Abstract: Henry Louis Gates has taken Saussure’s term “signifying” and redefined it as a linguistic wordplay which postpones the delivery of meaning and believes in “double-voicedness”, this means to speak both the language of the dominant culture and that of the subordinated one. He also asserts “double- voicedness” as the epitome of “Signifyin (g)”. This paper intends to apply the notions of “Double- voicedness” and “Signifyin (g)” on the manuscript of Les Blancs, written by Lorraine Hansberry, and highlights the anti-colonial aspects of the play.

Resumen: Henry Louis Gates ha tomado el término “significado” de Saussure y lo ha redefinido como un juego de palabras lingüístico que pospone la noción de significado y creencia en la “double-voicedness”, esto significa hablar tanto el idioma de la cultura dominante como en el del subalterno. Double-voicedness es, para Louis Gates, el epítome de Signifyin (g). Este artículo se propone aplicar las nociones de double-voicedness y Signifyin (g) en el manuscrito de Les Blancs, de Lorraine Hansberry, y destaca los aspectos anticoloniales de la obra.

RESUMO Escrito durante décadas de intensos debates sobre a possibilidade de se recuperar uma autêntica identidade afro-americana, Two Wings to Veil My Face1 é uma reação contra os nativistas que defenderam e celebraram uma verdadeira identidade afro-americana. Os autores deste artigo ilustram a forma pela qual Leon Forrest implementou o realismo mágico para, metaforicamente, desvelar as vozes do passado há muito suprimidas, a fim de construir uma identidade contemporânea. Contudo, o passado ancestral, tal qual representado pelos narradores, não é nem adulterado, nem totalmente puro. Para tanto, os protagonistas relembram e relatam sua horrenda história coletiva e, assim, revelam a cumplicidade de alguns afro-americanos com os proprietários de escravos. Ao relembrar as experiências traumáticas do passado da comunidade, conforme este estudo explicará, o herói do romance, Nathaniel, reinventa sua identidade com base em uma história comunal não censurada e enfatiza o primado dos laços comunais em detrimento de linhas familiares ilusórias.

ABSTRACT Composed during the decades of intense debates over the possibility of retrieving an authentic African American identity, Two Wings to Veil My face is a reaction against the nativists who argued for and celebrated a genuine African American identity. The authors of this article illustrate that Leon Forrest has implemented magical realism to metaphorically unearth the long suppressed voices of the past in order to construct a contemporary identity. However, the ancestral past, as represented by the narrators, is neither unadulterated nor fully innocent. To this aim, the protagonists remember and relate the horrendous communal history, and thus reveal the complicity of some African Americans with the slave-owners. Through remembering the traumatic experiences of the community's past, as this study will explicate, the hero of the novel, Nathaniel, re-invents his identity based on an uncensored communal history and accentuates the primacy of communal bonds over the illusory family lines.

Abstract This article examines the notion of spatial politics in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead. The two eponymous characters enter the politically convulsive world of Hamlet, where scarcely any legitimate power structure controls the state. Their regularized political rationality ceases to apply to the world; reality violates the empirical knowledge -emplacements, geographical and spiritual directions, and identity in general - of Rosencrantz and Guildenstern. The previously defined functions of places, or heterotopias (in Foucauldian terms), are in a state of abeyance. Therefore, they are lost in the midst of the unknown sets of spatial relations; any sorts of intentional act evade them; and they die and vanish absurdly in a placeless place.