شكل گيري هويت كارائيبي در مواجه با استعمار در نمايشنامه هاي برجسته درك ولكات
The Development of Caribbean Identity In the Face of Colonisation in Derek Walcott’s Major Plays
Living in mixed St. Lucian world and exposed to both colonial and folk cultures, Derek Walcott is aware of the plurality of Caribbean society. Since the last decades of 20th century, literary and cultural theorists have stressed the hybridised quality of postcolonial discourse in an attempt to escape from the essentialism of Eurocentrism. From the beginning of his writing career, Walcott's practice as dramatist anticipated this theoretical shift and promoted a hybridised, as opposed to an Afrocentric or Eurocentric, reading of Caribbean social formations. He has personally validated the view of the post–colonial literary theorists concerning the importance of hybridity, syncreticity and appropriation. Exploring European colonial heritage of the Caribbean, Walcott in one work after another tries to find expressions for the difficulties inherent in Caribbean identity, a key theme that runs throughout his works. Walcott’s works are typically postcolonial in that they acknowledge the combination of European and African heritages that have influenced the development of identity in the Caribbean. This dissertation analyses Derek Walcott's main concern with shaping and regenerating the postcolonial cultural/linguistic hybrid identity of his nation through drama. Walcott's works acknowledge the blend of European and African heritage that have influenced the development of identity in the Caribbean. His distinctive voice in drama is formed by his interest in hybrid identities and by his position at the intersections between Caribbean, British, French, and American cultures. Reading Derek Walcott’s selected plays, the author of this dissertation tends to identify hybridity as the key issue for Walcott’s cultural debate and claims that the most productive paradigms in the above debate have been taken from language; consequently, the writer provides an overview of Bakhtin's linguistic theory of hybridity and Homi K. Bhabha's reinterpretation of this approach in the realm of culture. The author of this dissertation tends to illustrate how Walcott’s non–original yet integrated Caribbean identity is developed through a multitude of cultural/linguistic hybrids, as we will encounter how his textual integration, despite being a palimpsest, parallels his cultural integration at the end.