الفهرس 
FRIDAY/CRUSOE AMID THE COLONIAL VENTUREOnly 14 pages are availabe for public view
 |  | from | 144 |  |  |
| | | from | 144 | | |
Abstract
The thesis explores an important area in postcolonial literature, that is, the body of literature written by writers who belong to different races and origins to rework major British colonial texts. It focuses on three works that rewrite Daniel Defoe’s colonial novel Robinson Crusoe (1719). The thesis analyzes Selvon’s Moses Ascending (1975), Walcott’s Pantomime (1978) and Coetzee’s Foe (1986) in the light of postcolonial and postmodern critical theories.
Postmodernism and postcolonialism have a similar project: the dismantling of totalizing metanarratives, which include the Eurocentric colonial discourse that justifies colonialism. History, hybridity, appropriation, marginality and power are some of the thematic concerns that bring the two together, whereas, parody, metafiction and irony are some of the tools that they frequently use.
The idea of reworking canonical texts stirs controversy among postcolonial and postmodern critics and writers for the same reason. Some see it as a kind of colonial mimicry/meaningless pastiche, whereas, others believe that it is a kind of subversive appropriation/parody. Since subversiveness is the point of contention between opponents and supporters, the thesis examines how the postcolonial texts are different from the colonial work and the significance of this difference. After analyzing the texts, the thesis maintains that they are subversive parodies/appropriations since they use Robinson Crusoe only as a starting point and they change the context and the representation of the characters to promote their own agendas and contest the ideologies of the canonical work.
Through reworking the Friday/Crusoe paradigm, the three texts reject the notion of a center that assumes superiority and masks opposition and plurality. Moreover, they shatter the belief in ultimate truths, binary oppositions and essentialist stereotypes. They pinpoint the similarities between history and narrative, which question the credibility of official history books. Finally, Foe, Pantomime and Moses Ascending are good examples of subversive parodies that contest hegemonic systems.
The thesis consists of three chapters, in addition to an introduction and a conclusion. The chapters are organized to depict the development of the Crusoe/Friday relationship at three different stages in the history of colonialism. The introduction pinpoints some of the thematic concerns and strategies that bring postmodernism and postcolonialism together. Moreover, it tackles the issue of reworking canonical texts and the debate it stirred among postcolonial and postmodern critics and writers.
Chapter I entitled “Friday/Crusoe Amid the Colonial Venture” portrays the Friday/Crusoe relationship in the 18th century during the time of the colonial project. Chapter II entitled “Friday/Crusoe in the Post- Independent “Periphery”” examines Pantomime, which traces the Friday/Crusoe relationship in a latter phase as the events take place in the independent island of Tobago. Chapter III entitled “Friday/Crusoe in the “Decentered” Center” examines Moses Ascending, which depicts Friday’s life in the 1970’s London and his encounters with other immigrants and his white servant. The conclusion offers an assessment of the issues raised in the thesis.