Canadian society is a cultural mosaic composed of individuals from an expansive range of cultural backgrounds. Through the process of globalization and ever-increasing accessibility to new people and places we are constantly being exposed to other cultures. This practicum project proposes a new typology for cultural spaces – a transcultural center that functions as a contact zone where individuals can negotiate both spatial and social relationships. Such everyday negotiations within space enables individuals to better understand their own identity and the identities of those around them, giving them the opportunity to recognize and acknowledge cultural similarities and differences. The process of developing the transcultural centre was explored through theoretical and analytical investigations in cultural identity and interaction, phenomenology, and human geography that examined how these notions have the potential to inform an understanding of space and place, sensorial engagements, and the blurring of spatial and cultural boundaries.

This thesis contributes to the literature on the French Catholic Marist mission in New Zealand by providing the first critical in-depth biography of one of the early French missionaries, Antoine Marie Garin (1810-1889). It emphasises the importance of the Marists’ position as outsiders in nineteenth-century New Zealand society. As neither ‘colonising’ British settlers, nor ‘colonised’ Maori, the Marists were in a special position to view events unfolding in the mid-nineteenth century, when New Zealand was changing from a Maori-dominated to a predominantly Pakeha-dominated world. The records which the Marists kept of their experiences, including diaries, letters, memoirs and annals, have the potential to provide a significant contribution to New Zealand historiography, and remain relatively untapped. As a biographical study, this thesis uses the framework of Garin’s life story to add insight to the intercultural dynamic in nineteenth-century New Zealand. The thesis begins with an exposé of the theory used to examine the intercultural dimension in Garin’s experience. Garin’s life in New Zealand was a tale of cross-cultural encounter occurring within two cultural-social paradigms: the Maori-Pakeha paradigm, and the Catholic-Protestant settler paradigm. With respect to the Maori-Pakeha paradigm, it is argued that Homi K. Bhabha’s theory of hybridity provides an innovative framework within which to study early interaction between Maori and Pakeha. The concept of hybridity stresses the interdependence of coloniser and colonised, thereby recognising the existence of agency on both sides, and avoiding the binary opposition of ‘Maori’ and ‘Pakeha’ that continues to mark contemporary New Zealand society. Another postcolonial theory, that of diaspora, is used to illuminate Garin’s experience in settler communities. It is argued that religion can be the basis for a diaspora, and that the Catholics in nineteenth-century New Zealand had a diasporic consciousness because of their creation of separate Catholic institutions, and their connections to the wider Catholic world. Part Two of the thesis consists of the biography proper. It is framed as a cultural biography: a biography that seeks to illuminate not only the subject’s life, but also national history. Garin was a grassroots Catholic missionary, who, through talent, perseverance and a little luck, made a notable impact on New Zealand society, in particular in the area of Catholic education. However, even more important to his story was his ability to build bridges between cultures, and create communities of Maori and settler Catholics. Arguably, Garin’s greatest legacy is the diary that he kept while a missionary to Maori. This documents the everyday border crossing that was taking place between the Maori of Mangakahia and Garin himself in the hybrid society of 1840s’ New Zealand.

Résumé : Desiderio Navarro (1948 -), traducteur, penseur, théoricien, éditeur et activiste culturel demeure peu connu au Canada et en Amérique du Nord en général ainsi qu’en Europe où son œuvre a pourtant été reconnue en 2009 par l’octroi du prix Prince Claus des Pays-Bas. Il a considérablement influencé la pensée culturelle cubaine et latino-américaine des quarante dernières années, en particulier grâce à la revue Criterios, fondée par lui en 1972, et qui, depuis, n’a cessé d’offrir au public hispanophone les principaux écrits des théoriciens russes de la littérature, de l’esthétique, de l’art et de la culture (Bakhtine et Lotman, entre autres). L'activité de traduction de théories n’a cependant pas été un objectif en soi pour Desiderio Navarro. Cette thèse montre en effet que la trajectoire de cet intellectuel engagé représente, d’un côté, une lutte permanente contre des doxas autant nationales qu'internationales, et, de l’autre, un effort constant pour diffuser les nouvelles théories et les idées, stimuler la création théorique et artistique, et ce afin d’encourager le rôle de l'intellectuel critique dans une société soumise de manière permanente à un stress idéologique. Dans le cas de Navarro, traduction, théorie et activisme social se combinent dans une équation à caractère récursif. Ce travail analyse un corpus de traductions de la pensée culturelle russe, traduit et publié par Navarro en 2009, sous la forme d'une anthologie. Cette analyse permet de souligner le poids et l’impact de deux conditions déterminantes dans son travail de traducteur: son identité transculturelle et son positionnement antinéocolonial................................ Abstract : Desiderio Navarro (1948 -), translator, thinker, theoretician and cultural activist remains almost unknown in Canada, North America, and even in Europe, despite the fact that his work was recognized in 2009 with the Prince Claus Award from the Netherlands. He has considerably influenced the Cuban and Latin-American cultural thinking for the last forty years, particularly thanks to the journal Criterios, that he founded in 1972. Since then, this publication has continuously offered to the Hispanic public critical essays on aesthetics, theories of literature, arts and culture produced by Russian theoreticians (Bakhtine and Lotman, among others). Navarro's translation of theories, however, was not a goal in itself. This thesis shows that the path of this committed intellectual represents, on one side, a permanent fight against national and international doxas, and, on the other side, a constant dissemination effort of new theories and ideas, of stimulation of the theoretical and artistic creation, to promote the role of the critical intellectual in a society under permanent ideological stress. Navarro succeeded to combine translation, theory, and social activism in a recursive equation. This work analyzes a corpora of Russian texts on culture and literature, translated into Spanish by Navarro and published in 2009, in an anthology. The analysis underlines the weight and impact of two key determinants in his translation work: his transcultural identity and his antineocolonial positioning.

Canadian society is a cultural mosaic composed of individuals from an expansive range of cultural backgrounds. Through the process of globalization and ever-increasing accessibility to new people and places we are constantly being exposed to other cultures. This practicum project proposes a new typology for cultural spaces – a transcultural center that functions as a contact zone where individuals can negotiate both spatial and social relationships. Such everyday negotiations within space enables individuals to better understand their own identity and the identities of those around them, giving them the opportunity to recognize and acknowledge cultural similarities and differences. The process of developing the transcultural centre was explored through theoretical and analytical investigations in cultural identity and interaction, phenomenology, and human geography that examined how these notions have the potential to inform an understanding of space and place, sensorial engagements, and the blurring of spatial and cultural boundaries.

Research Doctorate - Doctor of Philosophy (PhD) / This thesis explores the ways in which Cuban identity is expressed, understood, maintained and recreated by Cuban migrants in Sydney and the wider Australian society. Initially, the analysis focuses on some of the most visible ethnic markers used by people outside the Cuban community to recreate Cubanness: politics, through the promotion of Cuba as a ‘socialist paradise’ by leftist Australian organizations and solidarity groups with Cuba; and music and dance, taking as an example the salsa boom in Sydney, and the advertising of Cuba as an exotic tourist destination in Australia. Throughout the work an argument is developed that the very different demographic configuration of Cubans in Australia has fostered a singular praxis of maintaining their identity. In doing so the study examines why politics does not play a primary role in the recreation of Cubanness in Australia, in contrast to numerically larger and higher profile Cuban settlements. Rather, Cubanness in Sydney has centred more in preserving eating habits, memories of Cuba as a place, listening and dancing to Cuban music, and other practices kept in the domestic space. This is achieved through the Cuban migrants’ strategic borrowings from other migrant communities, from food products to people and institutions, such as the Catholic Church being used to maintain the traditional worship of the Virgin of Charity. Finally, the study explores how migrants and outsiders understand the identity of Cubanness in Sydney, and considers the contribution of some major theories of ethnicity and identity to understanding this phenomenon.

Research Doctorate - Doctor of Philosophy (PhD) / This thesis explores the ways in which Cuban identity is expressed, understood, maintained and recreated by Cuban migrants in Sydney and the wider Australian society. Initially, the analysis focuses on some of the most visible ethnic markers used by people outside the Cuban community to recreate Cubanness: politics, through the promotion of Cuba as a ‘socialist paradise’ by leftist Australian organizations and solidarity groups with Cuba; and music and dance, taking as an example the salsa boom in Sydney, and the advertising of Cuba as an exotic tourist destination in Australia. Throughout the work an argument is developed that the very different demographic configuration of Cubans in Australia has fostered a singular praxis of maintaining their identity. In doing so the study examines why politics does not play a primary role in the recreation of Cubanness in Australia, in contrast to numerically larger and higher profile Cuban settlements. Rather, Cubanness in Sydney has centred more in preserving eating habits, memories of Cuba as a place, listening and dancing to Cuban music, and other practices kept in the domestic space. This is achieved through the Cuban migrants’ strategic borrowings from other migrant communities, from food products to people and institutions, such as the Catholic Church being used to maintain the traditional worship of the Virgin of Charity. Finally, the study explores how migrants and outsiders understand the identity of Cubanness in Sydney, and considers the contribution of some major theories of ethnicity and identity to understanding this phenomenon.

abstract: The global spread of body techniques, such as Yoga, meditation, Tai Chi, Qigong, and non-competitive martial arts have been diffusing into socio-cultural spaces and institutions outside of their native contexts. Despite the ubiquity of cultural borrowing and mixing, the much needed conceptualization and theorization of cultural appropriation is nearly absent within intercultural communication studies. This ethnographic study examines one community of martial artists who practice Aikido, a martial art originating from Japan, in the United States to explore how members negotiate and appropriate its cultural elements in their practice, how the practice binds the dojo community, and how the practice cultivates an embodied dialogic practice. The study takes an ethnographic approach that uses qualitative methods (e.g. participant-observation and interviews). It is also an experiment with methodology comprised of two moment: the first taking an informative and a communicative view of ethnography, and the second, a performative approach. The ethnographic account transposes the Aikido technique - 1) attack, 2) evasion, 3) centralization, and 4) neutralization - onto the chapters as a way to co-produce the world textually rather than extract representations from it. At the dojo Shining Energy, corporeal, material and semiotic components coexist to produce both defined and latent relationalities that open fields and spaces not predetermined by meaning, law, and authority. The transmission of skill takes places through the relational openings in the rich structured environment during practice that each member helps to generate regardless of their skill level. Aikido practice cultivates a latent form of coping strategy where practitioners learn to flourish in midst of hostile situations while maintaining their own presence and identity. Practitioners persist in the practice of Aikido to submit themselves to the processes to engage their sinews, senses and neural paths to keep up with the particulars of situations so that perception, control, and action to run together like the "flash of lightening" to open up inert reality into a process. The practice of Aikido points to a space and time beyond the movement forms to intimate and reveal new ways of not only moving in the world, but also moving the world! / Dissertation/Thesis / Ph.D. Communication 2012

Notre thèse est structurée en trois parties : Le concept d'identité et l'identité narrative, Le contact des cultures et l'identité culturelle, Devenir écrivain français et nous nous sommes proposée d'y répondre à la problématique énoncée dès le titre, à savoir comment un écrivain qui n'est pas né en France peut arriver au statut d'écrivain français. Nous avons examiné le problème de l'identité, ses différentes composantes (personnelle / sociale / culturelle), analysé comment ce concept est illustré dans l’œuvre des quatre auteurs qui nous intéressent aussi bien au niveau thématique que de point de vue narratologique. Nous avons essayé de présenter la problématique assez complexe du contact culturel, quelles en sont les étapes (déculturation, acculturation, ré-cultururation, transculturation), les conséquences, comment ces quatre écrivains ont vécu ce contact culturel et comment ils en témoignent dans leurs romans ou textes autobiographiques. La troisième partie illustre la problématique de l'identité littéraire d'un autre point de vue. Il est certain que les auteurs que nous étudions ont perdu une patrie (ils ne sont pas retournés vivre dans leur pays natal - sauf Alexakis, qui a opté pour un va et vient permanent entre les deux contrées - même si les facteurs qui les ont déterminés à le quitter ont disparu) mais ils ont acquis une nouvelle langue (une langue de lumière et de bonheur qui leur a également ouvert la grande porte d'entrée de la Littérature Française) et une nouvelle nationalité. C'est le cas d'Andreï Makine et de Milan Kundera. Amin Maalouf a opté pour la double nationalité, franco-libanaise, alors que Vassilis Alexakis a refusé d'acquérir la nationalité française. Les quatre auteurs ont atteint le niveau de transculturation, dans le sens défini par Todorov, c'est à dire celui d'acquisition d'un nouveau code culturel sans que l'antérieur soit complètement effacé, et nous le remarquons bien dans leurs écrits. Le changement de langue a déterminé des variations esthétiques et génériques (Kundera, Maalouf), formelles (Kundera : les différences entre le cycle tchèque et le cycle français, Makine : les différences entre les premiers écrits et les derniers) et le problème de l'autotraduction dans le cas d'Alexakis mais de Kundera aussi. Nous nous sommes également intéressée à leur activité professionnelle en France (professeur, journaliste, etc.), aux distinctions et aux prix littéraires reçus et le rôle de ceux-ci dans leur naturalisation. Ils sont tous quatre lauréats de prix les plus prestigieux (Goncourt, Médicis, Prix de l'Académie Française, pour n'en citer que quelques uns), ce qui a déterminé des changements importants dans leur vie et dans la réception de leur œuvre. / Our paper is structured in three parts : The concept of identity and narrative identity, The contact of cultures and the cultural identity, Becoming a French writer and we intend to answer the problem announced in the title, determining how a writer who was not born in France can reach the status of a french writer. We have analysed the issue of identity, its different components (personal/social/cultural) and the manner in which this concept is illustrated in the work of the above mentioned authors who are under our scrutiny both on a thematic level and on a narratological one. We have attempted to present the quite complex issue of the cultural contact, with its stages (deculturalization, aculturalization, re-culturalization, trans-culturalization), its consequences, the manner in which the four authors have experienced this cultural contact and how they presented it as testimonials in their novels or autobiographical texts. The third part of our paper illustrates the problem of literary identity from another point of view. It is certain that the authors we are studying lost a country (they did not return alive to their country of origin - with the exception of Alexakis, who as opted for a permanent coming and going between the two countries - even if the circumstances that had made him leave disappeared eventuelly) but they gained a new language (a language of light and happiness which also opened the great gate of entering French Literature) and a new nationality. It is the case of AndreÏ Makine and of Milan Kundera. Milan Maalouf opted for the double citizenship, French-Lebanese, while Vassilis Alexakis refused to obtain French nationality. The four authors reached the level of trans-culturalization, in the meaning defined by Todorov, specifically that of acquiring a new cultural code without completely erasing the previous one and we can clearly remark this in their works. The change of language determined aesthetic and generic (Kundera, Maalouf), formal (Kundera : the differences between the Czech cycle and the French cycle, Makine : the differences between his first and his last writings) variations and issues of self-translation in the case of Alexakis but also Kundera. We are also interested in their professional activity in France (teacher, journalist, etc.), in distinctions and literary awards they received and their role in their naturalization. They are all four laureates of most prestigious awards (Goncourt, Médicis, the award of the French Academy, to mantion some of them) fact which determined important changes in their lives and in the reception of their work.

Esta tese para o doutoramento em Letras, na área dos Estudos Comparados de Literaturas de Língua Portuguesa, investiga as questões relacionadas aos aspectos culturais, literários, transculturais e identitários presentes nas obras ficcionais: Nosso musseque (2003), do angolano José Luandino Vieira e Viva o povo brasileiro (1984), do brasileiro João Ubaldo Ribeiro, a partir da perspectiva do estudo comparativo da solidariedade das literaturas dos países de Língua Portuguesa. Analisa os principais processos determinantes da afirmação, (trans)formação e reconstrução da identidade nacional como: mestiçagem, hibridismo cultural e transculturação, como também identifica e compara a natureza do engajamento literário desses escritores. O presente estudo também busca evidenciar, nessas literaturas de Língua Portuguesa, as marcas identitárias construídas como autoafirmação das especificidades político-econômicas surgidas no século XX. Elas são a expressão poética de seus autores, pois pela importância que têm, representam um tempo, um espaço, um povo e também as culturas nelas reproduzidas. Tal investigação permite mostrar que as obras em estudo desempenham um papel relevante na representação da realidade sócio-histórica, em permanente projeção e (trans)formação de Angola e do Brasil. / This thesis in the area of comparative studies in Portuguese Language for a doctorate in arts faculty is based on researching issues related to cultural, literary, transcultural and identity aspects which are present in fictional works: Nosso musseque (2003), of the Angolan José Luandino Vieira and Viva o povo brasileiro (1984), of the Brazilian João Ubaldo Ribeiro, from the perspective of comparative study of the solidarity of the literatures of Portuguese-speaking countries, analyzing major processes that determine claim, (trans)formation and reconstruction of the national identity, such as: miscegenation, cultural, hybridity and transculturation, and also identify and compare the nature these writers literary engagement. This study also seeks to show in these literatures of Portuguese language brands identity constructed as self-affirmation of the political and economics specificities that arise in the twentieth century. They are poetic expression of their authors, as they have the importance that they represent not only a time, a space, a people, but also the culture reproduced in these respective literatures. Such research shows that the works play a important role in representing the socio-historical reality of Angola and Brazil in permanent projection and (trans)formation.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-10-24T18:31:34Z No. of bitstreams: 1 marilianogueiradasilva.pdf: 3066892 bytes, checksum: 96aeb1adf318f77e542aa39e1062d33f (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-12-15T11:55:43Z (GMT) No. of bitstreams: 1 marilianogueiradasilva.pdf: 3066892 bytes, checksum: 96aeb1adf318f77e542aa39e1062d33f (MD5) / Made available in DSpace on 2016-12-15T11:55:43Z (GMT). No. of bitstreams: 1 marilianogueiradasilva.pdf: 3066892 bytes, checksum: 96aeb1adf318f77e542aa39e1062d33f (MD5) Previous issue date: 2008-05-07 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / “Entre o pão e a farinha” é um estudo da cultura brasileira vista através dos relatos de viagem produzidos pelos estrangeiros que estiveram no Brasil durante a primeira metade do século XIX. O tema de nossa pesquisa é a alimentação, considerando os produtos, maneiras e espaços utilizados para o preparo e consumo, objetos materiais envolvidos e comportamentos à mesa. Para orientar nossos estudos tivemos como principais elementos de reflexão os trabalhos de Roger Chartier, 1 Norbert Elias 2 e Mary Louise Pratt 3 e seus respectivos conceitos de “representação”, “processo civilizatório” e “transculturação”. A visão do estrangeiro sobre a sociedade brasileira que transparece nos relatos é o sentimento de superioridade intelectual, tecnológica e de costumes do europeu, dito “civilizado”. Por outro lado, as diferenças culturais e, principalmente a variedade de produtos alimentícios que aqui encontraram aguçaram a curiosidade de muitos viajantes e dos europeus que os leram. / “Between bread and flour” is a study of the Brazilian culture seen through the trip reports of foreigners that came to Brazil during the first half of the nineteenth century. The theme of our research is the way people nourished themselves, including the products, how and where they were prepared and consumed, the objects involved in this process and the behaviors at the table. Our studies were guided by the main elements of reflection in the works of Roger Chartier 4, Norbert Elias 5 and Mary Louise Pratt 6, and their respective concepts of “representation”, “civilizatory process” and “transculturation”. The view of the Brazilian society held by foreigners and revealed in the reports is of European, or so-called “civilized”, superiority in intellectual and technological aspects, as well as in manners. On the other hand, the cultural differences and especially the variety of foodstuffs found here stimulated the curiosity of many travelers and of the Europeans who read their reports.