Ce travail porte sur 1'histoire de la presse écrite en Guinée entre 1925 et 2010, i.e. entre l'apparition du premier périodique et la fin de la 2e République. À l'instar d'autres pays africains, les Guinéens sont entrés en contact avec les journaux durant la colonisation. La presse fut d'abord contrôlée par les autorités avant d'être appropriée par les élites politiques dans leur lutte anticoloniale. Si les missionnaires catholiques ont été les précurseurs (création de La Voix de Notre-Dame), c'est après 1945 qu'une presse plurielle et africaine émerge, avec des journaux variés (Coup de Bambou, Phare de Guinée, La Liberté...). Les leaders politiques et syndicaux utilisent la presse comme un instrument de contre-pouvoir et comme un puissant moyen de mobilisation populaire. Cette relative liberté prend fin eu 1958, à 1'indépendance. Le nouveau régime de parti unique met la main sur La Liberté, publication du PDG-RDA, qui, sous le nom d'Horoya, devient l'unique journal d'information autorisé. Ce monopole étatique entraîne une forte désaffection du lectorat. Après la prise du pouvoir par une junte en 1984, la mise en place du multipartisme contribue à l'instauration de la liberté de presse au début des années 1990. Considérée comme le « printemps de la presse », la décennie voit éclore des centaines de titres éphémères, souvent hebdomadaires ou mensuels. Notre thèse analyse ce phénomène et propose deux études de cas, centrées sur des groupes de presse apparemment solides : Le Lynx-La Lance et L'Indépendant-Le Démocrate. Elle propose enfin un bilan de la situation de la presse guinéenne en 201O. / This work deals with the history of press in Guinea between the 1920s and 2010, that is to say between the 1st publication of a periodical in colonial days and the end of the 2nd Republic, that witnessed press liberalization. Like many Africa n countries, Guineans had their first contacts with newspapers during colonial rule. At first, press was controlled by colonial authorities before being adopted by the elite as a weapon in their anti-colonial fight. The Catholic missionaries-with La Voix de Notre-Dame- were press pioneers, along with some newspapers owned and published by colonists. The end of WW II witnessed the birth of a plurality of African papers such as Coup de Bambou, Phare de Guinée, La Liberté... The political and union leaders used press as a tool to contradict the authorities and also as a strong means to mobilize people and voters. This relative freedom of speech ended with the independence in 1958. The new unique party regime renamed La Liberté, the organ of the Rassemblement Démocratique Africain: it became Horoya, the one and only political periodical allowed to be published from 1958. This state monopoly provoked dramatic disaffection from the readership. After the 1984 coup, the country witnessed a graduai process of change in the context of multiparty. Considered as a 'Spring of the press', the 1990 decade recorded the publication of hundreds of ephemeral papers. Our work deals with this process and focuses on several case-studies, especially on two apparently strong press enterprises: Le Lynx- La Lance and L'Indépendant-Le Démocrate. It also tries to give a balanced appraisal of the situation of the press in 2010.

Violence against Native women in Canada is widespread and has deeply systemic and colonial roots. This paper will attempt to show the role that dominant representations of culture, race, and gender have in allowing this violence to continue by eclipsing many different narratives and ways of expressing cultural and individual identities. Violence in the mainstream media will be explored and analyzed drawing on concepts from critical theories, Aboriginal epistemological frameworks, and anti-racist, disability, and Afro-centric feminisms to build a framework on which to analyze the meanings of the representations. After exploring violent and colonial discourse, the discussion will turn to art. Self and cultural representation and expression by Native women can act as important forms of resistance to the tools of colonial oppression. The artwork of Rebecca Belmore and Shelley Niro are powerful examples of addressing and exploring issues of identity, culture, resistance, and survival for Aboriginal women.

Violence against Native women in Canada is widespread and has deeply systemic and colonial roots. This paper will attempt to show the role that dominant representations of culture, race, and gender have in allowing this violence to continue by eclipsing many different narratives and ways of expressing cultural and individual identities. Violence in the mainstream media will be explored and analyzed drawing on concepts from critical theories, Aboriginal epistemological frameworks, and anti-racist, disability, and Afro-centric feminisms to build a framework on which to analyze the meanings of the representations. After exploring violent and colonial discourse, the discussion will turn to art. Self and cultural representation and expression by Native women can act as important forms of resistance to the tools of colonial oppression. The artwork of Rebecca Belmore and Shelley Niro are powerful examples of addressing and exploring issues of identity, culture, resistance, and survival for Aboriginal women.