{"id":100003,"date":"2018-03-11T10:21:21","date_gmt":"2018-03-11T10:21:21","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-imagen-del-europeo-en-la-narrativa-y-la-cultura-nigeriana-the-image-of-the-european-in-nigerian-literature-and-culture\/"},"modified":"2018-03-11T10:21:21","modified_gmt":"2018-03-11T10:21:21","slug":"la-imagen-del-europeo-en-la-narrativa-y-la-cultura-nigeriana-the-image-of-the-european-in-nigerian-literature-and-culture","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-imagen-del-europeo-en-la-narrativa-y-la-cultura-nigeriana-the-image-of-the-european-in-nigerian-literature-and-culture\/","title":{"rendered":"La imagen del europeo en la narrativa y la cultura nigeriana. (the image of the european in nigerian literature and culture)"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Terri Ochiagha Plaza <\/strong><\/h2>\n<p>La opera prima de chinua achebe, things fall apart (1958) forma el paradigma de la contestaci\u00f3n postcolonial. Muchas de las novelas de primera generaci\u00f3n publicadas posteriormente replicaron sus caracter\u00edsticas distintivas, intentando subsanar el tra uma de la colonizaci\u00f3n a trav\u00e9s de la narraci\u00f3n de sus caracter\u00edsticas disruptivas sobre una sociedad que estaba lejos de ser el coraz\u00f3n de las tinieblas tan consistentemente propagado por el discurso colonial. Esta literatura tambi\u00e9n pretend\u00eda resta urar la imagen devaluada del africano prevalente en el imaginario cultural occidental: el lienzo perfecto sobre el que proyectar fobias y fantas\u00edas prohibidas, un salvaje desprovisto de racionalidad y moralidad, digno \u00fanicamente de la subyugaci\u00f3n col onial. La escritura postcolonial interroga el discurso colonial y la forma en la que se ha impuesto en la dominaci\u00f3n de las naciones colonizadas. Por lo tanto, implica la relectura y reescritura de textos hist\u00f3ricos y de ficci\u00f3n europeos. Pocas novel as de autores de primera generaci\u00f3n trataron el \u00c2\u00bftema colonial\u00c2\u00bf, con la excepci\u00f3n de aquellas que mostraban el primer encuentro con el colonizador europeo en  guisa de administradores coloniales y misioneros. Otros g\u00e9neros como la autobiograf\u00eda y un gran n\u00famero  de novelas de internado tambi\u00e9n describ\u00edan memorias individuales de presencia colonial. Las novelas que trataban sobre la sociedad de los finales de los a\u00f1os cincuenta y  principios de los sesenta revelaron las reacciones de los expatria dos ante su inminente salida del pa\u00eds y su adaptaci\u00f3n a la nueva era independiente.  Incluso los panfletos del mercado de onitsha, la primera literatura popular de nigeria, inclu\u00eda a algunos de estos personajes. Esta primera ronda de representaciones  termina con las escasas apariciones de europeos en la literatura de la guerra civil nigeriana, que marc\u00f3 el fin de una \u00e9poca en la historia de nigeria.  con todas estas apariciones de los colonizadores y expatriados en la literatura nacional, cabr\u00eda  esperar que hubiese varios estudios cr\u00edticos sobre su construcci\u00f3n y representaci\u00f3n literaria, considerando su funci\u00f3n en la experiencia traum\u00e1tica del colonialismo y en  la consiguiente estrategia literaria de la \u00c2\u00bfcontestaci\u00f3n anti-imperialista\u00c2\u00bf. L a dial\u00e9ctica de la restauraci\u00f3n de la imagen ha sido objeto asiduo de numerosas discusiones postcoloniales. Sin embargo, aparte de la atenci\u00f3n marginal en los cientos de tomos y art\u00edculos dedicados a novelas nigerianas (la mayor\u00eda de las cuales se ce<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La imagen del europeo en la narrativa y la cultura nigeriana. (the image of the european in nigerian literature and culture)<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La imagen del europeo en la narrativa y la cultura nigeriana. (the image of the european in nigerian literature and culture) <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Terri Ochiagha Plaza <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 26\/03\/2010<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li>varela Azcarate Lopez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Luis javier Mart\u00ednez victorio <\/li>\n<li>Mar\u00eda Fr\u00edas rudolphi (vocal)<\/li>\n<li>maya Garcia de vinuesa de la concha (vocal)<\/li>\n<li>paula Garcia ramirez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Terri Ochiagha Plaza La opera prima de chinua achebe, things fall apart (1958) forma el paradigma de [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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