Дисертації: "Primitivism and Postcolonial Studies"

1

Norton, Steven. "Primitivism and Contemporary Popular Cinema." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19678.

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This dissertation is a postcolonial analysis of four films: The Gods Must Be Crazy (1980), Dances with Wolves (1990), The Last Samurai (2003), and Avatar (2009). While previous scholarship has identified the Eurocentric worldview of early 20th-century ethnographic film, no book-length work has analyzed the time consciousness of turn-of-the-21st century films that feature portrayals of the colonial encounter. By harmonizing film theory with postcolonial theory, this dissertation explores how contemporary films reiterate colonial models of time in ways which validate colonial aggression. This dissertation concludes that the aesthetics of contemporary popular cinema collude with colonial models of time in such a way as to privilege whiteness vis-à-vis constructions of a primitive other. Contemporary primitivism works through the legacy of classical Hollywood style, nostalgia for the western film, the omnipotence of the white male gaze, and a reverence for technology.

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2

Fleury, Hélène. "Réception et globalisation des peintures du Mithila : médiations dans un champ culturel transnational." Electronic Thesis or Diss., université Paris-Saclay, 2024. http://www.theses.fr/2024UPASK013.

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L'art du Mithila désigne des formes rituelles et artistiques pratiquées au Bihar (Inde) et au Teraï (Népal). Issue de fresques réalisées par les femmes, aux marges de valeurs brahmaniques androcentrées, l'artification marchande globalisée des peintures conduit à des reconfigurations créatives, discursives, sociales, déplaçant vers le centre les peintres du Mithila.Le montage de plus de 500 expositions dans 36 pays (1935-2019) montre une accélération des circulations des œuvres artifiées et de leurs créatrices du Sud global, jouissant de formes de reconnaissance dans un monde de l'art dominant dont elles sont souvent exclues, en raison de subalternisations multiples (genre, caste, classe, clivages Nord/Sud et urbain/rural). L'histoire connectée de la réception transnationale de leur art s'étend du moment colonial tardif et de la postindépendance au moment postmoderne, en lien avec le tournant global, catalysé par le kairos indophile et contreculturel des Long Global Sixties. Une pensée critique prônant l'empowerment, basée sur le lien entre féminismes et indophilie contreculturelle favorise l'engagement sur le terrain de l'artification de médiateurs transculturels.Le moment colonial tardif et de la postindépendance est représenté par M. et W. Archer et des artistes-médiateurs gouvernementaux indiens comme U. Maharathi, fondateur de l'institut de design de Patna. Les Archer interprètent des pratiques à l'aune d'une vision organique de l'art et d'une esthétique universelle liées au freudisme et aux avant-gardes. Leader indépendantiste, Maharathi expose et commercialise l'art du Mithila. Ses ambitions de patrimonialisation résonnent avec l'affirmation d'une indianité liée à la construction de l'identité nationale. L'artification marchande se construit vers les années 1930, avant qu'une crise agricole, alimentaire et politique (1966-67) n'agisse comme catalyseur des circulations globales et de la légitimation des peintres. Avec l'entrée dans la première phase de mondialisation de la réception, celle de l'indophilie contreculturelle, des médiateurs transculturels (Y. Véquaud, E. Moser Schmitt, R. et N. Owens, T. Hasegawa) se situent dans un champ culturel transnational postbourdieusien traversé par des tensions, des convergences idéelles (féminisme, justice sociale) et des dissonances: bohème artistique et littéraire vs anthropologie appliquée au développement; intensification des flux marchands globaux vs idéalisme critique contreculturel et utopie communautaire villageoise. L'éphémère convergence de passeurs de (contre)culture et de médiateurs indiens autour d'un modèle alternatif fait advenir un kairos et un monde de l'art transculturel, décloisonné. Ce nexus entre médiateurs construit des figures féministes de peintres autour d'un art des marges et de la résistance créative. Le moment postmoderne de la globalisation tardive introduit pluralité discursive et déconstruction de visions du Nord-global réifiées, androcentrées et primitivistes et de la triangulation féminisme libéral-développement-tourisme. Les peintures sont réinterprétées à l'aune d'une « contemporanéité multiple » axée sur le flux ou d'identités imbriquées translocales, subversives au prisme des tournants postcolonial et de genre.Le kairos contreculturel est unique dans l'histoire de la réception de l'art maïthil, dont l'éphémère convergence des artificateurs est souvent occultée. Il ouvre la voie aux circulations globales, à la construction d'un champ transnational, à la déconstruction de la valeur d'«authenticité». L'art des femmes peintres entre sur la scène contemporaine globalisée, réapprécié à l'aune de canons transnationaux. En résultent transferts et hybridations entre contreculture et féminismes, en Inde et dans le Nord global. S'y forge une pépinière artistique et un catalyseur du mouvement des femmes, ouverts au féminisme inclusif et à une effervescence créative, leviers d'un changement de paradigme dans les renouvellements des artistes du Mithila
Mithila art refers to ritual and artistic forms practised in Bihar (India) and the Terai (Nepal). Originating in frescoes painted by women on the margins of androcentric Brahmanic values, the globalised commercial artification of paintings has led to creative, discursive and social reconfigurations, moving the Mithila painters from the periphery to the centre.The setup of more than 500 exhibitions in 36 countries (1935-2019) illustrates an acceleration in the circulation of artified artworks and their creators from the global South, who are enjoying forms of recognition in a dominant art world from which they are frequently excluded, due to multiple oppressions (gender, caste, class, North/South and urban/rural divides). The connected history of the transnational reception of their art can be traced from the late colonial and post-independence moment to the postmodern moment, in connection with the global turn that was catalysed by the indophile and countercultural kairos of the Long Global Sixties. Critical thinking that advocates empowerment, based on the nexus between feminisms and countercultural indophilia, fosters a commitment to the artification of transcultural mediators.The late colonial and post-independence moment is represented by M. and W. Archer and Indian government artist-mediators such as U. Maharathi, the founder of the Patna Design Institute. The Archers employ practices an organic conception of art and a universal aesthetics, which is linked to Freudism and the avant-garde, to interpret practices. Maharathi, an independence leader, exhibits and commercialises Mithila art. His ambitions for heritagisation resonates with the assertion of an Indianness linked to the construction of national identity. Commercial artification began to develop in the 1930s, preceding an agrarian, food and political crisis (1966-67) that acted as a catalyst for global circulation and the legitimisation of painters. With the entry into the first phase of globalisation of the reception, that of the countercultural indophilia, transcultural mediators (Y. Véquaud, E. Moser Schmitt, R. and N. Owens, T. Hasegawa) are situated within a post-Bourdieusian transnational cultural field characterised by an array of tensions, ideological convergences (feminism, social justice) and dissonances: artistic and literary bohemia vs. anthropology applied to development; intensification of global trade flows vs. critical countercultural idealism and village community utopia. The ephemeral convergence of (counter)cultural brokers and Indian mediators around an alternative model has given rise to a kairos and a transcultural, decompartmentalised art world. This nexus between mediators constructs feminist figures of painters around an art of the margins and creative resistance.The postmodern moment of late globalisation introduces a discursive plurality and the deconstruction of reified, androcentric and primitivist visions of the Global North, as well as the ‘liberal feminism-development-tourism' triangulation. The paintings are reinterpreted in terms of a ‘multiple contemporaneity' centred on flux, or of overlapping translocal and subversive identities, in the prism of postcolonial and gender shifts.The countercultural kairos is unique in the history of the reception of Maithil art, whose ephemeral convergence of artificators is often overshadowed. This paves the way for global circulation, the construction of a transnational field, and the deconstruction of the value of ‘authenticity'. The art of women painters enters the globalised contemporary scene, reappraised in the terms of transnational canons. This has resulted in transfers and hybridisations between counterculture and feminism, in India and in the Global North. An artistic incubator and a catalyst for the women's movement is being forged, open to inclusive feminism and creative effervescence, which serve as levers for a paradigm shift in the renewal of Mithila artists

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3

Dacey, Katherine. ""Gershwin Gone Native!": The Influence of Primitivism and Folk Music on "Porgy and Bess"." W&M ScholarWorks, 2001. https://scholarworks.wm.edu/etd/1539626290.

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4

Smart, Kirsten. "National consciousness in Postcolonial Nigerian children's literature." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/22880.

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This project highlights the role of locally produced children's written literature for ages six to fourteen in postcolonial Nigeria as a catalyst for national transformation in the wake of colonial rule. My objective is to reveal the perceived possibilities and pitfalls contained in Nigerian children's literature (specifically books published between 1960 and 1990), for the promotion of a new national consciousness through the reintegration of traditional values into a contemporary context. To do this, I draw together children's literature written by Chinua Achebe, Cyprian Ekwensi and Mabel Segun in order to illustrate the emphasis Nigerian children's book authors writing within the postcolonial moment placed on the concepts of nation and national identity in the aim to 'refashion' the nation. Following from this, I examine the role of the child reader in relation to the adult authors' intentions and pose the question of what the role of the female is in the authors' imagining of a 'new nation'. The study concludes by reflecting on the persistent under-scrutiny of children's literature in Africa by academics and critics, a preconception that still exists today. I move to suggest further research on the genre not only to stimulate an increased production of children's literature more conscious in content and aware of the needs of its young, (male and female) African readership, but also to incite a change in attitude toward the genre as one that is as deserving of interest as its adult counterpart.

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5

York, Christopher W. (Christopher Warren) 1972. "Anthropology of nostalgia : primitivism and the antimodern vision in the American Southwest, 1880-1930." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/39224.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2001.
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Includes bibliographical references (leaves 120-123).
Introduction: Zoo, garden, arcade--three places emblematic of European society's pleasure in and subjugation of animal and plant nature, of the texture of civilized life in a world created by Industry and Progress. This triad, it seems, would stand in opposition to Lummis' oft-repeated formula of "sun, silence, and adobe," and the vision of stillness in the Southwestern hinterland that it evokes. Indeed, few other regions of the United States have so consistently nurtured the cult of the primitive and the peasant that inheres in Lummis' simple paean to adobe. Indian and Hispano both build from adobe; and it, being earth, absorbs these populations back into the land, wedding artisanal, agrarian, and pastoral lives into an integrated vision of ethnicity and region, a spirit of the desert and of the sky. Here only, the modernist regional aesthete would argue, could the authentic American pastoral be found: "there is that genuineness of unfettered simplicity; the closeness to elemental realities in peasant life, which only in New Mexico, of all states, is indigenous." Hence the modernist Southwest was manifestly not a place of Victorian zoos, picturesque gardens, or Parisian shopping arcades. And yet, I would like to argue, the evanescent afterimages of these places--the ways of being and relating that they nurtured and expressed--appear before and behind the crystalline pictures of snow-blanketed desert and azure sky, the lines of Pueblo dancers, the Hispano santero with his wood and his knife, distorting and fragmenting any purely localist vision of Southwestern regionalism. The scent of piñon smoke mingled in the nose of the newly-arrived traveler with smog from factories in New York, Chicago, or Boston, and smelled all the more pungent because of this mixture.
by Christopher W. York.
S.M.

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6

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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7

Settler, Federico. "The production of the sacred in postcolonial Africa." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8192.

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Includes bibliographical references (leaves 167-185).
This study seeks to discuss the persistence of religion in colonial and postcolonial narratives of confinement and exclusion. I begin by first exploring the history of religion in relation to colonial representations of Africa(ns) as savage and, situating the narratives of confinement and exclusion in the context of South Africa's colonial history, I set out to demonstrate the temporal and spatial expressions of the sacred as it is invoked/ produced by both the colonized and colonizer. I then proceed to explore such contests of power to produce the sacred in Frantz Fanon's On National Culture and the indigenous authorities in post-apartheid South Africa. In doing so, I draw upon the resources of postcolonial theory, subaltern studies and African/Fanon studies to demonstrate how strategies of containment and exclusion have been employed to mediate the persistence of the sacred in colonial, anti-colonial and African nationalist discourses. A further distinguishing feature of this study is that it seeks demonstrate through the metaphor of infection, the persistence of religion regardless of, and in fact activated by, these strategies that seek to domesticate and disinfect the sacred.

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8

Noman, Abu Sayeed Mohammad. "Africological Reconceptualization of the Epistemological Crises in Postcolonial Studies." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/491533.

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African American Studies
Ph.D.
“Africological Reconceptualization of the Epistemological Crises in Postcolonial Studies” aims at investigating the epistemological problems and theoretical inconsistencies in contemporary post-colonial studies. Capitalizing the Afrocentric theories of location, agency, and identity developed by Molefi Kete Asante and Ama Mazama, this research takes Afrocentricity beyond the Africological analysis of African phenomenon and demonstrates its applicability in resolving issues that concern human liberation irrespective of race, class, gender, and nationality. To do so, this project juxtaposes the theories of Edward Said, Homi Bhabha, and Gayatri Spivak with the Afrocentric theories of Molefi Asante and Ama Mazama, and demonstrates that the application of Afrocentric methods can help answering severe allegations against postcolonialism raised by a number of critics from within the school itself. Issues concerning spatial and temporal location of the term post-colonial, commodity status of post-colonialism, and crises in the post-colonial pedagogy can be addressed from an Afrocentric perspective based on a new historiography. To support the proposed arguments, the paper provides an Afrocentric analysis of some postcolonial works and shows how the very radical stance of postcoloniality has been neutralized by the Western academy. Simultaneously, the research also shows, despite being ridiculously disparaged as essentialist and racist, Afrocentricity is fundamentally radical and quintessentially emancipatory in its relentless fight against misrepresentation, pseudoscience, and injustice in the name of objective scholarship perpetrated by Eurocentric intellectuals—particularly from Asia and Africa.
Temple University--Theses

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9

Ranwalage, Sandamini Yashoda. "Reperforming Sarachchandralatory:A Nationalist Discourse of Postcolonial Theatre in Sri Lanka." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami15640466703959.

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10

Terpenning, Steven Tyler Spinner. "Choral Music, Hybridity, and Postcolonial Consciousness in Ghana." Thesis, University of Colorado at Boulder, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10271023.

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Ghanaian choral music emerged from the colonial experience through a process of musical hybridity and became relevant in the post-independent state of Ghana. This dissertation begins by exploring how two distinct musical forms developed from within the Methodist and Presbyterian missions in the nineteenth and early twentieth centuries. These musical forms utilized both European hymn harmony and local musical features. The institutional histories and structures of these missions explain the significance of this hybridity and distinct characteristics of the forms. These local-language choral works spread through these institutions despite the attempts of people in leadership positions to keep local culture separate from Christian schools and churches. The fourth chapter explores the broader social impact of the choral tradition that emerged from the Presbyterian mission, and its implications for the national independence movement through the history of one choral work composed by 1929 by Ephraim Amu. Then, based on a case study of the Ghana Broadcasting Corporation and its workplace choir, I examine how intellectual leaders such as Kwabena Nketia have, in the context of the post-independent state of Ghana, promoted choral music as an aspect of national development and unity. Ethnographic work at the GBC reveals the sometimes contentious negotiations that are involved in this process. This dissertation is based on both ethnographic and archival research conducted during three research trips to Ghana from 2012 to 2015. This research reveals how Ghanaians have challenged colonial ideology through composing and performing choral music. Peircian semiotics and postcolonial theory provides a framework for exploring how the hybridity of choral music in Ghana has contributed to the development of postcolonial consciousness there.

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11

Gagnon, Donald P. "Pipe Dreams and Primitivism: Eugene O'Neill and the Rhetoric of Ethnicity." [Tampa, Fla.] : University of South Florida, 2003. http://purl.fcla.edu/fcla/etd/SFE0000122.

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12

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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13

Taulo, Emmanuel Francisco. "African liberation theologies : expressions of a decentred and embodied postcolonial christianity." Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/13026.

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Includes bibliographical references.
This thesis aims at analysing how African liberation theologies can be seen as expressing the ideas of postcolonial .theory and hence producing a decentred and embodied form of Christianity in the postcolonial context. Of course, today debate goes on as to whether or not African liberation theologies have largely died out as a theological tradition in these first years of the twenty-first century. Because of space-constraints, this is one question that I hope to pursue in another work later. However, in this thesis my only aim is to argue that African liberation theologies can be seen as expressing the ideas of postcolonial theory and hence producing a decentred and embodied form of Christianity in the postcolonial context. But before analysing, let us have a good grasp of our context of discussion.

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14

Greedharry, Mrinalini. "Psychoanalysis and its colonial discontents, rethinking psychoanalytic theory in postcolonial studies." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37402.pdf.

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15

Chuh, Kandice. "Toward a more perfect union : transnationalizing Asian American and postcolonial studies /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/9522.

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16

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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17

Ruiz-Aho, Elena F. "Hydric Life: A Nietzschean Reading of Postcolonial Communication." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3529.

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This dissertation addresses the question of marginalization in cross-cultural communication from the perspectives of hermeneutic philosophy and postcolonial theory. Specifically, it focuses on European colonialism‘s effect on language and communicative practices in Latin America. I argue colonialism creates a deeply sedimented but unacknowledged background of inherited cultural prejudices against which social and political problems of oppression, violence and marginalization, especially towards women, emerge—but whose roots in colonial and imperial frameworks have lost transparency. This makes it especially difficult for postcolonial subjects to meaningfully express their own experiences of psychic dislocation and fragmentation because the discursive background used to communicate these experiences is made up of multiple, sometimes conflicting traditions. To address this problem, I turn to a strategic use of Nietzsche‘s conceptions of subjectivity and language as metaphor to engage the unique difficulties that arise in giving voice to the subaltern experience. Thus, I argue that while colonialism introduces an added layer of complexity to philosophical discussions of language, the concrete particularities and political emergencies of Latin American history necessitate an account of language that can speak to these concrete particularities. To this end, I develop a conception of, what I call, ―hydric life,‖ a postcolonial feminist hermeneutics that better accommodates these cultural specificities.

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18

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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19

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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20

Asif, Noor A. "Understanding Postcolonial South Asian Communities Through Bollywood." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/788.

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Inspired by my personal experience as a South Asian-American, I chose to create a series of paintings that seek to analyze the relationship between South Asians and a Western environment. I was further influenced by Bollywood painted posters, which I argue encapsulate postcolonial aesthetics in the form of fair skin, colored eyes, and exoticism. Moreover, I believe that Bollywood has continued to disseminate these aesthetics to the South Asian collective community. Bollywood and its implicit fascination with the West, in addition to its inherently South Asian identity, embody the struggle that many South Asians face. This struggle, which I as a South Asian-American woman painter have also experienced, includes a constant internal conflict between desiring to fit into Western culture and trying to maintain one’s cultural heritage within a Western environment. Ultimately, through these paintings and this essay, I seek to shed light on this complex relationship between South Asian culture and a Western context.

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21

Lok, Mai-chi Ian, and 樂美志. "Cultural understanding in English studies: anexploration of postcolonial and world Englishes perspectives." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B35804749.

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22

Karlsson, Beatrice. "Commodification of Otherness : A qualitative postcolonial analysis of representation in French contemporary cinema." Thesis, Uppsala universitet, Statsvetenskapliga institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-339457.

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This thesis investigates how colonial legacies shape representational practices in contemporary French cinema and interrogates how hierarchical differences are produced and challenged in the cinematic media. Combining the fields of postcolonial theory and culture studies enables a theoretical framework that connects contemporary cultural debates about the politics of representation with the legacies of colonial stereotypes and racialized imageries. Through the application of qualitative content analysis and critical discourse analysis the thesis strives to make a theoretical contribution to the existing body of litterateur that is empirically driven. Additionally an intersectional dimension will be included as the thesis addresses the question of representations in relation to race, gender, class and sexuality and further how power operates through culture as a production of knowledge. The major findings of the thesis consist of how the empirical material reveals how contemporary cinematic expressions reuse colonial racial stereotypes and appropriate blackness as instrumental in commodification of “otherness”. Accordingly the thesis challenges dominant notions of the impact of race in a French context. KEYWORDS: Colonial discourse, representation, cinema, intersectional, appropriation, commodification, otherness.

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Karlsson, Beatrice. "Commodification of Otherness : A qualitative postcolonial analysis of representation in contemporary French cinema." Thesis, Uppsala universitet, Statsvetenskapliga institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-361753.

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This thesis investigates how colonial legacies shape representational practices in contemporary French cinema and interrogates how hierarchical differences are produced and challenged in the cinematic media. Combining the fields of postcolonial theory and culture studies enables a theoretical framework that connects contemporary cultural debates about the politics of representation with the legacies of colonial stereotypes and racialized imageries. Through the application of qualitative content analysis and critical discourse analysis the thesis strives to make a theoretical contribution to the existing body of litterateur that is empirically driven. Additionally an intersectional dimension will be included as the thesis addresses the question of representations in relation to race, gender, class and sexuality and further how power operates through culture as a production of knowledge. The major findings of the thesis consist of how the empirical material reveals how contemporary cinematic expressions reuse colonial racial stereotypes and appropriate blackness as instrumental in commodification of “otherness”. Accordingly the thesis challenges dominant notions of the impact of race in a French context.

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24

Dery, Isaac. "Ghanaian men and the performance of masculinity: negotiating gender-based violence in postcolonial Ghana." Doctoral thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/27944.

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Within contemporary scholarship on formations of gender and their connections to violences, important questions concerning the politics of masculinities arise. Leading scholars, such as Kopano Ratele, argue for African contexts to be theorized beyond frameworks developed by scholars such as Connell, Kimmel, and Messerschmidt, whose research is grounded in work outside the continent's histories. At the same time, many scholars and policy-makers share the recommendation that global goals for a sustainable world-order demand the reduction of violence, especially violence against women and girls. Masculinities scholarship has, overall, explored the meaning of violence against women for diverse masculine constituencies in much less depth than it has engaged questions of the constructions of hegemonies, the experiences of violence within men's own lives, and the impact of changing economic and political orders on constructions of masculinity. This thesis seeks to address the gap between theorization on masculinity which respects diversity and complexity and theorization on violence against women, particular intimate partner violence within marriage, which tends to imagine a homogenous perpetrator: husband. It is vitally important to investigate and contextualize the discourses of people gendered as 'men', within very specific contexts, to explore the connections made between 'becoming men' and the meaning of domestic violence in their own spaces. Of particular focus in this thesis is an interrogation of the place of domestic violence in men's social worlds. The thesis contributes to knowledge on masculinities by offering an unusually detailed set of culturally sensitive and contextual insights into the social world that is iteratively navigated by married men in a manner to gain recognition as credible, a world in which previous research has already revealed to include women's experiences of abuse, discrimination, and stigma from their husbands. The thesis uses qualitative methods to generate material from men in north-western Ghana through in-depth interviews and focus group sessions. The work takes as a useful entry point the lived experiences, language, and vernacular understandings of people who are, in twenty-first century Ghana, legally criminalized for domestic violence. While such criminalization is welcome, from diverse points of view, the research undertakes a complex qualitative search into how possible 'perpetrators' themselves construct the connection between masculinity, the contemporary socio-economic order, and violence against women, especially wives. The material is analyzed intensively through thematic discourse analysis, and the argument overall is that that violence against wives is discursively connected to how the 'states' and 'citizens' discursively construct masculinity, femininity, and the credibility of violence within a larger gender-nation battle. The analysis simultaneously reveals a dramatic distinction between the construction of violence against wives as legitimate 'correction' (something far from a criminal court) and its construction as 'abusive,' and thus potentially actionable. This distinction alone deepens an understanding of the difficulty of implementing any Domestic Violence Acts, and also leads to questions about the construction of homosociality as a zone of safety and status, one threatened by behaviour from twenty-first century wives. This thesis both confirms earlier research on masculinities and domestic violence in its clear revelation of discursive collusion between men on the appropriate forms of disciplining intimate partners, and also suggests some debate in this collusion. The overarching contribution of the research comes in its argument that the possibility of domestic violence is embedded within contemporary meanings for masculinity, wifehood, marriage and the nation.

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Svensson, Martin. "Postcolonial Literature in Swedish EFL Teaching: : A Didactic Consideration of Teaching Postcolonial Literary Concepts with Examples from Arvind Adiga's The White Tiger." Thesis, Jönköping University, Högskolan för lärande och kommunikation, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-49912.

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This study examines what support that exists in the Swedish upper secondary school curriculum and the English 7 syllabus for teaching postcolonial literature and the postcolonial literary concepts of binary pairs and Othering. This study also illustrates how Arvind Adiga’s The White Tiger (2008) could serve as an example of a postcolonial novel to exemplify said concepts in the EFL classroom. To answer these questions, a definition of the postcolonial genre as well as a definition of the concepts within postcolonial literary theory was formulated. With the theoretical framework in place, an analysis of the steering documents was conducted. The Swedish curriculum’s focus on the teaching of every human’s equal value and rights relate to the postcolonial genre, as the genre is dedicated to telling marginalised perspectives in the modern world. The syllabus states that teaching different genres of literature and the usage of different perspectives in the classroom should be a part of the English subject. This supports the teaching of postcolonial literature as it is a successor to Western classics as well as shift in perspective from the colonisers to the colonised. The teaching of the concepts of binary pairs and Othering were indicated to be potentially challenging to practically implement, as literary didactic literature stated the difficulties of adapting literary theory to an upper secondary school level. Teaching literary concepts was indicated to be achievable provided that teachers teach theory with clear guidance of what context to use it in and where not to use it. As for binary pairs and Othering within Adiga’s The White Tiger (2008), the examples focused on were the Indias of Light and Darkness, and how this binary pair Othered one another. As such, the results were found to indicate that there is support for teaching postcolonial literature as well as postcolonial concepts, and that Adiga’s novel would be an adequate text to use for exemplifying these in the classroom.

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26

Venter, Carina. "Experiments in postcolonial reading : music, violence, response." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:7d8db9f2-a2c4-4ed2-a627-a330db30b7c9.

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This thesis is a response to a lacuna in musicology, namely the near absence of postcolonial and decolonial epistemologies. Employing both diachronic and synchronic perspectives, it provides a historical overview of the institutional positioning of musicology as an academic discipline founded on structures of expectation and exploitation indebted to Western imperialism. This longer historical view is accompanied throughout by an examination of ethics in its institutionalised forms, specifically in the domains of knowledge production and the university. The thesis maintains that while such ostensibly ethical underpinnings may promise redress on the basis of the violence inflicted by an imperialist past, the discourse employed in its application in fact serves to strengthen the ideological hold of Western hegemony and, in so doing, betrays the promise of reparation that ethics is ordinarily understood to encompass. The thesis examines different aesthetic and epistemological manifestations of the postcolonial, considering at length Steve Reich's string quartet, Different Trains (1988), Philip Glass's opera, Waiting for the Barbarians (2005), and Philip Miller's choral work, REwind: A Cantata for Voice, Tape and Testimony (2006). Both content and style weave these works together as they engage, by means of a post-minimalist aesthetic, stream-of-violence narratives intimately bound up with the postcolonial condition. Of particular importance in the consideration of these musical texts is the urgent necessity for epistemological transformation, marked in musicology as the lack of post- and decolonial perspectives. Finally, the thesis grapples with the (im)possibility of complicit scholarship that must, through its very expression, wound its subject.

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Phetlhe, Keith. "Decolonizing Translation Practice as Culture in Postcolonial African Literature and Film in Setswana Language." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1585864989276825.

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28

Lok, Mai-chi Ian. "Cultural understanding in English studies an exploration of postcolonial and world Englishes perspectives /." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B35804749.

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29

Ward, Shelby Elise. "Strange(r) Maps: The cosmopolitan geopolitics of Sri Lankan tourism." Diss., Virginia Tech, 2019. http://hdl.handle.net/10919/88985.

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Concerned with the ongoing coloniality within the form and interactions of international relations, this project examines the legacy of colonial mapping practices on contemporary geopolitics. Specifically, I investigate Sri Lankan tourist maps as subversive examples of the politics of vision implicated within the historical formation of island-space under colonial mapping practices (i.e. Portuguese, Dutch, and British), and the contemporary political implications of the island geography as the state, including exclusionary identity politics during the the civil war (1983-2009). Using a mix-analysis approach, including interviews, participatory mapping, and autoethnography, as well as feminist, postcolonial, and critical theoretical lenses, I argue that Sri Lankan tourist maps serve as examples of the historically developed and continued right to space, mobility, representation, and resources between the Global North and South in what I term "cosmopolitan geopolitics." As geopolitics can be identified as the relationship between territories and resources, cosmopolitan geopolitics is concerned with the power relations when such elements as culture, authenticity, history, and religion are marked in places, people, and experiences as valued resources within the international tourist economy, particularly in this project which connects the colonial histories of mapping, travel, and international relations. In order to address the imperial, masculine politics of vision this project is separated into two parts: the first is concerned with the ontology and colonial legacy the map (Chapters 1-3), the second with the politics of the map, including exclusionary politics of the nation state (Chapters 4-6). Chapter 1 investigates the politics of island space as represented on the tourist map, where the state serves as both a "treasure box" and "caged problem." Chapter 2 argues that the cartoon images and icons serve as a resource map for contemporary geopolitics, and Chapter 3 indicates that this map simultaneously acts an invitation to the cosmopolitan, with assumed access and hospitality. Examining the various ways that the exclusionary politics of the Sinhala-Buddhist state are implicated in the representations on the tourist map, Chapters 4-6 look at cultural tourist sites, natural or wildlife sites, and former war zones, respectively. Overall, this is an interdisciplinary examination between postcolonial studies, critical tourism studies, critical geography, and Sri Lankan studies that examines the continued politics of vision and access to space with both international and domestic political-economic implications.
Doctor of Philosophy
This project takes a critical examination of tourist maps, as a cultural artifact in what has been called “coloniality,” or the ongoing colonial relations in contemporary relationships between nation states. I suggest that my taking into account the colonial history and development of mapping practices, tourism, and international relations that tourist maps serve as material intersection to examine such relations. The island state of Sri Lanka is an ideal case study for this project, as not only does it intersect colonial relations between the Portuguese, Dutch, and British, but because after ending nearly 30-year ethnic-religious civil war the country is looking to expand its tourism industry. Therefore, I argue that an understanding of what I term “cosmopolitan geopolitics” helps us to account for the ways in which culture and religious experiences become resources in contemporary geopolitics within the international tourist economy. Using a mix-analysis approach of interviews, participatory mapping, autoethnography, and theoretical perspectives, I organize the project into two main parts. The first questions “what a map is,” and the second questions “who gets to map.” Overall, this interdisciplinary investigation pulls from postcolonial studies, critical tourism studies, critical geography, and Sri Lankan studies in order to question the continued narratives and representations within cultural commodification and travel.

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Rebouh, Sabrina. "L'exotisme postcolonial dans l'oeuvre de Jean-Claude Eloy." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0199.

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Jean-Claude Eloy est un compositeur passionné de musiques extra-européennes (et en particulier de musique japonaise) qui revendique un multiculturalisme militant et refuse farouchement que sa démarche puisse être associée à un quelconque exotisme. Pourtant, et sans que la sincérité de son positionnement idéologique puisse être remise en cause, certaines ambiguïtés apparaissent au fur et à mesure de l’étude de sa production. Ainsi, si l’exotisme de surface caractéristique du XIXe siècle a disparu au profit d’un intérêt largement documenté pour les cultures musicales non occidentales, on n’en décèle pas moins la permanence de thèmes caractéristiques de cet exotisme. Il s’agira d’analyser ce paradoxe et d’en proposer des explications. Le travail part de l’hypothèse que l’exotisme repose sur un imaginaire anthropologique à partir duquel prennent naissance des expressions différentes selon les lieux et les époques. L’exotisme répondrait ainsi à des réalités humaines dans lesquelles le contexte colonial aurait joué un rôle uniquement facilitateur (et non suscitateur). Cet exotisme ne pourrait donc pas avoir disparu avec la fin des empires. Il s’agira ainsi de lire les ambiguïtés d’Eloy à la lumière d'un « mythe exotique » toujours vivace dans l’imaginaire collectif contemporain. S’appuyant sur le courant des postcolonial studies, cette lecture interrogera les résurgences exotiques présentes dans l’œuvre d’Eloy pour aboutir à la définition d’un exotisme postcolonial différente de celles qui ont pu être développées dans le domaine littéraire
Jean-Claude Eloy is a French composer. He is passionately fond of extra-European music, especially Japanese music. He calls for muticulturalism and refuses his works to be associated with exoticism. Even so - and without questionning Eloy’s intellectual honesty - it is possible to find out some ambiguities in his works. For instance, even though superficial exoticism, typical of XIXth century, no longer appears in his music, several themes of this exoticism can be found in some of this works. We will analyze this paradox and suggest some explanations. Our thinking is based on the proposition that exoticism comes from anthropoligical imagination and takes a variety of forms depending on the era. According to this proposition, colonialism has made the development of exoticism easier but didn’t create it. As a result, exoticism could not completely disappear with the end of colonial empires and still exists as a human reality. Postcolonial studies, semiotics and hermeneutics will be used as a background approach to explain the existence of exoticism in Eloy’s works

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Keller, Laura. "“Terrible in its Beauty, Terrible in its Indifference”: Postcolonial Ecocriticism and Sally Mann’s Southern Landscapes." W&M ScholarWorks, 2018. https://scholarworks.wm.edu/etd/1530192830.

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Sally Mann (1951- ) has spent forty years photographing scenes in the American South, including domestic scenes, landscapes, and portraits. Although scholars generally interpret her work as a reflection of the region’s history of violence and oppression, my research will consider her work through the lens of postcolonial ecocriticism. In her art and writing, Mann portrays the land as an indifferent witness to history, a force intertwined with humanity, lending matter for human lives and reclaiming it after death. However, she also describes the way the environment interferes with her the antiquated technology she uses, creating dramatic flaws that imbue the landscapes with emotion absent from the scenes themselves. My research offers new perspectives on Mann’s body of work, especially the way she grants agency to the environment, thereby giving a voice to silent ecologies or silenced histories.

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Quatro, Jamie Jacqueline. "Postcolonial Parodies of the Creation Story in Olive Schreiner and Wilson Harris." W&M ScholarWorks, 1999. https://scholarworks.wm.edu/etd/1539626223.

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33

Rao, Rahul. "Postcolonial cosmopolitanism : between home and the world." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:6eb91e22-9563-49a2-be2b-402a4edd99b5.

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The thesis aims to address criticisms of cosmopolitanism that characterise it as an elite discourse, by exploring the role that it might play in Third World resistance movements. In doing so, it complicates the landscape of international normative theory, which has traditionally been mapped as a debate between cosmopolitanism and communitarianism. Part I of the thesis argues that cosmopolitanism and communitarianism can function as languages in which First and Third World states respectively justify exercises of power that impede the self-determination of Third World societies. These discourses of power frame the condition of postcoloniality, which might be understood – borrowing the terminology of International Society theorists – as an entrapment of Third World societies between 'coercive solidarism' and 'authoritarian pluralism'. A normative worldview committed to enhancing the scope for self-determination of such societies must be critical of the production of both external and internal environments that are hostile to the enjoyment of self-determination by Third World peoples. Part II of the thesis explores the political challenges of sustaining such a critique by studying four theorists of resistance who perceive themselves as manoeuvring between hostile external and internal environments. It analyses the political thought of Rabindranath Tagore and Edward Said, who were both leading figures of anti-colonial nationalist movements but also fierce critics of nationalism. It also studies the activism of two leaders in the field of 'anti-globalisation' protest – Subcomandante Marcos of the Zapatistas in Mexico and Professor Nanjundaswamy of the Karnataka State Farmers' Association in India – who struggle against both national elites and global capital. Part II concludes that if resistance in the condition of postcoloniality must grapple simultaneously with both a hostile 'outside' and 'inside', it must speak in mixed registers of universalism and particularity. Cumulatively, the thesis demonstrates that the language of common humanity operates in ways that are both oppressive and emancipatory, just as the language of community is a source of both repression and refuge. Normative theory that does not seek to hold both in tension fails the needs of our non-ideal world.

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34

Ortega, Christopher E. "Postcolonial approaches to the Hebrew Bible| Witchcraft accusations and gendered language in Ezekiel and other polemical prophetic texts." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1603104.

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Postcolonial theory, while often reserved for analysis of modern political conditions, is often overlooked in biblical studies. The purpose of this thesis is to employ postcolonial analysis to the book of Ezekiel and demonstrate its value in biblical studies. Postcolonialism critiques national origin myths as political propaganda; seeks to retrieve the voices of those suppressed by hegemony; explores the power relations involved in ethnic and religious representation and authority; and examines how gender is used in hegemonic discourse. This study begins with an interrogation of the imperial politics behind several biblical national origin myths. A polyphony of contrapuntal voices are retrieved through archaeological, textual, and comparative evidence, demonstrating a plurality of Israelite religions for both the popular, illiterate, agrarian majority, as well as for officially state-sanctioned religions of the literate, urban, male elite. Finally, portions of the book of Ezekiel, a byproduct of imperialism itself, are analyzed for its use of gendered and sexualized language in continued polyphonic conflicts over religious representation and authority during a period of imperial crisis.

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35

Ha, Jarryn. "My Song is My Power: Postcolonial South Korean Popular Music." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case1522941303946503.

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36

Willaert, Thijs [Verfasser]. "Postcolonial studies after Foucault : Discourse, discipline, biopower, and governmentality as travelling concepts / Thijs Willaert." Gießen : Universitätsbibliothek, 2013. http://d-nb.info/1064990231/34.

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37

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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Calvi, Chiara <1991&gt. "Hybridity and Postcolonial Studies from the point of view of Italian High School Students." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10089.

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Postcolonial studies appear not to be a priority in Italian Public Schools teaching,this project aims to reflect on Postcolonial Studies and Hybridity by teaching African Contemporary Literature to Italian High School students. During an introductory lesson concentrated on the reading of “How to too write about Africa” by Binyavanga Wainaina, the students were able to read two short stories. The first was “Africa Emergent” by Nadine Gordimer, the second was “The Thing Around Your Neck” by Chimamanda Ngozi Adichie. As well as being manageable in term of language and cultural content, the texts depict young expatriates as characters, a category closed to the nineteen year old Italian students, who are experiencing an animated period in today migration. In addition to introducing the students to Postcolonial African Literature, the goal was to induce them to reflect on Hybridity. Starting from the 90s perspective, the lesson endeavoured to inform the students on the theory of Global Hybridity by Jan Nederveen Pieterse. In order to improve the understanding of the project contents, the students discussed the sketch by Trevor Noah performed at the Apollo theatre, which recollects some of the comedian's experiences with Apartheid and partly, his perception of Hybridity. The Project ended with the viewing of “The Last King of Scotland” by Kevin MacDonald, a controversial example of Postcolonial Africa.

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Chornokur, Kateryna. "Postcolonial Religion and Motherhood in the Novels by Louise Erdrich and Alice Walker." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4009.

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40

Cole, Courtney E. "Organizing After Conflict: Narrative and Postcolonial Perspectives on Transitional Justice in Sierra Leone and the Liberian Diaspora." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1304704014.

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41

Bendelhoum, Hadia Nouria. "TRAGIC MULATTA 2.0: A POSTCOLONIAL APPROXIMATION AND CRITIQUE OF THE REPRESENTATIONS OF BI-ETHNIC WOMEN IN U.S. FILM AND TV." CSUSB ScholarWorks, 2017. https://scholarworks.lib.csusb.edu/etd/598.

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This study analyzes the representations of five bi-ethnic women characters in U.S. mass media both before and after U.S. “post-racial” era, to find and expose evidence of the continuity and perpetuation of racist stereotypes against biracial/bi-ethnic women. I utilize a thematic textual analysis, supported by the theories, ideas, and critical views of postcolonial theorists Frantz Fanon, Gayatri Spivak, and Edward Said, and composed of three prominent themes which expose the nature of the representations of lead bi-ethnic characters in current mass media entertainment (TV programs and films). The themes further explored through this project are: bi-ethnicity (one Black parent and one White parent) as a) over exoticized or hypersexualized; b) inherently problematic; and c) destined for non-existence through invisibility, elimination, and even death. In a second step, I critically examine the theme of the tragic mulatta present in Imitation of Life (Hunder & Sirk, 1959), a film released during the epoch of the African-American Civil Rights Movement (1954-68), and the TV mini-series Alex Haley’s Queen (1993) to then highlight how it becomes immortalized transmedia (across diverse media platforms and historical moments) and ever-present in current “post-racial era” entertainment media film. To examine this, I compared one modern film and that portrayed a leading bi-ethnic woman–Dear White People (2014)– to then compare to the film mentioned above. I then compared TV programs that portray supporting bi-ethnic women characters in Suits (2011), Black-ish (2014), and Empire (2015) to then compare to the TV miniseries mentioned above. Finally, I contend that the presence of transmedia storytelling of the fixation, and manipulation of the supposed political correctness of the tragic mulatta archetype stands to reinforce its dominance in media portrayals. Moreover, the fragmentary existence is based on a lack of research and the indolent borrowing from previous archetypes.

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42

Mdege, Norita. "Heroines, victims and survivors: female minors as active agents in films about African colonial and postcolonial conflicts." Doctoral thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/27845.

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This thesis analyses the representations of girls as active agents in fictional films about African colonial and postcolonial conflicts. Representations of these girls are located within local and global contexts, and viewed through an intersectional lens that sees girls as trebly marginalised as "female," "child soldiers" and "African." A cultural approach that combines textual and contextual analyses is used to draw links between the case study films and the societies within which they are produced and consumed. The thesis notes the shift that occurs between the representations of girls in anti-colonial struggles and postcolonial wars as a demonstration of ideological underpinnings that link these representations to their socio-political contexts. For films about African anti-colonial conflicts, the author looks at Sarafina! (Darrell Roodt, 1992) and Flame (Ingrid Sinclair, 1996). Representations in the optimistic Sarafina! are used to mark a trajectory that leads to the representations in Flame, which is characterised by postcolonial disillusionment. On the other hand, Heart of Fire/Feuerherz (Luigi Falorni, 2008) and War Witch/Rebelle (Kim Nguyen, 2012), which are produced within the context of postcolonial wars, demonstrate the influences of global politics on the representations of the African girl and the wars she is caught up in. The thesis finds that films about anti-colonial wars are largely presented from an African perspective, although that perspective is at times male and more symbolic than an exploration of girls' multiple voices and subject positions. In these films, girls who participate in the conflicts are often represented as brave and heroic, a powerful indication of the moral strength of the African nationalists' cause. On the contrary, films about African postcolonial wars largely represent girls as innocent and sometimes helpless victims of these "unjust wars." The representations in the four case study films are significant in bringing to the fore some of the experiences of girls in African political conflicts. However, they also indicate that sometimes representations of girls become signifiers of ideas relating to local and global socio-political, economic, and other interests rather than a means for expressing the voices of the girls that these films purport to represent.

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43

Sengupta, Aparajita. "NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA." UKnowledge, 2011. http://uknowledge.uky.edu/gradschool_diss/129.

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In spite of the substantial amount of critical work that has been produced on Indian cinema in the last decade, misconceptions about Indian cinema still abound. Indian cinema is a subject about which conceptions are still muddy, even within prominent academic circles. The majority of the recent critical work on the subject endeavors to correct misconceptions, analyze cinematic norms and lay down the theoretical foundations for Indian cinema. This dissertation conducts a study of the cinema from India with a view to examine the extent to which such cinema represents an anti-colonial vision. The political resistance of Indian films to colonial and neo-colonial norms, and their capacity to formulate a national identity is the primary focus of the current study.

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44

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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45

Jacobs, Pierre J. "Globalized mission and the Social Gospel of Jesus : a postcolonial optic." Thesis, University of Pretoria, 2014. http://hdl.handle.net/2263/46025.

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This study’s focus is Jesus’ significant representation of the kingdom of God utilizable for mission today – a topic of importance for contemporary Christianity’s sustainable reaction to a globalizing world. Christianity should not have to be a spectator to globalization but one of its agents, one of the forces at work by extending interconnection between peoples, shared ideas and promoted social, political and cultural links. How should Christian churches conceive of their mission within the context of a globalizing world? It is remarkable that after two millennia of Jesus’ life, ‘mission in the kingdom of God’ is still of great importance for human life on earth. Indeed, contemporary secularists might not commend religion with the custody of such a fundamental burden of responsibility. Yet, considering the times we live in, a foundation of sustainable values for earth are inescapably important. Nevertheless, from what foundational values does Christianity draw to bear witness of the divine in a secular age? When considering all the factors mentioned, what foundational ethics and virtues of Christianity that we bear witness to are still believable in a secular age? The purpose of this study is not to provide a complete response to the question of mission of the church in a globalizing world, but to establish a framework within which answers may be sought. The study is informed from a variety of disciplines such as politics, cultural theory and politics, which are not the usual fields of New Testament Studies. Therefore, this study presents itself in five chapters informing one another. Chapter 1 addresses the issues that surface from current missional reaction and the broader implications that globalization has on changing social and institutional realities and the churches’ response to it. Chapter 2 identifies indispensable characteristics of the early twentieth century Social Gospel movement to implement those values as essential building blocks in globalized mission. In Chapter 3 investigates the potential use of Postcolonial Theory for categorizing postcolonial characteristics of marginalization, oppression, neo-imperialism and neocolonialism. Chapter 4 applies the outcomes of Chapter 1 through 3 with which Richard Horsley’s proposed perspective on Jesus’ mission in Roman Palestine as the ‘renewal of Israel’ is considered to discern about the first century world and the implications it has for the third millennium. The Christian faith, among others, has marginalizing practices derived from centuries old traditions and biased interpretations of Scripture. We see examples of it strewn over two millennia. Chapter 5 concludes this cursory study by summarizing the valuable and constructive characteristics in mission, globalization, postcolonial studies and the Social Gospel. These characteristics can inform the Christian faith in its responsibility of living, and letting others participate, through ‘mission’, in the kingdom of God. Because if we do not, what is still believable today about the significant life of Jesus?
Thesis (PhD)--University of Pretoria, 2014.
tm2015
New Testament Studies
PhD
Unrestricted

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46

Gupta, Anubhav 1978. "Dominion Geometries : Colonial construction and Postcolonial persistence of the Imperial in the New Delhi Plan." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/33413.

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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning; and, (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2005.
Includes bibliographical references (p. 141-150).
New Delhi is not only the capital of India but the capital of the world's largest democracy. Conceived and built by the British, the New Delhi plan translated British India's home policy in sandstone. The government's administrative hierarchy and centralization of power was directly represented in the physical plan that impressed its magnificence and power over a country awakening to freedom. A realized grand vision imperial plan in an ideologically contradictory circumstance of independence and democracy is the unique departure point for this work. Divided in two parts corresponding to the colonial and postcolonial timeframes, this thesis attempts to answer the central questions of: -How was the Imperial constructed in colonial Delhi? -How and why has it persisted in the postcolonial evolution of New Delhi? At the macro level, this research engages intersecting themes of political ideology, physical planning, policy, culture and evolution in contemporary city form. the motivation for this research emerges from my own subscription to the fact that "[New Delhi today is] a kind of an overgrown capitol complex, resolutely detached from the rest of the city." In my view, it is the persistence or resistance of the "Imperial" in the post colonial democratization of New Delhi that is largely responsible for the fractures in the city's identity, urban form, sustenance and evolution.
by Anubhav Gupta.
S.M.
M.C.P.

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47

Alfaisal, Haifa Saud. "Religious discourse in postcolonial studies : the case of Hombres de MaiÌz and of Bandarshah." Thesis, University of Essex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416695.

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48

Towghi, Fouzieyha. "Scales of marginalities: Transformations in women's bodies, medicines, and land in postcolonial Balochistan, Pakistan." Diss., Search in ProQuest Dissertations & Theses. UC Only, 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:3289320.

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Thesis (Ph.D.)--University of California, San Francisco with the University of California, Berkeley, 2007.
Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4757. Advisers: Sharon Kaufman; Vincanne Adams.

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49

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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50

Nylund, Mia-Lie. "A fully feminist foreign policy? : A postcolonial feminist analysis of Sweden's Feminist Foreign Policy." Thesis, Uppsala universitet, Statsvetenskapliga institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-339481.

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This thesis is a postcolonial feminist discourse analysis of Sweden’s Feminist Foreign Policy. Sweden’s Feminist Foreign Policy is unique to the world, but it is not the only case of incorporating a gender perspective as a central part of national or international politics. Feminism and gender perspectives are increasingly receiving attention and space in global politics. The Swedish case could therefore inform us about where politics are heading. Previous research on the Feminist Foreign Policy has aimed mainly at examining what it means and what challenges it likely will face. The aim of the analysis is to examine whether and to what extent the discourse of the Feminist Foreign Policy interrelates with gendered postcolonial narratives. Feminist scholars have for decades argued for the need to recognize the ways in which gendered and postcolonial structures are interrelated. Excluding either a gender or postcolonial analysis will convey only part of the problem. The method used is discourse analysis, or more specifically, critical discourse analysis. Discourse is an essential part of our social world. It is both constituted by and constitutive of how we understand our surroundings. Critical discourse analysis in particular is a useful method to illuminate power relations in society and how they are reproduced or countered through discourse. Two opposing ideal types are developed based on ideas from postcolonial theory and postcolonial feminist theory: gendered postcolonial discourse and fully feminist discourse. The ideal types are used in order to measure whether, how and to what extent the Feminist Foreign Policy interacts with gendered postcolonial discourse. The analysis looks at official documents, statements and speeches of different forms issued or produced by the foreign office. Using several texts, with varied aims and settings, the material will arguably be representative of the Feminist Foreign Policy. The results show that the Feminist Foreign Policy cannot be placed exclusively in either ideal type. The texts interrelate with gendered postcolonial discourse, reproducing unequal relations of power. Conversely, other parts of the texts are fully feminist, both transforming discourse and contributing to knowledge about what it can look like when discourse manages to avoid gendered postcolonial narratives.

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Дисертації з теми "Primitivism and Postcolonial Studies"

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