In this dissertation, I study the corpse as a material in Latin American art at the end of the 20th century and the beginning of the 21st. On the one hand, I show that this is a social analyzer of the terrible consequences of dictatorships, neoliberal policies, and criminal violence on the continent. On the other hand, applying the theory of new materialism and focusing on the presence of the dead body -human or non-human- in the work of artists such as Nicola Costantino, José Antonio Hernández Díez, Teresa Margolles, María Fernanda Cardoso, Arturo Duclos, or Nicolás Lamas, among others, I develop what I call corpse art. As I argue, the impact of this art consists in challenging the limits of the body and its traditional binomials (surface-depth, organic-inorganic, living-dead) using the material capacities of skin, flesh, and bones. The material deployment of the corpse, as well as the re-appropriation of scientific and commercial techniques, put artistic media, their specificities, and their autonomies in crisis. But in addition, this corpse art allows also us to reflect on the manipulation of bodies and power ties that produce objects and merchandise of desire in the Latin American context.

La critique des littératures francophones du Canada s'est longtemps nourrie de paradoxes. Se fondant d'abord sur les concepts de « littérature mineure » (Gilles Deleuze et Félix Guattari, Kafka. Pour une littérature mineure, 1975) et, dans une plus large mesure, de « littératures de l'exiguïté » (François Paré, Les littératures de l'exiguïté, 1992), elle s'est employée, à partir de la fin des années 1980 et du début des années 1990, à fonder un discours qui structurera essentiellement le champ des littératures francophones minoritaires autour de la notion d'identité. Cette littérature tournée vers sa spécificité vient toutefois occulter une partie importante de la production littéraire issue des francophonies du Canada qui est davantage orientée vers l'universalité. Cette thèse s'intéresse à l'interstice, à l'espace qui rend possible la conjugaison entre les réalités binaires qui caractérisent souvent les littératures francophones du Canada, à savoir leur appartenance à une exiguïté socioculturelle constitutive, d'une part, et leur aspiration à l'universalité érigée par la pratique de l'écriture, d'autre part. Pour rendre compte de l'articulation entre la conscience et l'oubli, entre le particularisme et l'universalisme à l'œuvre dans ces littératures, nous introduisons ici la notion de concomitance, qui apparaît comme une voie de lecture qui ambitionne de concilier les différences plutôt qu'une approche théorique à proprement parler. La concomitance se manifeste de différentes façons dans la production littéraire francophone du Canada, mais sa présence est particulièrement éloquente dans l'œuvre de certains auteurs, dont J. R. Léveillé (littératures francophones de l'Ouest canadien), Andrée Christensen (littérature franco-ontarienne), Serge Patrice Thibodeau (littérature acadienne) et Suzanne Jacob (littérature québécoise). C'est notamment à travers l'étude des stratégies discursives, des procédés et des mécanismes déployés dans la poésie de ces auteurs -poésie qui constitue « le langage même des marginalités », selon une expression de François Paré - que se révéleront les différentes expressions de la concomitance dans les littératures francophones du Canada.

Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2007-2008. / En tant qu'introduction à sa pensée philosophique, les Méditations Cartésiennes de Edmund Husserl constituent l'un de ses ouvrages les plus lus. Par ailleurs, la 5e Méditation Cartésienne resta pendant longtemps l'un des rares textes où Husserl nous présentait de façon systématique sa théorie de l'empathie (Einfiïhlung) et sa conception de l'intersubjectivité transcendantale, et fut à ce titre la cible de plusieurs critiques bien connues de nos jours. Toutefois, depuis la parution dans les années 1970 des volumes XIII, XIV et XV des Husserliana portant sur la question de l'intersubjectivité, notre compréhension de cet aspect de la pensée husserlienne s'est grandement améliorée. Ce mémoire de maîtrise constitue donc une relecture de la 5e Méditation Cartésienne à la lumière de ces connaissances élargies, en vue de mieux saisir son propos, et la confronter à neuf à certaines des critiques classiques (Schutz, Ricœur) formulées à son égard.

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This dissertation delves into the portrayal of Sabbatai Zevi, the 17th-century Jewish messiah who converted to Islam, within 20th-century literary works. Specifically, it scrutinizes how this historical figure is woven into literature and delves into the significance of his portrayal in works written in Hebrew, Yiddish, and English. Utilizing Fred Davis’s insights on nostalgia’s correlation with historical disruptions and Svetlana Boym’s notions of nostalgia for both the past and future, this study interprets Sabbatai Zevi’s melancholic demeanor and his followers’ disillusionment with his conversion as manifestations of a concept termed here as “melancholic nostalgia,” denoting feelings of irretrievable loss. Given that these literary pieces emerged during pivotal moments in 20th-century Jewish history, this dissertation asserts that Sabbatai Zevi’s literary representation serves as a poignant symbol of melancholic nostalgia, resonating with the profound shifts in modern Jewish narrative.

Cette recherche prend comme objet d’étude le portrait photographique de Rineke Dijkstra, artiste néerlandaise née en 1959. Cette recherche vise à cerner la présence ainsi qu’à déterminer le sens de l’humanisme de cette approche photographique. Une analyse de la série de portraits Beach, réalisée durant la dernière décennie du vingtième siècle, est à la base de cette argumentation. Ce mémoire s’intéresse à l’analyse du portrait et ses rapports au temps, à la culture d’une époque et à la réalité sociale d’un épisode historique. L’étude du portrait de Rineke Dijkstra, tout comme le discours de celle-ci, rend compte d’un humanisme qui s’avère insister sur la représentation de la fragilité humaine. Par une revalorisation de l’«humain», le portrait de l’artiste se distingue des démarches formelles et conceptuelles du portrait contemporain, lesquelles privilégient, entre autres, un déni de la subjectivité de l’individu portraituré. L’expérience perceptive du spectateur, face au portrait de la série Beach, montre que ce portrait renvoie l’image de l’humanité du spectateur. / This present thesis, which studies the photographic portrait of Rineke Dijkstra, Dutch artist born in 1959, supports the hypothesis and explains the presence and the meaning of humanism in this photographic approach. The in-depth analysis of the Beach portraits series, created during the last decade of the twentieth century, is the base on which the arguments are elaborated. This thesis seeks answers through the analysis of the portraits and its relations with time, culture and social reality of a historical episode. The study of Rineke Dijkstra’s portraits and of her work’s discussions reveals a humanism which seems to insist on human fragility. By valuing what is deeply human in the portrait, the artist’s work distinguishes itself from the formal and conceptual approaches of the contemporary portrait which tend to a denial of the subjectivity. The perceptive experience of the viewer facing the Beach portraits series seems to reveal that the portrait returns the image of the viewer’s humanity.

Having written over 449 pieces of Cantonese opera works, Tang Di-sheng (1917-1959) is considered to be one of the most outstanding and influential librettists and playwrights of Hong Kong Cantonese opera in the 1950s. His Cantonese operas such as Liu Yue Xue (Snow in June; 1956), Di Nu Hua (The Floral Princess; 1957) and Zi Chai Ji (The Purple Hairpin; 1957), Shuang Xian Bai Yue Ting (Two Immortals at the Pavilion of the Moon; 1958), Bai Tao Hui (Madam Lee Sam Neung; 1958), and Zai Shi Hong Mel Ji (The Reincarnation of Plum Blossom; 1959) are well known to be Tang's masterpieces. / In chapters three and four, the study applies the Merriam's model "concept", "behavior" and "music sound". First, the thesis examines the classical plays, the historical story, pre-existed Cantonese opera and other plays and discusses these "concepts" in relation to Tang's creation. His "behavior", behavior of performers, musicians, audiences and listeners constitutes in the stage performances, the movies and the recordings became the "music sound" of the works of Tang. Finally, it also attempts to understand the works of Tang against the social and cultural background in Hong Kong. The analysis of the selected works shows that Tang attempted to change the creative idea of the works, performing practice, the female role in the 1950s, and how Tang cultivated a unique Hong Kong flavor in his own works. / The theoretical framework is based on Merriam's research model, "concept", "behavior", and "music sound" itself, and has referred to Timothy Rice the revision model which developed a three-dimensional model ("historical construction", "social maintenance", and "individual creation and experience") for ethnomusicological research. Chapter two examines "individual creation and experience", which discusses the biography and the works of Tang Di-sheng, analyses his creativity and experience. Moreover, it is a macroscopic research to correlations in the Hong Kong society and Cantonese Opera. For "historical construction", this chapter studies the social background of Hong Kong's historical development, the development and changes of the social cultural contexts of Hong Kong society and a how did Tang receive "social maintenance" from 1950 to 1959. / 戴淑茵. / Adviser: Chan Sau Yan. / Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 2942. / Submitted: November 2007. / Thesis (doctoral)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (p. 373-399). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / School code: 1307. / Dai Shuyin.

University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese

Text in Afrikaans with abstracts in Afrikaans, English and isiZulu / Hierdie studie van Afrikaanse tekste oor die Kongo (DRK) strek vanaf 1912 - toe DF Malan die eerste wit Afrikaner geword het wat ‘n reisbeskrywing oor sy besoek aan die Kongo gepubliseer het (Naar Congoland, 1913) - tot 2012 . Die navorsingsverslag ondersoek beeldvorming rondom die Kongo/(Midde-)Afrika in die korpus tekste wat opgespoor is, binne die breë teoretiese raamwerk van koloniale/postkoloniale studies, met toespitsing op “Africanism” en “Whiteness studies”. Daar is bevind dat beeldvorming in verband met die Kongo rondom twee hooftrope geskied: die Kongo as Conradiaanse “heart of darkness”, waar barbaarsheid in al sy geledinge hoogty vier; en die Kongo as “Eldorado” – die land wat as 15de-eeuse Afrika-koninkryk beskik het oor ‘n ontwikkelde beskawing en ongekende rykdom - lank voordat dit “ontdek” is deur Portugese seevaarders. Hierdie hooftrope en hul uitlopers funksioneer as ‘n kontinuum eerder as volstrekte teenoorgesteldes in die meeste Afrikaanse tekste oor die Kongo. Tekste van die koloniale era (tot die 1960’s in die Kongo) sluit aan by Eurosentriese diskoerse waarin die imperiale/koloniale tydgees weerspieël word, en tipies manifesteer in binêre opposisies (byvoorbeeld primitiwiteit versus beskawing) en trope soos “imperial eyes” (wit toeëiening van die koloniale ruimte). Malan se ideaal van ‘n Dietse invloedsfeer gebaseer op die taalverwantskap tussen Hollands/Afrikaans in Suid-Afrika, en Vlaams in die destydse Belgiese Kongo, herinner aan die ekspansionistiese ywer waarmee die Kaap-tot-Kaïro-droom van Britse imperialiste nagejaag is, maar blyk nouer verwant te wees aan die Afrikanernasionalistiese klem op die “taal as volk”. In postkoloniale tekste word die siening van die wit Afrikaner as ‘n nasaat van die geïdealiseerde Voortrekkers/Dorslandtrekkers toenemend gerelativeer deur tekste waarin die wit Afrikaner herverbeel word as “wit sangoma” of “Witboy in Afrika”; en wit vrese en vergrype word op skerp satiriese wyse aan die kaak gestel as die wrange erflating van die aartskolonialis, “Pappa in Afrika”. Die koloniale projek word in Equatoria as mislukking uitgebeeld, terwyl Horrelpoot ʼn distopiese verbastering van Afrikanerskap en Afrikaans in (Suid-)Afrika poneer. Witheid mag uiteindelik in Afrika uitgewis en vervang word met egte skakerings van aardsheid, of herdefinieer word in ʼn niehegemoniese verband (The Poisonwood Bible). Slegs die tyd sal leer. / This study of Afrikaans literary texts on the Congo (DRC) covers 100 years: 1912 – 2012. In 1912 DF Malan became the first white Afrikaner to travel to the Congo and publish a travelogue based on his travels (Naar Congoland, 1913). This thesis investigates the representation of the Congo/Central) Africa in the corpus of texts discovered, within the broad theoretical framework of colonial/postcolonial studies, and the paradigms of “Africanism” and “Whiteness Studies”. The Congo has been represented in terms of two main tropes: the Congo as the Conradian “heart of darkness”, the seat of utter savagery; and the Congo as “Eldorado” – the African kingdom that presided over a well-developed civilisation and untold wealth long before it was “discovered” by Portuguese explorers in the fifteenth century. These main tropes and their sub-tropes function in most Afrikaans texts on the Congo as a continuum and not in absolute contrast. Literary texts of the colonial era (up to the 1960’s) are characterised by Eurocentric discourses in which the imperial/colonial Zeitgeist typically manifests in binary oppositions (primitivism versus civilisation), and tropes like “imperial eyes” (white appropriation of colonial space). Malan’s dream of a Dutch sphere of influence - based on the affinity of Dutch/Flemish in the Congo with Dutch/Afrikaans in South Africa – and extending from Cape Town to the erstwhile Belgian Congo, is reminiscent of the expansionist fervour characterising the imperialist Cape-to-Cairo idea, but is based on the close link between language and nationhood in Afrikaner nationalism. In postcolonial texts the view of the white Afrikaner as ‘n descendant of the idealised Voortrekkers/Angolan trekkers is increasingly deconstructed by re-imagining the Afrikaner as a “white sangoma” or “whiteboy in Africa”, while white fright and guilt are revealed - in a sharply satirical fashion – as the bitter legacy of the white arch-colonialist “Pappa in Afrika”. The colonial project is portrayed as a disaster in Equatoria, while Horrelpoot poses a dystopic vision of the degeneration of Afrikanerdom and Afrikaans in (South) Africa. Whiteness may eventually be erased and replaced by authentic, earthy African colours, or be redefined within a non-hegemonic context (The Poisonwood Bible). Time alone will tell. / Lolu cwaningo olumayelana nemibhalo yesiBhunu ezincwadini zaseCongo (eDRC) lubheka isikhathi esingangeminyaka eyi-100: 1912 – 2012. Ngo-1912, uDF Malan waba yiBhunu lokuqala elimhlophe elaya eCongo laqopha umbiko omayelana nohambo lwakhe (Naar Congoland, 1913). Lo mbiko wocwaningo ucubungula indlela okwethulwa ngayo iCongo kanye nezinye izindawo eziMaphakathi Ne-Afrika eqoqweni lwemibhalo etholakale ohlakeni lwemibhalo eyimihlahlandlela emayelana nezifundo zangezikhathi zombuso wamakoloni/ nezikhathi zangemva kombuso wamakoloni, kanye nokuhleleka kwezifundo ngaBomdabu nangaBamhlophe. Izwe laseCongo lethulwa ngokufanekiswa ngezindlela ezimbili: ICongo njengesizinda sobumnyama (“heart of darkness”), nanjengesihlalo sobulwane bokungaphucuzeki (seat of utter savagery) njengoba kufanekisa umbhali uJoseph Conrad, kanti futhi ibuye ifanekiswe njengeCongo eyi-“Eldorado” – ubukhosi base-Afrika obabubusa endaweni ephucuzeke ngokuphelele nenothe ngendlela emangalisayo, ngaphambi kokuba itholwe ngabasingimazwe baMaputukezi ngekhuluminyaka leshumi-nanhlanu. Lokhu kufanekisa kanye nemifanekiso ehambisana nako evela emibhalweni eminingi engesiBhunu maqondana neCongo isetshenziswa ukuveza okubili okubonakala sengathi kuyefana yize kungafani kunoba ikuveze obala njengezinto ezingafani nhlobo. Imibhalo esezincwadini yangesikhathi sombuso wamakoloni (kuze kufinyelele esikhathini sangeminyaka ye-1960) iphawula kakhulu ngezindaba ezincike emasikweni nasemilandweni yamazwe aseYurophu nokuyilapho umoya wobukhosi obubusa ngaphezu kwamanye amakhosi/ nombuso wamakoloni uziveza njengokulindelekile ngezindlela ezimbili eziphikisanayo (ukubambelela endleleni yokwenza yasendulo kuqhathaniswa nempucuko), kanye nemifanekiso enjenge-“imperial eyes” (ukuzithathela kwabamhlophe umhlaba ezweni ababusa kulona okungelabanye abantu). Iphupho likaMalan lokuba kube nendawo eyenza ngokwemfundiso yamaDashi – okwakuncike ekuhlanganyeleni kwamaDashi/namaFlemishi eCongo kanye namaDashi/namaBhunu eNgingizimu Afrika – nokwakuzohamba kusuke eKapa kuze kufinyelele eCongo eyayaziwa ngokuthi yiBelgian Congo, kudala, ikhumbuzana uthando olukhulu lokwandisa indawo noma umnotho olwaluvela kumqondombono walabo abasekela umbuso wobukhosi bamazwe amaningi weCape-to-Cairo, kodwa-ke lokhu kwakuncike ekusondelaneni kolimi kanye nothando lobuzwe ebuzweni bamaBhunu. Emibhalweni yangemva kwesikhathi sombuso wamakoloni, ukuthathwa komuntu oyiBhunu elimhlophe njengoyisizukulwane saBafuduki (amaVoortrekker)/ saBafuduki base-Angola kuyaqhubeka nokuhlakazwa ngokudweba kabusha isithombe seBhunu emqondweni, liyi“sangoma esimhlophe” noma lingu“mfana omhlophe e-Afrika”, kodwa kube kugqama ukwesaba nokushawa ngunembeza – ngendlela ebhuqa kakhulu – njengegalelolifa elinganambitheki lomeseki wombuso wamakoloni oqavile u-“Papa in Afrika”. Umsebenzinhloso wezindaba eziphathelene nombuso wamakoloni uvezwa ngengowonakala wangaphumelela nhlobo ku-Equatoria, kanti uHorrelpoot yena uveza umbono wokuphela kobuBhunu kanye neSibhunu eNingizimu Afrika. Ubumhlophe bungagcina buphelile bese esikhundleni sako kungene imibala yoqobo ezothile esamvelo yomhlaba edabuka e-Afrika, kumbe buchazwe kabusha ngaphansi kwengqikithi engahambisani nokuphatha (The Poisonwood Bible). Sekobonakala phambili. / Afrikaans and Theory of Literature / D. Litt. et Phil. (Afrikaans)

This thesis examines the experience of loss in Anne Landsman’s novels The Devil’s Chimney (1997) and The Rowing Lesson (2008), and Rachel Zadok’s Gem Squash Tokoloshe (2005). Positing the Truth and Reconciliation Commission (TRC) as an impetus for emerging literary traditions within contemporary South African fiction, the argument begins by evaluating the reasons for the TRC’s widespread impact, and considers the role that the individual author may play within a culture which is undergoing dramatic socio-political upheavals. Through theoretical explication, close reading, and textual comparison, the argument initiates a dialogue between psychoanalysis and literary analysis, differentiating between two primary modes of experiencing loss, namely traumatic and nostalgic memory. Out of these sets of concerns, the thesis seeks to understand the inextricability of body, memory and landscape, and interrogates the deployment of these tropes within the contexts of traumatic and nostalgic loss, examining each author’s nuanced invocation. A central tenet of the argument is a consideration, moreover, of how the dialogic imagination has shaped storytelling, and whether or not narrative may provide therapeutic affect for either author or reader. The study concludes with an interpretation of the changing shape of literary expression within South Africa.