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Chaplain, Josefina. "Gendered visions postcolonial Indian art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31223928.
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Peng, Li-Hsun. "Crossing borders: a Formosan's postcolonial exploration of European Art Deco women designers." University of Southern Queensland, Faculty of Arts, 2007. http://eprints.usq.edu.au/archive/00004436/.
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[Abstract]: This is research on cultural identity and the history of design. The project, by applying aspects of postcolonial theories (third space, border theory and hybridity) to the history of the four women designers in the Art Deco period in Europe, explores the influences of Eastern cultures in developing their Western designperspective.Their experience in fighting against patriarchal society toward success is a useful analogy for my country Taiwan’s struggle to win recognition in the world. It isthrough the recognition of these four women designers’ contributions to design history that I present their stories as models to my design students in Taiwan toassist them in establishing their own design identity.The research findings indicate that these women designers’ benefited from Eastern culture and created a successful cultural mélange between the East and West. Similarly, my design students in Taiwan will have the opportunity toreverse the pathway in appropriating from the West to create new possibilities in the East. I argue that hybridity is a key component for responding to and foraddressing the identity crisis and internal disruption in present-day Taiwan. Through knowing and understanding these women designers’ achievements, Taiwanese students have a model for self-reflection to recognise the importance of our own cultural value to the world.
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Yamamoto, Hiroki. "The art of decolonisation : on the possibility of socially engaged art in the postcolonial context of East Asia." Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13478/.
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Through a new idea of ‘the art of decolonisation’, this thesis explores the possibility of socially engaged art in the postcolonial context of East Asia. Japan, throughout its national history as an expanding empire from the late 19th century to the Second World War, has left a large number of unresolved legacies of colonialism in East Asia. These problematic legacies had remained almost intact within the architecture of Cold War, the bipolar confrontation between the United States and the Soviet Union, formed immediately following WWII. After the collapse of the Cold War structure in the late 1980s, then, the task of ‘decolonisation’ has become extremely pressing in East Asia. This thesis aims to unearth the potential contribution of art to the incomplete project of decolonisation, with its emphasis on, first, its visual and sensory nature and, second, the significance of ‘participation’ and ‘collaboration’ as method. The first part of this thesis is an art-historical and cultural studies investigation of discursive practices of decolonisation in East Asia and Britain. It accompanies a theoretical reconsideration of the concept of ‘decolonisation’ and a historical reflection of the postcolonial statuses of these regions. The second part is a practice-based investigation on art’s potentiality in tackling postcolonial issues in East Asia. It discusses and analyses my own art projects conducted in Japan and Korea between 2014 and 2016. ii This thesis will help advance decolonisation of knowledge in two directions. The contribution to knowledge of this thesis is twofold. First, it expands the notion of ‘socially engaged art’ theorised in the West by examining works and projects in East Asia in conjunction with a geo-historical setting of the non-Western world. This will contribute to the development of the scholarship critical to Euro-American centrism, dominant in Cultural Studies, in understanding non-Western art. Second, it proposes applied methods integrating artistic practice for addressing the contentious agendas that stem from colonial historiography of East Asia. This will lead us to a viable methodology that might open up alternative pathways toward more reconciled postcolonial relations among East Asian countries and regions.
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Samwanda, Biggie. "Postcolonial monuments and public sculpture in Zimbabwe." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1006825.
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The study critically examines public art in postcolonial Zimbabwe‘s cities of Harare and Bulawayo. In a case by case approach, I analyse the National Heroes Acre and Old Bulawayo monuments, and three contemporary sculptures – Dominic Benhura‘s Leapfrog (1993) and Adam Madebe‘s Ploughman (1987) and Looking into the future (1985). I used a qualitative research methodology to collect and analyse data. My research design utilised in-depth interviews, observation, content and document analysis, and photography to gather nuanced data and these methods ensured that data collected is validated and/or triangulated. I argue that in Zimbabwe, monuments and public sculpture serve as the necessary interface of the visual, cultural and political discourse of a postcolonial nation that is constantly in transition and dialogue with the everyday realities of trying to understand and construct a national identity from a nest of sub-cultures. I further argue that monuments and public sculpture in Zimbabwe abound with political imperatives given that, as visual artefacts that interlace with ritual performance, they are conscious creations of society and are therefore constitutive of that society‘s heritage and social memory. Since independence in 1980, monuments and public sculpture have helped to open up discursive space and dialogue on national issues and myths. Such discursive spaces and dialogues, I also argue, have been particularly animated from the late 1990s to the present, a period in which the nation has engaged in self-introspection in the face of socio-political change and challenges in the continual process of imagining the Zimbabwean nation. Little research focusing on postcolonial public art in Zimbabwe has hitherto been undertaken. This study addresses gaps in this literature while also providing a spring board from which future studies may emerge.<br>Microsoft� Word 2010<br>Adobe Acrobat 9.54 Paper Capture Plug-in
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Charon, Mylene. "Blak Feminism : Rapports sociaux de sexe et de race dans la poésie et l’art contemporains des Premières Nations d’Australie." Thesis, CY Cergy Paris Université, 2020. http://www.theses.fr/2020CYUN1064.
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La situation des femmes dans les colonies et celle des peuples Autochtones dans les colonies de peuplement est mentionnée dans les études postcoloniales, mais souvent à titre de question secondaire. Elle se trouve au cœur de cette thèse, qui porte sur les littératures contemporaines d’un groupe social dont l’expérience du sexisme est toujours en même temps façonnée par celle du racisme, les femmes des Premières Nations d’Australie. En s’appuyant sur un corpus large, composé d’œuvres de plus de trente artistes et autrices dont elle fait apparaître les liens intertextuels, elle affirme l’existence d’un positionnement collectif féministe blak, d’après l’auto-définition Autochtone qui prévaut en Australie depuis les années 1990. Le corpus permet donc d’observer la manière, additive, intersectionnelle ou consubstantielle, dont de multiples oppressions sont représentées. Il vise ainsi une meilleure compréhension des réserves des femmes Autochtones australiennes à l’égard d’un certain féminisme blanc, en les mettant en perspective avec les critiques adressées depuis les années 1980 par les féministes noires anglo-américaines au féminisme hégémonique. Les liens entre politique et littérature y sont repensés, à la faveur de l’analyse de la résistance à l’impérialisme et au patriarcat, telle qu’elle s’exprime dans ces canaux alternatifs que sont la poésie et l’art contemporains. Les textes, sélectionnés pour leur force d’interpellation et leur portée intersubjective, engagent enfin une réflexion sur les positions d’objet et de sujet de la recherche, à partir de la situation de la chercheuse et ses implications sur la production de savoirs<br>Postcolonial studies address the situation of women in the colonies and of Indigenous peoples in settler colonies, but often as a secondary concern. Adopting an opposite approach, this thesis centers on this very question by examining the contemporary literature written by First Nations women of Australia, a social group whose experience of sexism is simultaneously shaped by that of racism. Drawing out intertextual links throughout a large body of works comprised of over thirty artists and writers, this dissertation affirms the existence of a collective feminist standpoint qualified as blak, an appellation which appeared with the Indigenous self-presentation of the 1990s and still prevails in Australia today. The collection of works reveals the ways in which multiple oppressions are represented through additive, intersectional or consubstantial models. Its examination aims at improving the understanding of Indigenous women’s reservations about a specific kind of white feminism, by putting them in dialogue with the criticisms addressed by Anglo-American black feminists toward hegemonic feminism since the 1980s. The relations between politics and literature are thus reexamined through the analysis of resistance to both imperialism and patriarchy, as it is expressed through alternative channels such as contemporary art and poetry. The texts, selected for their formal features of direct address and their intersubjective dimension, spark a reflection upon the positions of object and subject in research, which begins with the acknowledgment of the researcher’s own situation and its consequences on the production of knowledges
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Daniels, Marcel. "Ambivalent realities : postcolonial experiences in contemporary visual arts practice." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/68049/1/Marcel_Daniels_Thesis.pdf.
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This practice-led research project investigates how new postcolonial conditions require new methods of critique to fully engage with the nuances of real world, 'lived' experiences. Framed by key aspects of postcolonial theory, this project examines contemporary artists' contributions to investigations of identity, race, ethnicity, otherness and diaspora, as well as questions of locality, nationality, and transnationality. Approaching these issues through the lens of my own experience as an artist and subject, it results in a body of creative work and a written exegesis that creatively and critically examine the complexities, ambiguities and ambivalences of the contemporary postcolonial condition.
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CABALFIN, EDSON ROY GREGORIO. "ART DECO FILIPINO: POWER, POLITICS AND IDEOLOGY IN PHILIPPINE ART DECO ARCHITECTURES (1928-1941)." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1054760324.
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Koh, Bee Kim. "Coming into Intelligibility: Decolonizing Singapore Art, Practice and Curriculum in Post-colonial Globalization." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397669338.
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Nam, Young Lim. "Re-thinking South Korean Postcolonial Multiculturalism in the Fine Art Textbook for Fifth- and Sixth- Graders." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405453075.
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Sharma, Manisha. "Indian Art Education and Teacher Identity as Deleuzo-Guattarian Assemblage: Narratives in a Postcolonial Globalization Context." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339617524.
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Jones, Rachel Bailey. "(Re)envisioning self and other subverting visual orientalism through the creation of postcolonial pedagogy /." Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1403/umi-uncg-1403.pdf.
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Thesis (Ph. D.)--University of North Carolina at Greensboro, 2007.<br>Title from PDF t.p. (viewed Oct. 22, 2007). Directed by Leila Villaverde; submitted to the School of Education. Includes bibliographical references (p. 234-252).
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Gabsi, Ouafa. "L'art contemporain du Sud de la Méditerranée : à la recherche d'une identité, d'une place et d'une reconnaissance à l'heure de la mondialisation." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010508.
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Comment l'art contemporain du sud de la Méditerranée est-il perçu et reconnu par les experts du monde de l'art occidental ? Telle la question à laquelle nous nous sommes intéressée. Pour y répondre, il nous a fallu comprendre les liens qu'entretiennent l'art et la mondialisation et discuter les apports des études culturelles et postcoloniales à ce sujet. A partir de ce questionnement initial nous avons rassemblé et étudié les discours hégémoniques intervenant dans le champ de la culture, des processus de négociations, des politiques de différences et des modes d'identification des artistes du Sud selon une vision ethnocentriste et identitaire. Pour mener à bien notre recherche, nous avons conduit deux études. La première porte sur une étude thématique des intitulés d'expositions internationales concernant l'art contemporain du sud de la Méditerranée (Europe et États-Unis de 1999 à 2014). Nous soutenons l'idée que les sujets d'expositions véhiculent un discours qui traduit des idées culturelles d'hégémonie occidentale et des orientations concernant le genre, l' ethnicité, la classe, confinant le statut de l'artiste sud-méditerranéen à un rôle «périphérique ». La seconde enquête qui est de nature compréhensive, traite des croyances des artistes du sud de la Méditerranée et de leurs positionnements par rapport aux marqueurs identitaires dans la construction de catégories ethniques. Quel regard portent-ils sur ces marqueurs, leur accordent-ils une certaine reconnaissance ? Cette étude a été conduite avant et après les mouvements révolutionnaires du printemps arabe<br>How is contemporary art of the southern Mediterranean perceived and cognized by experts in the world of Western art ? It is this very question which actually interested us. To answer this, we had to understand the links between art and globalization and discuss the contributions of cultural and postcolonial studies related to this subject. From that initial question, we have gathered and studied hegemonic discourses involved in the field of culture, negotiation processes, differences policies and modes of identification of the artists from the South in an ethnocentric vision. To carry out our research, we conducted two studies. The first concerns a thematic study of the headings of international exhibitions on contemporary art from the south of the Mediterranean (Europe and the United States from 1999 to 2014). We support the idea that the subjects of exhibitions convey a discourse that reflects the cultural ideas of Western hegemony and trends concerning genre, ethnicity, class, confining the status of the southern Mediterranean artist to a "peripheral" role. The second survey which is comprehensive in nature, deals with the beliefs of the southern Mediterranean artists and their positioning in comparison with identity markers in the construction of ethnic categories. How do they perceive these markers, do they give them some recognition ? This study was conducted before and after the revolutionary movements of the Arab Spring
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Ross, Dusty K. "Readings of Zwelethu Mthethwa's South African Photographs: Postcolonialsim, Abjection, and Cultural Studies." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/english_theses/140.
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South African painter turned photographer, Zwelethu Mthethwa, was born in Durban during Apartheid. In 1980 Mthethwa began taking his photographs in the shanty towns on the outskirts of Cape Town and later took pictures in Mozambique and New Orleans. His work has global significance. Using art and literary theory and criticism, I expand upon the significance of his photographs in the contemporary world. I do “readings” of eight photographs from eight different series of Zwelethu Mthethwa’s work using postcolonial theory, abjection, and cultural studies as theoretical constructs to provide three different angles for interpreting his work.
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Camara, Samba. "Recording Postcolonial Nationhood: Islam and Popular Music in Senegal." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1510780384221502.
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Allain, Bonilla Marie-Laure. "Visualiser la théorie : usages des théories postcoloniales dans les pratiques curatoriales de l’art contemporain depuis les années 1980." Thesis, Rennes 2, 2014. http://www.theses.fr/2014REN20028.
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Cette thèse se veut une réflexion sur l’articulation entre les théories postcoloniales et les pratiques curatoriales de l’art contemporain ; elle cherche en effet à souligner les perméabilités et la relation dialogique qui se sont instaurées entre celles-Ci. Il ne s’agit pas d’expliquer les théories postcoloniales appliquées aux pratiques curatoriales et d’en donner une sorte de mode d’emploi, mais plutôt de les visualiser. Par visualiser nous n’entendons pas illustrer, ou fournir une translittération de la théorie, mais bien donner à voir les différents développements et incarnations de celle-Ci. Les contextes britannique et américain des années 1980 et du début des années 1990 font l’objet de la première partie de la thèse dans la mesure où tous deux sont à la fois les lieux d’émergence des théories postcoloniales et des sociétés clés de l’histoire coloniale. La deuxième partie s’attache à la seconde moitié des années 1990 et au début des années 2000, un moment où les théories postcoloniales deviennent des outils indissociables de l’analyse de la globalisation. Enfin, la troisième partie propose d’envisager un monde post-Occidental au XXIe siècle, post-Occidental dans le sens où l’éclatement de la notion de centre/périphérie nécessite des déplacements et des réajustements épistémologiques dont les expositions d’art contemporain sont d’actifs vecteurs, particulièrement celles cherchant à articuler un propos postcolonial<br>This thesis is a reflection on the relationship between postcolonial theory and curatorial practices in contemporary art, with an emphasis on the permeabilities and dialogic relationship that has developed between them. It does not seek to explain postcolonial theory as applied to curatorial practices or to provide a so-Called user manual, but rather to visualize them. By “visualize” we do not mean to illustrate or present a transliteration of the theory, butinstead to note various developments and embodiments thereof. The United Kingdom and America during the 1980s and early 1990s are the subject of the first part of the thesis to the extent that they are both places of emergence of postcolonial theory and also key societies in the context of colonial history. The second part focuses on the second half of the 1990s and early 2000s, a time when postcolonial theory as a tool become inseparable from the analysis of globalization. Finally, the third part proposes to consider a post-Western world in the 21stcentury, post-Western in the sense that the dissolution of the concept of center/periphery requires certain shifts and epistemological adjustments for which contemporary art exhibitions are active vectors, particularly those seeking to articulate a postcolonial discourse
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Emtestam, Petra. "Varför känner vi inte till Tarsila do Amaral? : En studie av polariseringen mellan ”vi” och ”dom” i konsthistorien med utgångspunkt i antropofagin i 1920-talets Brasilien." Thesis, Södertörn University College, The School of Culture and Communication, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-760.
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<p>The abscence of the brazilian artist Tarsila do Amaral (1886–1973) in the general art history is investigated, using the colonial structure as a starting point. In South America she is regarded as one of the greatest artists in modern time, in the rest of the world she is more or less unknown. The conclusion is that the colonial mechanisms are still in progress in our assumed postcolonial world, and has excluded Tarsila do Amaral, and the anthropophagic movement she was a part of, from the art history. The study points out the importance of looking into this neglected artist and the historic event. Not only to add it to the history of art, but also to show how anthropophagy as an artistic strategy created in the 1920’s Brazil is as relevant today as it was then. Three oil paintings of Tarsila do Amaral is used to describe the artistic strategy that solved the problem of beeing shaped as a mirror image to the western world. The paintings A Negra, Abaporu and Antropofagia tells us the story of how the Brazilian people started to see themselves as culturaly independent from Europe. Neither as something opposite nor similiar, but as something between. Anthropophagy is challenging our notion of ”us” and ”them” as well as centre and periphery – and is therefor useful in the writing of art history. Its not only important to make room for Tarsila do Amaral in the history of art – its also urgent to let her contribution be a part of the present art world.</p>
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Nangah, Mary Mbongo. "Disrupting the Discourse of the Other: a Transformative Learning Study of African Art." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801948/.
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The primary question of this study is: How does the disruption of African art discourse influence a group of university students’ perceptions of African aesthetics? This inquiry developed from previous studies on the exclusion of modern and contemporary African art in Western art museums. Through the theoretical lens of Postcolonial Theory and Critical Multiculturalism, this research conceptualizes the dominance of traditional African art in art museums, art history, and art education as a Western hegemonic discourse that normalizes perceptions of Africa and African aesthetics as the fixed primitive Other. Thus, this research applied Action Research (AR) methodology coupled with Transformative Learning Theory (TL) to disrupt the discourse of African art; with the purpose of affecting positive changes in perceptions of African aesthetics. The participants for this study were 10 students in a course (Art 1301 Honors Art Appreciation) I instructed at the University of North Texas in the fall (September–December) 2013 semester. Data was collected, analyzed, and interpreted from participants’ assignments and my research journal. This study comprised a dual enquiry on: 1. Discourse and Meaning-making; and 2. Disruption and Transformation. First, the study analyzed students’ perceptions of African aesthetics from their learning experience of traditional African art in an art museum. The findings affirmed traditional African art at the museum as a discourse of Africa as the Other of the West. Secondly, the study analyzed how students’ perceptions were influenced from their experience (in my classroom) of learning histories of modern and contemporary African art that disrupt the authenticity of traditional African art. The findings revealed that 80% of participants developed positive transformations. This research demonstrates how art education grounded in critical theory and transformative learning subverted African art as the discourse of the Other, developed students’ understandings of the multiple realities of Africa and African aesthetics, and encouraged positive transformations in students’ perceptions of African aesthetics.
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Smith, Nicole R. "Wangechi Mutu: Feminist Collage and the Cyborg." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/51.
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Wangechi Mutu is an internationally recognized Kenyan-born artist who lives and works in Brooklyn. She creates collaged female figures composed of human, animal, object, and machine parts. Mutu’s constructions of the female body provide a transcultural critique on the female persona in Western culture. This paper contextualizes Mutu’s work and artistic strategies within feminist, postmodern, and postcolonial narratives on collage, while exploring whether collage strategies are particularly useful for feminist artists. In their fusion of machine and organism, Mutu’s characters are visual metaphors for feminist cyborgs, particularly those outlined by Donna Haraway. In this paper, I examine parallels between collage as an aesthetic strategy and the figure of the cyborg to suggest meaningful ways of approaching differences between women and how they experience life in contemporary Western culture.
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Louis, Marie. "L'art contemporain martiniquais de 1939 à nos jours : la naissance d'une histoire de l'art dans un contexte postcolonial." Thesis, Metz, 2009. http://www.theses.fr/2009METZ030L/document.
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En 1943, René Hibran artiste français récemment émigré en Martinique affirme que dans l’île « il n’y a pas d’art local ou si peu, si réduit dans ses manifestations ! ». Déjà quatre ans plus tôt, le père Delawarde, faisait le même constat. Pourtant, en 2009, le monde de l’art s’est considérablement développé. Une esthétique spécifique s’est constituée loin de l’académisme occidental, l’expression plastique ne cesse de s’étoffer. Des lieux de diffusion se sont ouverts et proposent des expositions de qualité. Un discours scientifique se construit légitimant la production locale. La transmission est, en outre assurée grâce notamment à des écoles, dont l’Institut Régional d’Arts Visuels de la Martinique (IRAVM). Notre thèse s’attache à expliquer comment une telle évolution est possible compte tenu d’un contexte difficile subissant encore les affres du postcolonialisme. Nous postulons donc que le dispositif « histoire de l’art » s’est largement développé en soixante-dix ans. Influencé par le contexte postcolonial qui impose une résistance, par un monde littéraire qui initie la quête d’une expression identitaire singulière, l’art martiniquais est aussi tributaire de l’engagement de ses acteurs, et notamment d’artistes meneurs. Notre thèse s’appuie donc sur une vision sociale de l’art. Nous considérons notamment le monde de l’art comme un dispositif « histoire de l’art », c'est-à-dire un ensemble de quatre éléments corrélatifs : la production, la diffusion, la transmission et la légitimation. Une première période s’étalant de 1939 – début de la Seconde Guerre mondiale – à 1956 – premier bilan de la départementalisation – permet de poser les bases de ce dispositif. Durant le conflit mondial, la Martinique endure la politique raciste et répressif de l’Amiral Robert, le représentant de Vichy aux Antilles, ainsi qu’un blocus aggravant une situation économique déjà précaire. L’attachement à la métropole se complexifie. Entre fidélité et désillusion, un nouveau statut s’impose. En 1946, la Martinique devient un département français d’outre-mer. D’un point de vue culturel aussi la situation évolue. Déjà dans les années 1930, une série de publications d’étudiants noirs à Paris remet en cause l’assimilation coloniale : Légitime Défense, en 1932, L’étudiant Noir, en 1936 où Aimé Césaire parle pour la première fois de Négritude. La Martinique qui, jusque-là, n’avait regardé que vers la France hexagonale se tourne vers un nouveau centre : l’Afrique, et découvre une nouvelle facette de son identité. Les arts plastiques essuient ce bouleversement. Le conflit mondial fait de l’île, une terre de refuge, ou une escale, pour les intellectuels fuyant l’Europe nazie : André Breton, Claude Lévi-Strauss ou l’artiste cubain Wifredo Lam y font ainsi des séjours plus ou moins longs. D’autres artistes moins célèbres débarquent. Ils inaugurent des ateliers ouverts à tous et importent une vision de l’art inédite dans l’île. Avec eux, l’art n’est plus une activité oisive pour la jeune bourgeoisie, mais un lieu d’expression. Dès lors, des artistes locaux émergent, des artistes qui souhaitent exprimer l’identité nouvelle que les littéraires ont détectée. Ils sèment les bases de l’histoire de l’art de l’île. En effet, ils ne se contentent pas de créer, mais s’investissent dans toutes les instances du dispositif. En 1956, le député maire de Fort-de-France, Césaire, démissionne du Parti Communiste Français, déçu par les exactions du stalinisme et l’incapacité du PCF à combattre le postcolonialisme. Cette démission amorce une longue période de lutte contre le postcolonialisme. La Martinique est touchée par une crise sociale et économique, la départementalisation a déçu. En outre, certains pieds-noirs arrivés des pays du Maghreb nouvellement indépendants et certains CRS ne cachent pas leur mépris pour les populations noires. La situation est de plus en plus tendue et de violents conflits éclatent. Pour éviter que les conditions ne se détériorent – le spectre de l’Algérie est bien présent –, la France instaure une politique de répression et de migration. L’objectif est de faire taire toute résistance et de vider le pays de sa jeunesse, jeunesse qui est souvent à l’origine des émeutes. Mais cette répression ne fait qu’attiser la résistance qui s’organise d’abord dans le monde politique, puis dans des associations. Progressivement le fait national est reconnu. Si la Martinique est une nation, il lui faut une nouvelle identité. Les réflexions d’auteurs comme Edouard Glissant, Patrick Chamoiseau, Raphaël Confiant et Jean Bernabé vont alimenter cette quête identitaire. L’évolution de la commémoration de l’abolition de l’esclavage de 1848 participe aussi à la formation d’un peuple martiniquais acteur de son histoire passée et à venir. Les artistes se nourrissent de ces multiples considérations. L’Ecole Négro-Caraïbe propose une esthétique caribéenne riche de l’importance de ses soubassements africains. Le groupe Fwomajé se concentre sur toutes les racines fondant l’arrière-pays culturel de l’île : l’Europe, l’Afrique, l’Amérique et l’Asie. Des artistes indépendants s’inscrivent aussi dans cette quête d’une identité et d’une esthétique l’exprimant. Parallèlement, le dispositif aussi se construit. Un discours universitaire s’élabore. Les institutions culturelles se multiplient et ce, d’autant plus que la culture devient un enjeu politique majeur<br>In 1943, René Hibran, French artist who had recently moved to Martinique states : « il n’y a pas d’art local ou si peu, si réduit dans ses manifestations ! ». Already four years ago, Father Delawarde did the same comment. However, in 2009, the art world has expanded considerably. A specific aesthetic developed far away from Western academism, plastic expression not stopping to fill out. Places of diffusion have opened and offer expositions of quality. A scientific discourse builds up, thus legitimating local production. Transmission is also insured thanks to the work of schools, including the Institut Régional d’Arts Visuels de la Martinique (also known as IRAVM). Our thesis aims at explaining how such an evolution is possible given the difficult context still subject to the torments of postcolonialism. So, we postulate that “history of art” mechanism grew in seventy years. Influenced by the postcolonial context which imposes resistance, by a literary world which initiates an identity expression’s quest, Martinique’s art is also dependent on actor’s commitment, in particular leader artists. Our thesis relies on a social vision of art. We consider the art world as a “history of art” mechanism, as a whole of four interrelated elements: production, broadcasting, transmission and legitimization.A first period of time, spreading from 1939 – beginning of the Second World War – to 1956 – first statement of departmentalisation – allows to lay the bases of this mechanism. During the world conflict, Martinique had to face the racist and repressive politics of Admiral Robert, the Vichy government’s representative in the Antilles, as well as a blockade aggravating an already precarious economic situation. Attachment to the metropolis gets more complicated. Between fidelity and disillusionment, a new status emerges. In 1946, Martinique becomes an overseas French department. The situation also evolves from a cultural point of view. Already in the 1930’s, a series of publications from black students in Paris questions the colonialist assimilation: Légitime Défense, in 1932, L’étudiant Noir, in 1936, where Aimé Césaire talks for the first time of Negritude. Martinique, which had only looked so far in the direction of France, turns now to a new centre: Africa, and discovers a new aspect of its identity. Plastic arts follow this upheaval. The world conflict makes the island a place of safety, a call for all the intellectuals fleeing from Nazi Europe: André Breton, Claude Lévi-Strauss or Cuban artist Wifredo Lam stayed there for sojourns of varied lengths. Less famous artists also land on the island. They unveil workshops open to all and import a vision of art that is completely original. With them, art is no longer an idle activity for young bourgeois, but rather a place of expression. Local artists therefore emerge, artists wishing to express the new identity detected by literary people. Indeed, they do not just create, but invest themselves in all the mechanism’s elements. In 1956, Césaire, deputy mayor of Fort-de-France, resigns from the French Communist Party, disappointed by the exactions of Stalinism and the FCP’s incapacity to fight postcolonialism. This resignation starts a long period of time marked by a fight against postcolonialism. Martinique is affected by a social and economic crisis, departmentalisation disappointed many. Moreover, some pied-noirs arriving from newly independent Maghreb countries and some CRS do not hide their disregard from black populations. The situation gets even tenser and violent conflicts burst out. In order to avoid an aggravation of these conditions – the spectre of Algeria is well present in minds – France sets up a new politic focusing on repression and migration. The objective is to shut up any resistance and to empty the country from it youth, youth that is often at the origin of riots. However this repression, only strengthens the resistance, which organises itself firstly in the political world and secondly in the associative world. The national fact is progressively acknowledged. If Martinique is a nation, it then needs a new identity. Authors such as Edouard Glissant, Patrick Chamoiseau, Raphaël Confiant and Jean Bernabé will feed this quest for identity. The evolution of the celebrations related to the 1848 abolition of slavery also participates to the formation of the Martinique people actors of their past and their future. Such considerations nourish artists. The Negro-Caribbean School offer a Caribbean aesthetic that is rich from the importance of its African bases. The Fwomajé group concentrates its attention on all the roots funding the island’s cultural hinterland: Europe, Africa, America and Asia. Independent artists also join this hunt for an identity and an aesthetic that expresses this identity. In parallel, the mechanism builds up. An academic discourse is developing. Cultural institutions multiply, and even more since culture becomes a major political stake
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Hunt, Aimee D. "Beyond the Single Story: How Analog Hypertext Facilitates Representation of Multiple Critical Perspectives in an Art Museum Object Study Gallery." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4642.
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This project utilized a form of arts based educational research described as analog hypertext to develop interpretative material representing multiple critical, theoretical, and disciplinary perspectives on objects in a university art museum’s object study gallery. Drawing on scholars’ recommendations for postcolonial interpretation of non-Western art, the project created a web of information, which simultaneously revealed and critiqued the underlying ideologies and power structures shaping the museum’s display in an effort to change existing interpretive practice. The project developed five color-coded thematic self-guided tours—art as commodity, spiritual practice, technology and cultural evolutionism, mortuary rituals, and postcolonial perspectives—presented to the public as an interpretive exhibition invited visitors’ contributions. This paper explores how the analog hypertext functions as both a research tool and a content delivery device for the representation of multiple critical perspectives, fostering interdisciplinary perspectives and visitor meaning-making in the process.
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Ndiaye, El Hadji Malick. "Arts contemporains africains et enjeux du débat critique postcolonial : cartographies artistiques et discursives entre Paris et Dakar (1966-2006)." Rennes 2, 2011. http://www.theses.fr/2011REN20018.
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Une histoire culturelle partielle des modernités artistiques africaines permet de dresser une facette non iconoclaste de leur caractère. Les spécificités qui se dégagent de l’histoire des objets (chronotope du territoire, frontières spatio-temporelles, décontextualisation, aura, etc. ) indiquent les latitudes d’une géopolitique de l’iconographie. Cependant, la densité historique des années 1990 témoigne d’un changement de paradigme introduit par l’exposition Magiciens de la Terre (1989), les politiques culturelles et par l’histoire intense des biennales et festivals. Les rapports artistiques entre un Centre et une Périphérie (modèle de Samir Amin) glissent d’un internationalisme asymétrique vers un cosmopolitisme traduit par l’exposition Africa Remix (2005). La corrélation entre aires culturelles et limites géographiques perd toute pertinence, elle est progressivement remplacée par les réseaux dans une hétérogénéité spatiale. Au sein de cette nouvelle géopolitique culturelle, l’importance et la démultiplication des rôles du commissaire d’exposition sont concomitantes à la traversée des frontières par l’oeuvre d’art et par l’artiste contemporain. Il en résulte que le commissaire est un agent de transfert et de transmutation dont l’action semble de plus en plus oeuvrer entre les cultures plutôt qu’entre les canons, comme en témoigne la pratique curatoriale d’Okwui Enwezor. C’est à ce niveau qu’il importe de marquer la rupture et l’affinité qui existent entre cette génération d’acteurs culturels de la diaspora africaine, où le militantisme critique passe essentiellement par une écriture avec l’objet, et la génération senghorienne où il passait par une écriture sur l’objet. Les changements constatés au sein des cartographies artistiques et discursives permettent alors de mieux cerner l’écologie de l’oeuvre d’art dans les jeux du display. En partant de l’iconographie, cette évolution autorise l’appréhension des différents rapports entre modernité, « nationalisme » et épistémologie, tout en s’accordant avec Georges Matoré sur le fait que « l’image se souvient. Elle est à la fois potentialité et nostalgie»<br>A partial cultural history of African artistic modernities allows to show that they are not iconoclastic. The specificities engendered by an history which is object-based to define the hierarchy established between the images produced within and without the Western cultural space. The history of art of the 1990s saw a paradigmatic change taking place with the groundbreaking exhibition Magiciens de la Terre (1989), developments in cultural politics and the intense sequence of biennales and other mega-events. The artistic relationship between Center and Periphery shifted from an asymmetric internationalism towards the cosmopolitanism represented by the exhibition Africa Remix (2005). The relationship between cultural spaces and geographic borders progressively lost its significance, and was replaced by networks of artists from different geographic backgrounds. At the center of these new cultural geopolitics, the importance and the possible roles of the curator are paralleled by the border-crossing process of artists and artworks, resulting in the figure of a curator who is an agent of transfer and transmutation, and whose actions operate within cultures more than within canons, as demonstrated by the practice of Okwui Enwezor. At this moment it is important to mark both the break and the affinity created between a generation of cultural actors of the African diaspora, for whom critical militancy is embodied by curatorial practice, and the senghorian generation for whom this critical militancy is embodied by art criticism. The changes taking place within the artistic and discursive geopolitics allow to reveal the artwork’s evolution through the variations of its display. From an iconographical standpoint, it is important to explore the relationships created between modernity, nationalism and knowledge which, as suggested by Georges Matoré, will allow to emphasize the role of the image as an agent of memory and nostalgia
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Chen, Yen-Ling. "Critique du regard colonial dans les arts plastiques de Taïwan de 1945 à 2012." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA027/document.
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Cette thèse analyse les rapports entre l’idée de décolonisation et les arts plastiques à Taïwan dans la seconde moitié du XXe siècle. Le contexte historique de Taïwan est marqué par un certain nombre d’expériences de colonisation, telles que la colonisation japonaise, mais aussi la quasi-colonisation que représentent les pratiques coercitives et l’autoritarisme du parti nationaliste venu de Chine continentale, ainsi que l’impérialisme culturel américain. Un retour historique sur la situation coloniale de Taïwan reflète le caractère emboîté de sa culture. Le corpus retenu comprend sept œuvres porteuses d’un regard spécifique : le tableau Pastoral de Lee Shih-chiao en 1946 ; le portrait de Chiang Kaï-shek peint à l’huile par Li Mei-shu en 1975 ; une série de photos retravaillées Voyage dans le temps de Chen Shun-chu de 2001 à 2003 ; le portrait fusionné Unir la Chine à travers les Trois Principes du peuple de Mei Dean-e en 1991 ; Représenta.tiff de Chou Yu-cheng exposée trois fois sous des formes changeantes entre 2008 et 2012 ; l’Exposition d’Automne 1966 de Huang Hua-cheng en 1966 ; le film Frontières d’Empire de 2008 à 2009 de Chen Chieh-jen. Nous faisons l’hypothèse qu’elles sont représentatives chacune d’une époque et d’un rapport particulier à la problématique de la colonisation. Certaines expriment un point de vue colonisé : celles qui importent, par exemple les codes esthétiques japonais ou européens. Des institutions – les Expositions officielles d’art – en véhiculent les principes. D’autres œuvres réalisées par les artistes de génération suivante portent un regard critique sur ces références culturelles héritées du moment colonial. Ces artistes remettent aussi en question les valeurs dominantes.Ceci permet de poser la question : quels acteurs mettent en œuvre un processus de décolonisation des arts de 1945 à 2012 ? Cette action est-elle terminée ? En nous inscrivant dans une démarche d’histoire culturelle et en empruntant à la sociologie des arts, nous avons analysé les modes d’élaboration des œuvres et leur réception critique, ainsi que le rôle des institutions de médiation, en particulier les musées. L’analyse permet d’identifier un basculement entre des œuvres inscrites dans un contexte colonial et des œuvres qui soit les critiquent, soit s’en affranchissent, ce qui représente deux modalités du point de vue critique sur le processus colonial à l’œuvre dans les arts plastiques<br>This thesis analyses the relationship between the idea of decolonization and the plastic arts in Taiwan in the second half of the twentieth century. The historical context of Taiwan has been marked by a number of colonization experiences, such as the Japanese colonization, but also the quasi-colonization represented by the coercive practices and the authoritarianism of the nationalist party of China, as well as the American cultural imperialism. A historical overview of the colonial situation in Taiwan reflects the nested character of its culture. The selected corpus includes seven works bearing a specific view: the painting Pastoral of Lee Shih-chiao in 1946; the portrait of Chiang Kai-shek painted in oil by Li Mei-shu in 1975; a series of reworked photos Journeys in Time of Chen Shun-chu from 2001 to 2003; the merged portrait The Three Principles of the People Reunite China of Mei Dean-e in 1991; Representa.tiff of Chou Yu-cheng exposed three times under different formats between 2008 and 2012; École de Great Taipei Autumn Exhibition by Huang Hua-cheng in 1966 ; the video work Empire’s Borders from 2008 to 2009 by Chen Chieh-jen. We make the hypothesis that these works are each representative of an era and has a particular relationship with the colonization issue. Some express a colonized point of view: some of them import, for example the Japanese or European aesthetic codes. Institutions – official art exhibitions – convey the principles. Other works by the following generation of artists take a critical look at these cultural references inherited from the colonial moment. These artists question also the dominant values. This raises the question: which actors implemented a process of decolonization of the arts from 1945 to 2012? Is this action completed? By entering into an approach of cultural history and borrowing the one from the sociology of arts, we have analysed the methods of the works’ elaboration and their critical reception; the role of institutions of mediation, especially museums. The analysis enables to identify a switchover between works placed in a colonial context and works that either criticize them or free themselves from. This represents two modalities of the critical point of view on the colonial process at work in the plastic art
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Thénot, Elsa. "La création in situ en Océanie : géo-esthétique et territoires urbains." Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30010/document.
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Le travail de cette thèse s’articule autour des pratiques artistiques et urbaines à travers quatre métropoles situées en Australie et en Nouvelle-Zélande. Sydney, Melbourne, Auckland et Wellington, territoires artistiques majeurs dans ce continent, sont ici le socle d’une étude empirique et théorique. L’enjeu premier sera de situer chronologiquement et de comprendre, à partir de l’art occidental et de son évolution, quelles sont les problématiques artistiques inhérentes à l’in situ. Nous verrons comment un art produit extra-muros, tel que formulé aux Etats-Unis et en Europe (1960-1970), a mis en avant une prise en compte multiple du lieu par les artistes, mettant à contribution différentes données : spatiales, géomorphologiques, historiques, humaines et bien sûr contextuelles. Les appréhender nous amènera à mettre en valeur le premier tournant spatial, voire géospatial de l’art, soit sa propension, à un moment donné, de sortir de ses cadres traditionnels – dont le musée – pour conquérir de nouveaux territoires d’inscription. Pour mieux aborder ces villes postcoloniales océaniennes et les espaces qu’elles consacrent à la création artistique, nous verrons comment ces deux jeunes nations ont bâti et continuent à construire leur identité. Au regard du biculturalisme néo-zélandais, de la culture maorie et de la place de ce peuple, nous nous sommes attaché à saisir comment l’art extra muros existe à Wellington et dans des zones plus rurales autour d’Auckland. En Australie, les faits historiques sont venus renforcer un sentiment identitaire au travers de certaines formes de création urbaines tandis que d’autres restent à l’écart de ces problématiques locales – c’est le cas de l’évènement Sculpture by the Sea. Dans quelle mesure un territoire, au travers de ses quatre premières villes, peut-il par le biais de l’in situ dégager une géo-esthétique? Cette étude fondée sur l’observation et le croisement pluridisciplinaire des approches théoriques a montré et argumenté la tendance des villes-mondes à se réinventer, se régénérer par l’art jusqu’à devenir, à certains égards, un véritable outil territorial. J’ai proposé différentes clés de lecture pour faire comprendre comment se dégage des formes d’esthétique singulières dans le cadre d’un urbanisme volontariste quant à redessiner le visage de la ville (Sydney, Opera House). Puis, il s’agira de montrer à travers les démarches exemplaires, comment l’art, dans les villes océaniennes, évolue spatialement, souligne l’histoire et s’en détache. Le corpus d’œuvres, pertinent au vu de la priorité identitaire, multiculturelle et spatiale fera jour sur l’expression d’une géo-esthétique urbaine spécifique. Les connexions interculturelles entre indices vernaculaires (motifs, gestes, formes) et médiums contemporains attestent d’une géographicité de l’art, entre interprétation narrative des lieux, symbole et émancipation<br>The work of this thesis revolves around the artistic and urban practices in four cities, in Australia and New Zealand. Those cities, Sydney, Melbourne, Auckland and Wellington are major artistic hubs in Oceania, and form the basis of a theoretical and empirical study. The first challenge is to locate and understand chronologically, through a Western artistic lens and its evolution, what are the inherent nuances of the in situ art. We will see how art produced extramurally, as represented in the United States and Europe (1960-1970), and noted on multiple accounts by artists, relied on various data: spatial, geomorphological, historical, human and contextual course. This understanding will lead us to the first example of space turning or geospatial art or propensity, which can be viewed as out of its traditional frameworks – which is to the museum, to conquer new territories of registration. To address these postcolonial Pacific cities and the culture they devote to artistic creation, we will see how these two young nations have built and continue to build their identity. In light of the New Zealand biculturalism, the value of Maori culture and the place of the people, we are committed to see how extramural art is represented in Wellington and in more rural areas around Auckland. In Australia, in some examples, the historical facts have reinforced a sense of identity through specific examples of urban creation while in other areas the historical contexts lead to politically charged issues; such is the case of the event Sculpture by the Sea. To what extent can a region, through its first four cities, lead us to rethink the in situ expression and geo-aesthetic that emerges? This study based on observation and cross disciplinary theoretical approaches and argues that the tendency of cities to reinvent worlds, regenerate through art until, is in some respects, a true territorial tool. I propose different readings to further understand how singular forms of aesthetics emerge as part of a proactive planning on redesigning the face of the city. Then it will show through best practices, how art, in the Pacific cities, changes space and emphasizes history and can become detached of context. This body of work is pertinent given the historical identity priority of Pacific cultures, and the contemporary multiculturalism and use of space will shed light on the expression of a specific urban geo-aesthetics. Intercultural connections between vernacular indices (patterns, gestures, shapes) and contemporary mediums attest to a geographicity art between narrative interpretation of places, symbol and emancipation
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Marie, Joséphine. "Les Amériques caribéennes et hispano-américaines dans les narrations de Gertrudis Gómez de Avellaneda : de la vision romantique aux regards postcoloniaux." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030121.
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Cette étude s’intéresse aux trois piliers de l’écrit narratif à la période romantique, dans les œuvres de la Cubaine Gertrudis Gómez de Avellaneda (1814-1873), portant sur les colonies hispano-américaines et caribéennes (Memorias, Sab, Guatimozín, El Cacique de Turmequé, El aura blanca). L’imagerie et les procédés habituellement mobilisés dans un romantisme hispano-américain, fortement inspiré des canons européens, et pourtant mu par un désir d’indépendance politique et culturelle, font de cette littérature une littérature du paradoxe. Non dépourvues de cette caractéristique, les narrations de l’auteur apparaissent toutefois comme de surprenants récits. A l’aune de l’évolution des formes romanesques qui ont succédé au Romantisme, jusqu’aux écrits de la modernité, et aux poétiques postmodernes et postcoloniales, on constate la modernité que ces textes présentaient déjà. La (dé)construction des personnages, en particulier le Métis, celle des lieux, et le jeu polyphonique de dires démultipliés remettent en question nombre des représentations traditionnelles, dans la réécriture de l’Histoire des Amériques. Un désir de dire autrement les divers « réels » émerge, ainsi que le souhait d’intégrer la complexité culturelle de cette zone. Sans avoir clairement défini de véritable poétique, l’auteur explore l’espace, la temporalité et le jeu des voix, pour fonder les bases d’une écriture ontologique et mémorielle qui interroge les identités. Celle-ci se créolise, par la mise en contact d’éléments hétéroclites qu’elle recompose, la multiplicité des sources littéraires ou orales, l’apparition de nouveaux territoires langagiers ou encore des personnages qui échappent aux typifications<br>This study focuses on the three pillars of narrative art in the romantic era in the works of Cuban writer Gertrudis Gómez de Avellaneda (1814-1873) dealing with Hispanic-American and Caribbean colonies (Memorias, Sab, Guatimozín, El Cacique de Turmequé, El aura blanca). The images and narrative devices traditionally mobilized in Hispanic-American Romanticism – a literature strongly inspired by European artistic ideals, and yet driven by a desire for political and cultural independence – make it a literature pervaded by paradoxes. Although they tend to share this common feature, the authors’ narratives stand out and surprise. In the light of the evolution of the novelistic forms that followed Romanticism, including modernist writings, and postmodern and postcolonial poetics, these texts appear as already “modern”. The (de)construction of the characters – particularly the “Metis” – and places, together with the polyphonic effect of a myriad of different discourses, challenge many traditional representations concerning the re-writing of the History of the Americas. What emerges is a desire to find a new way to express the various forms of the “real” and to capture the cultural complexity of this geographical area. Without clearly defining any particular literary method or ars poetica, the author explores space, temporality and the interplay of voices, thus laying the bases for an ontological, memory-oriented mode of writing that questions identities. This mode of writing goes through a process of Creolization, as it gathers and recomposes disparate elements, multiplies its literary or oral sources, and makes new linguistic territories, or characters who elude types, materialize
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Nylund, Carolina. "Transexotic : worse than dengue, better than LDS." Thesis, Konstfack, Institutionen för Konst (K), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4001.
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Transexotic. "Come as you are as you were as I want you to be" Menu Starter: Nachos with Mexican sauce. Main course: Chilli con carne in Santa María taco shells, Fish in pasilla chilli and Rajas con crema y queso. Dessert: seasonal delicacies. Hostess: Rosinha Transexotic, a familiar figure to everyone from Evert Taubes The Girl from Havana and Lill Lindfors Teresa . "The project Transexotic by the artist Carolina Nylund addresses international stereotypes, specifically the idea of " the other " as it may be projected or manifested through one's own personality. To what extent do we allow and accept that our personalities, our identities are formed in part by the limited two-dimensional caricatures invented and maintained by forces and phenomena external to us? Nationalism, patriotism, politics, ethnicity, subcultural affiliation, gender, sexuality, career, family: there are countless factors that may play a role in shaping an identity and which can also affect how we are perceived by others. And when we feel that gaze, how does that affect us? " - Finbar Krook Rosato, Curator, Atelier 123.
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Klingenstein, Joanna. "Mobilizing Motifs: An Installation Articulating and Visualizing Relationships between the U.S. Healthcare System, the Chronically Ill Patient, and the Healthcare Chaplain." Case Western Reserve University School of Graduate Studies / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=case1620742386332207.
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Castaner, David. "Les orichas dans l'art cubain. Une généalogie de l’image des dieux noirs à travers les œuvres de Wifredo Lam, René Portocarrero, Manuel Mendive et Santiago Rodríguez Olazábal." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL132.
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Les orichas sont des divinités d’origine africaine dont le culte est connu à Cuba sous le nom de Santería ou Regla de Ocha. A travers l’interprétation des œuvres de quatre artistes cubains, cette étude entend retracer la généalogie de l’image artistique de ces entités. Participant au mouvement des avant-gardes parisiennes, Wifredo Lam (1902-1982) est le premier artiste cubain à opérer une réappropriation artistique des orichas, conférant une forme de légitimité à une culture marginalisée dans la société postcoloniale. René Portocarrero (1912-1985) explore le syncrétisme qui a uni les orichas et les images catholiques des Saints et des Vierges et fabrique leur première image humaine. Ce n’est qu’avec Manuel Mendive (né en 1944) que les orichas sont imaginés comme des dieux noirs et deviennent des figures positives de la négritude dans l’art. Afin de remettre en question la supposée ancestralité des orichas, Santiago Rodríguez Olazábal (né en 1955) propose à partir des années 1990 des représentations de ces dieux en prise avec le monde contemporain. Cette généalogie des représentations des orichas permet d’interroger la place des cultures des afro-descendants dans les sociétés postcoloniales, les logiques de conservation du patrimoine afro-cubain et de mise en spectacle de celui-ci, ainsi que les formes d’articulation entre la création artistique d’une ancienne périphérie et le marché international de l’art. Elle propose également une réflexion sur les rapports entre la politique, l’art et la religion dans une période déterminante de l’histoire contemporaine de Cuba<br>Orichas are not only gods from a syncretic Cuban religion, but also Cuban popular culture characters becoming more and more famous abroad. This work intends to understand the invention of oricha artistic images while studying the artworks of four Cuban artists. Following the surrealist and cubist movement, Wifredo Lam (1902-1982) is the first artist to adopt orichas as a subject for his paintings. Through this choice he legitimates a culture that was marginalized in the postcolonial society until then. René Portocarrero (1912-1985) works on the syncretism between orichas and Catholic Saints and Virgins and builds their human representations. But it’s Manuel Mendive (born in 1944) who creates the figures of the black gods and turn them into positive characters of blackness in art. Santiago Rodríguez Olazábal (born in 1955) designs a new way of representing orichas according to contemporary art aesthetics. This genealogy of the orichas focuses on the Afro Cuban cultures role in postcolonial societies, their folklorisation and adaptation to spectacular shows, and the articulation between perpipherical artistic creation and the international art market. It also considers the links between politics, art and religion during a very relevant period of contemporary Cuban history
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Strydom, Richardt. "A comparative reading of the depiction of Afrikaner ancestry in two works by C.D. Bell / Richardt Strydom." Thesis, North-West University, 2009. http://hdl.handle.net/10394/4987.
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This dissertation investigates the contradictions and similarities regarding the depictions of Afrikaner ancestry in two works by Charles Davidson Bell: The landing of Van Riebeeck, 1652 (1850) and Cattle boers' outspan (s.a.). The works were discussed and compared from a conventional perspective in order to establish the artworks' formal qualities, subject matter and thematic content This reading was extended by employing postcolonial theoretical principles in order to contextualise these two artworks within their Victorian ideological frameworks, social realities and authoring strategies. The extended comparative reading revealed a number of similarities and contradictions regarding the artist's depiction of Afrikaner ancestry in these two works. Postcolonial theory further facilitated a more comprehensive and dense reading of the chosen artworks, as well as of the artist's oeuvre.<br>Thesis (M.A. (History of Arts))--North-West University, Potchefstroom Campus, 2010.
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Thom, Wium Magtild Johanna. "Contextual readings of analysis and compositional process in selected works by Arnold van Wyk (1916-1983)." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80050.
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Thesis (PhD)--Stellenbosch University, 2013.<br>ENGLISH ABSTRACT: In this project, contextual readings of four works by Arnold van Wyk are developed. They are the Symphony No. 1 in A Minor, the First String Quartet, the Duo Concertante and the Missa in illo tempore. These readings are grounded in richly detailed descriptions of the compositional processes, drawing on material such as sketches, autographs, diaries, correspondence and reception documents, as well as in structural analyses of Van Wyk’s music and of certain peer compositions. Each reading is set in a separate theoretical frame, resulting in a multi-perspectival consideration of Arnold van Wyk’s music that partakes in a range of current disciplinary discourses. The First Symphony is discussed in the discursive context of English Sibelianism, and Arnold van Wyk’s dialogue with Sibelius’s symphonic works is investigated through comparisons of Van Wyk’s and Sibelius’s applications of two-dimensional sonata form and tragic reversed sonata form. The reading so developed sheds new musical light on the difficulties of Van Wyk’s position as a colonial composer residing in the centre of a crumbling Empire. The compositional process of Van Wyk’s First String Quartet is described in juxtaposition with the compositional process of Bartók’s Sixth String Quartet, and the similarities and differences of the two narratives and the two compositions highlight a second aspect of Van Wyk’s colonial identity, namely the ambiguity of his return to South Africa from England, neither of which place could signify “home”. The reading of the Duo Concertante focuses on the Elegia from that work, interpreting the piece as part of a network of intertextual connections, including Van Wyk’s model for this piece, Martin Peerson’s (1580-1650) The Fall of the Leafe, Gerald Finzi’s Elegy for Orchestra Op. 20, entitled The Fall of the Leaf, as well as Van Wyk’s own theme for the Rondo of the Duo, to which he made various musical references in the Elegia which are associated with the concept of “prophecy”. This intertextual reading considers Van Wyk’s continuing problematic identification with the English musical culture and tradition, compounded by his uncomfortable place in the stifling cultural establishment of apartheid South Africa. Van Wyk’s Missa in illo tempore is interpreted in a post-apartheid context. The work purports to react to the conditions in London in 1945 at the end of the Second World War (when Van Wyk first started to work on it) as well as the conditions in apartheid South Africa in 1977-1979 (when he completed the work as a commission for the Stellenbosch Tercentenary Festival). The reading considers the ethics of art that intends to respond to situations of suffering, drawing on post-Holocaust art scholarship as a theoretical frame. In developing interpretations of compositions that have never been studied in such detail or with such theoretical rigour before, the thesis makes a significant contribution to Arnold van Wyk studies, and in its application of a range of methodological tools in order to construct poetic hermeneutic readings that are grounded in musical and contextual materials, it also represents a meaningful methodological innovation.<br>AFRIKAANSE OPSOMMING: In hierdie projek word kontekstuele lesings van vier werke deur Arnold van Wyk ontwikkel. Hulle is die Simfonie Nr. 1 in A Mineur, die Eerste Strykkwartet, die Duo Concertante en die Missa in illo tempore. Hierdie lesings is gegrond in ryk-gedetailleerde beskrywings van die komposisieproses, waarby materiaal soos sketse, outograwe, dagboeke, korrespondensie en resepsiedokumente gebruik word, asook in strukturele analises van Van Wyk se musiek en van sekere eweknie-komposisies. Elke lesing word in ʼn afsonderlike teoretiese raamwerk gestel, sodat ʼn veelperspektiewelike oorweging van Arnold van Wyk se musiek resulteer wat deelneem aan ʼn verskeidenheid hedendaagse dissiplinêre diskoerse. Die Eerste Simfonie word bespreek in die diskursiewe konteks van Sibelianisme in Engeland, en Arnold van Wyk se dialoog met Sibelius se simfoniese werke word ondersoek deur vergelykings van Van Wyk en Sibelius se toepassings van twee-dimensionele sonatevorm en tragies-omgekeerde sonatevorm. Die lesing wat sodoende ontwikkel word, werp nuwe musikale lig op die moeilikhede van Van Wyk se posisie as koloniale komponis woonagtig in die sentrum van ʼn verkrummelende Ryk. Die komposisieproses van Van Wyk se Eerste Strykkwartet word beskryf in jukstaposisie met die komposisieproses van Bartók se Sesde Strykkwartet, en die ooreenkomste en verskille van die twee narratiewe en die twee komposisies belig ʼn tweede aspek van Van Wyk se koloniale identiteit, naamlik die dubbelsinnigheid van sy terugkeer na Suid-Afrika uit Engeland, twee plekke waarvan geeneen die betekenis van sy “tuiste” kon dra nie. Die lesing van die Duo Concertante fokus op die Elegia uit daardie werk, en dit interpreteer die stuk as deel van ʼn netwerk van intertekstuele verbindings, insluitende Van Wyk se model vir hierdie stuk, Martin Peerson (1580-1650) se The Fall of the Leafe, Gerald Finzi se Elegie vir Orkes Op. 20, getiteld The Fall of the Leaf, asook Van Wyk se eie tema vir die Rondo van die Duo, waarna hy verskeie musikale verwysings in die Elegia gemaak het wat geassosieer word met die konsep van “profesie”. Hierdie intertekstuele lesing beskou Van Wyk se aangaande problematiese identifisering met Engelse musiekkultuur en –tradisie, vererger deur sy ongemaklike plek in die verstikkende kulturele establishment van apartheid Suid-Afrika. Van Wyk se Missa in illo tempore word in ʼn post-apartheid konteks geïnterpreteer. Die werk stel sigself voor as reaksie op die toestande in Londen in 1945 teen die einde van die Tweede Wêreldoorlog (toe Van Wyk die eerste keer daaraan begin werk het) asook die toestande in apartheid Suid-Afrika in 1977-1979 (toe hy die werk voltooi het as ʼn opdrag vir die Stellenbosch Drie-Eeue Fees). Die lesing oorweeg die etiek van kuns wat ten doel het om te reageer op situasies van lyding en gebruik post-Holocaust kunsstudies as teoretiese raam. In sy ontwikkeling van interpretasies van komposisies wat nog nooit in soveel besonderhede of só teoreties nougeset bestudeer is nie, maak die tesis ʼn beduidende bydrae tot Arnold van Wyk studies, en in sy toepassing van ʼn verskeidenheid metodologiese hulpmiddels om poëtiese hermeneutiese lesings te konstrueer wat gegrond is in musikale en kontekstuele materiale, verteenwoordig dit ook ʼn betekenisvolle metodologiese vernuwing.
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Moot, Dennis. "Visual Culture, Crises Discourse and the Politics of Representation: Alternative Visionsof Africa in Film and News Media." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1596021641358625.
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Chowdhury, Khairul Haque. "Three Bangladeshi plays considered in postcolonial context." Access E-Book Access E-Book, 1999. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20010919.141455/index.html.
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Tiako, Djomatchoua Murielle Sandra. "Sports et Routes Migratoires : entre Imaginaires (Post) Coloniaux et Experiences Individuelles dans Fais peter les basses, Bruno! et Le Chemin de L' Amerique de Baru." Miami University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=miami1626239430252334.
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Hoene, Christin. "Sing who you are : music and identity in postcolonial British-South Asian literature." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7794.
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This thesis examines the role of music in British-South Asian postcolonial literature, asking how music relates to the possibility of constructing postcolonial identity. The focus is on novels that explore the postcolonial condition in India and the United Kingdom, as well as Pakistan and the United States: Vikram Seth's A Suitable Boy (1993), Amit Chaudhuri's Afternoon Raag (1993), Suhayl Saadi's Psychoraag (2004), Hanif Kureishi's The Buddha of Suburbia (1990) and The Black Album (1995), and Salman Rushdie's The Ground Beneath Her Feet (1999). The analysed novels feature different kinds of music, from Indian classical to non-classical traditions, and from Western classical music to pop music and rock 'n' roll. Music is depicted as a cultural artefact and as a purely aestheticised art form at the same time. As a cultural artefact, music derives meaning from its socio-cultural context of production and serves as a frame of reference to explore postcolonial identities on their own terms. As purely aesthetic art, music escapes its contextual meaning. The transcendental qualities of music render music a space where identities can be expressed irrespective of origin and politics of location. Thereby, music in the novels marks a very productive space to imagine the postcolonial nation and to rewrite imperial history, to express the cultural hybridity of characters in-between nations, to analyse the state of the nation and life in the multicultural diaspora of contemporary Great Britain, and to explore the ramifications of cultural globalisation versus cultural imperialism. Analysing music's cultural meaning and aesthetic value in relation to postcolonial identity, this thesis opens up new frames of textual and cultural analysis that help understand the postcolonial condition from the interdisciplinary perspective of word and music studies.
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Caminero-Santangelo, Byron. "African fiction and Joseph Conrad : reading postcolonial intertextuality /." Albany : State university of New York press, 2004. http://catalogue.bnf.fr/ark:/12148/cb40052366r.
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McCarthy, Bridie Clare, and bridiecmccarthy@yahoo com au. "At the limits: Postcolonial & Hyperreal Translations of Australian Poetry." Deakin University. School of Communication and Creative Arts, 2006. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20070329.093702.
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This dissertation employs the methodologies of postcolonial theory and hyperreal theory (following Baudrillard), in order to investigate articulations of identity, nation and representation in contemporary Australian poetry. Informed by a comparative analysis of contemporary Latin American poetry and cultural theory (in translation), as a means of re-examining the Australian context, this dissertation develops a new transnational model of Australian poetics.
The central thesis of this dissertation is that contemporary Australian poetry engages with the postcolonial at its limits. That is, at those sites of postcoloniality that are already mapped by theory, but also at those that occur beyond postcolonial theory. The hyperreal is understood as one such limit, traceable within the poetry but silenced in conventional postcolonial theory. As another limit to the postcolonial, this dissertation reads Latin American poetry and theory, in whose texts postcolonial theory is actively resisted, but where postcolonial and hyperreal poetics nevertheless intersect.
The original critical context constructed by this dissertation enables a new set of readings of Australian identity through its poetry. Within this new interpretative context, the readings of contemporary Australian poetry articulate a psycho-social postcoloniality; offer a template for future transactions between national poetry and global politics; and develop a model of the postcolonial hyperreal.
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Adeel, Liaqat, and n/a. "The politics of Islam in a postcolonial state: Pakistan." University of Canberra. Information, Language and Culture Studies, 1996. http://erl.canberra.edu.au./public/adt-AUC20060531.163022.
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During the last one year, while working on this thesis, I have been asked several times as to how
Islam or Islamic fundamentalism makes a communication thesis. The answer is simple: my
concern is not Islam as a religion or fundamentalism as a religious or political movement but the
way Islam is defined and fundamentalism presented. In the age of communication reality is not just
what we see or sense but what we are shown and made to perceive. It would be no exaggeration to
suggest that today our dependence on the communication networks is such that even for something
that happens in front of us we need interpretations to fully comprehend it. Thus reality without
interpretations, in most cases, has come to carry little meaning. Our perception of reality today is
not based on our individual experiences only. It is, in fact, the sum total of the reality plus
interpretations by the 'public arenas' such as education institutions, mass media, the civil service,
parliament, the courts, industry, the research and scientific community, political parties etc.
(Cracknell, 1993: 4).
This study deals with the interpretations of Islam and Islamic fundamentalism by the Muslim as
well as western public arenas. Throughout this thesis I use the word 'Islam' not as a religion but as
a symbol of political power and cultural identity. Because, I believe that Islam as a faith is a
personal and spiritual matter that for majority of the Muslims, like the believers of any religion,
need not be compared with any other religion unless to prove it superior. But as a symbol of
political power and cultural identity Islam does need interpretations and has been interpreted in
many different ways. What triggered my interest in yet another interpretation was that what I had
seen in Pakistan and what I felt the West thought of Muslim societies had no logical connection.
For instance, there is a widespread belief in the West that Muslim societies are deeply religious and
Islam guides every aspect of the Muslims' life. The reality that I have seen and experienced in
Pakistan society, which is ninety-six per cent Muslim, is that few, very few indeed, Muslims may
be willing to die or kill for Islam, but will not live according to Islam. The people of Pakistan, in
their day-to-day life, are as secular as the people of any other part of the world. They have all
human virtues and vices that human beings are capable of anywhere in the world. But still there is
no denying the fact that Pakistan, or for that matter any underdeveloped society, is different from
the industrialised West. How and why are they different is what I have investigated in this thesis.
I have no hesitation in admitting that except for the discrepancy in the reality that I had seen in
Pakistan and its perception that I noticed in the West, I had no clear idea about the subject. But I
have always believed, as Sartre has said somewhere, that the honourable thing about reading is to
let yourself be influenced. I claim to have started this thesis with an open mind, but I do not claim
to be an objective writer, unless objectivity is seen as nothing but to be honest to one's self as well
as others. All of us live with our subjectivity that is influenced by our individual and collective
objective conditions. Most of us are content to live with what we have learnt during our formative
phase in life. Some of us are not. I belong to the latter tribe. Through the years I have unlearnt
many a thing about religion, culture and human beings that I had learnt from my family, school and
society, to accommodate more ideas, opinions and concepts, not less. That process still continues.
One thing that I have learnt in life, and which I shall cherish forever, is that human beings must not
be frozen in their cultural, religious and social categories; they must not be seen as good and bad
without an understanding of their environment.
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Adeel, Liaqat. "The politics of Islam in a postcolonial state Pakistan /." Canberra, 1996. http://erl.canberra.edu.au/public/adt-AUC20060531.163022/.
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Schiavone, Cristina. "La parole plaisante nel romanzo senegalese postcoloniale /." Roma : Bulzoni, 2001. http://catalogue.bnf.fr/ark:/12148/cb39043972h.
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Drake, Darren, and mikewood@deakin edu au. "Secularism exhausted?: Non-Indigenous postcolonial discourses and the question of aboriginal religion." Deakin University. School of Communication and Creative Arts, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20051017.152649.
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com, esosaghae@yahoo, and Esosa Osaghae. "Mythic Reconstruction: A Study of Australian Aboriginal and South African Literatures." Murdoch University, 2007. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20070928.143608.
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This thesis seeks to explore the intention of postcolonial Australian Aboriginal and Indigenous South African postcolonial writers in reconstructing cultural and historical myths. The predominant concerns of this thesis are the issues of Representation and Historiography as they are constructed in the four primary texts namely Dr Wooreddys Prescription for Enduring the Ending of the World, The Heart of Redness, The Kadaitcha Sung and Woza Albert!
It begins with a summary journey into the concepts of the postcolonial, presenting some of the challenges with which the concept has been confronted finding nonetheless it enabling as an anticipatory discourse in appreciating the literatures from once-colonised nations such as Australia and South Africa.
I then take a cursory look at the concept of myth while focussing on how writers like Sam Watson and Barney, Mtwa and Mbogeni put such cultural myths as the Biamee deity in The Kadaitcha Sung and the second coming of Jesus in Woza Albert! to use.
In the next section, I focus on how the writers Mudrooroo (then Colin Johnson) in Australia and Mda from South Africa confront and reconstruct some of the historical myths upon which European colonialism was founded, using the texts, Dr Wooreddys Prescription for Enduring the Ending of the World and The Heart of Redness.
The achievement of this thesis has simply been one of the canonical expansions recommended of postcolonial criticism; the stressing an appreciation of the differences that exist even when postcolonial writers seek to achieve the same goal with their literatures.
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Doignon, Aurélie. "La "mise en savoirs" des danses africaines : Approche anthropo-didactique des liens entre transposition d’une pratique culturelle et évolution de ses modes de diffusion : le cas du sabar au Sénégal et en France." Thesis, Bordeaux, 2019. http://www.theses.fr/2019BORD0257.
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Danse des quartiers populaires de Dakar, le sabar fait l’objet de reconfigurations professionnelles et spatiales. Autrefois défini par la naissance au sein d’une lignée de griots, et un enseignement structuré par des institutions informelles, de nouveaux cadres viennent structurer ce tableau de manière plus formelle, intégrant la danse dans la catégorie « art », qui pose les prémices d’une nouvelle structuration économique. Les griots, dont le savoir relève d’une transmission ataviste ne sont finalement plus en majorité aujourd’hui dans le cercle professionnel de la danse. Ceci entraine de nouvelles attitudes de transmission, de formation et d’apprentissage de la danse. Le sabar s’institutionnalise, pour mieux se rapprocher du champ chorégraphique légitime international. La dialectique entre références traditionnelles (religieuse, aux anciens, etc.) et ancrage dans la modernité est étudiée, à l’aune des stratégies de la nouvelle professionnalisation de ces danseurs. Comment ces processus d’institutionnalisation et de transposition de la pratique du sabar vont permettre et favoriser ces échanges, ces flux de corporéités et de danseurs à travers le monde et de recomposer les espaces ? Devenir danseur de sabar, à un niveau professionnel, relève de parcours protéiformes, à la fois issus des apprentissages « classiques », formels, et des apprentissages quotidiens, informels ; et marque de fait la porosité des catégorisations structurelles des apprentissages. Cette thèse met en relief les modifications multiples qu’entraine cette mise en savoir, des modifications gestuelles et chorégraphiques déjà, mais aussi didactiques et inévitablement sociétales, reconfigurant les modalités de genre et de statut social<br>Dance of the popular districts of Dakar, sabar dance is subject to professional and spatial reconfigurations. This dance was formerly defined as originating from a line of griots and education through informal institutions. New frames structure this dance tradition in a more formal way, integrating it in the "art" category and leading to a new economic structure. The griots, whose knowledge is an atavist transmission, are no longer in the majority in professional circles of dance. This leads to new attitudes of transmission, training and learning of dance. The sabar is institutionalized, to access the international legitimate choreographic field. This thesis studies the dialectic between traditional references (religious, old, etc.) and modern approaches, in light of the new professionalization of these dancers. How do the processes of institutionalization and transposition of the practice of the sabar allow and encourage exchanges and circulation of corporealities and dancers around the world? Becoming a sabar dancer at a professional level means getting one’s education both from "classical" and formal learning, and from everyday, informal learning This overall education marks the porosity of the structural categorizations of learning. This thesis highlights the multiple modifications involved in this learning. It explores choreographic changes and shows how sabar dance is undergoing a reconfiguration in terms of gender and social status
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Cox, Timothy J. "Postmodern tales of slavery in the Americas : from Alejo Carpentier to Charles Johnson /." New York : Garland, 2001. http://catalogue.bnf.fr/ark:/12148/cb409495054.
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Schuchardt, Beatrice. "Schreiben auf der Grenze : postkoloniale Geschichtsbilder bei Assia Djebar /." Köln : Böhlau, 2006. http://catalogue.bnf.fr/ark:/12148/cb414471828.
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Texte remanié de: Dissertation--Universität Düsseldorf, 2005. Titre de soutenance : Postkoloniale Geschichtsbilder bei Assia Djebar : zwischen Dekonstruktion und Montage, Archäologie und Archiv.<br>Bibliogr. p. 357-389.
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Ponzanesi, Sandra. "Paradoxes of postcolonial culture : contemporary women writers of the Indian and Afro-Italian diaspora /." Albany : State university of New York press, 2004. http://catalogue.bnf.fr/ark:/12148/cb400414161.
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au, maria degabriele@police wa gov, and Maria Degabriele. "Postorientalism : orientalism since orientalism." Murdoch University, 1997. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20080122.112339.
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This dissertation examines a range of popular contemporary texts in a post-Saidian context. It begins with an analysis of Orientalism, as that text influences almost any discussion of representations of Easmest relations. Now, almost twenty years after Orientalism was first published in 1978 it is still a crucial text, and it still needs to be understood and argued with. The other texts looked at in this dissertation include novels, drama, films, opera, a musical, and the print and electronic mass media. They are texts that either represent or comment on EastIWest relations. The main texts I examine fall roughly into two categories: ones that are clearly orientalist and ones that are postorientalist. Those that are orientalist repeat the same myths of Orient Said describes in Orientalism. Those that are postorientalist challenge those myths by repeating and elaborating them, reversing and displacing the orientalist gaze.
The methodological approach is an eclectic blend of cultural studies and literary criticism. Such an approach enables analysis of a variety of texts, fiom classical nineteenth century books and myths through to contemporary postmodern representations, that deal with identity politics.
My thesis is that contemporary postcolonial representations that deal with East and West and that use and displace the very terms such categories rest upon, can be called "postoriental".
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Woubshet, Ayele Tesfaye. "The Time of Imperialism or a Postcolonial Determinism : A Study of Ayi Kwei Armah's The Beautyful Ones Are Not Yet Born." Thesis, Stockholms universitet, Engelska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-138931.
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Time and history feature prominently in debates on imperialism in the humanities and literary scholarship, with contrasting positions taken up by different theorists. In this paper, I aim to scrutinize critically one such position that has come to dominate postcolonial scholarship, the position that advocates anti-historical temporal difference. This position, taken up and articulated by Dipesh Chakrabarty, states that the transition temporality of modern historical consciousness is derived from European culture and is imposed on and exported to the rest of the world, thus making it inherently a projection of European cultural imperialism (i.e., Eurocentrism). Following this position, many postcolonial theorists have interpreted key canonical texts along similar lines, that is, as challenging the transition time of modern historical consciousness and as portraying time as non-transitional, cyclical, repetitive etc., in other words, highlighting temporal difference by showing the inadequacies of historical time and/or by portraying traditional forms of temporal consciousness in the Third World. By focusing on one of these canonical texts, Ayi Kwei Armah’s The Beautyful Ones Are Not Yet Born, I critically analyze and challenge this postcolonial reading of the novel as well as its more general theoretical positions and assumptions on two levels. Firstly, I question the assumption that transition and non-transition/cyclical/ repetitive time are externally related, the former being in the realm of modern historical consciousness and the latter outside of it. I argue that modern historical consciousness is better thought of as being constituted by the contradictory unity between transition and non-transition/repetitive temporality. Secondly, I question the assumption that Eurocentrism is ultimately a temporal relation. This assumption leads to theories that reify time as an a priori civilizational given and posit temporally deterministic arguments regarding imperialism. I argue instead that temporality has to be contextualized in social and power relations and the narratives that justify/mystify and challenge such relations. In questioning these assumptions, I propose a radically different interpretation of Armah’s novel: one that views the novel’s production of time as embracing (not going against) historical consciousness, thereby engaging imperialism as a primarily social and power relation (not a temporal one). Keywords: Eurocentrism; imperialism; postcolonial theory; historical time; temporal difference; temporal determinism; Dipesh Chakrabarty; Ayi Kwei Armah
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Tindongan, Cynthia W. ""What Are You?": Exploring the Lived Identity Experiences of Muslim Immigrant Students in U.S. Public School." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1335552325.
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Murray, Jenny. "Remembering the (post)colonial self : memory and identity in the novels of Assia Djebar /." Bern : P. Lang, 2008. http://catalogue.bnf.fr/ark:/12148/cb41367477r.
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Dukehart, Merrit Elizabeth. ""There are no A people or B people or C people": A postcolonial rhetorical analysis of articulations of Uganda's ABC HIV/AIDS campaign." Connect to online resource, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1442914.
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Dubiel, Jochen. "Dialektik der postkolonialen Hybridität : die intrakulturelle Überwindung des kolonialen Blicks in der Literatur /." Bielefeld : Aisthesis Verl, 2007. http://catalogue.bnf.fr/ark:/12148/cb41020885f.
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