Zugl.: Hannover, Univ., Diss.

Thesis (M.A.)--Miami University, Dept. of French and Italian, 2009. / Title from first page of PDF document. Includes bibliographical references (p. 34-40).

Proefschrift (Doctor)--Rijksuniversiteit te Leiden, 1996. / Includes bibliographical references (p. [257]-277) and index.

Proefschrift (Doctor)--Rijksuniversiteit te Leiden, 1996. / Includes bibliographical references (p. [257]-277) and index.

Tryst Tropique questions some of the assumptions that have been made about the heterosexual trajectory described by European desire as it has informed literary, artistic and anthropological representation of the South Pacific. It reads a series of contact encounters and Pacific residencies for their unfolding of European sexual inscription and discovers their inevitable entanglement with problematics of homosexual definition. This thesis arcs between two readings wherein the sexual conduct of Polynesian men both requires and escapes European definition. The first, which settles on the documents of Cook's third voyage, uses British indifference to Hawaiian sodomitical desire to help measure a representational space from whence the European homosexual will emerge (Chapter Two). The next reading considers the erotics of male visibility legible across a number of Marquesan contact texts including Herman Melville's Typee (Chapter Three). Chapter Four discovers that the suspicion of sodomitical misconduct which clouded the career of William Yate, an early nineteenth-century New Zealand missionary, continues to involve twentieth-century commentators in the interpretative dynamics of sexual entrapment. Chapter Five turns to Gauguin's Tahitian writings and paintings to engage with the place of ambivalence in contemporary analyses of colonial discourse. Chapter Six extends the parameters of the thesis in terms of gender and of geography, taking up the controversy generated by Derek Freeman around the early Samoan fieldwork of Margaret Mead. It argues that in the example of Mead's career, we can observe the way in which female sexuality acts as the cipher by which culture multiplies and maintains ignorances and knowledges across the discursive field of sex in both cosmopolitan and primitive locations. The final chapter, which analyses a contemporary documentary representation of Samoan fa'afafine, finds the pertinence or applicability of European sexual description to Polynesian behaviour again at stake, though now we find that the liberal gesture of cultural relativism is co-optable to a homophobia already drilled and proficient in erecting a difference without to forestall a difference within. Reading against the grain of much postcolonial work on the South Pacific, Tryst Tropique finds that it is the male body-whether native or European-not the female, which provides the sexual vanishing point which structures many of these narratives. In each of these Pacific moments a privileged figuration occurs: the body which stands as a placemarker for erotic capacities-both indulged and forsworn-is indicatively male. These inscriptions of masculinity betray a certain amplifying anxiety; the discrepant sexual availabilities recorded in each text break with increasing urgency on the shore of heterosexual and homosexual definition. Even as these Pacific journal keepers, these writers and artists, map identity more and more ferociously onto the known grid of gender, it seems as if the horizon of sexual certainty further and further recedes.

Biculturalism is a relationship in government between the British Crown and the indigenous [Māori] people of New Zealand. I show that this relationship permeated some Māori healing practitioners’ healing knowledge and perception. A key way in which this occurred was through the practitioners recognizing biological and social boundaries between Māori and Pākehā [New Zealanders of European descent]. A second was through the practitioners’ embodiment of connections with social groups including the nation, a history and present shared between Māori and Pākehā and an idealized pre-contact past. A fundamental principle of Te Oo Mai Reia was that for the practitioners to harness the power of the various forces that sustained life they had to be in touch with their whakapapa [genealogy] for it was through their ancestors that they could commune with the Ultimate Deity, Io, the source of the most potent of all forces of life. A further key principle was that spiritually inspired and traditional Māori culture heightened the wellbeing of Māori, not modern, Pākehā culture. Spiritual and ancient knowledge was supra-conscious and made knowable through an embodied awareness of self and other. To make my argument I draw on literature inspired by Foucault that shows how states govern by implementing their operations and securing their penetration into the citizenry by drawing and building upon pre-existing bodies of knowledge and relations of power. I also draw on literature that shows how the human body bears the effects of such practices of government. To this literature I integrate perception by showing how, in this Māori healing context, the government of the bicultural nation-state worked through the ways the practitioners made sense with the body (especially through feeling, seeing and touching).

This thesis consists of two sections. The intention of Section One, 'Biographical Texts: Theoretical Underpinning', is to explore and discuss the theoretical underpinnings of Maori feminism and Kaupapa Maori as they relate to biography as a research method into the lives of Maori women. Biography, as a literary genre is also examined with particular reference to feminist, women of colour and Maori biography. Section One is a wideranging section, encompassing a broad sweep of the literature in these areas. It both draws from existing literature and contributes to the discourse regarding Maori feminism, Maori biography and Maori research. It is relevant to but unconstrained by the content of Section Two. The intention of Section Two, 'Locating the Story of Betty Wark; A Biographical Narrative with Reflective Annotations', is to provide an example of the biographical method and what might constitute Maori biography. The subject of the biographical narrative, Betty Wark, was a Maori woman who was actively involved with community-based organisations from the 1950s until her death in May 2001. Several major themes which emerged from Betty's biographical history occur throughout her narrative and provide a framework in which her story is located. One of the most significant themes was the notion of 'home'; both literal and metaphorical. This theme is reflected in the title of the thesis, Writing Ourselves 'Home'.

MPhil / The concept of ‘new Englishes’ developed as a result of the relatively new perception of English as an adapting and evolving language within increasingly wider global contexts. According to McArthur (1992:688) the term “new Englishes” refers to "recently emerging and increasingly autonomous variet[ies] of English, especially in a non-western setting, such as India, Nigeria, or Singapore." Such varieties of English develop from an English, traditionally recognised as standard, to become distinctly individual: they retain some cultural and linguistic characteristics of the standard English but additionally represent and include many aspects of the culture and language of the country in which the new English functions. These new Englishes are lexico-grammatically sophisticated and as viable as any of the traditionally recognised standard Englishes. The “new languages” are used intranationally and internationally and so are not only a result of intercultural communication; they also facilitate and enable intercultural communication. This thesis investigates (i) Swazi English (SwE) as a ‘New English’ and (ii) the perceptions that Swazis themselves, as well as speakers from other language communities, have of SwE and its users. Swaziland is a landlocked country in the northeast region of Southern Africa and one of the last remaining monarchies on the African continent. English was introduced to Swaziland during the 1800’s and remained one of the official languages alongside siSwati after Swaziland achieved independence from Britain in 1968. English in Swaziland continued to develop despite increasingly restricted access to input from English first language speakers of British descent thus resulting in SwE developing independently of any external norm. SwE now appears to be a stable variety of English that is not only spoken but also written in newspapers, in government and legal correspondence and in the public relations documents of Swazi companies. The research for this thesis identifies a number of lexical, syntactic and semantic features of SwE that are different from those of standard British or American English. These features of SwE occur frequently and consistently in newspaper articles. Nevertheless, as indicated by the research results of this thesis, SwE continues to be perceived as an error-ridden second language variety rather than as a new English in its own right. Furthermore, the language prejudice is extended to users of SwE as many judge the intelligence, credibility and trustworthiness of writers of SwE negatively on the basis of linguistic features that cannot be indicators of character, skill or competence. This prejudice gives rise to stereotyping which is a barrier to effective intercultural communication.

Thesis (MPhil (General Linguistics))--Stellenbosch University, 2008. / This thesis has been written in partial fulfillment of the requirements of a masters programme in intercultural communication. The study focuses on aspects of linguistic communication, specifically in media discourse, where “cultural boundaries” are determined by sexual difference and where much misunderstanding appears to be founded in different conceptions of homosexuality. I have investigated the theoretical frameworks within which discursive reflection on homosexuality can be studied from an interdisciplinary perspective. The research examines reports in a student newspaper that topicalise homosexuality; it also considers reports that are part of a discourse in which communication takes place between a heterosexual majority and a homosexual minority. Reports that were published across a period of five years were examined, in order to determine whether there has been any development in the discourse. This investigation of a particular kind of intercultural media discourse has been augmented by investigating attitudes towards the minority group by means of a questionnaire, designed by Kite and Deaux (1986: 137). This questionnaire was distributed among 240 students in an attempt to determine whether their reported attitudes coincide with those reported in the media. Despite the fact that homosexuality was removed from the Diagnostic and Statistical Manual of Mental Disorders (DSM) more than 30 years ago, reports of homophobic violence and attitudes in news media reveal that a significant percentage of the population still views homosexuality as an illness, a psychological disorder or as sin. The aim of this thesis was to examine the possible (re)enforcement of such homophobic ideologies in news media, as well as the possible (re)enforcement of increasingly tolerant ideologies, by making use of frameworks developed within Critical Discourse Analysis, by van Dijk (1998) and Gelber (2002). While the results of the media analysis indicate a growing acceptance of homosexuality, the survey results reveal that the majority of the heterosexual students surveyed still maintain homophobic attitudes. Furthermore, discrepancies in the survey results reveal the complex nature of such attitudes.

Thesis (MPhil (General Linguistics))--University of Stellenbosch, 2011. / Bibliography / ENGLISH ABSTRACT: Viewing cross-cultural dance performances on international tours or as part of international dance festivals has become common practice all over the world. For critique writers, choreographers/ dancers and the audience the accessibility of such a diverse variety of dance has both advantages and disadvantages. Cross-cultural differences in these performances challenge strategies of viewing and perception which may lead to aesthetic enrichment but these performances also risk being misunderstood. In dance critique writing, such a misunderstanding may result in a negative critique projecting, in a worst scenario, negative prejudices on the respective cultures. This thesis investigates how attitudes towards, and perceptions of, cultural differences are reflected in cross-cultural dance critiques, through the use of particular linguistic and stylistic devices. Analysis strategies deriving from Critical Discourse Analysis and Text Analysis are used to uncover the critique’s strategies to communicate their evaluation including ways of persuasion and power. I analyse six critiques from three countries on the performance Beautiful Me performed on international tours by the Vuyani Dance Theatre from South Africa. My initial hypothesis is that cultural differences may lead to negative critiques due to intercultural misunderstanding. Since viewing Performance Art is not only influenced by the critique writer’s cultural background but also by their perception attitude towards the performance, the analysis takes perception modes such as a theatre semiotic approach and a phenomenological approach into consideration. Interestingly, different perception modes seem to have a greater impact on the outcome of a critique than cross-cultural differences. This means that most negative evaluations must have their origin in the applied strategy of viewing and perceiving dance. The critic seems to interpret and embed the perceived features of the dance performance into specific cultural or socio-political contexts forming an individual, often complex evaluation. / AFRIKAANSE OPSOMMING: Om te kyk na kruiskulturele dansuitvoerings deur dansgeselskappe op internasionale toere of as deel van internasionale dansfeeste, het wêreldwyd algemene praktyk geword. Vir kritici, choreograwe/dansers en die gehoor hou die toeganklikheid van so ’n diverse verskeidenheid dans sowel voordele as nadele in. Kruiskulturele verskille in hierdie vertonings daag kyk- en waarneem-strategieë uit, wat tot estetiese verryking mag lei. Daar is egter ook ’n moontlikheid dat hierdie vertonings verkeerd geïnterpreteer mag word. Só ’n waninterpretasie in dansresensies mag lei tot negatiewe kritiek wat, in uiterste gevalle, negatiewe vooroordele oor die betrokke kulture projekteer. Hierdie tesis doen ondersoek na die wyse waarop houdings teenoor en persepsies van kultuurverskille in kruiskulturele dansresensies deur middel van spesifieke talige en stilistiese middele gereflekteer word. Analitiese strategieë uit die velde Kritiese Diskoersanalise en Teksanalise word gebruik om kritici se strategieë wat ’n oordeel kommunikeer, bloot te lê. Ek analiseer ses resensies uit drie lande wat handel oor die vertoning Beautiful Me wat deur die Suid-Afrikaanse dansgeselskap Vuyani Dance Theatre tydens internasionale toere opgevoer is. My aanvanklike hipotese is dat kultuurverskille aanleiding mag gee tot negatiewe kritiek vanweë interkulturele misverstande. Aangesien die beoordeling van Uitvoerende Kunste nie slegs deur die kritikus se kulturele agtergrond beïnvloed word nie, maar ook deur hul waarnemingshouding teenoor die vertoning, neem die analise waarnemingsmodusse soos ’n teater-semiotiek-benadering en ’n fenomenologiese benadering in ag. Interessant genoeg, lyk dit asof verskillende waarnemingsmodusse ’n groter impak het op die uitkoms van kritiek as kruiskulturele verskille. Dít beteken dat die meeste negatiewe oordele hul oorsprong moet hê in die toegepaste strategie van dans kyk en waarneem. Dit blyk dat die kritikus die waargenome eienskappe van die dansuitvoering interpreteer en inbed in spesifieke kulturele of sosio-politiese kontekste wat aanleiding gee tot die verskillende, dikwels komplekse maniere van beoordeling.