Imatge de l'autor

Aimé Césaire (1913–2008)

Autor/a de Discourse on Colonialism

51+ obres 2,363 Membres 27 Ressenyes 5 preferits

Sobre l'autor

Poet and politician Aimé Césaire was born in Basse-Pointe, Martinique on June 26, 1913. He attended high school and college in France. While in Paris, he helped found the journal Black Student in the 1930s. During World War II, he returned to Martinique and was mayor of Fort-de-France from 1945 mostra'n més to 2001, except for a break from 1983 to 1984. He also served in France's National Assembly from 1946 to 1956 and from 1958 to 1993. In 1946, he helped Martinique shed its colonial status and become an overseas department of France. Some of his best known works include the book Discourse on Colonialism, the essay Negro I Am, Negro I Will Remain, and the poem Notes from a Return to the Native Land. He was being treated for heart problems and other ailments when he died on April 17, 2008. (Bowker Author Biography) mostra'n menys
Crèdit de la imatge: Parti socialiste

Obres de Aimé Césaire

Discourse on Colonialism (1950) 837 exemplars
A Tempest (1969) 370 exemplars
The Tragedy of King Christophe (1963) 78 exemplars
A Season in the Congo (1966) 74 exemplars
Lost Body (1986) 43 exemplars
Les armes miraculeuses (1946) 34 exemplars
Cadastre (1961) 24 exemplars
Et les chiens se taisaient (1989) 14 exemplars
Toussaint Louverture (1960) 13 exemplars
Moi, laminaire (1982) 8 exemplars
la poésie (1994) 6 exemplars
Anthologie poétique (1996) 6 exemplars
Cent Poèmes d'Aimé Césaire (2009) 3 exemplars
Aimé Césaire 2 exemplars
Une saison au Congo 1 exemplars
Poezje 1 exemplars

Obres associades

World Poetry: An Anthology of Verse from Antiquity to Our Time (1998) — Col·laborador — 448 exemplars
The Rag and Bone Shop of the Heart: A Poetry Anthology (1992) — Col·laborador — 391 exemplars
The Vintage Book of Contemporary World Poetry (1996) — Col·laborador — 308 exemplars
Surrealist Love Poems (2001) — Col·laborador — 96 exemplars
Surrealist Painters and Poets: An Anthology (2001) — Col·laborador — 67 exemplars
Masters of British Literature, Volume A (2007) — Col·laborador — 20 exemplars
Caterpillar 3/4 (1971) — Col·laborador — 5 exemplars
Antilles Espoirs Et Dechirements De Lame Creole (1989) — Col·laborador, algunes edicions4 exemplars
Aime Cesaire (1979) 3 exemplars
現代フランス詩集 (世界現代詩文庫) (1989) — Col·laborador — 1 exemplars


Coneixement comú



Både som politiker och som diktare bekämpade Aimé Césaire kolonialismen, och formellt anknyter hans lyrik med dess rika, våldsamma bildspråk till surrealism och afrikansk diktning, samtidigt som han ger uttryck för sina rasfränders bitterhet över århundradens förtryck och hopp om en fri värld, som han menar bara kan uppstå efter en katastrof
CalleFriden | Hi ha 3 ressenyes més | Mar 2, 2023 |
Une petit livre percutant sur le rapport de l'occident aux autres cultures, autres mondes, basé sur le mépris, l'exploitation, la déculturation, le sentiment de supériorité... Aimé Césaire ciselle ses propos afin de décortiquer le fonctionnement de cette plaie terrible qu'a été le colonialisme, qui empoisonne les relations encore aujourd'hui. La seconde partie présente son "Discours sur la Négritude" prononcé à l'Université internationale de Floride en 1987.
fiestalire | Hi ha 6 ressenyes més | Apr 21, 2022 |
A passionate and an apt assessment of the crimes and atrocities committed by the European colonisers against the colonised for centuries that continued to be committed in Indochina, Madagascar and elsewhere, even after World War II. Aimé Césaire also denounces what he terms the "pseudo-humanism" of the Europeans, for they only realised the horrors of Nazism when they were the direct victims of it.
meddz | Hi ha 6 ressenyes més | Jun 11, 2021 |
A retelling of Shakespeare's play The Tempest, set on an island where the European colonial Prospero enforces slavery on a mulatto Ariel and a Black/indigenous Caliban. The text pushes beyond critiquing colonialism and into decolonisation. I read Richard Miller's 1985/1992 anglophone translation but wished I'd also had the original French for side by side comparison.

There are some interesting linguistic choices that aren't from Shakespeare, such as Prospero being "marooned" on the island, and the first scene very pointedly has people participating as players literally choosing their own characters: "You want Caliban? Well, that's revealing." "And there's no problem about the villains either: you, Antonio; you Alonso, perfect!" Caliban's first word is "Uhuru!" (Freedom!). Caliban rejects the slave name foisted on him by Prospero, and wants to be called "X" (like Malcolm, clearly). There's intertextual Baudelaire: "Des hommes dont le corps est mince et vigoureux,/ Et des femmes dont l'oeil par sa franchise étonne." And the play's intellectual coup de grâce is Prospero's choice of taunt at Caliban for not murdering him: "See, you're nothing but an animal... you don't know how to kill." Unlike Prospero and his fellow Europeans, Antonio and Sebastian, who have shown they know how to murder motivated by personal ambition.

In the end we find that Caliban has always been free in his own mind while Prospero continues to enslave himself to his desire for power over others.
… (més)
spiralsheep | Hi ha 5 ressenyes més | Dec 29, 2020 |



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