Cette thèse résulte de la recherche d’un sujet dépourvu de tout repère à ses liens relationnels. Elle rompt les territorialités de la narration et va au-delà des seuils du sujet, à travers des mouvements rhizomiques et en suivant les lignes littéraires et culturelles qui permettent d’échapper aux forces emprisonnantes d’assujettissement. Cette étude trait des sites marginalisés de la transformation et de la dislocation, en passant par les sites de la résistance et de la décolonisation. Ma lecture de la littérature migrante et, des littératures indigènes, la déterritorialisation et la décolonisation s’entrelacent en trois sites majeurs au sein: la liminalité, l’intermédiaritéé et le devenir. Ces sites ne représentent pas seulement les formes esthétiques innovantes qui traversent les seuils de l’identité dans notre culture contemporaine, mais ils assistent aussi ce projet à son but ultime de réinventer et de réarranger la relation entre le soi et l’autre vers de nouveaux débuts. Cette nouvelle perspective munie de l’éthique de s’engager dans la situation, s’abstient d’émettre un jugement et entend prévoir des possibilités d’une transformation révolutionnaire aux niveaux politique, social et économique. Dans ce projet, les mouvements de déterritorialisation émergent dans les écrits et les productions artistiques de Richard Mosse, Chris Abani, Rawi Hage, Leslie Marmon Silko et Thomas King et fournissent les possibilités d’une certaine réflexion sur les seuils de différents sujets masculins en crise. Ce projet s’adresse, en premier lieu, à la Chose sous-jacente qui se déplace entre-deux territoires et perturbe le désire de capturer son essence; en revanche, suivant Deleuze et Guattari, elle se déplace avec les mouvements nomadiques des sujets masculins qui deviennent des simulacres assujettis dans divers sites de désapprentissage. À titre d’exemple, ces sites de désapprentissages illustrés dans Incoming et The Castle de Richard Mosse dissocient la matérialité du déplacé de son image et informe le discours sur les façons à travers lesquelles l’existence est mise en danger, limitée et violée par la représentation. À travers GraceLand d’Abani, ce projet examine des modes de liminalité et des cérémonies d’initiation et reconnaît les expériences vécues des sujets masculins dans des structures culturelles différentes. Dans les romans de Rawi Hage, j’explore les façons à travers lesquelles la masculinité s’arrange ou se réarrange, de façon créative, dans des actes de performance. Cette thèse revient sur le sujet de la liminalité par le biais de Ceremony de Silko et de la narration post-apocalyptique de l’identité de Thomas King. L’analyse aborde certain des enjeux que les hommes indigènes et ceux qui affirment les identités masculines doivent affronter. Ainsi, dans le dernier chapitre, la convergence harmonieuse des voix indigènes et des littératures indigènes et migrantes situe ces lignes de fuite qui pourraient se rejoindre ou refuser de se croiser, ou se désintégrer dans le flot de la violence. / This dissertation stems from the search for a subject without reference to the webs of relations that hold it. Through rhizomatic movements, it breaks territorialities of narrative and moves beyond the subject’s thresholds by following literary and cultural lines of escape away from imprisoning forces of subjugation. The investigation flows along marginalized sites of transformation and displacement and through sites of resistance and decolonization. In my readings of migrant and Indigenous literatures, deterritorialization and decolonization intertwine at three major sites: liminality, in-betweenness, and becoming. These sites are not only innovative aesthetic forms that cross the threshold of identity in our contemporary culture; they also participate in the project of reinventing and rearranging the relation of self and other toward new beginnings. The new perspectives that are offered engage ethically, avoid judgment, and foresee the possibilities for revolutionary political, social, and economic transformation. The movements of deterritorialization that emerge within the writings and artistic production of Richard Mosse, Chris Abani, Leslie Marmon Silko, Thomas King and Rawi Hage provide possibilities for reflection at the thresholds of different male subjects in crisis. This project first addresses the underlying Thing that moves in between territories and confounds the desire to capture its essence; instead, following Deleuze and Guattari, it moves along with the male subjects’ nomadic movements as they become desubjectified simulacra in various sites of unlearning. In Richard Mosse’s Incoming and The Castle, for example, such a site of unlearning separates the materiality of the displaced from its image and informs discourse about the ways in which representation endangers, limits and violates existence. Through Abani’s GraceLand, this project further investigates modes of liminality and initiation ceremonies and acknowledges the lived experiences of male subjects in different cultural structures. In Rawi Hage’s novels, I explore the ways masculinity arranges or rearranges itself creatively in acts of performance. The dissertation also again turns to liminality by way of Leslie Marmon Silko’s Ceremony, and Thomas King’s post-apocalyptic narrative of identity. In this way, the harmonious conjunction of Indigenous voices and Indigenous and migrant literatures attempts to locate where these lines of escape might come together, refuse to cross, or crumble back upon themselves in flows of violence.

No description available.

No description available.

Cette thèse explique le développement de la théorie critique des mythes (myth criticism) de Northrop Frye et veut démontrer que l'examen critique des mythes est un paradigme approprié pour analyser le développement des conventions littéraires anglaises et la communication d'archétypes dans des œuvres littéraires postmodernes. En examinant, à la lumière d'archétypes bibliques, de rites religieux provenant d'Afrique de l'ouest, de folklore amérindien et du mythe monomythique de la perte d'identité, trois romans afro-américains et amérindiens, je suggère que la théorie de Frye est applicable aux œuvres postmodernes amérindiennes et afro-américaines autant qu'elle l'est aux œuvres du canon traditionnel. Cette étude retrace les origines de la théorie de Frye et met en lumière la présence d'archétypes et de structures bibliques dans la fiction afro-américaine et amérindienne ainsi que la communication d'archétypes africains continentaux à la culture afro-américaine par un mélange d'ancienne religion africaine et d'archétypes bibliques. Ainsi, puisqu'il s'agit d'une application de la théorie de Frye, cette thèse enrichira notre compréhension du développement des conventions littéraires et de la portée de cette théorie, et permettra une remise en question de notre conception de la littérature afro-américaine et amérindienne.

This dissertation focuses on the status of women in Central Asian society, particularly in Kyrgyzstan, and the phenomena of the Kyrgyz family that is the central part of daily living of Kyrgyz people. We provide an introduction to the region, followed by an analysis of a social stratification of Kyrgyz society and a various types of families. The next chapter describes the three major historical periods and changes in women's position in the society. The first period spans up to 1917, its end marked by the Bolshevik coup. Until that time, The Kyrgyz society was nomadic, organized into tribes, clans, and large patriarchal families. The 1920's were tumultuous times for the Central Asian region, at that time newly dominated by the Soviet rule, undergoing industrialization, public education, experiencing improvements in health care, but on the other hand also confiscation, forced resettlement, and russification. New rights have been granted to women, however local patriarchal and feudal traditions persisted and continued in the local societies. After the Soviet Union collapsed in 1991, Kyrgyz people started returning to their national traditions and discrimination against women started to be openly discussed in the society. Our historical retrospective analysis explores the major types of Kyrgyz...

The Thesis deals with the historical development of Christian marriage and conversion from the original family ritual to the public ceremony, from secular (state) rituals to the church type of marriage. It describes the beginning of the wedding liturgy at the West and the East. The first part of Thesis deals, except the history of wedding ritual, also with the theology of marriage with selected representatives of the West and the East {--} the Roman Catholic Church and the Orthodox Church of Byzantine type. The wedding ceremonies of both churches are described in detail in other parts of the Thesis. They are subsequently compared with a reference to the similar elements and defining the specific parts. The comparison shows that the substantial part of the Roman Catholic ceremony is the bride´s and groom´s wedding vow. The priest is the privileged witness representing the church and he only accepts the vow. Whereas at the Orthodox Church of Byzantine type the marriage is concluded by priest´s blessing and coronation. In the final part the author thinks about the possible suggestion of a ceremony that would include the liturgy elements from both selected churches.

Employing decolonized, Indigenous research methods, the author considers Métis Beadwork Practice through the analytical lens of Therapeutic Jurisprudence and establishes the practice as a holistic Indigenous Legal Pedagogy for knowledge creation and mobilization in legal education. The author agrees with Drs. Friedland and Napoleon who suggest that a significant challenge in and to Indigenous legal research is that such research occupies a space of “deep absence,” with the starting line moved back as a consequence of colonialism. Building on the work of Dr. Shawn Wilson, the author espouses an Indigenous Research Paradigm which requires a prioritization of the relationship to the ideas and making space for non-linear logic systems and Indigenous ways of knowing in scholarly research. In her work, the author prioritizes synthesis over deconstruction on the belief that deconstructing relationships to ideas for the purpose of analyzing them would have the effect of damaging the cognitive and emotional relationships developed through the research ceremony. While the work embodies the four essential elements of autoethnography, the author argues that the work of Indigenous scholars speaking in their own voices is sui generis in nature. She argues that Indigenous scholars who employ storytelling and other culturally-relevant knowledge mobilization practices are engaging a distinct Indigenous Research Method. This work ultimately progresses in a non-linear fashion and incorporates extra-intellectual knowledge including poetry, music, and photography. The use of multiple fonts and other formatting devices including right justification are used to underline shifts in voice and perspective throughout the work. These pedagogical choices valourize the ways of knowing of Indigenous women and honour the author’s Métis worldview, including her understanding that all things are interrelated. The author examines, and ultimately eschews, notions of neutral objectivity in research as colonial constructs that undermine Indigenous Knowledge Systems and contribute to the ongoing colonization of Indigenous peoples in post-secondary education. Following an introduction to the legal and social history of Forced Assimilative Education of Indigenous Peoples in Canada, the author reviews recent research into ongoing colonialism, racism, and ethno-stress experienced by Indigenous Learners in post-secondary education. The ii author subsequently explores the specific concern of the subjugation and erasure of Indigenous women’s knowledge in academia. She conducts a review of existing literature in the sphere of Feminist Legal Theory, examining and ultimately rejecting intersectionality and conceptualizations of sisterhood as possible remedies to discrimination faced by Indigenous women legal scholars. She argues that the lived experience of Indigenous women is situated not at an intersection, but rather in the centre of a colonialism collision. As a consequence, the author argues that existing Feminist Legal Theory does not create adequate space for Indigenous difference, experiences, or worldviews. Offering insight into legal education, legal ethics, and professionalization processes, the author also explores questions of lived experience of Indigenous lawyers beyond the legal academy. She argues that learning the language of law is but the first element in a complex professionalization process that engages structures of patriarchal hierarchy in addition to the other forces, including colonialism and racism, that shape the legal profession. She further argues that, for Indigenous peoples, learning to speak the linear, official language of legal education represents a collision of even more complex systems of dominance, with the regulated approach to learning and problem-solving standing in direct opposition to Indigenous ways of knowing. Consequently, Indigenous law Learners frequently experience an intellectual rupture when engaging in the professional assimilation process. The author offers an overview of Calls to Action 27, 28, 42, and 50 of the Truth and Reconciliation Commission of Canada and an introductory environmental scan of ongoing efforts to decolonize and indigenize law schools including land-based learning and the development of Indigenous Course Requirements (ICRs). The author subsequently considers the process of decolonizing the legal academy through the analytical lenses of Therapeutic Jurisprudence and Therapeutic Jurisprudence+. She ultimately positions the act of decolonizing legal education as an act grounded in decolonial love with the potential for healing individuals and communities struggling with ongoing colonialism and racism in the academy. Building on the work of the late Professor Patricia Monture-Angus and contemporary Indigenous legal scholars including Drs. Tracey Lindberg, Darcy Lindberg, Val Napoleon, and John Burrows, the author considers possibilities for reimaging legal education through the development and use of Indigenous Legal Pedagogies. The author argues that Beadwork Practice holds a distinctive language of possibility as an Indigenous Legal Pedagogical practice as a result of deeply entrenched links between beads and law. The author explores the social and legal history of beads as a tool for legal knowledge production and mobilization in the context of wampum belts and beyond, including the use of Métis beadwork as a mnemonic device to facilitate intergenerational knowledge transfer of stories and songs that carry law. Further, she examines colonial law and policy that served to undermine the legal value of beads, and canvases emerging trends in the revitalization of community beadwork practice. Finally, the author positions Beadwork Practice as a holistic Indigenous Legal Pedagogy to support not only the revitalization of Indigenous Legal Orders and the development of cross-cultural competency as required under Calls to Action 27 and 28, but also therapeutic objectives of individual and community healing.

This thesis focuses on issues of multi-layered identities within a social space. It analyzes ritual (or ceremony) as one of the codified displays of culture within which collective ideas and attitudes regarding identity are manifested, shared, and strengthened. Bosnian Serbs - due to political and social change - were forced to redefine their position in society, as well as their (collective) identities and social ties. Slava is a fundamental ritual seen as an attribute of "Serbianness", and in the context of this study, manifests itself as an indicator of establishment and validity of collective identities. Slava is a traditional celebration practiced by Orthodox believers in Serbia, Bosnia and Herzegovina, Montenegro, Bulgary, Albania, and Macedonia. It is a festivity of either a family, village, or local church patron. At the center of this research will be an individual slava of a family patron saint, krsna slava, or krsno ime. For Bosnian Serbs, krsna slava is currently a revitalized ritual concurring with local tradition and convening with social ambitions of current inhabitants in the region (otherwise it would not be revitalized). The pertinence of this research subject is given by the nature of ritual itself as it is founded on collective sharing and the manifestation of common ideas1 ....

La présente recherche a pour but de procéder à une étude comparative du processus régénératif au cœur de deux romans phares de la fiction autochtone contemporaine, soit Ceremony de Leslie Marmon Silko et Green Grass, Running Water de Thomas King. Trois volets principaux sont examinés : le rôle de la nature en tant que référent culturel dans le processus de régénération des personnages principaux de chaque roman, l’évolution de la quête identitaire dans un environnement post-contact, ainsi que les répercussions de la réactualisation de l’identité de chaque protagoniste sur la communauté à laquelle il appartient. Cette comparaison entre les procédés employés par Silko et King permettront, en un premier temps, d’identifier des éléments de continuité entre les deux auteurs. Ces similarités incluent la centralité de la nature dans la reconnexion des protagonistes avec leur culture et leur identité ainsi que l’emphase sur la nécessité d’une identité hybride dans un environnement post-contact. De plus, la comparaison entre ces deux auteurs issus de deux contextes socio-historiques distincts permet d’isoler certains éléments du contexte propre à chaque roman afin de déterminer le rôle de la réalité autochtone sur la fiction produite à chaque époque. De façon plus spécifique, il sera entre autres question de l’influence de la montée du mouvement environnementaliste euro-américain sur la valeur symbolique du retour à la nature, ainsi que de l’importance grandissante de la classe moyenne autochtone éduquée et de la façon dont ce nouveau phénomène est exprimé dans l’œuvre de King. / This thesis compares the regenerative processes at the heart of two milestone novels of contemporary Native American literature, Leslie Marmon Silko’s Ceremony and Thomas King’s Green Grass, Running Water. My comparative study will be divided into three main sections: the role of nature as a cultural referent in the main characters’ regenerative processes in each novel, the evolution of the identity quest in a post-contact environment, and finally, the repercussions of the protagonists’ re-actualization of identity on the rest of their community. Through the comparative study of the processes employed by Silko and King with respect to one’s relationship to nature, cultural identity and social relations, I will be able to identify several similarities shared by the two novels, which demonstrate that they belong to the same Native artistic continuum. These resemblances include the central role of nature in reconnecting the protagonists to their identity, as well as a predominant emphasis on the emergence of a hybridized identity in a post-contact environment. Moreover, the comparison of two novels emerging from two different eras of Native American Literature –that of the 1970s and of the 1990s- will allow me to isolate the influence of the cultural context to which each particular work belongs. In doing so, it becomes possible to determine the influence of some transformations in Native lifestyle on the fiction produced at a given time. More specifically, the modifications I chose to focus on include the rise of Euro-American environmentalism on the symbolic value of returning to nature for Natives as well as the increasing presence of middle-class, educated Natives and their representation, mostly present in King’s fiction.

The subject of my diploma thesis is a new-building of a municipal authority with a nursery school in Obora near Boskovice. The objects are statically and operationally separated from each other, but they formo ne unit. The building is located on the corner of the village in a flat terrain and thus forms the dominant feature of the village and a landmark. The target of the design was to create a building that will harmoniously connect to the surrounding buildings, public spaces and the school garden. The municipal authority has a rectangular floor plan, two-storey, basement, covered with a sloping roof, the building has a designed elevator. In the basement there are cellars of local associations, on the ground floor there is information center, a municipal library and on the first floor there is a municipal office with a registry office and a ceremonial hall. The attic can be used in the future for municipal apartments for rent. An official board with a public space is designed ahead of the municipal office. A photovoltaic power plant will be located on the roof of the municipal office. The nursery school has a trapezoidal floor plan, ground floor, no basement, covered with a vegetated flat roof. In the nursery school there is a children's day room with a storage room, storage of mattresses, teaching aids, food preparation, technical and hygienic facilities. The structural systém of both objects is longitudinal, wall. The underground part of the municipal office is designed in a white concrete tub system. The vertical load-bearing constructions are made from cut ceramic blocks. The horizontal constructions in the municipal office are monolithic, ferroconcrete, and in the nursery school they are prefabricated, ferroconcrete. The project was made in AutoCad software application, 3D model in 3D modelling computer program SketchUp.