ray）的“国际象棋棋手”：英国殖民企业的话语，以及通过扩大的文化批评而代表的另一方。

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摘要

In postcolonial Indian film and literature the normed subject of colonial labor discourse is the political-military-economic work of the indigenous elite male in the colony. This normative subject is represented through a set of binaries. The term enterprise indicates one side of the binary. In these fictions of colonialist enterprise the supra-valuation of Robinson Crusoe's labors is designed to establish his natural right to ownership of the island in Daniel Defoe's Robinson Crusoe [1719], which is critically re-examined in Hollywood's Crusoe-inspired films. The binary half of capitalist-colonialist enterprise is the expanded cultural critique, a term that refers to the discursive devaluation of native labor. The discursive strategies by which the native's labor is devalued is to describe the native's labor practices through a critique of his cultural practices. This cultural critique is then expanded, consequently the industriousness of all classes in the colony is interpreted on the basis of indigenous elite males. Nationalism broadens the scope of the expanded cultural critique, and further inscribes the separation of the elite domain from the subaltern domain. How can there be resistance to the totalizing impulses of colonial-capitalist enterprise? The dissertation deploys a Subaltern Studies approach by focusing on two key moments of historical contestation in India's colonial past: Bengal in 1793, and Awadh in 1856. Nationalist fiction by the Hindi-language writer Premchand titled "The Chess-Players" [1924], and postcolonial films like Satyajit Ray's The Music Room [1958], Kanchenjungha [1962], and The Chess-Players [1977], elaborate a specifically nationalist construction of British-colonial discourses or in the case of Ray, critique both colonialist and nationalist constructions. In keeping with my theoretical emphasis on framing Ray's films with Hollywood cinema, I interrogate the liberal critique of American imperialist enterprise in Okinawa in Daniel Mann's Tea House of the August Moon [1956], and the celebration of working-class resilience in its confrontation with corporate enterprise in Penny Marshall's Big [1988]. The central argument of this dissertation are that post-Enlightenment colonialist and Indian-nationalist discourses construct the native's work-practices in terms of his incapacity to make the distinction between work and play, and productive work and unproductive cultural pursuits.
机译：在后殖民时期的印度电影和文学中，殖民主义劳动话语的规范主题是殖民地土著精英男性的政治-军事-经济工作。该规范性主题通过一组二进制文件表示。术语企业表示二进制文件的一侧。在这些殖民主义企业的小说中，鲁滨逊·克鲁索的劳动的超值估价旨在在丹尼尔·笛福的《鲁滨逊·克鲁索》 [1719]中确立他对岛屿的自然所有权，这一点在好莱坞以克鲁索为灵感的电影中进行了重新审视。资本主义-殖民主义企业的二元半是扩大的文化批判，该术语指的是本地劳动的话语贬值。使本地人的劳动力贬值的话语策略是通过对本地人的文化实践的批判来描述本地人的劳动实践。然后扩大了这种文化批评，因此，以土著精英男性为基础来解释殖民地所有阶层的勤劳。民族主义扩大了文化批判的范围，并进一步刻画了精英领域与次要领域的分离。如何抵制殖民资本主义企业的整体冲动？本文着重研究了Subaltern Studies研究方法，重点研究了印度殖民历史上两个历史较重要的时刻：1793年的孟加拉国和1856年的阿瓦德。北印度语作家普雷姆汉德的民族主义小说名为“国际象棋棋手” [1924]，萨蒂亚吉特·雷（Satyajit Ray）的《音乐室（The Music Room）（1958），坎兴容哈（Kanchenjungha）（1962）和国际象棋演奏者（The Chess-Players）（1977）等后殖民电影，特别阐述了英国殖民话语的民族主义建构，或者在雷（Ray）的情况下，对殖民主义和民族主义建构进行了批判。 。为了在理论上强调将雷的电影与好莱坞电影配合起来，我在丹尼尔·曼（Daniel Mann）的《八月之月的茶馆》（1956年）中对在冲绳的美国帝国主义企业的自由批判进行了质询，并庆祝工人阶级在与之对抗中的弹性Penny Marshall的Big [1988]中的公司企业。本文的中心论点是，启蒙运动后的殖民主义者和印度民族主义话语根据其无能力区分工作和娱乐，生产性工作和非生产性文化追求来构造当地人的工作实践。

著录项

  • 作者

    Dube, Reena.;

  • 作者单位

    University of Pittsburgh.;

  • 授予单位 University of Pittsburgh.;
  • 学科 Literature Comparative.; Literature Asian.; Literature English.; Cinema.
  • 学位 Ph.D.
  • 年度 2001
  • 页码 314 p.
  • 总页数 314
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 文学理论;电影、电视艺术;
  • 关键词

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