L’enjeu de cette thèse est de présenter les différents statuts de l’image du corps, dans la photographie contemporaine en Martinique. La photographie a joué un rôle dans la conquête coloniale et la construction d’une image fantasmée de l’Autre. Il nous apparaît essentiel d’évoquer l’importance du contexte colonial puis postcolonial. Dans la photographie contemporaine des années 1970 à nos jours en Martinique, les images du corps posent la question du regard. Cette dimension de la transformation de l’être en tant qu’objet à l’être en tant que sujet, est au cœur de notre réflexion soutenue par celle des penseurs originaires de la Caraïbe (Frantz Fanon, Edouard Glissant, Stuart Hall) : images du corps marqué, fragmenté, dépossédé, de traces de mémoire, en errance ou en quête d’identité. La question plurielle de la visibilité et de l’invisibilité de l’image du corps sont au cœur de notre démarche de recherche. Sans pour autant être exhaustif, à la suite d’une analyse d’un corpus limité de photographies, des thématiques susceptibles d’exprimer une fixité de l’image du corps ou son caractère plus ouvert, sont dégagées. Le choix de quatre photographes Martiniquais en priorité, David Damoison, Gilles Elie-dit-Cosaque, Jean-Luc De Laguarigue et Joël Zobel, offre la possibilité de définir un cadre d’analyse et de comparaison, avec le souci d’établir des liens avec les concepts à l’œuvre dans les images de quelques photographes de la Caraïbe anglophone, originaires de Jamaïque et de Barbade. Comment les enjeux identifiés sont-ils présents dans l’œuvre de ces photographes Martiniquais et se prolongent ils dans les perspectives de la nouvelle scène artistique contemporaine ? / The aim of this thesis is to present the different statuses of the image of the body, in contemporary photography in Martinique. Photography played a role in the colonial conquest and the construction of a fantasized image of the Other. It seems essential to us to evoke the importance of the colonial and post-colonial context in the fantasized elaboration of the image of the Other. In contemporary photography from the seventies to the present day in Martinique, the images of the body pose the question of the gaze. The dimension of the transformation of the human being as an object to being as a subject is at the heart of our reflection supported by the thinkers originating from the Caribbean (Frantz Fanon, Edouard Glissant, Stuart Hall): images of the body marked, dismembered, fragmented, dispossessed, traces of memory, wandering or absent to itself or in search of identity. The pluralistic question of the visibility and invisibility of the image of the body are at the heart of our research process. Without being exhaustive, following an analysis of a limited corpus of photographs, themes that are capable of expressing a fixed image of the body or its more open character are uncovered. The choice of four Martinique photographers as a priority, David Damoison, Gilles Elie-dit-Cosaque, Jean-Luc De Laguarigue and Joël Zobel, offers the possibility of defining a framework of analysis and comparison, with the concern to establish links with the concepts at work in the images of some photographers of the English-speaking Caribbean, originating in Jamaica and Barbados. How are the identified issues present in the work of these Martinican photographers and are they in the perspective of the new contemporary art scene?

No description available.

Au début du 20e siècle, période de gestation de l’indigénisme, nait un art pictural indigéniste en Haïti. Cette peinture est dite haïtienne. Des peintres s’attèleront à représenter la réalité locale pour fonder cette peinture. La caractéristique de cet art est d’être ethniciste, c’est à dire qu’il se réfère à l’histoire, à la géographie, au folklore d’Haïti, etc. À partir de 1950- 1960, chez Jean-René Jérôme et Jacques Gabriel nous identifions l’abandon de la peinture ethniciste qui se traduit par l’introduction de nouveaux thèmes et une forte référence à la subjectivité. Nous cherchons à montrer dans ce mémoire que ces deux peintres abandonnent l’indigénisme en mettant en place la créolisation de leur langage visuel et une esthétique nouvelle, celle de la rencontre, à partir des actes d’appropriation, de citations et de bricolage. / At the beginning of the 20th century, gestation period of indigenism, an indigenous pictorial art emerges in Haiti. This art is said to be Haitian. Various painters will strive to depict the local reality in order to create this painting. This art’s characteristics are to be ethnic, meaning that it refers to Haitian history, geography and folklore, etc. From the 1950’s-1960’s era it seems that Jean -René Jérôme and Jacques Gabriel abandoned the ethnic base painting. That is reflected by the introduction of new themes and a strong reference to subjectivity. Our aim is to show that these two painters abandon the indigenist approach to replace it with a creolization of visual languages and a new aesthetic, one of the encounter, based on acts of appropriation, citations and redesigning (‘’bricolage’’).

This dissertation addresses racism in contemporary Curaçao—a former Dutch colony in the Caribbean that remains a component of the Kingdom of The Netherlands. The dissertation theorizes racism as a partially hidden constituent of the island’s ideology of national identity, which throughout its history has emulated hybridity before being influenced, more recently, by multiculturalism. The research’s main objective is to uncover the ways race and racism have been entangled with Curaçao’s hegemonic ideology of national identity, a reality too often omitted and always under-theorized in Dutch and Dutch Caribbean scholarship. Using historical, ethnographic, statistic, and discourse analysis data, the dissertation reveals how profound the operations of race have been on Curaçaoan society, and on all Curaçaoans on the island and in the diaspora. It discusses the historical formation of ideologies of race and national identity in Curaçao, to contribute to the explanation of the current state of race relations on the island. It exposes the silencing impacts that the hegemonic ideology of national identity has had on individual Curaçaoans’ understanding of self through the reflexive presentation of an intergenerational family history. The dissertation ends with ethnographic analytic descriptions of five neighborhoods differently located in Curaçao’s racial/spatial order, which reveal the mechanizations of multiculturalism and the prevalence of racism.

Cette thèse s'intéresse au rôle des pratiques médiatiques dans la construction des adolescences lycéennes à La Réunion. Les adolescences lycéennes sont ici envisagées comme des périodes de multiples changements durant lesquelles les individus apprennent à acquérir le statut de lycéen. Cette mutation passe par trois stades qui constituent des « finalités intermédiaires » : les différenciations, les négociations, les adhésions. Les différenciations se construisent par rapport aux autres (enfants, adultes, parents, le sexe opposé). Les négociations résultent de la volonté des adolescents de bricoler avec les éléments qui leur sont imposés et qui font partie de leur identité. Enfin, les adhésions marquent le désir des individus d'adopter des codes et des activités participant à la reconnaissance de leur identité. L'analyse d'entretiens réalisés avec des lycéens en classe de seconde montre que ces adolescents mobilisent leurs pratiques médiatiques pour définir des « stratégies identitaires » facilitant la construction de soi. La thèse interroge au final le lien rites de passage et pratiques médiatiques par ailleurs largement travaillées par les dynamiques culturelles à l'œuvre dans cette île de l'océan Indien. / This dissertation is about the role played by media practices in the identity construction of adolescent secondary school (lycée) students in La Réunion. Secondary school adolescence is considered here as a period of multiple changes during which young individuals learn to be part of this moment of life. The transformation for students from college to lycée goes via the realization of “intermediary finalities”: differentiation, negotiation and identification. Differentiation means taking a distance from other individuals (children, adults, parents, opposite sex). Negociation results from the adolescents ‘ willingness to compose with different elements which are forced upon then and which are parts of their identity. Finally, indentification marks the individuals ‘ desires to adopt codes and activities playing a part in the recognition of their identity. The analysis of interviews conducted with students from the fifth of secondary school (seconde) shows that these teenagers are inspired by their media practices to define “strategies of identity” which help them in the construction of their personal selves. This research observes that media practices are not the only agents for the definition of adolescence: cultural dynamics operating in the island are equally important factors. The thesis also questions the links which can be made between media practices and rites of passage.

No description available.

Cette thèse porte sur l'histoire et les formes de la poésie en langue créole à La Réunion et à Maurice. Elle propose de faire le point sur l'émergence, l'élaboration, la circulation et la réception d'un genre littéraire polymorphe qui occupe une place essentielle dans les productions artistiques des territoires créoles. L'objectif est de caractériser les rapports qu'entretiennent des poèmes considérés comme novateurs avec les sociétés, fondamentalement travaillées par des processus de créolisations (linguistique, littéraire, culturelle), qui les produisent. Afin d'observer le passage à l'écriture littéraire en langue créole, des origines à aujourd'hui, les formes poétiques – qu'elles soient thématiques, énonciatives, formelles, discursives ou encore intertextuelles – sont systématiquement replacées dans leurs mouvements historiques et dans leurs contextes d'énonciation. Face à des productions qui manipulent des références et des filiations en prise directe sur leurs espaces insulaires et sur leurs pratiques anthropologiques, les notions, ailleurs courantes, de poème, de poète, d'écriture et de lecteur demandent, parce qu'elles sont chargées, dans les faits, d'autres dynamiques, à être redéfinies. / This thesis examines the history and types of creole poetry in La Reunion and Mauritius. It proposes to summarise the emergence, elaboration, circulation and reception of a type of a polymorphous literary type which plays a vital role in the artistic creativity of the creole islands. The objective is to establish a link between those poems, regarded as innovative, and the nations (La Reunion and Mauritius) in which they are written. These nations are fundamentally shaped by this process of ‘Creolization’. In order to observe the transition to literary writing in creole, from its origins to today, the poetic forms whether thematic, enunciatively, formal, discursive or intertextual, are systematically placed in their historical and enunciative context. With works that manipulate references and links to their own island and their anthropological practice, the concepts, otherwise common, of poem, poet, writing and reader need other dynamics to be redefined.

Grave X was found in 1952 during construction work in Tuna in Badelunda parish, in the province of Västmanland. Objects from this 3rd Century grave were dispersed and the stone grave covering and cist-like wooden burial chamber were cut almost in half as a result of the construction work that unearthed it. The purpose of this dissertation is to create a better understanding of Tuna in Badelunda and to place Grave X and the person buried there in context. Due to my interest in Grave X and the person in this grave, the scope of the study is limited to Tuna during the Late Roman Iron Age. What kind of place may Tuna in Badelunda have been during that time? Which kinds of knowledge may the person in Grave X have possessed and what roles may this person have had in local society? How may this person have acted in Tuna in Badelunda in particular? Why was this person buried in the specific type of structure that was Grave X? To answer these questions, ancient monuments and phenomena in the Tuna area, objects from the grave and construction details of the grave are discussed. Specifically, I examine the name Tuna, stone enclosures, hillforts of Bejby borg-character and travel routes, beads, golden rings in the shape of snakes, vessels and serving utensils, and the stone grave covering and cist-like chamber. Since Grave X was partly ruined when discovered, comparisons are made to about 20 similar graves from other parts of Scandinavia in order to get an idea of what may have been lost from Grave X. A performative-constructive gender perspective is of importance in this dissertation, as well as the concept of creolization. The kinds of knowledge and the societal roles the person in Grave X may have had can be summarized in five categories or contexts of action: production within the (social-political) economy of the farm, ritual performances, physical communication, textile production, and oral performances with the telling of stories and relating of memories. Possible personal strategies in relation to the activities the person in question was involved in are seen as important. One way this dissertation takes up this subject is through the discussion of the role the person may have had in greetings and farewells in the yard of the farm (Sw. tun, gårdsplan). Greetings and farewells were probably of importance, and Tuna is discussed as a crossroads. This means that although a local perspective is advocated in this dissertation, Tuna may not be seen as an isolated community, but rather as a small place that to a great extent partook in the larger world. This can also be seen in Grave X; when the person in this grave was buried, the living made choices that both expressed local traditions and made reference to far-away places. In contrast to the surrounding graves, the person in Grave X was not cremated. One of many possible reasons may have been a desire to emphasize the person’s personality and gender as well as roles in society. / <p>Auktoriserad namnform i LIBRIS: Fernstål, Charlotte, 1974-</p>

This paper is aimed at mapping important traits in a Hiberno-Norse identity. This is the main focus of the essay, but another important part is to problematize this using several theoretical approaches of which the main are identity, creolization and hybridization. The Hiberno-Norse culture being primarily an urban phenomenon, the thesis is delimited to the Hiberno-Norse towns with occasional comparisons to Scandinavia to see how the native Irish population influenced the invaders and how they gradually evolved into the Hiberno-Norse. Early on the Norse show signs of creolization that would ultimately lead to the creation of the Hiberno-Norse hybrid culture known from history and archaeology – an urban culture that show blended Norse and Irish features. / Denna uppsats är till för att sammanställa viktiga uttryck I en Iro-Skandinavisk identitet. Detta är huvudsyftet med uppsatsen, men en annan viktig del är att problematisera detta genom flera teoretiska begrepp, där de främsta är identitet, kreolisering och hybridisering. Då den Iro-Skandinaviska kulturen framför allt var ett urbant fenomen har uppsatsen avgränsats till de Iro-Skandinaviska städerna, med sporadiska jämförelser med Skandinavien för att se hur den inhemska Irländska befolkningen influerade angriparna och hur de skulle komma att utvecklas till Iro-Skandinaverna. Tidigt uppvisar nordborna tecken på kreolisering, som till slut skulle leda till uppkomsten av den Iro-Skandinaviska hybridkulturen känd från historian och arkeologin – en urban kultur som uppvisar blandade nordiska och irländska drag.

Cette thèse a pour ambition d’interroger les positions inévitablement instables que ne cesse de briguer l’écrivain Germano Almeida au sein de la société capverdienne. Partant du principe que l’énonciation littéraire est constitutivement tenue de réfléchir dans l’univers fictionnel qu’elle construit les conditions de sa propre existence, cette étude vise d’abord à montrer comment Germano Almeida met en place des scénographies qui lui permettent de négocier l’inscription de ses œuvres tant dans le champ du pouvoir que dans le champ littéraire du Cap-Vert. Dans la première partie, l’analyse porte sur les rapports spécifiques qu’entretiennent littérature et politique dans un espace d’abord colonial puis post-colonial, l’introduction de l’humour et de l’ironie dans la littérature « savante », la tension entre une oralité revendiquée et une écriture effective qui prend une dimension particulière dans un espace linguistique diglossique et finalement les écarts entre la réception planifiée et la réception effective de son œuvre. La deuxième partie met en évidence la volonté chez Germano Almeida de participer à la configuration de l’espace social capverdien. Si les premières fictions almeidiennes ont systématiquement déconstruit les représentations traditionnellement rurales et intégrées de la société créole, les plus récentes dessinent en définitive les contours d’une société plutôt urbaine qui ne cesse de faire face à la contingence. La troisième partie fait justement ressortir une volonté constante d’inscrire les diverses expériences créoles dans un continuum temporel qui permette non seulement de donner sens au passé mais également d’avoir une meilleure maîtrise de l’avenir et d’échapper ainsi au danger de la répétition carnavalesque de l’histoire. L’étude de ces configurations spatio-temporelles met finalement en évidence le fait que leur énonciateur se conçoit non seulement comme un élément à part entière de la société capverdienne mais également son observateur distancié et donc averti. / This thesis intends to examine the inevitably precarious stances that the writer Germano Almeida constantly seeks out within Cape Verdean society. Starting from the premise that by definition literary expression constitutes a reflection on its own existence within the fictional universe it creates, this study intends, first, to illustrate how Germano Almeida, through his scenography, manages to position his work both within the power structure and on the literary scene of Cape Verde. The first part of the analysis focuses on the special relationship between literature and politics in both colonial and post-colonial society, the inclusion of humor and irony in scholarly literature, the conflict that arises between a well-established oral tradition and actual writing with the latter playing a singular role within a highly differentiated bilingual society. Lastly, the gap between the expected and the real reactions to Almeida’s work is examined. The second part of the analysis illustrates Germano Almeida’s desire to participate actively in shaping Cape Verdean society. If Almeida’s first fictions systematically deconstruct traditional representations of a rural and cohesive Creole society, more recent works definitely depict the traits of a primarily urban society that is forced to constantly deal with contingencies. The third part of this study highlights Almeida’s constant desire to place the diversity of Creole experiences on a time continuum that not only gives meaning to the past but also provides greater command of the future and the possibility to thus avoid the danger of grotesquely repeating history. In the end, the study of these time-space configurations makes it obvious that their author sees himself not only as a full member of Cape Verdean society but also as an objective, and therefore, informed observer.