Abstract
This paper discusses 2002 Nobel Prize for Literature winner, Derek Walcott's flagship verse, "Omeros". It looks at how "Omeros" takes on the format and traditional goals of the epic genre as discussed in its definitions throughout history. It also shows how Walcott's redefinition of the bardic tradition, as found in Homer, redefines the epic as a form of literature. It looks at how he pays homage to this long past tradition of verse in setting his characters from the "Iliad," formatting borrowed from Dante, all contrasted against the modern struggle for a non-colonial Caribbean identity. It also shows how his innovative poetic style leads to the re-framing of his native St. Lucian history and consequent reclaiming of his people and their historical heritage through "Omeros".

From the Paper
"Derek Walcott's serves as a cultural shaman of the West Indies through his epic narrative Omeros, shedding light to dispel the shackling cobwebs of both the historical and literary past to grant St. Lucia the ability to cast her own shadow. Walcott truly expands the scope of literature as he redefines not only the cultural nation-space of the post-colonial Caribbean, but also hybridizes the epic genre as one yet able to encapsulate a people. His authorial ambition in providing voice to the atrocities of the past is only surmounted by his own ambition to serve as a comprehensive cultural bard in both taking back and redefining St. Lucian history, and revamping the epic form of literature."

Tags:british, caribbean, colonial, dante, homer, iliad, inferno, odyssey

Abstract
This paper analyzes various aspects of Derek Walcott's play, "The Odysses." First, the paper focuses on the thematic and political significance of poetry and rhythm in Walcott's work. It then continues by paraphrasing the final four lines of the play, showing how these words are highly significant to the drama's overall meaning.

From the Paper
"In this presentation, I would like to focus on the thematic and political significance of poetry and rhythm in Walcott's The Odyssey. I would like to begin this presentation at the end of the play...with its final four lines: Let the trees clap their hands, and the surf whisper amen. For a rock, a rock, a rock, a rock-steady woman Let the waves clap their hands and the surf whisper amen."

Tags:poetry, politics, caribbean

From the Paper
"The purpose of this research is to examine Derek Walcott's Omeros as an example of minor literature as described by Deleuze and Guattari. The plan of the research will be to set forth the general line of argument regarding minor-literature critique advanced by Deleuze and Guattari and then to discuss ways in which the pattern of ideas in Omeros as well as the means by which these ideas are communicated illustrates the minor-literature thesis and advances its meaning and standing as a method of literary criticism.

Although their argument is dense and complex, the main thrust of explanation of a minor literature by Deleuze and Guattari is that its creators are members of marginalized populations in a culture whose mainstream social and literary attributes are interpreted as a locus of power that becomes the ..."

Abstract
Literature has provided opportunities for readers to have a glimpse of different social realities experienced by people of different cultures and societies all over the world. This opportunity has been extended once again through Derek Walcott's play, "Pantomime." The paper explains that in this satirical play, readers are introduced to the characters of Harry Trewe and Jackson Phillip, master-and-slave tandem of the Castaways Guest House in Tobago, West Indies. It shows how the play is set in a different place and how Walcott confronts the continuous discussion and depiction of the oppression of the black man (Jackson) and the seemingly superior position of the white man (Harry).

From the Paper
"Unlike other depictions of the black man-white man antagonistic relationship, "Pantomime" brought into fore two scenarios within the play: the first act delved into the oppression of Jackson, while the second act focused on the reversal of roles between Jackson and Harry, where Jackson was able to empower and assert himself over Harry. This change became apparent through Walcott's use of language: the change in tone, manner, and message of Jackson's lines marked the transition or change within his personality. Where once he had been a faithful and patient servant to Harry, he had eventually 'metamorphosed' into a powerful individual, and his commanding use of his own vernacular speech signified the control that he has throughout the play. Thus, this paper discusses two phases in which vernacular language was used through Jackson's character as a medium of oppression and power and control."

Tags:black, white, slave, master

Abstract
This paper explores the concept of colliding cultures and competing ideologies as well as the related theme of identity in the three plays; "Master Harold... and the Boys" by Athol Fugard, "Dream on Monkey Mountain" by Derek Walcott, and "No Sugar" by Jack Davis. The paper also analyzes the strategies used in the plays such as symbolism, irony, and contrast in their elucidation of colliding cultures. The paper explains that contrast in use of language serves a significant purpose in relation to evolving identity for the oppressed. The paper also notes that colliding cultures can be reduced to the values of white dominant culture in opposition to the other - whether they happen to be black, aboriginal people, or some minority ethnic group. In conclusion, the paper shows that because all the other variables such as identity never are static, the concept of collision is also fluid and appears where it would be least expected.

From the Paper
"Davis' No Sugar is similar to Fugard's play in how it demonstrates the immediacy and perennial nature of colonialism. Mitchell (18-20) expresses this reality by stating that "the rhetoric of postcolonialism assumes that anti-colonialism has either overthrown imperialism or exhausted itself in the attempt". The fact is such a goal has not nearly been achieved; we continue to live in a colonial world. Walcott demonstrates class struggle and collision in his play through the ability of his Odysseus who is able to undermine the totalitarian power of the Cyclops (Giannopoulou 13)."

Tags:symbolism, irony, mimeticism, reactionary, nativism, drama

Abstract
The paper compares Walcott's play "Dream on Monkey Mountain" to Mauss's work "A Category of the Human Mind: the Notion of Person; the Notion of Self" and notes the fundamental differences between these two types of literary works. The paper goes on to show, however, how the two writers also share similar ideas and analytical approaches towards the integration of the individual self in a certain environment.

From the Paper
"In Walcott's play, Makak represents an old man who has lived on Monkey Mountain for most of his life. In a dream, the quest of going back to Africa, his place of descent, is revealed and he attempts, in a dreamlike manner, to proceed on his journey. Ending up in jail and escaping, his most precious purpose now is to go back to Monkey Mountain, where he has lived for most of his adult life.
"His quest towards rediscovering his origins is natural for an immigrant, but Walcott presents all this in a surrealistic manner that involves masquerades and dances, as well as a dreamlike approach to the realities of self identity and self integration in the society of which he is part of. The self here is not only a social self, but also an isolated one, an individual who does not succeed in his attempt to integrate and needs to retrace his steps to the new country."

Tags:anthropology, self-identity, society

Abstract
The paper examines the character of Penelope in "The Odyssey: A Stage Version". The paper analyzes how Penelope does take a journey, but in a different manner that her husband, Odysseus. The moral and ethical journey of marital loyalty becomes the psychological obstacles that Penelope must overcome in her inner travels. The paper further discusses how Penelope is represented in other characters, such as Circe, as a memory that moves in tandem with Odysseus. However, it is the journey of loyalty and commitment at home where Penelope shows prudence, morality, and fidelity in her behaviors and actions under great marital duress.

From the Paper
"In this drama study the journeys of Penelope in Derek Walcott's "The Odyssey: A Stage Version", one can find a moral set of tests that are brought forth through the disguises of Odysseus. In this manner, Penelope must undergo a series of trials that will either prove loyalty or betrayal to the memory of her marriage vows to Odysseus. In this manner, the journey of Penelope, although far more stationary that those of Odysseus, is as series of moral and psychological tests that prove her loyalty to marriage. Although much of The Odyssey in Walcott's staged presentation relies on the journey of Odysseus returning home from the Trojan Wars, it is apparent that there are other character that must invariably live parallel journeys in relation to the main character."

Tags:odysseus, walcott, penelope

Abstract
In this article, the writer discusses that the concept of colliding cultures, as illustrated in 'Master Harold... and the Boys', 'Dream on Monkey Mountain', and 'No Sugar' contains both negative and positive implications. The writer notes that all three plays demonstrate that when cultures collide, the inevitable result is domination and oppression, which originate in racism because competing ideologies also are at work. The writer maintains, however, that the plays also are based on an alternate meaning of colliding cultures which involves illumination of one culture by another, as well as exposure of the value and dignity of the oppressed by comparison with the lack of humanity by the other. The phenomenon of changing identity as one of the main outcomes of colliding cultures is an important theme in all three plays, and this is explored along with strategies to indicate altered identity such as shifting forms of language.

Outline:
Introduction
The Meaning of Colliding Cultures
Manifestations of Colliding Cultures
Consequences of Colliding Cultures
Symbolism and Imagery
Conclusion
Works Cited

From the Paper
"Hally is situated in a privileged class since he just happens to be the son of the proprietors, and so he can lord it over the black men. Hally has been culturally and socially conditioned to be the men's master but, in fact, he relies on them for emotional support. In an ironic reversal, they are the boys while he is the master. While Hally illustrates white dominance, he is too immature for the segregation but is quite capable of extreme racism against his friend Sam. There is a mutual emotional bond between Sam and Hally, and Sam is Hally's intellectual equal so that segregation is not possible."

Tags:oppression, domination, humanity, class, struggle

Abstract
The research paper analyzes the contents, theme and identifies the purpose and the history behind a good few plays by the African-American playwright Derek Walcott and six more plays by other playwrights including Luis F., Gonzalez Cruz, Ann Waggoner Aken, Teresa Cajiao Salas and Margarita Vargas. The paper also brings out the similarities between the plays selected for discussion and the modern world drama.