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Sharma, Seetal. "Globalisation and postcolonial identity." Thesis, Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25262348.
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Chan, Ka-ming, and 陳嘉銘. "Social identity in postcolonial Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B30409238.
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Chan, Ka-ming. "Social identity in postcolonial Hong Kong." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B23234477.
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Francis, Toni P. "Identity Politics: Postcolonial Theory and Writing Instruction." Scholar Commons, 2007. https://scholarcommons.usf.edu/etd/711.
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In this dissertation I intend to apply postcolonial theory to primary pedagogical and administrative concerns of the writing program administrator. Writing Program Administrators, or WPAs, take their responsibilities seriously, remaining cognizant of both the negative and positive repercussions of the pedagogical decisions that take shape in the scores of composition classrooms they administer. This dissertation intends to infuse the WPA position with the ethos of scholarly praxis by historicizing and contextualizing the field of composition, and by placing the teaching of writing within the historical memory of slavery and colonialism. Sound WPA research is theoretically informed, systematic, principled inquiry that works toward producing strong writing programs. This dissertation provides such inquiry, drawing the field's attention to the reality of postcoloniality and presenting an understanding of the work of composition as informed by and complicit in the history of racialized forms of oppression. From this context, the dissertation analyzes three major issues faced by the WPA: the debate over standardized discourse, the influence of the job market on pedagogical decisions, and the (de)politicizing of the composition classroom. In the following sections, these issues will be related directly to critical theories from postcolonial and composition studies that assist in articulating the issues of identity politics, hegemonic struggle, interpellation and interpolation, subaltern voice, and hybridity that are so crucial to writing program pedagogy and administration in the postcolonial age, for it is my argument that the writing classroom is a crucial site of contention in which the politics of identity are manifested as students appropriate and are appropriated by discourse.
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Ali, Shainna. "Contemporary hijra identity in guyanna : colonial and postcolonial transpormations in hijra gender identity." Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1344.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Sciences
Anthropology
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Chu, Wei-cheng Raymond. "Homo and others : articulating postcolonial queer subjectivity." Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.388671.
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Sewlall, Haripersad. "Joseph Conrad : situating identity in a postcolonial space / H. Sewlall." Thesis, North-West University, 2004. http://hdl.handle.net/10394/394.
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This thesis is premised on the notion, drawn mainly from a postcolonial
perspective (which is subsumed under the poststructuralist as well as the
postmodern), that Conrad's early writing reflects his abiding concern with how people
construct their identities vis-a-vis the other/Other in contact zones on the periphery
of empire far from the reach of social, racial and national identities that sustain them
at home.
It sets out to explore the problematic of race, culture, gender and identity in a
selection of the writer's early works set mainly, but not exclusively, in the East, using
the theoretical perspective of postcoloniality as a point of entry, nuanced by the
configurations of spatiality which are factored into discourses about the other/Other.
Predicated mainly on the theoretical constructs about culture and identity espoused
by Homi Bhabha, Edward Said and Stuart Hall, this study proposes the idea of an in between
"third space" for the interrogation of identity in Conrad's work. This
postcolonial space, the central contribution of this thesis, frees his writings from the
stranglehold of the Manichean paradigm in terms of which alterity or otherness is
perceived. Based on the hypothesis that identities are never fixed but constantly in
a state of performance, this project underwrites postcoloniality as a viable theoretical
mode of intervention in Conrad's early works.
The writer's early oeuvre yields richly to the contingency of our times in the early
twenty-first century as issues of race, gender and identity remain contested terrain.
This study adopts the position that Conrad stood both inside and outside Victorian
cultural and ethical space, developing an ambivalent mode of representation which
recuperated and simultaneously subverted the entrenched prejudices of his age.
Conceived proleptically, the characters of Conrad's early phase, traditionally
dismissed as those of an apprentice writer, pose a constant challenge to how we view
alterity in our everyday lives.Thesis (Ph.D. (English))--North-West University, Potchefstroom Campus, 2004.
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Bethel, Nicolette Ruth Marie. "Navigations : the fluidity of national identity in the postcolonial Bahamas." Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.621871.
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Baker, Raquel Lisette. "Undoing Whiteness: postcolonial identity and the unfinished project of decolonization." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/6542.
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In my dissertation project, I engage in a discursive analysis of whiteness to examine how it influences postcolonial modes of self-styling. Critical whiteness studies often focuses on representations of whiteness in the West as well as on whiteness as physical—as white bodies and white people. I focus on representations and functions of whiteness outside of the West, particularly in relation to issues of belonging and modes of postcolonial identification. I examine Anglophone African literary representations of whiteness from the twentieth and twenty-first centuries to query how whiteness both enables and undermines anticolonial consciousness. A central question I examine is, How does whiteness as a symbolic manifestation function to constitute postcolonial African identification? Scholarship on the topic of subjectivity and liberation needs to explicitly examine how whiteness intersects with key notions of modernity, such as race, class, progress, and self-determination. Through an examination of postcolonial African literary representations of whiteness, I aim to examine the aspirations, unpacked stereotypes, and fears that move us as readers and hail us as human subjects. Ultimately, through this work, I grapple with the question of identification, understood as the system of desires, judgments, images, and performances that constitute our experiences of being human. I begin by looking backward at the satirical play, “The Blinkards,” written in 1915 in the context of British colonization of the Gold Coast in West Africa (present-day Ghana), to develop an understanding of postcolonial identification that includes an examination of the artistic expression of a writer conceptualizing liberation through notions of cultural nationalism. I go on to examine a selection postcolonial African literatures to develop an understanding of how racialized socio-cultural realities constitute forms of self-hood in post-independence contexts.
I hope to use my argument about representations of whiteness in African literatures to open up questions fundamental to contemporary theories of identification in postcolonial contexts, as well as to make a philosophical argument about the ethics of whiteness as it undergirds transnational modes of modernity. One main point I make in relation to postcolonial theories of subjectivity is that notions of identification are tied up in local, regional, and global circuits of capital and cultural production. In chapter 2, I look at an early (Grain of Wheat 1967) and recent novel (Wizard of the Crow 2006) by Ngũgĩ wa Thiong’o (Kenya), who locates African postcolonial subjectivity as deeply embedded in local traditions, myths, and storytelling circuits. By fluidly mixing the contexts of the local, the national, and the global, Ngũgĩ astutely challenges naturalized conventions that position black identities and blackness as always inferior to whiteness. Ngũgĩ represents postcolonial consciousness as a space whose local relationships are deeply informed by global structures of race, economics, and politics. Situating African postcolonial identification within global circuits of migration, capitalism, and colonialism, Ngũgĩ engages the pervasive significance of whiteness through representations of sickness and desire, suggesting that postcolonial identification is performed through beliefs and practices that are situated within a global racial hierarchy.
From there I go on to analyze a contemporary short story cycle by post-apartheid generation South African writer Siphiwo Mahala. Through his work, I continue to explore the issue of performative identification constituted through desire and aspirational notions in which whiteness works as a moving signifier of cultural and social capital. The main question I address in this chapter is, What is the meaning of whiteness in post-apartheid South Africa? Through this examination, I use my analysis of representations of whiteness to reflect on the politics of entanglement as a way to move beyond racialized and geographic modes of identification, to challenge conceptual boundaries that undergird modernity, and theoretical possibilities of a politics of entanglement in relation to broader issues of identification and belonging in postcolonial contexts.
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Serfontein, Estie. "Postcolonial nomadism and the simulated self in images of fragmented identity." Diss., University of Pretoria, 2010. http://hdl.handle.net/2263/27159.
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Since the onset of postcolonialism in South Africa, cultural diversity was brought on by the political decline of cultural borders, mass-media infiltration, technological advancement and the disposition of postmodernism’s assemblage of eclectic characteristics. Within postmodern postcolonialism, cultural conditions such as diaspora, nomadism and cosmopolitanism contributed to a sense of global citizenship. As such, postcolonialism and its cultural fusion promoted a new multi-cultural, hybrid culture. In this mini-dissertation it is argued that identity is a reflection or a simulation of the social surroundings in which one exists. Just as the individual’s identity becomes a product of his/her surroundings, elements of the individual’s identity manifest within cultural spaces. Within this simulation in a hybrid and multi-cultural space, personal identity becomes a fragmented and splintered concept, which is a subconscious reaction to the diversities in the individual’s cultural surroundings; moreover, the diversity in culture also contributes to constructing a more adaptable identity from these fragments. A growing feeling of Ubuntu or tolerance for differences and oppositions that develops in multi-cultural space contributes to the argument that cultural spaces become diverse and hybrid in a postmodern eclectic era. To overcome the fragmentation in identity, the postcolonial individual unintentionally formulates a hybrid, or fusion in identity by relating to different aspects that one finds in one’s surroundings. Identity becomes a fluid concept and is ever-changing to adapt to the multiplicities of contemporary postcolonial culture. This fluidity in identity is sub-consciously achieved by adopting psychological thought processes like Nomadism and Proteanism. The process of formulation of a new eclectic and fluid identity becomes more important than the identity in itself. Therefore, the ability to have a fluid and adaptable identity becomes more important than exclusivity in one’s identity. The establishment of this fluidity in identity is not a conscious decision, but merely an autonomic process of metamorphosis that enables the postcolonial individual to maintain identity, even though his/her identity cannot be fixed.Dissertation (MA)--University of Pretoria, 2006.
Visual Arts
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Valančiūnas, Deimantas. "Construction of Identity in British and Indian Cinema: a Postcolonial Approach." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2013~D_20131129_114315-79626.
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The object of the dissertation is British and Indian popular (commercial) cinema and the construction of identity there. The problem of identity construction in Indian and British films was researched employing three approaches found in the postcolonial theory: the critique of colonial discourse, anticolonial nationalism and the construction of national identity and the problematics of diasporic identity. The comparative analysis of the films from the two industries of the countries which were bounded by colonial relationships in the past let us see the complex ways of how identity is articulated in the postcolonial period. It also shows that the colonial memory is not merely a historical relict, but one of the ways to construct identity, which is always brought up and rethought in contemporary popular culture.
The comparative analysis of British and Indian films leads us to the following conclusions: Nadion constructs itself through the constant employment of the resources of colonial memory – and does so depending on various goals: fantasy, nostalgia, fear etc. The ever-present use of colonial memory in the context of the present shows that postcoloniality is a process rather than achieved state, thus letting us observe the positions and functions of imperialism not only in the past, but present as well. British as well as Indian cinema includes the cultural “otherness” in the narratives, which is modeled and manipulated according to the historical period when the film was... [to full text]Disertacijos objektas yra komercinis Britanijos ir Indijos kinas bei jame konstruojamos tapatybės. Tapatybės konstravimo problematika Indijos ir Britanijos filmuose yra tiriama remiantis trimis tapatybės analizės pokolonijinėje teorijoje pjūviais: kolonijinio diskurso kritika, antikolonijiniu nacionalizmu ir tautinės tapatybės konstravimu bei diasporinės tapatybės problematika. Lyginamasis dviejų, praeityje kolonijiniais saitais susietų valstybių kino filmų tyrimas leido pažvelgti į kompleksines tapatybės artikuliavimo pokolonijiniame laikotarpyje galimybes ir parodė, kad kolonijinė praeitis nėra vien tik istorinis reliktas, bet viena iš tapatybės konstravimo priemonių, nuolat sugrąžinama ir permąstoma šiuolaikinėje populiariojoje kultūroje ir kinematografijoje. Išanalizavus medžiagą disertacijoje prieita prie šių išvadų: tauta konstruoja save per nuolatinį kolonijinės atminties resursų panaudojimą – ir atlieka tai vedina skirtingų tikslų: fantazijos, nostalgijos, baimės ir kt. Nuolatinis kolonijinės atminties eskalavimas dabarties kontekste rodo pokolonializmo procesualumą, bet ne substanciškumą, atverdamas kelius pažvelgti į imperializmą ir jo poziciją ne tik praeityje, bet ir dabartyje. Tokiame kontekste tiek Britanija, tiek Indija į filmų naratyvus įtraukia kultūrinės kitybės kategoriją, kuri yra modeliuojama priklausomai nuo filmo sukūrimo laikmečio ir išreiškia skirtingas ideologines sanklodas. Kalbėjimas apie „Kitą“ tampa susietas su „Savimi“, taip sukuriant reikšmių... [toliau žr. visą tekstą]
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Özkazanç-Pan, Banu. "Globalization and identity formation a postcolonial analysis of the international entrepreneur /." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/dissertations/AAI3359907/.
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Barrett, Michelle Anne. "‘Eurasian’: Negotiating a postcolonial identity in everyday life in multicultural Australia." Thesis, Curtin University, 2014. http://hdl.handle.net/20.500.11937/825.
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This thesis interrogates the ambiguous and complex understandings surrounding the term ‘Eurasian’, which has emerged in Australia as a political, cultural and social reality from the neighbouring South and Southeast Asian region. Participants’ narratives of migration and identity were examined in order to gain insight into how this particular ‘mixed race’ identity is understood and negotiated in everyday life, and how migration processes which include recreating senses of ‘home’ and belonging, have impacted on these understandings.
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Rudström, Magnus. "Speaking of Identity : Students’ Experiences of Language Use and Identity Issues inthe Educational System of Postcolonial Seychelles." Thesis, Umeå universitet, Statsvetenskapliga institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-142149.
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Colonialism has left its marks in the ordinary lives of people in postcolonial countries. One example of this can be found in the relationship people in postcolonial countries have with the local vernaculars compared to the colonial languages. Often the native languages are restricted to the private and social sphere, while for example English is viewed as the go-to way of ensuring socioeconomic development in countries of this kind (Fleischmann 2008; Hilaire 2009; Rajah-Carrim 2007; Sauzier-Uchida 2009). By reviewing the case of the Seychelles islands, this thesis aims to explore the possible effects of colonialism in how parts of the youth in the country think and feel regarding their language use and their own construction of identity as Seychellois. For historical reasons, Seychelles has three official national languages: Kreol, English and French. The first one did not get its official status as a national language until after the independence 1976, even if being the mother tongue of the vast majority (Bollée 1993, 96). Ten semi-structured interviews were conducted during an eight-week long field study in Seychelles. The respondents were students between 16 and 20 years old who were in their final phase of school, or had recently completed their schooling and started working. The results show that some colonial ideas and norms still can be found in how these young Seychellois thinks about their mother tongue Kreol Seselwa in relation to the colonial language English. Another aspect of the interviews was the respondents’ ambivalence regarding their construction of identity in relation to the national languages. This could be viewed as examples of hybrid, mixed-culture, identities that can appears in postcolonial contexts.
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Chow, Renee Suet Ee. "Postcolonial hauntologies : Creole identity in Jean Rhys, Patrick Chamoiseau and David Dabydeen." Thesis, Cardiff University, 2009. http://orca.cf.ac.uk/54486/.
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This thesis focuses on the works of Caribbean writers Jean Rhys, Patrick Chamoiseau and David Dabydeen, specifically as they draw upon the mythic and religious beliefs and practices of the Caribbean in their constitution of individual and cultural Creole identity through textuality. The Caribbean tropes of haunting are surreptitious passageways leading to the Creole subject's struggle with the divided affiliations, cross-racial identifications and various forms of dispossession that are colonialism's legacy. As conduits to forbidden and unspoken fantasies, fears and desires, they also serve as the means of reformulating Creole identity. The study of Jean Rhys explores her agonized formulation of Creole identity as an abjection, where the self is (un)made in the nauseating identification with the black female other in the form of the hottentot, mulatto ghost and soucriant. Rhys's racialized abjection establishes Creole identity as a vacillating border state that is fraught with sadomasochistic violence and sickness. Patrick Chamoiseau uses the zombie trope to figure the loss of history, memory and language endemic to the dehumanization of Martinican man. Suppressed Creole culture becomes a part of the collective unconscious, and its uncanny return unmasks the misrecognition of white identification and serves as a strategy of disalienating opacity. Chamoiseau's Creolist manifesto is critically examined against the framework of an erotics of colonialism, to reveal the ventriloquism of the female subaltern who is made to embody the schizophrenic anxieties of the Creole male writer. David Dabydeen's work demonstrates how the family romance of the Creole migrant is erected upon the entombments of native ancestors, literary forefathers and female figures, the phantoms of which return to haunt with the anxieties of influence and the threats of disappearance and perpetual exile. His ekphrastic revisions accomplish the destabilizing and hybridizing functions of tricksterism, but also perpetuate an otherness under the guise of postmodern rewriting.
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Yassine, Rachida. "Re-writing the canon and the reconstitution of identity in postcolonial contexts." Thesis, University of Nottingham, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391429.
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Scruton, Conor J. "Strange Things Keep Happening to Me: Postcolonial Identity and Henry James's Ghosts." TopSCHOLAR®, 2017. http://digitalcommons.wku.edu/theses/1963.
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While there have been many studies of Henry James's ghost stories, there has been surprisingly little scholarship written on postcolonial tensions in these works. In American literature, the figure of the Native American ghost is a common expression of Western settler guilt over native erasure and land seizure. In both his American and British ghost stories, though, James focuses more on the horror within the colonizer than the terrifying, ghostly other from the edge of the empire. As such, these ghost stories serve as a more significant critique of colonialism and imperialism than Gothic texts that merely demonstrate the colonizer’s fear of the racial and ethnic other at the edges of the empire.
James’s earliest ghost stories address to the legacy of American colonialism, staging narratives of indigenous erasure and land seizure by centering hauntings around property disputes. The later ghost stories—written after James had emigrated to Britain— engage in a critique of the imperial British military and colonial power structures that systematically oppress indigenous groups in the name of the empire. These ghost stories all focus on the figure of the Western settler-colonizer and his guilt in creating hauntings; James’s living characters often realize they have been complicit in the wrongdoings that result in revenge-seeking ghosts, and this realization is more terrifying than the ghosts themselves. In this way, James's ghost stories present a means of questioning the validityof colonizer identity, and thus a means of deconstructing the binary of the Western “self” and the indigenous “other.”
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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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Rahman, Muzna. "Speaking starvation : representations of bodily protest in contemporary postcolonial fiction." Thesis, University of Manchester, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.570270.
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This thesis traces the forms and contexts of hunger strikes as they are represented in contemporary postcolonial fiction. I look specifically at three postcolonial novels: Kiran Desai’s The Inheritance of Loss (2006), J.M. Coetzee’s Life and Times of Michael K (1983), and Tsitsi Dangarembga’s Nervous Conditions (1988). The final work examined in this piece is a selection of prison writings by Bobby Sands, a non-fictional figure who underwent a hunger strike in 1981 in Long Kesh (otherwise known as the Maze Prison) in Northern Ireland.The historical and regional scope of this investigation is broad. The works presented are framed by very different socio-cultural backgrounds. The common thread that runs throughout the pieces is an engagement with the themes, motifs, and concerns of postcoloniality. The hunger strike is figured as a response to the pressures associated with the fractured form of postcolonial identity. This identity is informed by contemporary and historical engagements with colonial ideology. I utilise historical and sociological material in order to outline and trace an inherited legacy of this colonial ideology – specifically through a frame of hunger and deprivation as associated with imperial domination.The four chapters of this thesis examine one hunger-strike scenario apiece. In each instance, the bodily protest performed takes on a common form. The logic of the hunger strike relies on a division between mind and body. Using the four individuals analysed in this thesis I examine how the form of the hunger strike seeks to separate the realm of representation, which is associated with the mind, from the realm of the material, which is related to the body. The failure of each hunger strike is reflected in the indivisible relationship between representation and the material contexts they construct.Using this basic dichotomy, I consider how each text comments on, reacts to, and contains the categories of representation and the material. Through the lens of this oppositional binary I examine the relationship between historical colonial narratives and the texts and subjects that they produce, and are in turn produced by.
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Chung, Hon-man. "Hong Kong's postcolonial condition an oscillating identity and the politics of Nostalgia and pragmatism /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38670756.
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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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O'Dowd-Smyth, Christine. "Silence, exile and the problematic of postcolonial identity in North African Francophone literatures." Thesis, University of Westminster, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433764.
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Oldfield, Elizabeth F. "Transgressing boundaries : gender, identity, culture, and 'other' in postcolonial women's narratives in Africa." Thesis, University of Derby, 2010. http://hdl.handle.net/10545/231353.
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Fictions written between 1939 and 2005 by indigenous and white (post)colonial women writers who emerge from an African/European cultural experience form the focus of this study. Their voyages into the European diasporic space in Africa within the context of their texts are important since they speak of how African women's literature develops from, and is situated in relation to colonialism. African literature constitutes one facet of the new literatures in English from formerly colonised countries. However, the accomplishments of indigenous writer Grace Ogot are eclipsed by the critical acclaim received by her male counterparts, whilst Elspeth Huxley, Barbara Kimenye and Marjorie Oludhe Macgoye, who emanate from Western culture but adopt an African perspective, are not accommodated by the `expatriate literature' genre. Hence, indigenous and white (post)colonial women's narratives by authors issuing from an African/European cultural experience are brought together to foreground European influence as an apparent phenomenon common to both categorieso f writers, with consequencesfo r the representation of gender, identity, culture and the `Other'. The selected texts are set in Kenya and Uganda, and a main concern is with the extent to which the works are impacted upon by setting and intercultural influences. However, this thesis argues that the `African' woman's creation of textuality is at once the formulation and expression of female individualities and a transgression of boundaries. Furthermore, Kimenye and Macgoye's children's literature illustrates the representation and configuration of a voice and identity for the female `Other' and writer, which enables a re-negotiation of identity and subsequently a crossing of borders. No critical study combines indigenous and white settler women's fiction written from an African perspective and therefore this study extends current scholarly knowledge. Whilst the combination of texts together with the disparate (post)colonial backgrounds is unique, the study of Kimenye and Macgoye's African children's narratives in particular breaks new ground since there is currently no critical comparative study pertaining to indigenous and white postcolonial women's children's literature with an African perspective
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Ladha, Sonia. "Second Generation Immigrant Adaptation: Construction of a Hybrid Cultural Identity." ScholarWorks@UNO, 2005. http://louisdl.louislibraries.org/u?/NOD,194.
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Thesis (M.A.)--University of New Orleans, 2005.Title from electronic submission form. "A thesis ... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Sociology"--Thesis t.p. Vita. Includes bibliographical references.
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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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Alghamdi, Alaa. "The representation of home and identity of Muslim characters in selected British postcolonial novels." Thesis, University of Leeds, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.555964.
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The concepts of home and identity are at the heart of any Postcolonial examination of literature and society. Home and identity are profoundly impacted by the power dynamics of the colonial relationship, by the individual immigrant's experience, and by the multicultural setting in which the subject finds him or herself. This study undertakes an interrogation of home and identity in the work of British authors Salman Rushdie, HanifKureishi, Zadie Smith, Monica Ali, and Fadia Faqir. All of the novels studied deal with Muslim subjects - in most cases, first and second generation immigrants -living in England. Home and identity have powerful, multiple and contested meanings for these subjects. Drawing upon the theoretical work of Homi Bhabha, Rosemary Marangoly George, Gayatri Chakrovorty Spivak and Edward Said, the conception of home and the formation of hybrid identities in these subjects is examined and connected to larger cultural manifestations of Muslim/Westem relationships. Specifically, the ways in which the subjects define their home - to what degree is the new setting 'home', and to what degree does that term seem to refer to an increasingly imagined and unchanging homeland? - are examined. The necessity of reference to home in order to establish identity and, accordingly, the emerging sense of home as the precursor to a successful hybrid identity formation are observed. The marginalized or 'Othered' position of the immigrant Muslim subject is considered, as is the ability of these texts (written by "Third World Cosmopolitans", as one critic maintains) to represent the voice of the subaltern subject. In this context, Spivak's seminal enquiry about the ability of the subaltern to speak is actively engaged and examined. The power dynamics caused by colonialism influence, but do not define, the voice of the Postcolonial subject. In many cases, the voice of the Postcolonial subject does indeed speak, and yields unique and creative solutions to dilemmas of home and identity. These are aptly represented in the works of the authors studied, as are the occasional assertions that the open possibilities and competing pressures of hybrid identity formation in a Postcolonial world might lead to an untenable level of strain in the individual subject.
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Chung, Hon-man, and 鍾漢敏. "Hong Kong's postcolonial condition: an oscillating identity and the politics of Nostalgia and pragmatism." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38670756.
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Baker, Ahmad Abu. "The 'other', self discovery and identity - a comparative study in colonial and postcolonial literature." Thesis, Baker, Ahmad Abu (2001) The 'other', self discovery and identity - a comparative study in colonial and postcolonial literature. PhD thesis, Murdoch University, 2001. https://researchrepository.murdoch.edu.au/id/eprint/52928/.
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This thesis is a comparative literary study of Rudyard Kipling's Kim, Michael Ondaatje's The English Patient, E. M. Forster's A Passage to India, and Salman Rushdie's Midnight's Children. It highlights the coloniser/colonised relationship and reveals the differences/similarities m its depiction in the selected modern and contemporary novels. It reveals the way English novelists and novelists from non-Anglo-Saxon backgrounds are different/similar in their adoption, promotion, or rejection of discourses of colonisation. These discourses generate stereotypes that typically depict the colonisers as genetically superior and the colonised as genetically inferior. This thesis emphasises the problematics of identity formation, with particular attention to the dialectics of colonial identities. Identity formation involves redefinitions in hybrid situations, including where there is a desire to 'erase' the limitations of the colonial template. Ethnology, Anthropology and Mapmaking are areas of attention, as are the multiple ways that religion is manipulated to affirm the colonisers' legitimacy. Though the colonial experience varies from place to place and from time to time regarding both social action and cultural representations, it remains a traumatic experience for the colonised that negatively affects their identity, culture and literature.
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Kumar, Sangeet. "Postcolonial identity in a globalizing India: case studies in visual, musical and oral culture." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/3328.
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This dissertation analyzes three case studies located within the cultural landscape of India in order to explore the multifarious forces at work within the construction of Indian identity. It uses the lens of identity to excavate the interactions between the past and the present and the east and the west within the rapidly changing cultural scene in India. I analyze how diverse Indian identities are represented on the Indian version of the reality TV show Big Brother, I study the ways in which Indian youth playing rock music imagine themselves and explore how employees at Indian call centers negotiate an imposed western accent and cultural garb with their Indianness. Through these studies my project claims that the tensions between the remnants of a colonial past and a globalizing present must be centrally foregrounded in any attempt to understand the ongoing changes within contemporary Indian culture. I show this tension to be at work within the interstitial sites that each of my case studies represents and within which a stable conception of an "Indian" identity becomes increasingly shaky. I show that while the exercise of power and the assertion of agency are crucial components within global cultural flows, the binary is eventually a false one since the two must invariably occur together. It is the ability of power to morph itself in order to better appropriate its counter and become hegemonic that explains the processes of global cultural flows today. I show that in the case of India this morphing crucially relies on certain vestigial structures of colonial rule and in so doing seek to introduce a differentiation of history within theories of cultural globalization.
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Hatami, Azade. "Identity Formation : A Process Entwining Generations." Thesis, Blekinge Tekniska Högskola, Institutionen för humaniora och samhällsvetenskap, 2002. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-1759.
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The core of this essay is the book "The God of Small Things" written by the Indian novelist Arundhati Roy. The strong power of both caste systems or traditional principles and politics is the starting-point of this essay. For this reason, as the center of this tale is a Hindu family of high caste, and consequently very traditional, the identity of the women in the book are of great interest. The women in "The God of Small Things" are very fascinating not only for the reason that they are strongly influenced by their life stories, but even more for the influence their actions and identities have on their children. Of course, none of them can be judged for the shape of their identity, as they all are a merger of culture, religion and politics. More exactly, the divided identities of these women are discussed in relation to firstly their Hindu identity acquired by their society and traditions, and secondly their colonial/post-colonial identity nearly imposed upon them by the colonial forces. In this essay I discuss and analyse three generations of women, a total of four characters. In addition, two other characters are used in order to illustrate the differences that women from the colonizing country (Great Britain) hold in contrast to women from the colonized country (India).
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Birzescu, Anca. "Negotiating Roma Identity in Contemporary Urban Romania: an Ethnographic Study." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1383583352.
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Yeow, Jade. "Choreographing postcolonial identities in Britain : cultural policies and the politics of performance, 1983-2008." Thesis, De Montfort University, 2015. http://hdl.handle.net/2086/11395.
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This thesis examines the way in which dance work produced by postcolonial dance artists is often misread and exoticised by critics, funders and audiences. Yet the works produced have a disruptive effect and are products and clear indications of the sometimes oppressive processes that create cultural representation and identities. These postcolonial dance artists also have to contend with problematic umbrella terms such as ‘Black’ and ‘South Asian’ which are not fully descriptive of their dance practice and have the effect of stereotyping the work produced. The thesis investigates the artists Mavin Khoo, Shobana Jeyasingh, Akram Khan, Bode Lawal, Robert Hylton and Phoenix Dance Company who have created works that have asserted their individual agency through the use of particular cultural dance practices and have engaged in concepts such as classicism, modernism and postmodernism in order to establish a place within the British dance canon. Choreographic work produced by artists such as Khoo and Hylton have ‘educated’ audiences about the dance traditions that have been ‘passed down’ to them, whilst artists and companies like Phoenix have worked within a primarily Western medium, yet acknowledging that their work is informed by their distinctive African, African-Caribbean and Indian identities also. Although the work produced by these artists is often viewed from a white and Eurocentric perspective and exoticised to fit with conventional notions of ‘Indianness’ and ‘Blackness’, this thesis demonstrates that through the use of methodologies from cultural theory/policy, postcolonial theory and dance studies it is possible to reveal and illuminate meanings in the choreography and performances of postcolonial artists, and open up the dialogue that their works initiate in a multicultural and globalised context.
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Liu, Linjing. "When Silenced Voices Meet Homi. K. Bhabha’s “Megaphone”." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-76243.
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Drawing upon Homi. K. Bhabha's essay A Personal Response and Gayatri Chakravorty Spivak's Can The Subaltern Speak? I initiated my research project When the Silenced Voices Meet Homi. K. Bhabha's "Megaohone". The focal point of this paper aims at identifying and questioning the limitatpons of Bhabha's theories while highlighting Spivak's insightful perspectives. In conducting this project, the motif of my paper is derived, which is to question male scholars’ gender-blindness under the feminist lens in the field of post-colonial studies. Issues, such as identity, hybridity and representation are under discussion; meanwhile by citing the example of and debate on sati, the gender issue and the special contributions of postcolonial feminism are developed.
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MAIMONE, GIUSEPPE. "Haratin di Mauritania: da status ascritto a rivendicazione identitaria. La schiavitù in prospettiva postcoloniale." Doctoral thesis, Università degli Studi di Cagliari, 2014. http://hdl.handle.net/11584/266496.
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The dissertation analyses the construction of the community of the Haratines of Mauritania, ethnic
group of former slaves and their descendants, of black origins and Arabised over time. Despite
abolition of slavery, 10-15% of the Haratines are still considered in dependence on their former
masters, especially in rural areas. The study highlights the transformation of what to be “Haratines”
meant over time and what concurred to transform a social status into an ethnic group, whose
members are actually affirming their autonomous identity from the beydane society, in which they
were usually included in the past.
Until independence (1960) the term Haratines (sing. Hartani) was only referred to freed
slaves and their descendants, whereas slaves were called ‘abid (sing. ‘abd), then constituting the
two lower social status of the Arab-Berber (beydane) society of Mauritania. Even if French
colonisation didn‟t deeply change their condition, some antislavery policies were applied at the
beginning of the territorial expansion. From late 1880s, especially in northern Senegal and Mali, the
French tried to carry out an antislavery action by creating some „freedom villages‟ where runaway
slaves could find a place to live and work freely, receiving „freedom licenses‟. Moreover, treats
with local chiefs established the transformation of slavery into temporary forced labour, freeing
slaves ten years later. The expansion in the North of the Senegal River Valley and the need to
administrate a vast desert area, populated by few nomadic people, forced France to substantially
maintain traditional leaderships and the Arab social organization. Indeed, echoes of emancipation
and some wage labour (boys, interpreters, guides, cooks, etc.) reached slaves and Haratines.
Moreover, a few Haratines attended French schools in the villages. These men founded the El-Hor
antislavery movement in 1974, which later fought against slavery, thus obtaining its abolition in
1981, even if it was just a formal one. The term ‘abid (sing. ‘abd) went out of use, and „Haratines‟
was extended to people still in dependence, too. Desertification and urbanization concurred to free
some slaves, who moved in the ghettos of Nouakchott where they began to be aware of their
exploitation and of their different identity from Arab-Berber masters. From 2008, a new impulse to
antislavery fight came from IRA Mauritanie, which leader Biram Ould Dah Ould Abeid innovated
and radicalised the protest. Moreover, IRA Mauritanie affirms that the Haratine community is
different from the Arab one and that the Haratines have an autonomous identity, which is
characterised by race (“Haratines are black”) and their own Haratine culture.
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Engonga, Ella Rostan Mickael. "Les identités postcoloniales dans le roman francophone : essai d’une poétique de la relation dans l’oeuvre romanesque de Bessora." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3109.
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Autour des années 1930, Léopold Sédar Senghor, Aimé Césaire, Léon Gontran Damas et les autres lancent le mouvement de la Négritude. Leur lutte s’oriente vers une convocation poétique et une réappropriation de l’Afrique. En effet, après la prise en compte des valeurs africaines et leur mise en pratique, il faut donc penser et écrire à la manière africaine. Les créations littéraires issues de ce mouvement littéraire étaient donc essentiellement orientées vers l’Afrique, vers cet espace topographique connu et fixe. Dans cette revendication légitime, l’identité du sujet nègre est à rechercher en Afrique, la Négritude participe donc à une sorte de « fixité identitaire ». Les années 1990 voient l’émergence d’une nouvelle génération d’écrivains africains francophones qui, pour la plupart, vivent et mènent leurs activités littéraires en Europe (Bessora, Alain Mabanckou, Kossi Efoui, Calixte Béyala, etc.). Cette quatrième génération d’écrivains africains francophones lutte contre une sorte « d’assignation à résidence » et revendiquent une littérature ouverte sur le monde. À ce sujet, Bessora, comme beaucoup d’autres écrivains de sa génération, évolue en marge d’un espace géographique fermé, elle assume son appartenance à un monde qui abolit les frontières géographiques, esthétiques et même genrologiques. Bien qu’assumant ses origines africaines, Bessora coupe tout lien avec son espace géographique pour inventer et conquérir de nouveaux territoires. Dès lors, Bessora n’écrit plus l’Afrique dans une posture figée et afro-centrée, mais elle invite plutôt à la réalisation du « Tout-Monde » glissantienAround Around the 1930s, Léopold Sédar Senghor, Aimé Césaire, Léon Gontran Damas and others launched the Negritude movement. Their struggle is a poetic evocation and a reappropriation of Africa. Indeed, after the taking into account of African values and their implementation, one must think and write in the African way. The literary creations resulting from this literary movement were therefore essentially oriented towards Africa, towards this fixed and known topographic space. In this legitimate claim, the identity of the Negro subject is to be sought in Africa; Negritude is therefore involved in a kind of “fixed identity”. The 1990s saw the emergence of a new generation of francophone African writers who mostly live and conduct their literary activities in Europe (Bessora, Alain Mabanckou, Kossi Efoui, Calixte Béyala, etc.). This fourth generation of francophone African writers struggle against a kind of "house arrest" and advocate a literature open to the world. In this regard, Bessora, like many other writers of her generation, evolves on the fringe of a closed geographical space; she assumes membership in a world that abolishes geographic, aesthetic and even genrologicals frontiers. While not denying her African origins, Bessora cuts all ties with her geographical space in order to invent and conquer new territories. Consequently Bessora no longer writes about Africa from a frozen and African-centered position, but rather calls for the realization of “All-World” of Glissant
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Gordon, Jody Michael. "Between Alexandria and Rome: A Postcolonial Archaeology of Cultural Identity in Hellenistic and Roman Cyprus." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337290654.
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Mohan, Gita. "Translation and the quest for self-identity in postcolonial Indian Anglophone and Maghrebian Francophone literature." Thesis, University of Salford, 2008. http://usir.salford.ac.uk/43049/.
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This thesis starts with the hypothesis that postcolonial works from India and the three North African countries of Algeria, Morocco and Tunisia show remarkable similarities in their literatures and that the translation of these works into other European languages poses similar issues to the translator. In an attempt to bridge the gap between Anglophone and Francophone literary productions, my thesis analyzes novels from India and the Maghreb by writers like Salman Rushdie, Vikram Seth, Tahar Ben Jelloun, Driss Chraibi, Albert Memmi and Leila Sebbar. I begin by discussing the areas as Postcolonial spaces and draw out the similarities in Form and Content found in the novels. Then, the thesis looks at one of the main themes in the novels - the Quest for Self-Identity, as opposed to the quest for national identity (which was the preoccupying concern for newly-freed citizens of the colonies). A framework based on works by Freud, Kristeva, Bhabha and Khatibi serves as the basis on which to analyze the quest. The focus then shifts to the Translation Studies aspect of the thesis. Detailed case studies analyze passages from the Source and Target texts - Maghrebian Francophone novels and their translations into English; and Indian Anglophone novels and their translations into French. A simplified version of the framework put forth by Kitty Van Leuven-Zwart is used for these case studies, from which conclusions are arrived at.
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de, Carvalho Xénia Venusta. "The construction of knowledge in postcolonial societies : identity and education over three generations in Mozambique." Thesis, University of Brighton, 2016. https://research.brighton.ac.uk/en/studentTheses/557a21d0-6cbe-4a18-a9e4-ecc1e5ef310c.
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This thesis focuses on the construction of knowledge in the education system in postcolonial Mozambique over three generations of students and how this has impacted on their personal and social identity. The students have a schooling journey from primary education until university in post-colonial Mozambique, a former Portuguese colony that achieved independence in 1975. Each generation is linked to a specific political and ideological period in Mozambique (i.e. 1st generation and Marxism-Leninism or Socialism; 2nd generation and Democracy; and 3rd generation and Global Capitalism or Neo-Liberalism) sharing common experiences and a social memory about the Civil War (1976-1992). Three generations of students in post-colonial societies is underresearched.
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Adkins, Christopher David. "Get Ye A Copper Kettle: Appalachia, Moonshine, and a Postcolonial World." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6610.
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For little over a century, the American region of Appalachia was an internal mineral colony of the United States. This internal colonization produced innumerable negative environmental and economic effects, as well as – most insidious of all – the constructed stereotype of the Hillbilly that even in the Twenty-First Century refuses to die. Yet part and parcel of that same stereotype is something found all over Appalachia, representing a freedom, an identity, and an heritage so long denied to Appalachia and the Appalachian people on its own terms: moonshine, the colorless, unaged corn whiskey long produced both in Appalachia and its Celtic cultural antecedents in Europe.
I use the pioneering work of Ronald D. Eller and Helen Matthews Lewis for the much-needed re-identification of Appalachia from the American Civil War onward to the 1960s as an internal mineral colony, the theoretical framework laid out by Étienne Balibar and Immanuel Wallerstein's joint theories on core-periphery relations, and some theories on the latter's reversal by the tourism industry in the work of Dean MacCannell. However, with them, I go further: in the contemporary day and age, most if not all of the challenges Appalachia presently faces is due to it falling away from colonization and having entered into a postcolonial state, and that only a newfound rootedness in the facets of traditional culture can assuage, and perhaps reverse it.
I draw upon the cultural, social, and economic history of the home distilling of corn liquor – moonshine and moonshining. I show that, although found outside of the Appalachian region, moonshining should be best understood to be most closely associated with Appalachia and the Appalachian people. Further, I deconstruct, at least partially, the Hillbilly stereotype and show that part of its makeup – the making and drinking of moonshine – should instead be understood as a component of Appalachian culture and heritage.
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Mantovani, Alexandra. "The languages of postcolonial ireland and their potential for cultural expression." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amslaurea.unibo.it/7496/.
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Ireland is a country in which two languages are spoken: English and Irish. This thesis analyzes the historical relationship between the languages, the cultural codes and meanings attached to each of them, as well as how much of the culture of its speakers each is able to carry. Beyond that, the influence the two languages have exercised on one another and their mutual entwinement is taken into closer examination.
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Chang, Ti-Han. "The Role of the Ecological Other in Contesting Postcolonial Identity Politics : an Interdisciplinary Study of the Postcolonial Eco-literature of J.M Coetzee and Wu Ming-yi." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE3014/document.
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Cette thèse présente une analyse comparée des œuvres de deux écrivains contemporains, John Maxwell Coetzee (1940-), originaire d’Afrique du Sud, et Wu Ming-yi (1971-), de Taïwan, que l’on associe au genre de la « littérature écologique postcoloniale ». À partir de leurs travaux, cette thèse propose une étude interdisciplinaire couvrant trois dimensions de leurs travaux : la théorie, la politique et le littéraire. Les textes choisis pour l’analyse sont ceux qui cherchent à la fois à fournir une image dystopique de l’exploitation des environnements naturels et des êtres non-humains et à représenter l’oppression coloniale des peuples colonisés et de l’exploitation des ressources naturelles dans différentes parties du monde. En ce qui concerne la dimension théorique, la thèse aborde le questionnement suivant : comment la philosophie occidentale contemporaine prend en compte les animaux et les êtres écologiques (êtres non-humains et non-animaux), afin de reconsidérer la question plus générale de l’altérité. Quant à la dimension politique, la thèse adopte une posture philosophique afin de questionner les contextes historiques des pays postcoloniaux, notamment ceux de l’Afrique du Sud et de Taïwan. Enfin, la dimension littéraire examine les écrits de Coetzee et de Wu afin de montrer comment leurs textes décrivent l’« autre écologique » (ecological other) en tant que moyen pour lutter contre l’identité politique postcolonialeThis thesis presents the literary works of two contemporary writers—John Maxwell Coetzee (1940-), originally from South Africa, and Wu Ming-yi (1971-) from Taiwan—whom it analyses as key exponents of postcolonial eco-literature. The thesis offers an interdisciplinary study of their works in their theoretical, political and literary aspects. The texts selected for analysis are those that seek to present a dystopian image of the exploited natural environment or nonhuman entities, while, at the same time, associating and articulating these representations with the suppressions and exploitations carried out within colonial frameworks in different parts of the world. As regards the theoretical perspective of the thesis, it addresses the subject of how contemporary continental philosophy takes nonhuman animals and other kinds of ecological beings into account and rethinks the philosophical question of the other. With respect to politics, it contextualises this philosophical questioning by looking at the history of various postcolonial countries, notably South Africa and Taiwan. Lastly, as far as literature is concerned, it examines the writings of Coetzee and Wu in order to show how their texts depict the ecological other as a way of contesting postcolonial identity politics
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Onnis, Ramona Iolanda. "Une lecture postcoloniale de l'oeuvre de l'écrivain sarde Sergio Atzeni." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100036.
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Ce travail de recherche propose une lecture de l’œuvre littéraire de l’écrivain sarde Sergio Atzeni selon une perspective postcoloniale. Sergio Atzeni étant une personnalité novatrice dans le panorama littéraire de la Sardaigne contemporaine, nous l’avons choisi du fait que sa production – narrative, poétique et critique – se prête bien à une analyse utilisant les critères des études postcoloniales. Nous avons ainsi développé notre discours autour de trois parties : la première est consacrée à repérer, au sein des Postcolonial Studies, une série de concepts-clés qui nous ont paru les plus pertinents pour notre étude. Ces thèmes sont repris et explorés lors de la deuxième partie, qui constitue le centre de notre travail et qui porte sur une étude approfondie de la postcolonialité thématique de notre auteur. Notre but a été de montrer qu’un certain nombre de questions et de motifs qu’Atzeni aborde dans ses textes littéraires et critiques sont éclairés par une lecture de type postcolonial. La troisième et dernière partie porte sur la traduction, Atzeni ayant été également un traducteur. Nous nous sommes penchée sur la conception de l’écriture de l’auteur, avant même d’examiner sa position traductive. Après ces réflexions initiales d’ordre théorique, nous avons analysé un premier cas de traduction : celui du roman Texaco, de Patrick Chamoiseau, qu’Atzeni a traduit en 1994. Notre travail de recherche se termine par une analyse des traductions françaises des ouvrages d’AtzeniOur research tries to read the literary work of the Sardinian writer Sergio Atzeni according to a postcolonial perspective. Sergio Atzeni was a pioneer personality in the panorama of Sardinian contemporary literature and we have chosen him because his narrative, poetic and critical work can be analyzed following the approach of the Postcolonial Studies movement. Our study is divided into 3 parts: the first one aims at analysing in the Postcolonial Studies a series of questions appearing relevant for our research. We can mention some topics, such as opposition to dominant power, the concept of Subalternity, Transnationalism, Hybridity, Migration, female representations, and many others. These topics have been examined in the second part, which is the core of our research, dedicated to an extensive study of Atzeni’s thematic Postcoloniality. Our purpose was to show that some questions Atzeni talks about in his literary and critical works lend itself to a Postcolonial reading. The third and last part of our thesis focuses on translation, as Atzeni was also a translator. We looked into his linguistic conceptions, before analyzing his thought concerning his translation activity. After these theoretical considerations, we have analyzed a first translation case, that of Texaco, Patrick Chamoiseau’s novel, translated by Atzeni in 1994. The last part of our research focuses on Atzeni’s French translations
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Ngara, Kudzayi Munyaradzi. "Imagining and imaging the city – Ivan Vladislavić and the postcolonial metropolis." University of Western Cape, 2011. http://hdl.handle.net/11394/3353.
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Philosophiae Doctor - PhDThis thesis undertakes an analysis of how six published works by the South African writer Ivan Vladislavić form the perspective of writing the city – Johannesburg – into being. Beginning from the basis that Vladislavić’s writing constitutes what I have coined dialogic postcolonialism, the thesis engages with both broader contemporary urban and postcolonial theory in order to show the liminal imaginative space that the author occupies in his narrations of Johannesburg. Underlining the notion of postcolonialism being a “work in progress” my thesis problematises the issue of representation of the postcolonial city through different aspects like space, urbanity, identity and the self, and thus locates each of the texts under consideration at a particular locus in Vladislavić’s representational continuum of the continually transforming city of Johannesburg. Until the recent appearance of Mariginal Spaces – Reading Vladislavić (2011) the extant critical literature and research on the writing of Ivan Vladislavić has, as far as I can tell, not engaged with his work as a body of creative consideration and close analysis of the city of Johannesburg. Even this latest text largely consists of previously published reviews and articles by disparate critics and academics. The trend has therefore largely been to analyse the texts separately, without treating them as the building blocks to an ongoing and perhaps unending project of imaginatively bringing the city into being. Such readings have thus been unable to decipher and characterise the threads which have emerged over the period of the writer’s literary engagement with and representation of Johannesburg. I suggest that, as individual texts and as a collection or body of work, Ivan Vladislavić’s Missing Persons (1989), The Folly (1993), Propaganda by Monuments and Other Stories (1996), The Restless Supermarket (2006 – first published in 2001), The Exploded View (2004) and Portrait with Keys: Joburg & what-what (2006), are engaged in framing representations of the postcolonial city, representations which can in my view best be analysed through the prism of deconstructive engagement. To this end, the thesis examines contemporary South African urbanity or the post-apartheid metropolitan space (as epitomised by the fictive Johannesburg) and how it is represented in literature as changing, and in the process of becoming. As a consequence, the main conclusion I arrive at is on how the irresolvable nature of the city is reflected in the totality of Ivan Vladislavić’s writing. In that way, it was possible to treat every text in its own right (rather than forcing it to conform to an overarching thesis). This central insight allowed for the effective application of urban theory to the close readings of the texts.
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Aiyer, Subramaniam. "From colonial segregation to postcolonial 'integration' - constructing ethnic difference through Singapore's Little India and the Singapore 'Indian'." Thesis, University of Canterbury. School of Culture, Literature and Society, 2007. http://hdl.handle.net/10092/2782.
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In Singapore the state defines the parameters of 'ethnic' identity on the basis of the ideology of multiracialism, in which any particular 'ethnic' identity is subsumed under national identity and permitted expression in cultural and economic, but not political, terms. Multiracialism's appeal for the state as well as for its citizens lies in its objective: social cohesion between and equality for the four officially recognized 'racial' groups. Nevertheless, from the viewpoint of the 'Indian' community, this thesis demonstrates how the multiple layers of meaning given to the doctrine and practice of multiracialism by various social actors and their interactions create tensions and contestations in reconciling 'ethnic' and national identity. Public expression of 'ethnic' politics is considered by the state as subversive towards the nation, although the state itself implements its ideology through a stringent regime of 'racial' management directed at every aspect of a Singaporean's social, cultural, economic and political life. The thesis addresses important issues involving 'racial' and 'ethnic' identity, modes of 'ethnic' interaction and nation building in the multiethnic and globalised context of Singapore in general and in 'Little India' in particular. This area, though theoretically democratic in nature, is embedded in state-civil society power relations, with the state setting the agenda for 'ethnic' maintenance and identity. My research interviews demonstrate the dominating and hegemonic power of the state, its paternalistic governance, and its wide network of social control mechanisms organizing 'ethnicity' in Singapore. The historical decision, made firstly by the British colonial administration and thereafter perpetuated by the nation state, to make 'race' the basis of all social classification has had far-reaching consequences. With the postcolonial state wishing to be the sole authority over 'ethnic' practices and discourse, Singaporeans' lives have been heavily conditioned by its impact, which I argue resembles to some extent the 'divide and rule' policy of the colonial regime. 'Race' as the structuring principle and accepted reality of Singapore society since colonial days is so entrenched that it has been essentialised and institutionalised by the state as well as by the people in contemporary Singapore. The terms 'race' and 'ethnicity' are used interchangeably and synonymously in daily usage, though "race" is preferred by political leaders, academics and the population at large. I will argue that with 'race' as the reference point ethnic communities that migrated from China, India and other places became socially, culturally and economically segregated and polarised from colonial days to such an extent that extensive stereotypes and prejudices have fed on their lives. Such perspectives have led to differing constructions of national identity discourses presented by the nation state based on its objectives of 'racial' integration, economic development and national identity. By way of interview and survey material I demonstrate that 'race', ethnicity and national identity as defined and managed by the state have not only been inextricably linked in the everyday lives of Singaporeans but more importantly they have resulted in a resurgence of ethnic consciousness in the last three decades or so, thereby undermining the state's attempts at national identity. My findings are based on responses by Singaporean Indians to various social engineering policies employed by the state as strategies for integrating the diverse ethnic groups and anchored on the ideologies of multiracialism, multiculturalism, multilingualism, multireligiosity and meritocracy. My respondents perceive that these policies are not proactive in fostering 'racial' integration because of growing social and economic inequalities brought about by the collision of ethnic and national identities with 'race'. They feel that the government has strayed from its declared goal of 'multiracialism', emphasized all along as critical to the strength, stability and growth of the nation. Such a situation, they argue, does not augur well for a common national identity that remains elusive in the eyes and minds of Singaporeans.
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Moussa, Ghaida. "Narrative (sub)Versions: How Queer Palestinian Womyn 'Queer' Palestinian Identity." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/20227.
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In asking ‘How do queer Palestinian womyn ‘queer’ Palestinian identity”, the present research focuses on the various forms of traditional, narrative, and creative resistance practices of Palestinian womyn who challenge the following three narratives: 1) the national narrative which tags ‘queer’ as ‘Other’ and which posits the national movement at the top of the hierarchy of struggles; 2) the colonial narrative which is sustained by the Israeli public relations campaigns aiming to portray Israel as a modern, progressive, safe gay haven for queers, in opposition to a Palestine and Arab World which are said to be integrally homophobic, barbaric, regressive, etc. in an attempt to ‘pinkwash’ the occupation; and 3) the neocolonial narrative in which Western and Israeli Jewish queer movements reproduce colonial dynamics in their attempt to ‘save’ Palestinian queers who are deemed to be powerless, voiceless victims in need of saving.
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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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Ridley, Jillian Dunbar. "Other/self : an interrogation of violence and identity in Algerian colonial and postcolonial literature 1940-2000." Thesis, University of Kent, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520889.
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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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El, Khoury Mona N. "Remnants of the Franco-Algerian Fracture: The Struggle With Postcolonial Minority Identity in Contemporary Francophone Literature." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493357.
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This dissertation examines colonial legacies and transnational identities in the works of four francophone writers from Algeria: Hélène Cixous, Zahia Rahmani, Nina Bouraoui, and Boualem Sansal. Their autobiographical and fictional texts focus respectively on the history and memory of a particular minority identity singled out by French colonialism: the Jews of Algeria, the Harkis (indigenous Algerians who fought in the French Army during the War of Independence), the “métis” (mixed-race) individuals, and the “pieds-noirs” (European settlers). The memory of these historical minorities still continue to shape identities in contemporary Algerian and French societies, beset by “wars of memory” about the colonial past and the War of Independence. The writers’ texts confront the official memory and national narratives of both France and Algeria. By employing literature as a tribunal for history and by constructing a memorial discourse dissonant with official historical narratives, these writers not only disrupt the public understanding of Franco-Algerian history, but also blame the French and Algerian governments for their personal or collective tragedies. The political charge is carried within the texts’ particular stories of exile and loss. The four narrators in their respective texts are like orphans of Algeria displaced in France mourning the double loss of the Algerian land and their father, who embodies the country of origin.Romance Languages and Literatures
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Blackburn, Sarah-SoonLing. ""Almost the same, but not quite" postcolonial Malaysian identity formation in Lat's Kampung boy and Town boy /." Diss., Connect to the thesis, 2009. http://hdl.handle.net/10066/3613.
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