My thesis consists of a commented translation of five selected short stories, including the title story of Thomas King’s One Good Story, That One, and a theoretical and contextual introduction. My commentary, beyond the explanation of my syntactic and vocabulary choices -which I will relate to King’s interfusional use of idiolect, which is to say his uniquely personal use of orality in writing-, discusses the use of irony and the Trickster as instruments of anticolonial resistance (based on King’s “Godzilla vs. Post-colonial”), with which King hopes to both challenge Western paradigms and raise awareness of Natives’ plight. King uses both of these strategies, interfusional dialect and the Trickster, not simply as postcolonial but rather as anticolonial instruments of discursive resistance (based on King’s “Godzilla vs. Post-colonial”), being in tune with King’s vision that postcolonialism is a concept which only lives in academia and in fact has no real basis in our current society, since we are still, in many ways, living in colonial times. King uses satire, first, to raise awareness of Natives’ physical and psychological plight to this very day, and second, to create a sense of accountability in these same people, to transform them by playfully making them aware of their unwitting complicity in this sordid affair. King's use of the Trickster Coyote as well is an important humorous element which also serves as an instrument of anticolonial discursive resistance and education, and whose mythological significance is crucial to the development of an alternate ideological structure, one which King establishes as a healthy counter-part to the Western religiously inspired one with its traditional Judaeo-christian dualism. When commenting on my translation, I note how King, with his use of the Trickster, satire and orality, contests the validity of Eurocentric paradigms with his literarily and orally established framework of modern Native mythologies and perspectives. With my translation, my aim was to reproduce King’s own translation of orality and traditional Native storytelling into writing, albeit with a slightly different use of dialect (closer to international French than Quebec French), since translating King's idiolect was no easy feat. And so, my main concern was to stay as true as possible to the original work, its gaps, repetitions, syntax and phatic (speech used as social function) use of language. In doing so, my goal was to once again foster the reader’s understanding of Natives and their plight, establishing an oral bond through the translation of King's orality between them and the translated work. Pertaining to the latter will be a discussion on how translation also ideally bridges the gap between cultures while expanding their horizons, just as King's modern, syncretic Native storytelling breathes new life into traditional spiritual practices and beliefs. However, as King warns us about stories, which can be not only healing but also harmful, translation can adversely widen that gap and harm intercultural relationships when improperly harnessed. When properly harnessed, however, translation re-enacts a narrative to launch it in a new language-culture (Benjamin in Venuti), in the same manner that Native storytelling (both traditional and modern) enacts a performative that not only preserves culture but recreates it anew. Hence my interest in discovering the links between the fashioning of a new world, full of promise, through narrative, and the refashioning of a narrated text through translation into a new language-culture. Translating the activism at work in King’s own telling of One Good Story, That One, I would further like to capture the ways in which King's modern Native storytelling and the bleak, satiric humour with which much of it is tinged, continues to combat neocolonialism to this day, even in this so-called postcolonial society. Eva Gruber's Humour in Contemporary Native North American Literature is an in-depth and informative work on this subject. I would like to elaborate on Gruber's statement that humour, more than just a coping strategy, as many would claim, is also, more importantly, especially to a non-Native audience, a Trojan horse of sorts: “Sneaking up on readers through shared laughter, humour can align their empathy with Native viewpoints, obscuring conflicts and hierarchies and triggering consensus and solidarity instead” (“Humour in Native Lit”, 118). As well, I take into account in the course of my translation how in presenting Western history and religion from a humorous angle, the author is exposing its fallacies in a tragi-comical context which blurs the boundaries between reality and myth, and thus alleviates the burden of colonialism upon his Native & non-Native readers, while also encouraging accountability. // Abstract : Mon mémoire consiste en une traduction commentée de cinq nouvelles, incluant la nouvelle titre, du recueil One Good Story, That One de Thomas King, ainsi qu'une introduction théorique et contextuelle. Mon commentaire, au delà de la justification de ma syntaxe et de mes choix de mots -que je relierai à l'utilisation d'un idiolecte interfusionnel de l'auteur, c'est-à-dire son usage personnalisé d'oralité dans son écriture- aborde l'usage d'ironie et du Trickster en tant qu'instruments de résistance anticoloniale (basé sur l'article « Godzilla vs. Postcolonial » de King), avec lesquels King espère contester les paradigmes occidentaux et contribuer à la reconnaissance du fardeau des Autochtones. King utilise ces deux éléments en tant qu'instruments discursifs de résistance anticolonialiste plutôt que postcoloniale, en accord avec son idée que le postcolonialisme est un concept qui n'existe que dans un contexte académique et non dans la réalité quotidienne de notre société, puisque nous vivons ultimement encore dans un contexte colonial. King utilise la satire premièrement pour contribuer à la reconnaissance du fardeau physique et psychique des Premières Nations jusqu'à ce jour, et deuxièmement, pour créer un sens de responsabilité chez ces même gens, pour les transformer en les rendant humoristiquement conscients malgré eux de leur complicité dans cette histoire sordide. L'usage de King du Coyote trickster est aussi un élément humoristique important qui est également un instrument discursif de résistance et d'éducation anticolonialiste, dont la signification mythologique est cruciale au développement d'une structure idéologique de rechange, qu'il établit en tant que saine contre-partie à celle inspirée par les religions occidentales, avec sa dichotomie traditionnelle judéo-chrétienne. Je commente sur le fait que King, avec son usage du Trickster, de la satire et de l'oralité, conteste la validité des paradigmes eurocentristes avec sa littérature oralisée portant sur les mythologies et perspectives autochtones modernes, qui exposent les problèmes de ces 8 paradigmes. Avec ma traduction, mon but est de reproduire la propre traduction de l'oralité des contes traditionnels autochtones de King dans un contexte littéraire, quoique avec un usage partiellement différent de dialecte (plus près du français international que de celui du Québec), puisque traduire l'idiolecte de King n'était pas une tâche aisée. Donc, ma principale priorité était de rester aussi fidèle que possible à l'original, à ses pauses, ses répétitions, sa syntaxe et son usage phatique de la langue (le langage en tant que fonction sociale). En ce faisant, mon but est encore une fois de donner une meilleure contextualisation aux lecteurs de la cause des Premières Nations, et d'établir une relation orale entre eux et la traduction. En relation à ce dernier aspect, je discute du fait que la traduction est aussi idéalement un pont entre les cultures qui sert également à élargir leurs horizons, comme les contes modernes, syncrétiques de King insufflent une vie nouvelle dans les croyances et pratiques spirituelles autochtones traditionnelles. Cependant, comme King nous met en garde contre les histoires, qui peuvent guérir mais aussi empoisonner, la traduction peut également élargir ce fossé et nuire aux relations interculturelles quand elle n'est pas adéquatement utilisée. Quand elle l'est, par contre, la traduction recrée une narration pour la relancer dans une autre culture langagière, de la même façon que les contes autochtones (traditionnels et modernes) recréent une performance qui non seulement préserve la culture mais la fait renaître. C'est pourquoi j'ai un tel intérêt dans la découverte des liens entre la création d'un monde nouveau, plein de possibilités, à travers la narration, et la nouvelle création d'un texte narré dans une nouvelle culture langagière à travers la traduction. À travers la discussion de l'activisme de King dans les nouvelles que j'ai traduites, je discute aussi des façons dont les contes modernes de King et leur humour noir et satirique continuent de 9 combattre le néocolonialisme jusqu'à ce jour, même dans notre société soi-disant postcoloniale. Le livre d'Eva Gruber, Humour in Contemporary Native North American Literature, est un ouvrage approfondi et très informatif à propos de ce sujet. Je voudrais élaborer partiellement sur l'affirmation de Gruber que l'humour, bien plus qu'une stratégie de survie comme plusieurs le croiraient, est aussi un cheval de Troie en quelque sorte, particulièrement pour un lectorat non-Autochtone : « S'approchant discrètement des lecteurs grâce au rire partagé, l'humour peut créer une empathie pour les points de vue autochtones, obscurant les conflits et les hiérarchies et déclenchant au lieu une solidarité et un consensus. » (« Humour in Contemporary Native Lit », 118, ma traduction). Je discute également de comment, en présentant l'histoire et la religion occidentale d'un point de vue humoristique, l'auteur expose ses faussetés dans un contexte tragi-comique qui estompe les barrières entre réalité et mythe, et ainsi réduit le fardeau du colonialisme sur les épaules de ses lecteurs autochtones et non-autochtones, tout en encourageant une prise de responsabilité.

21st-century Neo-anticolonial Literature and the Struggle for a New Global Order explores the twenty-first-century fiction of five writers and investigates the ways in which their works engage the legacy and evolution of empire, and, in particular, the expansion of global capitalism to the detriment of already-subjugated communities. Taking up a recent call by Postcolonial scholars seeking to address the contemporary challenges of the postcolonial condition, this project traces out three distinct forms of engagement that function as a resistance in the texts. The dissertation introduces these concepts via a mode of analysis I have called Neo-anticolonialism, a counter-hegemonic approach which, I argue, is unique to the twenty-first century but rooted in the anticolonial work of Aimé Césaire and Frantz Fanon. Building on a foundation laid by those activist scholars, this project argues that Neo-anticolonialism necessitates the bridging of discourse and activism; thus, the dissertation delineates the utility of Neo-anticolonialism in both literary scholarship and practical application. Through a close analysis of the fiction of the Nigerian writer Chimamanda Ngozi Adichie, Jamaican Michelle Cliff, Amitav Ghosh, a South Asian writer, African American writer Edward P. Jones, and Black British writer Caryl Phillips, the project offers a Neo-anticolonial reading of several twenty-first-century texts. In doing so, I explain the depiction of these instances of resistance as Neo-anticolonial Refractions, literary devices which function as prisms that cast images thus exposing the perpetuation of inequality in the twenty-first century and its direct link to the past epoch. Moreover, each chapter, through an explication of the refractions, reveals how resistance occurs in the face of the brutal reality of oppression and how this cadre of writers engages with the history of empire as well as with its contemporary permutations.

21st-century Neo-anticolonial Literature and the Struggle for a New Global Order explores the twenty-first-century fiction of five writers and investigates the ways in which their works engage the legacy and evolution of empire, and, in particular, the expansion of global capitalism to the detriment of already-subjugated communities. Taking up a recent call by Postcolonial scholars seeking to address the contemporary challenges of the postcolonial condition, this project traces out three distinct forms of engagement that function as a resistance in the texts. The dissertation introduces these concepts via a mode of analysis I have called Neo-anticolonialism, a counter-hegemonic approach which, I argue, is unique to the twenty-first century but rooted in the anticolonial work of Aimé Césaire and Frantz Fanon. Building on a foundation laid by those activist scholars, this project argues that Neo-anticolonialism necessitates the bridging of discourse and activism; thus, the dissertation delineates the utility of Neo-anticolonialism in both literary scholarship and practical application. Through a close analysis of the fiction of the Nigerian writer Chimamanda Ngozi Adichie, Jamaican Michelle Cliff, Amitav Ghosh, a South Asian writer, African American writer Edward P. Jones, and Black British writer Caryl Phillips, the project offers a Neo-anticolonial reading of several twenty-first-century texts. In doing so, I explain the depiction of these instances of resistance as Neo-anticolonial Refractions, literary devices which function as prisms that cast images thus exposing the perpetuation of inequality in the twenty-first century and its direct link to the past epoch. Moreover, each chapter, through an explication of the refractions, reveals how resistance occurs in the face of the brutal reality of oppression and how this cadre of writers engages with the history of empire as well as with its contemporary permutations.

21st-century Neo-anticolonial Literature and the Struggle for a New Global Order explores the twenty-first-century fiction of five writers and investigates the ways in which their works engage the legacy and evolution of empire, and, in particular, the expansion of global capitalism to the detriment of already-subjugated communities. Taking up a recent call by Postcolonial scholars seeking to address the contemporary challenges of the postcolonial condition, this project traces out three distinct forms of engagement that function as a resistance in the texts. The dissertation introduces these concepts via a mode of analysis I have called Neo-anticolonialism, a counter-hegemonic approach which, I argue, is unique to the twenty-first century but rooted in the anticolonial work of Aimé Césaire and Frantz Fanon. Building on a foundation laid by those activist scholars, this project argues that Neo-anticolonialism necessitates the bridging of discourse and activism; thus, the dissertation delineates the utility of Neo-anticolonialism in both literary scholarship and practical application. Through a close analysis of the fiction of the Nigerian writer Chimamanda Ngozi Adichie, Jamaican Michelle Cliff, Amitav Ghosh, a South Asian writer, African American writer Edward P. Jones, and Black British writer Caryl Phillips, the project offers a Neo-anticolonial reading of several twenty-first-century texts. In doing so, I explain the depiction of these instances of resistance as Neo-anticolonial Refractions, literary devices which function as prisms that cast images thus exposing the perpetuation of inequality in the twenty-first century and its direct link to the past epoch. Moreover, each chapter, through an explication of the refractions, reveals how resistance occurs in the face of the brutal reality of oppression and how this cadre of writers engages with the history of empire as well as with its contemporary permutations.

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The anti-colonial struggles in lusophone Africa were the most internationalized wars on the continent. Involved were people from across the globe and across the socioeconomic and political spectrums - Chinese Communists and Portuguese right-wing dictators, American black nationalists in the urban North and South African white supremacists, cold warriors and human rights activists. The Mozambique Liberation Front (FRELIMO), was the only national liberation movement in the 1960s to receive aid from the United States, the Soviet Union, and the People's Republic of China. I contend that, because both FRELIMO and Portugal relied on support from the international community to wage war for over a decade (1964-1975), the anti-colonial wars in lusophone Africa were not only armed struggles, but also cultural and rhetorical battles. FRELIMO's program of socialist revolution which heralded human rights and social justice through education, non- racialism and gender equality resonated with the international shift to the left of the 1960s. Counterpoised were the Portuguese right-wing corporative dictatorship which espoused a "Lusotropical" civilizing mission for its African overseas provinces, and the white supremacist regimes of Southern Rhodesia and South Africa that militarily and economically dominated Southern Africa. This dissertation focuses particularly on the relationship between FRELIMO and the activists of the black freedom struggle and the New Left in the United States. It will show the significant contributions that American activists made to Mozambican liberation, as well as the impact that this transnational movement had on the entire Southern African region, on U.S. foreign policy, and on the United States' domestic social and political landscapes. I explore issues of colonialism, nationalism, and modernity within a cold war context using the lenses of race, class, and culture in the United States and southern Africa during the long Sixties. I also examine the significance of religious organizations and the moral imperative that underpinned the global advocacy supporting southern African independence. The development of a transnational network of activists that reached from rural Africa to the White House provided the leverage needed for southern Africans and their international allies to topple the Portuguese dictatorship and, eventually, end South African apartheid. / History

The use of data to drive or inform the decision making process is gaining traction in education. In response to the data driven decision making shift, an emerging group of scholars are beginning to discuss how the data movement in education may be viewed using a critical race theory (CRT) framework. With a focus on implications for racial equity, this study explores the ways and to what degree data are valued or practically applied in the decision making process in Manitoba. Participants for this qualitative research study include ten Manitoban school superintendents. Drawing attention to the ways in which data-driven practices like all other practice in education, are not neutral acts, this study looks to contribute to the growing research area on Canadian data-driven decision making and CRT. Findings from this study indicate that school divisions in the province of Manitoba are increasingly driven by data that privileges Western or colonial ways of knowing. Some recommendations for further research include, using achievement data to resist racial oppression, exploring the dangers of Gap Talk, and looking at whether data literacy includes notions of power and privilege. / February 2017

Ce travail s’intéresse au Mouvement anarchiste en Algérie pendant la période coloniale, attesté par la constitution de groupes politiques organisés et de la publication de journaux libertaires. Cette thèse souhaite renouveler l’approche historique de la colonisation française en Algérie. En effet, l’étude de l’anarchisme est capitale pour une compréhension totale du socialisme, des socialismes en situation coloniale. La première partie concerne l’histoire de l’anarchisme dans la durée par les différents groupes locaux attestés entre 1887 et 1962 (leur composition, leur militantisme, les trajectoires organisationnelles et personnelles ainsi que la répression étatique subie). La deuxième s’intéresse à l’ensemble des journaux publiés par les anarchistes d’Algérie entre 1890 et 1926 (l’analyse de la presse militante, les thématiques abordées dont les fondamentaux de l’anarchisme et la question coloniale). Enfin, la dernière partie tente d’établir un bilan de l’anarchisme politique en Algérie (la réception au sein de la population européenne et algérienne et la conséquence de cette présence politique sur ce territoire). A cet effet, les archives policières, la presse coloniale et les journaux anarchistes ont été consultés. / This work concerns the anarchist movement in Algeria during the period of colonial occupation, as manifested in organized political groups and published anarchist newspapers. It aims to expand the historical approach to French colonization in Algeria. In effect the study of anarchism is essential for understanding fully the nature of socialism and socialisms in the colonial context. The first part concerns the history of anarchism, as composed by different local groups between 1887 and 1962 (their composition, their activism, their organization, their membership, and the state repression they suffered). The second part concerns all anarchist newspapers published in Algeria between 1890 and 1926 (analysis of the militant press and themes about anarchist fundamentals and the colonial question). The last part seeks to present a balance sheet of anarchist politics in Algeria (reception among Europeans and Algerians and the result of its political presence in the territory). For this purpose, police archives, the colonial press, and anarchist newspapers were consulted.

Dans le sillage de l'héritage des pensionnats, les théoriciens critiques autochtones rejettent le modèle de réconciliation proposé par la commission de vérité et réconciliation du Canada parce qu'elle perpétue le programme colonial. L’alternative proposée par ces théoriciens est la résurgence, ou l'utilisation des paradigmes autochtones dans le développement de politique. La résurgence jaillit d’une célébration des cultures et des traditions autochtones. Cette thèse établit la présence de résurgence dans la poésie de trois poètes autochtones québécoises de trois générations: Joséphine Bacon, Virginia Pasamapéo Bordeleau et Natasha Kanapé Fontaine. Le premier chapitre est composé d'une analyse documentaire qui focalise sur deux éléments: 1) mon droit en tant que critique « non autochtone » à analyser la littérature autochtone, et 2) le rejet de la réconciliation et la promotion de la résurgence par les principaux théoriciens critiques autochtones au Canada. Le deuxième chapitre établit l'oralité comme un aspect clé de la résurgence, et sa présence dans la poésie des trois auteurs. Le troisième chapitre établit la présence de la terre et des histoires dans la poésie, comme preuve supplémentaire de la présence de résurgence. Employant l'analyse de la remédiation, de la décolonisation de langue, et de divers autres facteurs explorés tout au long de cette thèse, il est confirmé que Bacon, Bordeleau et Fontaine intègrent la résurgence dans leurs travaux, ce qui inspire les lecteurs de toutes cultures à prendre des mesures sur les questions environnementales et autochtones. / In the wake of the devastating residential school legacy, Indigenous critical theorists are rejecting the model of reconciliation proposed by the Truth and Reconciliation Commission because it perpetuates colonial agendas. Their alternative to reconciliation is resurgence, or the use of Indigenous schools of thought in policy development. Resurgence springs from a celebration of Indigenous cultures and traditions. This thesis establishes the presence of resurgence in the poetry of three Indigenous female québecois poets of three generations: Joséphine Bacon, Virginia Pasamapéo Bordeleau, and Natasha Kanapé Fontaine. The first chapter is comprised of a literature review focusing on two subjects: 1) my right as a non-Native critic to analyze Indigenous literature, and 2) the rejection of reconciliation in favour of resurgence by leading Indigenous critical theorists in Canada. The second chapter identifies orality as a key aspect of resurgence, and its presence in the poetry of the three authors. The third chapter maps the poets’ work in connection to land-based knowledge and stories, as further proof of the presence of resurgence. Through the analysis of remediation, decolonizing language and various other factors explored throughout this thesis, it is confirmed that Bacon, Bordeleau and Fontaine all incorporate resurgence into their work, thus inspiring readers of all cultures to take action on environmental and Indigenous issues.