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Aimé Césaire (1913–2008)

Autor(a) de Discourse on Colonialism

52+ Works 2,390 Membros 27 Críticas 5 Favorited

About the Author

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 mostrar mais 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) mostrar menos
Image credit: Parti socialiste

Obras por Aimé Césaire

Discourse on Colonialism (1950) 850 exemplares
A Tempest (1969) 372 exemplares
Aime Cesaire, The Collected Poetry (1983) 147 exemplares
The Tragedy of King Christophe (1963) 78 exemplares
A Season in the Congo (1966) 74 exemplares
Lost Body (1986) 43 exemplares
Les armes miraculeuses (1946) 34 exemplares
Cadastre (1961) 25 exemplares
Et les chiens se taisaient (1989) 14 exemplares
Toussaint Louverture (1960) 13 exemplares
Moi, laminaire (1982) 9 exemplares
Anthologie poétique (1996) 7 exemplares
la poésie (1994) 7 exemplares
Cent Poèmes d'Aimé Césaire (2009) 3 exemplares
Du fond d'un pays de silence... (2012) 2 exemplares
Aimé Césaire 2 exemplares
Poezje 1 exemplar

Associated Works

World Poetry: An Anthology of Verse from Antiquity to Our Time (1998) — Contribuidor — 451 exemplares
The Rag and Bone Shop of the Heart: A Poetry Anthology (1992) — Contribuidor — 393 exemplares
The Vintage Book of Contemporary World Poetry (1996) — Contribuidor — 312 exemplares
Surrealist Love Poems (2001) — Contribuidor — 95 exemplares
Surrealist Painters and Poets: An Anthology (2001) — Contribuidor — 68 exemplares
Masters of British Literature, Volume A (2007) — Contribuidor — 21 exemplares
Caterpillar 3/4 (1971) — Contribuidor — 5 exemplares
Antilles Espoirs Et Dechirements De Lame Creole (1989) — Contribuidor, algumas edições4 exemplares
Aime Cesaire (1979) 3 exemplares


Conhecimento Comum



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 | 3 outras críticas | 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 | 6 outras críticas | 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 | 6 outras críticas | 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.
… (mais)
spiralsheep | 5 outras críticas | Dec 29, 2020 |



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