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dc.contributor.author Fakiolas, Georgia Simone en_US
dc.date.accessioned 2009-12-09T16:45:41Z
dc.date.available 2009-12-09T16:45:41Z
dc.date.issued 2006-08-01-01:09T00:00:00Z en_US
dc.identifier (Sirsi) a1685403 en_US
dc.identifier.uri http://hdl.handle.net/1993/3810
dc.description.abstract This thesis maintains that, for Gabrielle Roy, a dialogical "space" of national identity can be achieved through the renegotiation of national and cultural pedagogies. Homi Bhabha's poststructuralist theory of the nation allows us to read the contradiction between escapist desire and language-based class-consciousness in The Tin Flute as a concealed gap between "pedagogical" narratives of origin and "performative" articulations of identity. Mikhail Bakhtin's concept of fiction's "surplus of humanness" also helps us to see how the characters' desires overleap the novel's socio-historical setting. Emmanuel's eventual rejection of war and nationalism can therefore be read as an anticipation of the dialogism I locate in Roy's semi-autobiographical prairie novels, a reading of which makes up my second chapter. In Tin, however, Florentine, Jean and Azarius do not attain this space of identity; their escapism presupposes an "organic" attachment to St-Henri, and to the rural French-Catholic homestead and imminent Quebec "nation-state" that constitute its purported geographical "origins". This reading of The Tin Flute contests readings that identify a "failure" of francophone collective identity in the novel. These readings assume a nineteenth-century, romantic view of national identity as the product of an organic language common to its geographical "point of origins". In doing so, they ignore the modern, dialogical model of identity that characterizes Roy's own artistic development. Because dialogue with cultural "others", as in the prairie novels, leads to new perspectives and greater perception, one learns to re-examine and reconstruct one's past. This ability to become "other" to oneself thus provides a dialogical alternative to the nationalist "fatherland", by creating what Bhabha calls a "Third Space" of enunciation, or identification. en_US
dc.format.extent 5815674 bytes en_US
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dc.language en_US
dc.language.iso en_US
dc.rights The reproduction of this thesis has been made available by authority of the copyright owner solely for the purpose of private study and research, and may only be reproduced and copied as permitted by copyright laws or with express written authorization from the copyright owner. en_US
dc.title Beyond St.-Henri : redefining the space of the "nation" in Gabrielle Roy's The Tin Flute en_US
dc.degree.discipline English en_US
dc.degree.level Master of Arts (M.A.) en_US


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