Bibliography: p. 367-378. "This thesis is about the origins and original intentions of law; that which I call raw law. Law emanates from Kaldowinyeri, that is the beginning of time itself. Law first took form in song. In this thesis I argue that the law is naked like the land and its peoples, and is distinguished from that known law by the colonists, which is a layered system of rules and regulations, an imposing one which buries the essence and nature of law."

Bibliography: p. 367-378. / x, 378 p. ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / "This thesis is about the origins and original intentions of law; that which I call raw law. Law emanates from Kaldowinyeri, that is the beginning of time itself. Law first took form in song. In this thesis I argue that the law is naked like the land and its peoples, and is distinguished from that known law by the colonists, which is a layered system of rules and regulations, an imposing one which buries the essence and nature of law." / Thesis (Ph.D.)--University of Adelaide, Dept. of Law, 2000

This dissertation documents and interrogates the process of Storyweaving, which has been authored and developed by Spiderwoman Theater, the longest running Native theatre company in North America and the longest running feminist collective in the world. Storyweaving is a distinct process that governs the dramaturgical structure and performed transmission of this company’s play texts on the contemporary stage. However, Storyweaving predates written history. It has been (and remains) specific to tribal storytellers across this continent. The reclamation, then, of this aesthetic legacy by contemporary Native storytellers is a crucial act of recovery, which imagines and architects a functional framework for a Poetics of Decolonization that may be adopted and adapted by tribal artists from myriad nations to create works (on the page and stage) that will effect the healing, transformation and survivance of their communities. Chapter One examines the early personal and professional histories of the Miguel sisters who are Spiderwoman’s founders. Through an exploration of their socio-economic positioning, their difficult home life, the racialized narratives by which they were defined outside the home and their artistic development within these impossible conditions, this chapter unpacks instances of personal and familial resistance to the forces of colonization and reveals the seamless weave that so inextricably binds art and life. Chapter Two documents the early history of Spiderwoman Theater and offers a processual analysis of its transformation from a multi-racial, feminist collective to an American Indian theatre troupe, charting the personal decolonization of the Miguel sisters and the intersection of this very personal transformation with the politically (re)vital(izing) creation of a decolonizing aesthetic. Chapter Three engages with this aesthetic to clearly demonstrate how it works within and through the living bodies who utilize it in the rehearsal studio. Next, I examine Spiderwoman’s published texts to reveal the ways in which the Storyweaving process has shaped the affects of these works on the artists and their audiences. Finally, Chapter Five names and evaluates the benefits of Spiderwoman’s legacy and estimates its future benefits as Spiderwoman’s heirs take up its process and adapt it to meet the needs of their communities.

This dissertation documents and interrogates the process of Storyweaving, which has been authored and developed by Spiderwoman Theater, the longest running Native theatre company in North America and the longest running feminist collective in the world. Storyweaving is a distinct process that governs the dramaturgical structure and performed transmission of this company’s play texts on the contemporary stage. However, Storyweaving predates written history. It has been (and remains) specific to tribal storytellers across this continent. The reclamation, then, of this aesthetic legacy by contemporary Native storytellers is a crucial act of recovery, which imagines and architects a functional framework for a Poetics of Decolonization that may be adopted and adapted by tribal artists from myriad nations to create works (on the page and stage) that will effect the healing, transformation and survivance of their communities. Chapter One examines the early personal and professional histories of the Miguel sisters who are Spiderwoman’s founders. Through an exploration of their socio-economic positioning, their difficult home life, the racialized narratives by which they were defined outside the home and their artistic development within these impossible conditions, this chapter unpacks instances of personal and familial resistance to the forces of colonization and reveals the seamless weave that so inextricably binds art and life. Chapter Two documents the early history of Spiderwoman Theater and offers a processual analysis of its transformation from a multi-racial, feminist collective to an American Indian theatre troupe, charting the personal decolonization of the Miguel sisters and the intersection of this very personal transformation with the politically (re)vital(izing) creation of a decolonizing aesthetic. Chapter Three engages with this aesthetic to clearly demonstrate how it works within and through the living bodies who utilize it in the rehearsal studio. Next, I examine Spiderwoman’s published texts to reveal the ways in which the Storyweaving process has shaped the affects of these works on the artists and their audiences. Finally, Chapter Five names and evaluates the benefits of Spiderwoman’s legacy and estimates its future benefits as Spiderwoman’s heirs take up its process and adapt it to meet the needs of their communities.

Thesis (M.A.)--Ohio University, August, 2009. / Title from PDF t.p. Release of full electronic text on OhioLINK has been delayed until September 1, 2014. Includes bibliographical references (p. 96-99)

Food deserts are low-income areas lacking access to nutritious and affordable food. Such limited access has various implications for public health, particularly diet-related diseases such as diabetes. Among American Indian communities, diabetes is particularly rampant at nearly twice the rate of white populations in the U.S. On the Navajo Nation, diabetes incidence has been estimated to be as high as 1 in 3. According to the USDA, the majority of the Navajo Nation is considered a food desert. This paper utilizes food sovereignty as a lens for decolonization to identify the underlying causes of hunger and nutrition-related diseases within Diné communities. This paper will explore the histories of the change in the Diné diet and how colonial processes and the loss of traditional food systems affects current food and health patterns on the Navajo Nation. By expanding the scope of public health issues such as obesity and diabetes in Native American communities from food access and nutrition to power relations embedded in colonial structures that have resulted in the loss of indigenous sovereignty and power, I hope to pinpoint entry points for future indigenous researchers to develop and enact policies that will expand access to healthy and culturally significant foods on the Navajo Nation and contribute to efforts to restore food sovereignty of the Navajo Nation by rebuilding local food economies.

In a world of increasing religious/political tensions and conflicts this study asks, what is the transformative significance of an arts and ritual-based approach to developing and encouraging women’s spiritual and multi-faith leadership? To counter destructive worldviews and practices that have divided people historically, politically, personally and sacredly, the study reinforces the political and spiritual value of women spiritual and multi-faith leaders creating and holding sacred space for truth making and world making. An a/r/tographic and mindful inquiry was engaged to assist self and group reflection within a group of women committed to multi-faith education and leadership in their communities. The objectives of the study were: 1) to explore through collaboration, ritual and art making processes the women’s experience of knowing and not knowing, 2) to articulate a curriculum for multi-faith consciousness raising, and 3) to develop a pedagogy and methodology that can serve as a catalyst for individual and societal change and transformation. The co-participants/co-inquirers (including the lead researcher as a member of the group) are fourteen women, who practice within eleven different religions and/or spiritual backgrounds, and who are part of a volunteer planning team that organizes an annual women’s multi-faith conference (Women’s Spirituality Celebration) in Vancouver, British Columbia, Canada. The aesthetic/ritual structure of the labyrinth served as a cross-cultural multi-faith symbol in guiding the dissertation, which includes three art installations and four documentary DVDs of the process and art. New understandings found in the study include: 1) the ethical sanctuary that a/r/tography as ritual enables for personal and collective change to take place within, 2) the addition of synecdoche to the renderings of a/r/tography, assisting a multi-dimensional spiral movement towards a whole a/r/tographic practice, 3) a lived and radically relational curriculum of philetics within loving community that drew forth the women’s erotic life force energy and enhanced the women’s ability to remember the power of the feminine aspect of the Divine, and 4) the decolonization of the Divine, art and education, which took place as a pedagogy of wholeness unfolded, requiring a dialectic relationship between restorative and transformative learning.

SOMMAIRE Cette recherche est basée sur l’étude de la pièce Adieu, Robinson, écrite par Julio Cortazar pour le théâtre radiophonique en 1977. Publiée en 1984, elle a été rééditée en 1995 –après le décès de son auteur– et diffusée, vers la fin des années 70, sur tous les continents. L’analyse de l’œuvre a été réalisée en tenant compte de deux orientations différentes mais complémentaires: l’une plus formelle ou technique et l’autre idéologique. Il y a, d’abord, l’étude du théâtre radiophonique comme discours qui utilise un langage spécifique –le langage radiophonique– et suppose un “théâtre écrit pour la radio”, et ce, à partir des œuvres de Rudolf Arnheim, Armand Balsebre et Etienne Fuzellier. Puis, il y a une mise en contexte de la pièce en faisant référence à la situation particulièrement mouvementée de l’Amérique latine, pendant les années 70, en mettant en rapport le sujet de la “décolonisation” avec celui de la libération. Avant d’aborder le sujet du théâtre radiophonique –ce qui inclut ses origines en Argentine, les premières pièces et les caractéristiques du format– et en prenant comme référence l’auteur Jésus Martin-Barbero, nous revoyons brièvement l’histoire du mélodrame, ce spectacle de forte valeur émotionnelle présent en Amérique latine, notamment, dans le théâtre radiophonique et le feuilleton télévisé. Suivant une revue des caractéristiques concernant le style d’écriture de Cortazar, nous analysons la pièce théâtrale d’un point de vue qui tient compte, principalement, des catégories d’espace et de temps, particulièrement importantes dans l’étude d’une œuvre radiophonique. Finalement, cette étude prétend démontrer que le but de Julio Cortazar, en écrivant Adieu, Robinson, n’était pas de proposer un passe-temps radiophonique, mais plutôt d’atteindre un public plus vaste via un puissant moyen de communication en lui offrant une fable anticolonialiste. Mots-clés : Cortazar, Robinson Crusoé, décolonisation, sémiologie du théâtre radiophonique. / ABSTRACT This research work is based on the study of the play Adiós, Robinson (Goodbye, Robinson), a radio script written by Julio Cortázar in 1977, published in 1984, reedited in 1995 -after the death of the author-, and broadcast in every continent in the late 1970s. The analysis of this piece was carried out taking into consideration two different but complementary perspectives: one more formal or technical and the other ideological. Thus, on the one hand, radio drama is examined as a type of discourse that uses a specific language -radiophonic language-, and constitutes “a theatrical presentation written for radio", based on the works of Rudolf Arnheim, Armand Balsebre and Etienne Fuzellier. On the other hand, the text contextualized by referring to the troubled situation in Latin America in the 1970s, and relating the topic of "decolonization" to that of liberation. Before addressing the subject of radio drama -including its origins in Argentina, the first pieces for radio, and the characteristics of its format- and taking the author Jesús Martín-Barbero as a source of reference, a brief history of melodrama is presented. This genre, characterized by strong emotional content, is very much present in Latin America, particularly in radio drama and soap operas. After describing Cortázar’s writing style, the script is analyzed from a viewpoint that focuses mainly on the categories of space and time, which are especially of interest when studying a piece of radio drama. Finally, this study pretends to demonstrate that Julio Cortázar did not write Adiós, Robinson as a mere piece of radio entertainment. On the contrary, the author, aware of the power exercised by this type of media, uses it to reach a wider audience and present it with an anti-colonial fable. Keywords: Cortazar, Robinson Crusoe, decolonization, semiology of radio drama.

Ayant recours aux théories de l’intertextualité et de la citation telles que développées par Genette, Compagnon et Morawski, ce mémoire met en relation deux corpus distincts mais complémentaires : les principaux essais d’Hubert Aquin, de Gaston Miron et des collaborateurs de la revue Parti pris sont analysés comme réécriture des textes (ou réélaboration des idées) d’Aimé Césaire, de Frantz Fanon et d’Albert Memmi, figures dominantes du discours de la décolonisation francophone. L’approche adoptée vise à mettre en lumière les bases sur lesquelles les intellectuels québécois tâchèrent de justifier leur réutilisation du discours de la décolonisation. Elle permet aussi d’observer dans quelle mesure ce discours orienta la réflexion entourant la redéfinition du nationalisme au Québec, en plus de faciliter sa diffusion. Articulé autour de trois grands axes – l’identité culturelle, les conflits linguistiques ainsi que le rôle de la littérature et de l’écrivain dans le combat pour l’émancipation nationale –, ce mémoire démontre que l'établissement d'un tel partenariat symbolique a été d'un grand apport quant à l'appartenance du Québec à la francophonie. / Refering to the theories of Genette, Compagnon and Morawski's on quotation and intertextuality, this thesis compares two distinct, yet complementary, body of works: the major essays written by Hubert Aquin, Gaston Miron and the young intellectuals who collaborated to Parti Pris are analyzed as rewriting (or rethinking) of the works of Aimé Césaire, Frantz Fanon and Albert Memmi, figureheads of the francophone decolonization movement. The main objective of this study is to investigate the bases on which Québécois intellectuals attempted to justify their recuperation of the discourse of decolonization, and how this discourse shaped their reflection towards redefining Québec nationalism, as well as promoting its diffusion. Articulated around three principal axes – cultural identity, language conflicts and the role of literature and the writer in the struggle for national emancipation –, this thesis shows that the creation of such a symbolic partnership has enabled Québec to join the community of francophone nations.

Violence against Native women in Canada is widespread and has deeply systemic and colonial roots. This paper will attempt to show the role that dominant representations of culture, race, and gender have in allowing this violence to continue by eclipsing many different narratives and ways of expressing cultural and individual identities. Violence in the mainstream media will be explored and analyzed drawing on concepts from critical theories, Aboriginal epistemological frameworks, and anti-racist, disability, and Afro-centric feminisms to build a framework on which to analyze the meanings of the representations. After exploring violent and colonial discourse, the discussion will turn to art. Self and cultural representation and expression by Native women can act as important forms of resistance to the tools of colonial oppression. The artwork of Rebecca Belmore and Shelley Niro are powerful examples of addressing and exploring issues of identity, culture, resistance, and survival for Aboriginal women.