This dissertation examines and writes the early history of distribution and exhibition of moving images in Southeast Asia by observing the intersection of transnational itinerant entertainment and colonialism. It is a cultural history of turn-of-the-century Southeast Asia, and focuses on the movement of films, people, and amusements across oceans and national borders. The starting point is two simultaneous and interrelated processes in the late 1800s, to which cinema contributed. One process, colonialism and imperialism, separated people into different classes of people, ruler and ruled, white and non-white, thereby creating and widening a colonial binary. The other process was bringing the world closer, through technology, trade, and migration, and compressing the notions of time and space. The study assesses the development of cinema in a colonial setting and how its development disrupted notions of racial hierarchies. The first decade of cinema in Southeast Asia, particularly in Singapore, is used as a point of reference from where issues such as imperialism, colonial discourse, nation-building, ethnicity, gender, and race is discussed. The development of film exhibition and distribution in Southeast Asia is tracked from travelling film exhibitors and agents to the opening of a regional Pathé Frères office and permanent film venues. By having a transnational perspective the interconnectedness of Southeast Asia is demonstrated, as well as its constructed national borders. Cinematic venues throughout Southeast Asia negotiated segregated, colonial racial politics by creating a common social space where people from different ethnic and social backgrounds gathered. Furthermore, this study analyses what kind of worldview the exhibited pictures had and how audiences reproduced their meanings.

Esta tese procura analisar as representações de Richard Francis Burton na África Ocidental, durante sua permanência como cônsul inglês na Baía de Biafra entre os anos de 1861 e 1865. Para isto, procurou-se reconstituir o contexto histórico das relações inglesas com a região ao longo do século XIX, bem como a história das regiões descritas por Burton em seus textos. Além disto, também analizou-se os espaços de circulação dos textos de Burton na Inglaterra, e a relação do autor com a Royal Geographical Society e a Anthropological Society of London. O objetivo é recuperar parte da complexidade constitutiva de seus textos, valorizando a experiência pessoal do autor frente a resistência dos africanos à imposição de dinâmicas comerciais e econômicas inglesas. Para a consecução destes objetivos, foi realizada uma comparação entre os diversos registros escritos de Burton: documentos consulares no Foreign Office, artigos para revistas científicas e relatos de viagem / This thesis tries to analyze the representations of Richard Francis Burton in West Africa, during his consulship at the Fight of Biafra in the years between 1861-1865. To make it, we have reconstructed the historical context of the British relations with the region along the 19th century, as well as the history of the regions described by Burton in his texts. We also analyze the spaces of circulation of Burton\'s texts in England, and his relations with the Royal Geographical Society and the Anthropological Society of London. The aim is to recover part o the constitutive complexities of his texts, stressing the authors personal experience facing the African resistance to the impositions of British commercial and economic dynamics. To achieve these aims, we make a comparison between the several kinds of Burton\'s texts: the Foreign Office papers, articles to scientific journals, and travel writings.

Esta tese procura analisar as representações de Richard Francis Burton na África Ocidental, durante sua permanência como cônsul inglês na Baía de Biafra entre os anos de 1861 e 1865. Para isto, procurou-se reconstituir o contexto histórico das relações inglesas com a região ao longo do século XIX, bem como a história das regiões descritas por Burton em seus textos. Além disto, também analizou-se os espaços de circulação dos textos de Burton na Inglaterra, e a relação do autor com a Royal Geographical Society e a Anthropological Society of London. O objetivo é recuperar parte da complexidade constitutiva de seus textos, valorizando a experiência pessoal do autor frente a resistência dos africanos à imposição de dinâmicas comerciais e econômicas inglesas. Para a consecução destes objetivos, foi realizada uma comparação entre os diversos registros escritos de Burton: documentos consulares no Foreign Office, artigos para revistas científicas e relatos de viagem / This thesis tries to analyze the representations of Richard Francis Burton in West Africa, during his consulship at the Fight of Biafra in the years between 1861-1865. To make it, we have reconstructed the historical context of the British relations with the region along the 19th century, as well as the history of the regions described by Burton in his texts. We also analyze the spaces of circulation of Burton\'s texts in England, and his relations with the Royal Geographical Society and the Anthropological Society of London. The aim is to recover part o the constitutive complexities of his texts, stressing the authors personal experience facing the African resistance to the impositions of British commercial and economic dynamics. To achieve these aims, we make a comparison between the several kinds of Burton\'s texts: the Foreign Office papers, articles to scientific journals, and travel writings.

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An unprecedented production of discourses on contemporary Indian architects and architecture occurred in the 1980s. Published in a period of political transition and conspicuous new cultural production and debate in many fields, four decades after India’s independence from colonial rule in 1947, these architectural discourses have become privileged references that have shaped but also limited perception of late-twentieth century architectural production in India. While subsequent writers have addressed some of these limitations, the small but growing critical literature in this field still exhibits many of the same problems of representation. Despite problematising the construction of ‘Indian architecture’ in colonial and postcolonial discourse, these critiques have nevertheless taken for granted (as in the more popular and professionally oriented discourses of the 1980s) the existence of a pan-Indian community of architects, united in their search for a collective identity. Such monolithic perceptions of contemporary ‘Indian architecture’ have yet to be interpreted with regard to the conspicuous contexts in which they were produced — that is, from an ‘Indian’ point of view. Through a selective focus on a particularly productive site of discourse in 1980s India, I investigate complexities that have not yet been examined in the formation and reproduction of a dominant consensus on the identity of contemporary Indian architecture. The argument draws attention not only to the agency of particular contemporary Indian architects in the construction of this identity, but also the relativity of region in the architectural production of India during the 1980s. Specifically, I focus on an influential architectural magazine, Architecture + Design (A+D) that began publishing in 1984 from a dominant region of architectural production, Delhi. I provide an account of the manner in which history, context, agency and agents, came together at a point in time, within this architectural magazine, as a complex set of historically constituted social relations, to authorise and sustain particular viewpoints about contemporary Indian architecture. Using the French sociologist, Pierre Bourdieu’s theory of the field of cultural production, I relate issues of dominance and marginalisation observable in the production of this particular discourse on contemporary Indian architecture to the space of the positions held by its producers. Despite its avowed agenda of viewing contemporary Indian architecture differently in the 1980s, I argue, the selection and judgement of exemplary contemporary work deemed worthy of discussion in A+D as ‘Indian Architecture’ functioned (and continues to function) through established categories of perception and appreciation. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1331621 / Thesis (Ph.D.) - University of Adelaide, School of Architecture, 2008

An unprecedented production of discourses on contemporary Indian architects and architecture occurred in the 1980s. Published in a period of political transition and conspicuous new cultural production and debate in many fields, four decades after India’s independence from colonial rule in 1947, these architectural discourses have become privileged references that have shaped but also limited perception of late-twentieth century architectural production in India. While subsequent writers have addressed some of these limitations, the small but growing critical literature in this field still exhibits many of the same problems of representation. Despite problematising the construction of ‘Indian architecture’ in colonial and postcolonial discourse, these critiques have nevertheless taken for granted (as in the more popular and professionally oriented discourses of the 1980s) the existence of a pan-Indian community of architects, united in their search for a collective identity. Such monolithic perceptions of contemporary ‘Indian architecture’ have yet to be interpreted with regard to the conspicuous contexts in which they were produced — that is, from an ‘Indian’ point of view. Through a selective focus on a particularly productive site of discourse in 1980s India, I investigate complexities that have not yet been examined in the formation and reproduction of a dominant consensus on the identity of contemporary Indian architecture. The argument draws attention not only to the agency of particular contemporary Indian architects in the construction of this identity, but also the relativity of region in the architectural production of India during the 1980s. Specifically, I focus on an influential architectural magazine, Architecture + Design (A+D) that began publishing in 1984 from a dominant region of architectural production, Delhi. I provide an account of the manner in which history, context, agency and agents, came together at a point in time, within this architectural magazine, as a complex set of historically constituted social relations, to authorise and sustain particular viewpoints about contemporary Indian architecture. Using the French sociologist, Pierre Bourdieu’s theory of the field of cultural production, I relate issues of dominance and marginalisation observable in the production of this particular discourse on contemporary Indian architecture to the space of the positions held by its producers. Despite its avowed agenda of viewing contemporary Indian architecture differently in the 1980s, I argue, the selection and judgement of exemplary contemporary work deemed worthy of discussion in A+D as ‘Indian Architecture’ functioned (and continues to function) through established categories of perception and appreciation. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1331621 / Thesis (Ph.D.) - University of Adelaide, School of Architecture, 2008

This thesis deploys Homi Bhabha's perspective of postcolonial literary theory as a critical procedure to examine particular instances of fiction, as well as reportage on Botswana. Its unifying interest is to pinpoint the shifting nature or reality of Botswana and, by extension, of African identities. To that end, I use Bhabha's concept of liminality to inform the work of writers such as Unity Dow, Alexander McCall Smith, and instances of reportage (by Rupert Isaacson and Caitlin Davies), from the 1990s to date. The aims of the thesis are, among other things, to establish the extent to which Homi Bhabha's appropriation of the term liminality (which derives from Victor Turner's notion of limen for inbetweenness), and its application in the postcolonial context inflects the reading of the above works whose main motifs include the following: a contestation of any views which privilege one culture above another, challenging a jingoistic rootedness in one culture, and promoting an awareness of the existence of several, interlocking or even clashing realities which finally produce multiple meanings, values and identities. In short, it is proposed that identity is not a given but rather a product of a lived reality and therefore a social construct, something always in process. The thesis begins by theorizing liminality in Chapter 1 within the context of Homi Bhabha's understanding and interrogation of the colonial discourse. This is followed by the contextualization of liminality through the reading of, firstly, the fiction of Unity Dow in Chapters 2 and 3, and then the "detective" fiction of Alexander McCall Smith in Chapters 4 and 5. In the discussion of these works, I also touch on instances of reportage which relate to the lives of the authors. In the case of Smith's "detective" fiction, for example, reportage refers to his incorporation of actual historical events and personages whose impact, I argue, suggests the liminality of culture. In Chapter 6, the idea of reportage varies slightly to denote works of fiction in which there is a great deal of historical fact. Thus Rupert Isaacson's The Healing Land: A Kalahari Journey and Caitlin Davies' Place of Reeds are treated as works of reportage in line with Truman Capote's application of that term. What comes out most evidently in this study is the shifting idea of (Botswana/African) identity. It should be noted that rather than present an all-embracing account of the fiction on Botswana, the study only looks at the selected examples of writing and reportage. / University of South Africa National Research Foundation / English Studies / D. Litt. et Phil. (English)

This dissertation examines the way in which South African colonial texts may be read for the historical signs they inadvertently reveal. The history of land acquisition in South Africa may be read through the representation of burial and illegitimate pregnancy in South African farm novels. Both burial and illegitimate pregnancy are read as signifiers of illegitimacy in the texts, surfacing, by indirection, the question of the illegitimacy of land acquisition in South Africa. The South African farm novel offers a representational form which seeks (or fails) to mediate the question of land ownership and the relationship between colon and indigene. In the four texts under discussion, Olive Schreiner's The Story of an African Farm, Florence Ethel Mills Young's The Bywonner[sic], Pauline Smith's The Beadle and Daphne Rooke's Mittee, the representation of burial and illegitimate pregnancy is problematic and marked by narrative displacements and discursive breakdowns. KEY TERMS burial, colonial discourse, farm novel, illegitimacy, illegitimate pregnancy, land, postcolonial theory, representation / English / M.A. (English)

Cette thèse porte sur l’évolution des représentations de la diaspora antillaise en Grande-Bretagne depuis la deuxième moitié du vingtième siècle. La recherche se fonde sur l’hypothèse que le processus d’intégration est lié aux représentations. L’intégration ne peut se faire pleinement que lorsque les représentations négatives datant de l’époque coloniale sont complètement démantelées. Impuissante dans les années 1950 et 1960 face à l’hostilité de la population autochtone à son égard, la première génération de la diaspora antillaise en Grande-Bretagne ne pouvait que subir la discrimination raciale et les inégalités sociales dont elle fut victime. Cependant, dès la fin des années 1960, libérée du joug colonial britannique et se reconnaissant dans un discours de fierté noire venu des États-Unis, la diaspora antillaise se mobilisa, créant des associations de quartier et se donna de nouvelles représentations postcoloniales. Cette étude examine différentes stratégies déployées par une panoplie d’acteurs sociaux, politiques et culturels issus de la diaspora antillaise. L’évolution des représentations est certes bien amorcée, mais les résultats sont encore ambivalents. De nombreux travaux témoignent de la persistance d’un racisme institutionnel qui touche tout particulièrement les jeunes générations. L’éducation et les relations avec la police sont des domaines où des progrès sont encore à faire. Aux premières années du vingt-et-unième siècle, plus de soixante ans après son installation en Grande-Bretagne, la diaspora antillaise n’est toujours pas complètement intégrée à la société britannique. / This doctoral thesis focuses on the evolution of the social, political and cultural representations of the Caribbean diaspora in Great Britain since the second half of the twentieth century. It puts forward the hypothesis that integration is linked to representations and will only be successful when the negative representation of the colonial era is completely deconstructed. In the 1950s and 1960s, the members of the Caribbean diaspora were the passive victims of racial discrimination and social inequality. At the end of the 1960s, thanks to a growing political awareness and the emergence of Black self-help and protest groups encouraged by the U.S. Black Power movement, the diaspora began to weave its own new post-colonial social, political and cultural representations. Examples of the various strategies deployed to cast off detrimental colonial representations are analyzed. Representations have undoubtedly changed, but the results are mixed. Numerous reports indicate that institutional racism has not been eradicated from the British education system or from the police and that the younger generations are particularly vulnerable. At the beginning of the twenty-first century and after over sixty years of presence in the country, the Caribbean diaspora in Great Britain has still not achieved full integration.

The Nazi violence did not have its origins only in the brutality of the First World War or radical nationalist ideologies, but also in European colonialism. Hence, the goal of this thesis is to demonstrate that colonial processes were fundamental to the origins of the Holocaust. To prove this, I applied the content analysis to detect colonial discourse (stereotype, ambivalence, and mimicry) in three legislations from different contexts, which prohibited sexual relations and marriages between races. The documents analyzed exemplified the segregationist thinking of each period of colonization. Portuguese laws from the beginning of modernity demonstrate the transition from religious to racist thought. Analyzing German Southwest Africa, there is the application of racist pseudoscience, and finally, in Nazism, a mixture of both, but also an evolution of colonial discourse. At the end, I proved the existence of colonial discourse in the Nuremberg Laws, demonstrating how earlier colonialisms influenced the Holocaust.