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<p>Race and gender categories have rarely operated in isolation in the lives of Afro-Brazilian women, intersecting to shape their historical and social positioning, everyday experiences, and collective activism. Despite opposition from the Brazilian state and some civil society groups, the Afro-Brazilian women’s movement has increased awareness of the specificity of black women’s identities and oppressions. In recent years their activism has moved beyond Brazil’s borders through participation in United Nations (UN) Conferences. Yet, the dynamism of Afro-Brazilian women’s intersectional identities and their strategic use to gain legitimacy in these arenas has remained noticeably understudied.</p> <p>This dissertation argues that since activist groups do not participate in transnational forums detached from their specific histories and localized experiences, their actions, and strategies must be historically grounded. It draws upon the major arguments of postcolonial feminism, intersectionality, and the political process model to examine how national and transnational processes have shaped the identity articulations and mobilization strategies of Afro-Brazilian women activists. Four distinct processes operating in and outside of Brazil are identified as critical to the identity positions, strategies, and overall trajectory of the Afro-Brazilian women’s movement: colonialism, slavery, democratic transition, and preparations for and proceedings of UN Conferences. The influence of Afro-Brazilian women activists in domestic policy domains and internal movement dynamics are also explored. The result is a comprehensive analysis of the intricate workings of race and gender categories in activist spaces and the multiple historical and contextual factors which shape their configuration, intersection, and impact.</p> / Doctor of Philosophy (PhD)

Titled as a play on Mindy Kaling’s 2011 book, Is Everyone Hanging Out Without Me? (And Other Concerns), this thesis highlights the obstacles women, the genre of comedy, and dramaturgs face in order to be taken seriously in the arts. Using the work of Mindy Kaling, I explore how she uses comedy as a means of defying the expectations put upon her as an Indian American woman in order to provide context for the ways in which the marginal statuses of women of color and comedy overlap. In an effort to demonstrate the ways in which comedy can be utilized as a tool for social change and the ways in which the work of a dramaturg can support that, this thesis documents the planning and execution of three events that accompany this written document: a production of Mindy Kaling and Brenda Withers’ 2002 play, Matt & Ben; a screening of the 1997 Oscar-winning film, Good Will Hunting; and a Q+A conversation with Broadway’s most-produced female playwright, Theresa Rebeck. My work is shaped by various theoretical frameworks, including intersectional feminism, symbolic annihilation, charged humor, and gender performance theories, seeking to establish that my dramaturgical, comedic, and feminist sensibilities are all driven by the same empathetic impulse that sits at the very core of my artistry and arguing that despite a vast history of marginality, dramaturgs, comics, and women can be powerful agents of change.

ABSTRACT HEARD OR DREAMED ABOUT MAY 2014 PRIYA NADKARNI, B.F.A. RUTGERS UNIVERSITY M.F.A. UNIVERSITY OF MASSACHUSETTS AMHERST Directed by: Professor Shona Macdonald

Post-colonial feminisms have questioned the concept of a universal sisterhood for decades. One of its critics is Chandra Talpade Mohanty (1955–), an Indian-American, post-colonial feminist theorist. In her work, Mohanty suggests that the concept of a universal sisterhood occludes variations in women’s experiences of oppression and ways of life. She criticizes western feminism for casting third world women as objects in their own lives rather than subjects. Instead, Mohanty suggests an international solidarity between groups of women from different circumstances, where women’s various experiences are taken into account. The present study aims to examine the possibility of a trans-contextual feminist ethic based on the questions posed by Mohanty’s work in her book Feminism Without Borders. Since Mohanty is no ethicist, the study will also use resources from the work of Seyla Benhabib (1950–), a Turkish-American philosopher. She places herself in the Kantian tradition and in close relation to Habermas discursive ethics, but she also takes a feminist approach to ethics. This study first evaluates the resources found in Mohanty’s work, which are not enough to construct a basis for a trans-contextual feminist ethics. Thereafter, resources are sought in Benhabib’s works Situating the Self and The Claims of Culture and in her discursive ethics, her views on universalism, her concepts of “the concrete other” and “the generalized other”, and her views on cultures. This examination shows that the resources in the material under scrutiny are not enough to build a basis for a trans-contextual feminist ethic. Questions still remain which might be answered in the wider work of Benhabib or Mohanty, but the material at hand leaves questions about how Mohanty’s vision could be realized in spite of several practical and theoretical problems related to who is associated with which group and the tension between particular experiences and a trans-cultural ethic, none of which are satisfactorily addressed in either Mohanty or Benhabib. In discussing Benhabib, there is also a problem with the two principles of her ethics (i.e. universal respect and egalitarian reciprocity) and their justification. Benhabib herself claims them to be self-explanatory, but this study suggests, with support from other ethicists, that this is not sufficient justification.

Typical identity stereotypes for South Asian Americans, such as the model minority myth, do not convincingly support a trajectory into K–12 education, as South Asian Americans are not readily seen as agents for social change. This qualitative study explored how South Asian American educators’ understanding of their ethnic and racial identity interplayed with their practice as critically conscious educators for social justice. Eleven participants who self-identified as social-justice-oriented were interviewed to share their experiences as South Asian American educators. Their responses revealed South Asian American educators develop their ethnic identity consciousness in complex ways, demonstrating self-awareness and subsequently draw upon their ethnic attachment and racialized experiences to perform as critically conscious educators, developing strong relationships with students from marginalized backgrounds and advancing equity in their schools. The participants’ positionalities reveal that South Asian Americans have tremendous potential as educators for social justice in education.

Text in Afrikaans / In this thesis the term post-colonialism in the Afrikaans drama is investigated, focussing on the post-sixties. The term post-colonialism is difficult to define. Not only are theories of post-colonialism in a state of continuous flux and shifting emphasis, but as a result of different colonial dominations, separate identities have been constructed in South-Africa; so that defining the terms colonial, post colonial and post-colonial proves to be even more problematic. The purpose of this study is to determine to what extent the Afrikaans drama fits into these discourses. The basic point of departure is the fact that post-colonialism played a considerable role in the development of the Afrikaans drama, at the same time providing a more varied scope. The research covers several aspects of post-colonialism in Afrikaans drama; each dealt with in a separate chapter. A multitude of perspectives are featured within the broader discourse in order to obtain multiple norms and standards in a phase of self-criticism. The focus falls mainly on themes and not on performance aspects. New perspectives on issues such as canon texts, silence, hero-worship, the portrayal of woman, patriarchy, and neo-colonialism are presented (chapter 1). In chapter 2 focus falls on the period before 1960, and notably the question of nationalism (associated with apartheid) and the portrayal of the Afrikaner. The literary canon, forms of violence and the position of the super-Afrikaner are viewed in a new light during the re-writing of post-colonial history and the resulting paradigm shifts after 1960. Renewed emphasis is placed on discourse concerning land (chapter 3). Contrasting concepts regarding race, class, language, gender and religion are reconsidered in order to contribute towards the heterogeneous nature of post-colonialism (chapter 4). The function of theatre is to re-evaluate in the context of a post-1994 democratic system. Texts now focus especially on empowerment, re-discovery and re-ordering of history, reconciliation, inter-cultural contact and a post-apartheid syndrome (chapter 5). Anti-hegemonic resistance in Afrikaans literature since the sixties has confronted writers with the challenge of depicting or creating a larger post-colonial reality through their texts. / Afrikaans & Theory of Literature / D. Litt. et Phil. (Afrikaans)

The thesis deals with the theoretic concept of Contextual Pedagogy and its application in the context of a disempowered and marginalized society, the Ju/'hoansi ("Bushmen") of Nyae Nyae in North Eastern Namibia. Contextual Pedagogy derives from the notion of Contextual Theology and is thus initially based on a pedagogical analysis of the KAI ROS-Document, whereby its sociopolitical content and its inherent methodology are being transferred into a context of pedagogy. Referring to theoretical concepts of Critical Theory and Liberation Pedagogy, Conditional Fields are being identified in a first analysis which determine and explain the pedagogical situation in a colonial context of Apartheid South Africa. During a three-year qualitative field research, central aspects of Contextual Pedagogy are being applied within the framework of the development of a post-colonial and community-based school programme in Nyae Nyae, the Village Schools Project. This school programme comprises a curriculum for a teacher training course as well as a curriculum for Grade 1-3 learners in five selected villages of Nyae Nyae, and is based on the dynamic processes between the communities, the Student Teachers and the author as their Teacher Trainer and Village Schools Co-ordinator. A further theoretical evaluation and reflexion of the field research gives rise to a pedagogical superstructure of Contextual Pedagogy, which also investigates the notions of power, empowerment and over-empowerment within a context of development work. By doing so, the previous Conditional Fields of pedagogic work within a theoretical framework of Contextual Pedagogy become extended in relevance for a pedagogical context of a post-colonial society with special reference to marginalized subjects. In conclusion, the finalization of the research project and its subsequent handing-over process to the Namibian government analyzes the paralyzing effects of an excessive bureaucracy, and the resurgence of conservative and colonial thought in the young and fragile democracy of Namibia. / Educational Studies / D.Ed.(Didactics)

This text provides an environmental justice analysis of the stories of the people who lived in the Owens Valley, who watered its land and cultivated its crops—pine trees, apple trees, and kabocha alike. Telling the personal stories of challenge and resistance that manifested alongside the oppressive forces of military and state domination provides the opportunity to align forcibly relocated, exploited and incarcerated people’s struggles throughout time. This text starts with The Nü’ma Peoples who were the first humans to live in the Owens Valley and continues with the struggle for empire between rival colonial empires of agriculture and distant urban cities. Its final chapters end with an in-depth and personal exploration of the unconstitutional incarceration of 117,000 people of Japanese ancestry in the United States during World War II. All the while it weaves in poetry, art and grassroots stories of resistance. It is a call to action for Environmental Studies and Ethnic Studies Departments to link the critical analysis within their disciplines to tell more accurate histories.

Text in Afrikaans / In this thesis the term post-colonialism in the Afrikaans drama is investigated, focussing on the post-sixties. The term post-colonialism is difficult to define. Not only are theories of post-colonialism in a state of continuous flux and shifting emphasis, but as a result of different colonial dominations, separate identities have been constructed in South-Africa; so that defining the terms colonial, post colonial and post-colonial proves to be even more problematic. The purpose of this study is to determine to what extent the Afrikaans drama fits into these discourses. The basic point of departure is the fact that post-colonialism played a considerable role in the development of the Afrikaans drama, at the same time providing a more varied scope. The research covers several aspects of post-colonialism in Afrikaans drama; each dealt with in a separate chapter. A multitude of perspectives are featured within the broader discourse in order to obtain multiple norms and standards in a phase of self-criticism. The focus falls mainly on themes and not on performance aspects. New perspectives on issues such as canon texts, silence, hero-worship, the portrayal of woman, patriarchy, and neo-colonialism are presented (chapter 1). In chapter 2 focus falls on the period before 1960, and notably the question of nationalism (associated with apartheid) and the portrayal of the Afrikaner. The literary canon, forms of violence and the position of the super-Afrikaner are viewed in a new light during the re-writing of post-colonial history and the resulting paradigm shifts after 1960. Renewed emphasis is placed on discourse concerning land (chapter 3). Contrasting concepts regarding race, class, language, gender and religion are reconsidered in order to contribute towards the heterogeneous nature of post-colonialism (chapter 4). The function of theatre is to re-evaluate in the context of a post-1994 democratic system. Texts now focus especially on empowerment, re-discovery and re-ordering of history, reconciliation, inter-cultural contact and a post-apartheid syndrome (chapter 5). Anti-hegemonic resistance in Afrikaans literature since the sixties has confronted writers with the challenge of depicting or creating a larger post-colonial reality through their texts. / Afrikaans and Theory of Literature / D. Litt. et Phil. (Afrikaans)