Early in the 21st Century, the European Union began to grow in influence in the South-Eastern European region. Thus, a discourse of transition defined by the proclaimed shift of the country from the Dayton Peace Agreement, which ended the war in 1995, to Euro-Atlantic integration, began to intensify in BiH. The discourse of transition is therefore simplistically referred to as 'from Dayton to Brussels'. At the same time up until the middle of the decade, British politician Paddy Ashdown was serving as the High Representative of international community for Bosnia and Herzegovina. It is, therefore, unsurprising that he co-constructed the discourse himself. This diploma thesis examines mainly the process of legitimization of the discourse of transition by Paddy Ashdown. Specific legitimization strategies are examined by means of critical discursive analyses and decolonial approach. The main aim of the thesis is to investigate whether the legitimization strategy of Paddy Ashdown is embedded in colonial matrix of power. Based on analyses of Ashdown's speeches, an overarching legitimization strategy was detected - mythopoesis (referring to myths and stories) rooted in colonial matrix of power. The entire argumentation of the High Representative is built around a fairytalelike story about Bosnia and...

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[pt] Este trabalho trata da contribuição do campo estético na reflexão sobre as consequências do processo colonial na América Latina; defendendo o conhecimento gestado em nosso continente como ferramenta de análise de nossos problemas. A hipótese central é de que o estético se particulariza em nosso continente, funcionando como um dispositivo presentificador de específicas condições do espaço latinoamericano, ocupando-se de zonas imprecisas, habitadas por virtualidades e fantasmagorias, nas quais persistem resíduos de uma temporalidade arcaica, antimoderna, que atritam com as incessantes demandas progressistas da modernidade. Esses resíduos desdobram-se de modos diversos, em corpos, espacialidades, modos de viver e construir conhecimento, e são rearticulados pelo estético por meio de processos de virtualização que emergem em variadas formas criativas. Ao longo dos próximos capítulos serão apresentados trabalhos que ocupam essas zonas imprecisas, produzidos em diversas épocas e respondendo a distintas ambições. Da ficção de Jorge Luis Borges às fotografias etnográficas do austríaco Martin Gusinde, na Terra do Fogo. Dos desenhos do arquiteto chileno Miguel Lawner, realizados em campos de concentração chilenos, durante a ditadura Pinochet, a narrativas recentes, que tratam das consequências do Golpe de 1964 no Brasil, em seu âmbito pessoal, familiar e coletivo, como é o caso de Ainda estou aqui (2015), de Marcelo Rubens Paiva, e A noite da espera, de Milton Hatoum (2017). Trabalhos como esses são capazes de repor ou reapresentar o que foi destruído, apagado ou ocultado pelos Estados que aqui se configuram, a partir dos processos de independência nacional, possibilitando reatualizar na contemporaneidade as recorrências dos traumas de constituição do espaço colonial de nosso continente, em variadas encarnações das sociedades pós-coloniais. É essa importante tarefa de fazer do passado um elemento vivo entre nós, a principal colaboração do estético para que enfim se possa emancipar a América Latina do papel de dependência que ocupamos desde 1492. / [en] Aesthetics of Latin American space searches to investigate the contributions of aesthetic field in the analyses of the colonial process, in Latin America, urging to recognize the knowledge produced in our continent as a key to understand our problems. The main hypothesis is the process of particularization of the aesthetic in Latin American, working as an apparatus that bring to the present specifics conditions of Latin American space, as some vague zones inhabited by virtualities and phantasmagoria, where residues of an archaic, anti-modern temporality persist, fighting against the progressive demands of modernity. These residues unfold in different ways, in bodies, spatialities, ways of living and building knowledge, and are re-articulated and re-presented by the aesthetic through processes of virtualization that emerge in a diversity of creative forms. Throughout the next chapters, works that occupy these imprecise zones produced in different times and responding to different ambitions, will be presented. From Jorge Luis Borges s fiction to the ethnographic photographs of the Austrian priest Martin Gusinde, in Tierra del Fuego. From drawings by Chilean architect Miguel Lawner, made in concentration camps during the Pinochet dictatorship, to recent narratives that deal with the consequences of the 1964 s coup in Brazil, in the personal, familiar and collective spheres, in books as Ainda estou aqui (2015), by Marcelo Rubens Paiva, and A noite da espera, by Milton Hatoum (2017). Works like these are capable of replacing or re-presenting what was destroyed, erased or hidden by the States that emerge after processes of national independence, making it possible to bring to contemporaneity the recurrences of traumas that constitute colonial space in Latin American continent, in different incarnations of post-colonial societies. The complex work of making past a living element is the main contribution of the aesthetic to emancipate Latin America from the role of dependence that it have occupied since 1492.

[pt] Partindo da indagação o que filmam os diretores africanos contemporâneos quando, hoje, apontam suas câmeras para as cidades, esta tese empreende uma viagem investigativa por Johannesburgo, Maputo e Harare através dos filmes de diretores africanos em atividade na África Austral. Os cinemas africanos contemporâneos realizados em países como África do Sul, Moçambique e Zimbabwe lidam, ainda hoje, em maior ou menor grau, com os reflexos de modos de produção que tiveram origem no período de dominação colonial. Se, na contemporaneidade, a África do Sul logrou organizar uma estável indústria de cinema no sul do continente africano, países como Moçambique e Zimbabwe ainda sofrem com os reflexos de uma descolonização tardia dos modos de produção cinematográfica. Com a queda do apartheid na África do Sul (1994) e as independências de Moçambique (1975) e Zimbabwe (1980), as cidades, territórios severamente marcados pela segregação perpetrada pelo colonizador, passam a atrair a atenção de cineastas locais, ao se transformarem no palco de acirrados debates acerca da segregação racial e espacial, do direito à terra e à moradia, da mobilidade, da relação campo-cidade, do embate entre tradição e modernidade. As cidades africanas, até certo momento tidas como projetos interrompidos e inacabados do pesadelo colonial, passaram a ser consideradas, em toda a sua complexidade, como a epítome da própria modernidade africana. As imagens dessas cidades modernas, complexas e desiguais, que emergem do cinema contemporâneo local, rasuram ou perturbam o regime dominante de representação do continente africano propagado pelo cinema e pela mídia ocidentais, problematizam visões que prevaleceram nos contextos de luta anticolonial e conquista da independência e contribuem para a renovação do repertório de imagens da África arquivadas pelo Ocidente. Os filmes analisados nesta tese ajudam a criar cartografias outras das cidades africanas levadas às telas. Tais cidades cinemáticas – ao editar, seccionar, justapor, aproximar e eliminar espaços – produzem percepções múltiplas e, às vezes, inesperadas. / [en] Starting from the question what do contemporary African directors film, today, when they point their cameras towards the cities, this thesis undertakes an investigative journey through Johannesburg, Maputo and Harare in the films of African directors currently active in Southern Africa. Contemporary African cinemas produced in countries such as South Africa, Mozambique and Zimbabwe are still dealing, to a greater or lesser extent, with modes of production that originated in the period of colonial domination. If, in contemporary times, South Africa has managed to create a stable film industry in the south of the African continent, countries such as Mozambique and Zimbabwe still suffer from the reflexes of the late decolonization of their modes of film production. With the fall of apartheid in South Africa (1994) and the independence of Mozambique (1975) and Zimbabwe (1980), these cities, territories which are severely marked by the segregation perpetrated by the colonizer, start to attract the attention of local filmmakers, as they become the stage of heated debates regarding racial and spatial segregation, the right to land and to housing, mobility, the relation between countryside and urban life, the clash between tradition and modernity. African cities, for a long time regarded as unfinished and interrupted projects of the colonial nightmare, started to be perceived in all of their complexity, as the epitome of African modern itself. The images of these modern, complex and unequal cities, which emerge from local contemporary cinema, disturb the dominant system of representation of the African continent, propagated by Western cinema and media. They also problematize visions that prevailed in the contexts of anti-colonial struggle and conquest of independence and they contribute to the renewal of the repertoire of African images archived by the West. The films analyzed in this thesis help to create alternate cartographies for the African cities brought to the screen. Such cinematic cities – by means of editing, sectioning, juxtaposing, approximating and eliminating spaces – create perceptions that are multiple and, at times, unexpected.

Climate change is one of the greatest challenges currectly facing humanity. Its impacts lead to the displacement of people through sea level rise, desertification, drought, flood and other ecological disaster. The global imbalance of power results in people being unequally affected by climate change. This power imbalance affects the policy-making of intergovernmental institutions and knowledge production in policy processes. This thesis conducts a policy analysis to elaborate colonial continuities that influence knowledge production on migration and climate change. Therefore, the Global Compact for Safe, Orderly, and Regular Migration (GCM) is examined. The theoretical framework of the thesis draws on knowledge and power, modernity/coloniality, and racial capitalism. Findings suggest that the influences of colonial continuities on knowledge production about climate change and migration are reflected in underlying colonial epistemological and ontological assumptions, power structures and the hegemonic discourse. Alternative knowledges, such as those contributed by civil society actors are side-lined during the process and not included in the final document. The GCM does not consider the link between environmental change and racial capitalism or colonial power imbalance, but looks at only one of the adaptation strategies and presents it as a problem: human migration. Instead of addressing the root of the problem and holding polluting countries accountable for their inaction, the GCM focuses on migration control.

[pt] A tese Fissuras da moldura colonial portuguesa: visualidade e visão de mundo na obra de José Luandino Vieira tem como objetivo interrogar as potencialidades narrativas que se abrem nas relações entre as formas plásticas e as imagens literárias construídas pelo escritor luso-angolano José Luandino Vieira em três obras distintas: no livro Papéis da Prisão (2015), compilação de 17 cadernos produzidos pelo autor durante o período de encarceramento vivido entre os anos de 1962 e 1971 e nos romances O livro dos rios. De rios velhos e guerrilheiros I (2006) e O livro dos guerrilheiros. De rios velhos e guerrilheiros II (2009). A intenção é compreender alguns recursos utilizados pelo escritor para enfrentar e transtornar a linguagem hegemônica da moldura colonial portuguesa, como a desnaturalização da língua portuguesa e a estratégia do pensamento visual que possibilita transfigurar a realidade. Na perspectiva teórico-metodológica, recorro a teorias que ajudem a compreender tanto os mecanismos de luta anticolonial quanto as estratégias de utilização específica da imagem como parte do seu projeto estético-político. / [en] The thesis Fissures of the portuguese colonial frame: visuality and worldview in the work of José Luandino Vieira aims to interrogate the narrative potentialities that open up in the relations between the plastic forms and the literary images constructed by the Portuguese-Angolan writer José Luandino Vieira in three distinct works: in the book Papéis da Prisão (2015), compilation of 17 notebooks produced by the author during the period of imprisonment lived between the years of 1962 and 1971 and in the novels O livro dos rios. De rios velhos e guerrilheiros I (2006) and O livro dos guerrilheiros. De rios velhos e guerrilheiros II (2009). The intention is to understand some resources used by the writer to face and upset the hegemonic language of the portuguese colonial frame, such as the denaturalization of the portuguese language and the strategy of visual thinking that makes it possible to transfigure reality. In the theoretical-methodological perspective, I resort to theories that help to understand both the mechanisms of anti-colonial struggle and the use of using the image as part of its aesthetic-political project. / [fr] La thèse Fissures du cadre colonial portugais: visualité et vision du monde dans l oeuvre de José Luandino Vieira vise à interroger les potentialités narratives qui s ouvrent dans les relations entre les formes plastiques et les images littéraires construites par l écrivain luso-angolais José Luandino Vieira dans trois ouvrages différents: dans le Papéis da Prisão (2015), compilation de 17 carnets produits par l auteur pendant la période d emprisonnement entre 1962 et 1971; et dans les romans O livro dos rios. De rios velhos e guerrilheiros I (2006) et O livro dos guerrilheiros. De rios velhos e guerrilheiros II (2009). L intention est de comprendre certaines ressources utilisées par l écrivain pour affronter et bouleverser la langue hégémonique du cadre colonial portugais, comme la dénaturalisation de la langue portugaise et la stratégie de la pensée visuelle qui permet de transfigurer la réalité. Dans une perspective théorico-méthodologique, je recours à des théories qui aident à comprendre à la fois les mécanismes de la lutte anticoloniale et les stratégies d utilisation spécifique de l image dans la partie de son projet esthético-politique.

[pt] A tese, pelas lentes do pensamento decolonial afrodiaspórico compromissado com a ladino-amefricanidade, possui o objetivo de analisar como a matriz colonial de poder estrutura o pensamento jurídico brasileiro dentro do espaço que, com base no eurocentrismo, imprime autoridade e validade científica a essa produção, ou seja, a academia jurídica. A partir dessas apreciações, examina-se a materialização das colonialidades, incluído a do gênero, do poder, do saber e do ser, refletindo-se sobre a geo(corpo)política do conhecimento no programas de pós-graduação strictu sensu em direito no Brasil, por meio de delineamento do perfil dominante no corpo docente, no corpo discente e dos mecanismos utilizados para fissurar a matriz colonial do poder dentro desse ambiente e/ou para manter pactos narcísicos que estruturam a(s) colonialidade(s). Em que se utilizou uma pesquisa multinível, quantitativa-qualitativa, na parte quantitativa mapeou-se o perfil docente e discente dos PPGDS, com base nos dados oficiais constantes na plataforma Sucupira e na parte qualitativa, por meio da análise dos documentos nos sites oficiais dos programas e da aplicação de duas pesquisas surveys – uma realizada com docentes e outra com discentes dos programas, descreve-se e explora-se a composição desses espaços e as estratégias que buscam romper com a modernidade/colonialidade neste campo. / [en] Throughout the lenses of decolonial thinking and committed to amefricanity, the thesis aims to analyze how the colonial global power shapes the Brazilian legal thought within the space that enforces scientific authority and validity on this production based on Eurocentrism, which is the law academy. Through these premisses, it analyzes the materialization of colonialities, including gender, power, knowledge and being, examining the geopolitics of knowledge in the postgraduate programs within law academy in Brazil, using an analysis from the profile of the professors and the students and the mechanisms applied to ensure the colonial global power within that place and /or to maintain narcissistic pacts that structure the coloniality(ies). Using a multi-level, quantative-qualitative research, the quantitative part of the PPGDS teacher and student profile was mapped based on the official data from the Sucupira platform and, on the qualitative part, through the analysis of the documents from the official sites of the programs and the application of two surveys - one applied to professors and the other to students of the programs, both of them which describe and explore the composition of these spaces and the strategies that seek rupture with modernity /coloniality in this field. / [es] La tesis, por las lentes del pensamiento decolonial afrodías comprometido con la ladino-amefricanidad, tiene el objetivo de analizar cómo la matriz colonial de poder estructura el pensamiento jurídico brasileño dentro del espacio que, con base en el eurocentrismo, imprime autoridad y validez científica a esa producción, es decir, la academia jurídica. A partir de esas apreciaciones, se examina la materialización de las colonialidades, incluida la del género, del poder, del saber y del ser, reflejándose sobre la geopolítica del conocimiento en los programas de postgrado strictu sensu en derecho por medio de delineamiento del perfil dominante en docente, en el discente y de los mecanismos utilizados para fisurar la matriz colonial del poder dentro de ese ambiente y/o para mantener pactos narcísicos que estructuran la (s) colonialidad (s). Se utilizó una investigación multinivel, en la parte cuantitativa se mapeó el perfil docente y discente de los PPGDS, con base en los datos oficiales constantes en la plataforma Sucupira y en la parte cualitativa, por medio del análisis de los documentos en los sitios oficiales los programas y la aplicación de dos encuestas encuestas -una realizada con docentes y otra con dicentes de los programas, se describe y explora la composición de esos sitios y las estrategias que buscan romper con la modernidad / colonialidad en este campo.

[pt] A pesquisa busca questionar a naturalização da violência de Estado direcionada contra os corpos negros no Brasil. Para esta urgente tarefa, o trabalho desenvolve um diálogo central entre a filosofia descolonial e a foucaultiana, dividindo-se em quatro capítulos. O primeiro demonstra o enraizamento desta naturalização desde o período colonial, mostrando a objetificação do corpo negro e a sua invibilização tanto na escravização como no movimento abolicionista. O segundo capítulo aborda o período pós-abolição por meio do projeto de embranqueamento e do racismo científico. O terceiro enfrenta o auto de resistência como prática contemporânea do racismo de Estado da sociedade biopolítica brasileira. Por fim, o quarto pretende refletir sobre resistências e possibilidades de transformações descoloniais desta realidade objetificante e violenta. / [en] The investigation aims to question the naturalization of State s violence against black bodies in Brazil. For this urgent task, the work develops a dialogue between decolonial and foucauldian philosophy, and is divided in four chapters. The first one points out that this naturalization has its roots in brazilian history since colonial time, with the objectification of black bodies during slavery and also at the abolitionist movement. The second one approaches the post-abolition period, its whitening project and the scientific racism. The third part faces the auto de resistência as a contemporary practice of State s racism in the brazilian biopolitic society. Finally, the fourth chapter intends to analyze resistances and possibilities of decolonial transformations of this violent and objectifying reality.

Text in English / Abstracts in English, Afrikaans and isiZulu / The present study deploys Ngugi wa Thiongo’s (2009) decolonial concepts of dismembering and re-membering to critically explore J. M Coetzee’s selected fiction. In my reading of the novels Waiting for the Barbarians, Foe and Disgrace, I relate concepts of dismembering and re-membering to decoloniality. In the rendition of Ngugi, dismembering refers to the displacement and dispossession of the colonised, and their mental colonisation through cultural imperialism. Re-membering becomes the decolonial effort to undo physical and psychological dismembering. In the same way in which, since the Berlin Conference of 1884/5, Africa was divided, mapped and colonised, the cultures and histories of Africans were dismembered and dominated. Concerns for the land are expressed in the mapping and the confiscation of land which is depicted in the native’s desert dwellings in Waiting for the Barbarians, Cruso’s clearing of the land in Foe and Petrus’s taking over of Lucy’s farm in Disgrace. Furthermore, Coetzee’s use of language is one important narrative strategy that is explored to ascertain how Coetzee negates or speaks for, of and about the colonised through the narrator focaliser. This study reveals the reflexive nature of the selected novels and seeks answers to the question of why Coetzee tends to make his “black” characters voiceless and rootless (and sometimes nameless)? Is Coetzee suggesting that they have been silenced by history, by colonialism, or is he suggesting that he, the author, has no right to speak on their behalf? In the mode of writing and story-telling, is Coetzee suggesting the impossibility of the coloniser to speak for the colonised or, in speaking of them, does he give the servant characters a voice and can this voice be theirs, or can it be considered reliable? Is Coetzee presenting the power of passivity as a means of resistance and re-membering? This study, from a decolonial perspective, engages with the complex way Coetzee handles voice and the question of the agency of the colonised. / Hierdie studie benut Ngũgĩ wa Thiong'o (2009) se dekoloniale begrippe van verdeling en herindeling in ʼn kritiese beskouing van J. M. Coetzee se geselekteerde fiksie. In my vertolking van die romans Waiting for the Barbarians, Foe en Disgrace, bring ek die begrippe van verdeling en herindeling in verband met dekolonialisme. In Ngũgĩ se vertolking verwys verdeling na die verplasing en onteiening van die gekoloniseerdes, en hul geestelike kolonisering deur kulturele imperialisme. Herindeling word die dekoloniale poging om fisiese en sielkundige herindeling ongedaan te maak. Op dieselfde manier wat Afrika verdeel, gekarteer en gekoloniseer is sedert die Berlynse Konferensie van 1884/5, is Afrikane se kulture en geskiedenisse verdeel en gedomineer. Kommer oor die grond word te kenne gegee in die kartering en konfiskering van grond – soos uitgebeeld in die boorling se woestynverblyf in Waiting for the Barbarians, Cruso se opruiming van die grond in Foe en Petrus se oorname van Lucy se plaas in Disgrace. Verder is Coetzee se taalgebruik ʼn belangrike verhalende strategie wat bestudeer word om vas te stel hoe Coetzee die gekoloniseerde ontken of vir, van en oor die gekoloniseerde praat deur middel van die verteller/fokaliseerder. Hierdie studie openbaar die refleksiewe aard van die geselekteerde romans en soek vir antwoorde op die vraag van waarom Coetzee geneig is om sy “swart” karakters stemloos en wortelloos (en soms, naamloos) te maak. Suggereer Coetzee dat hulle deur die geskiedenis, deur kolonialisme, stilgemaak is – of suggereer hy dat hy, die outeur, nie die reg het om namens hulle te praat nie? Wil Coetzee deur sy manier van skryf en vertelling, aan die hand doen dat dit onmoontlik is dat die koloniseerder vir die gekoloniseerde kan praat; of, wanneer hy van hulle praat, gee hy aan die dienaarkarakters ʼn stem en kan dit hulle stem wees, of kan dit as betroubaar beskou word? Hou Coetzee die kraag van passiwiteit voor as ʼn vorm van weerstand en herindeling? Hierdie studie ondersoek, vanuit ʼn dekoloniale perspektief, die komplekse wyse waarop Coetzee stem en die vraag van die tussenkoms van die gekoloniseerde hanteer. / Ucwaningo lwamanje luchitha imiqondo ka-Ngũgĩ wa Thiong'o (2009) yokuqothula nokujoyina kabusha ukungabuswa ngelinye izwe ekuhloliseni ngokucophelela ukuqamba okukhethiwe kukaJ.M. Coetzee. Ekufundeni kwami amanoveli i-Waiting for the Barbarians, Foe and Disgrace, ngichaza imiqondo yokuqothula futhi ukujoyina kabusha ekungabusweni ngelinye izwe. Ekuhumusheni kuka-Ngũgĩ, ukuqothula kubhekisela ekufudukeni nasekuthunjweni kwalabo ababuswa ngelinye izwe, kanye nengqondo yabo ekubusweni ngelinye izwe ngokusebenzisa imiphakathi yamasiko. Ukujoyina kabusha kuba wumzamo wokungabuswa ngelinye izwe ukulungisa ukuqothula kokukhubazeka ngokomzimba nangokwengqondo. Ngendlela efanayo lapho i-Afrika ihlukaniswe ngakhona, ihlelwe ibalazwe futhi ibuzwa ngelinye izwe kusukela kwiNgqungquthela yaseBerlin ka 1884/5, amasiko kanye nemilando yabantu base-Afrika yaqothulwa futhi yabuswa. Ukukhathazeka kwezwe kuboniswa ebalazweni nasekuthunjweni komhlaba - njengoba kuboniswe ezindaweni zokuhlala zasogwadule ku- Waiting for the Barbarians, ku-Cruso ukuhlanzwa komhlaba-enovelini i-Foe nakuPetrus ukuthatha ipulazi likaLucy enovelini i-Disgrace. Ngaphezu kwalokho, ukusetshenziswa kolimi lukaCoetzee kuyisisindo esisodwa esibalulekile sokulandisa esihlolisiswayo ukuze kuqinisekiswe ukuthi uCozezee uphikisa kanjani noma ukhuluma kanjani, futhi mayelana nababuswa ngelinye izwe ngokusebenzisa umlandisi. Lolu cwaningo lwembula uhlobo oluthile lokucabanga lwamanoveli akhethiwe futhi lufuna izimpendulo embuzweni wokuthi kungani uCoetzee ejwayele ukwenza "abalingisi" bakhe abamnyama bengabonakali futhi bangenasisekelo (futhi ngezinye izikhathi abangenalo igama). Ingabe uCoetzee uphakamisa ukuthi baye bathuliswa ngumlando, ngukubuswa ngelinye izwe, noma ingabe uphakamisa ukuthi yena, umbhali, akanalo ilungelo lokukhuluma egameni labo? Ngendlela yokubhala nokuxoxa ngezindaba, ingabe uCoetzee uphakamisa ukuthi akunakwenzeka ukuba obusa elinye izwe akhulumele ababuswayo kulelo zwe noma, uma ekhuluma ngabo, uyabanika abalingiswa abayinceku izwi futhi leli zwi lingaba ngelabo, noma lingathathwa njengelethembekile? Ingabe uCoetzee uveza amandla okungahambisani njengendlela yokumelana nokujoyina kabusha? Lolu cwaningo, kusukela embonweni wokungabuswa ngelinye izwe, luhambisana nendlela eyinkimbinkimbi uCoetzee alawula izwi kanye nombuzo wokumela ababuswayo. / English Studies / M.A. (Theory of Literature: (English Studies))

The key challenge to socio-economic transformation in South Africa is closing the gap between the poor and the rich. What is distinctive about South Africa is the uneasy coexistence of poverty and opulence. This study seeks to explore the structural, historical roots of poverty among the blacks in South Africa by deploying Fanonian Critical Decolonial theory. This is the ideal theoretical approach to unmask the structural causes of poverty and inequality in South Africa. Colonial ambitions and the global political engineering of the world by America and Europe spans more than four hundred years, and is still very much alive today in subtle forms. This study asserts that this imperial history is the cause of poverty, lack of agency, and the hellish conditions under which many black people live. The rise of industrial capitalism and attendant urbanisation is at the core of this impoverishment of the black man. It is also shown that, once impoverished, the black man’s poverty gathers its own momentum, leading to more poverty that is then handed down to succeeding generations. Contrary to Eurocentric theorising, the study shows that blacks are not ‘problem’ people but people with problems, who, instead of being condemned, should be regarded with sympathy. This research thesis focuses on Alexandra Township and Sandton as symbols of poverty and privilege, respectively. The former represents Fanon’s zone of non-being where life is lived in conditions of want and poverty, whilst the latter represents the zone of being characterised by good living and prosperity. The thesis will demonstrate the fact that these anomalous socio-economic disparities are not natural but man-made, and therefore require the action of human beings to correct them. / Development Studies / M.A. (Development Studies)