Contemporary Canadian literature and drama that features racial hybridity represents the racially hybrid soma text as a unique form of embodiment and pays particular attention to the power of the racialized gaze. The soma text is the central concept I have developed in order to identify, address, and interrogate the signifying qualities of the racially hybrid body. Throughout my dissertation, I use the concept of the body as a text in order to draw attention to the different visual "readings" that are stimulated by this form of embodiment. In each chapter, I identify the centrality of racially hybrid embodiment and investigate the power of the racialized gaze involved in the interpellation of these racially hybrid bodies. I have chosen to divide my study into discrete chapters and to use specific texts to illuminate my central concepts and to identify the strategies that can be used to express agency over the process of interpellation. In Chapter One I explain my methodology, define the terminology and outline the theories that are central to my analysis. In Chapter Two, I consider the experiences of mixed race people expressing agency by self-defining in the genre of autobiography. In Chapter Three, I explore the notion of racial drag as represented in fiction. In Chapter Four, I consider the ways in which the performative aspects of racial hybridity are represented by theatrical means and through performance. My analysis of the soma text and racialized gaze in these three genres offers critical terms that can be used to analyze representations of racial hybridity. By framing my analysis by way of the construction of the autobiographical voice I suggest that insight into the narrative uses of racial hybridity can be deepened and informed by a thorough analysis of the representation of the lived experience of racial hybridity in a given context. My crossgeneric and crossracial methodology implicitly asserts the importance of the inclusion of different types of racial hybridity in order to understand the power of the racially hybrid body as a signifier in contemporary Canadian literature and drama. / Arts, Faculty of / English, Department of / Graduate

Thesis (MA (English))--University of Stellenbosch, 2009. / ENGLISH ABSTRACT: During the past century, for a variety of reasons, more people have been crossing national and cultural borders than ever before. This, along with constantly developing communication technology, has seen to it that clear-cut distinctions, divisions and borders are no longer as easily definable as they once were. This process, now commonly referred to as ‘globalisation,’ has led to a rising trend of ‘multiculturalism’ and ‘cultural hybridity,’ terms often connected with celebratory views of our postmodern, postcolonial world as a colourful melting pot of cultures. However, what these celebratory views conveniently avoid recognising, is that the increasing occurrence of hybridity places a growing number of people in a painful space inbetween identities where they are “neither just this/nor just that” (Dayal 47), “neither the One… nor the Other… but something else besides” (Bhabha Commitment 41). Perhaps in an effort to combat this ignorance, a new breed of authors – who have experienced the rigours of migration first-hand – are giving voice to this pain-infused space on the periphery of cultures and identities through a developing genre of transcultural literature. This literature typically deals with issues of identity closely related to globalisation and multiculturalism. In my thesis I will be looking at three such novels: Jamal Mahjoub’s The Drift Latitudes, Kiran Desai’s Inheritance of Loss, and Caryl Phillips’ A Distant Shore. These authors move away from an idealistic, celebratory view of hybridity as the effortless blending of cultures to a somewhat disenchanted approach to hybridity as a complex negotiation of split subjectivity in an ever-fracturing world. All three novels lend themselves to a psychoanalytic reading, with subjects who imagine themselves to be unitary, but end up having to face their repressed fractured subjectivity in a moment of crisis. The psychoanalytic model of the split between the conscious and the unconscious, then, resonates well with the postcolonial model of the intrinsically fractured hybrid identity. However, while psychoanalysis focuses on internal processes, postcolonialism focuses on external processes. Therefore, I will be making use of a blend of psychoanalytic and postcolonial concepts to analyse and access discursive meanings in the texts. More specifically, I will use Homi Bhabha’s concept of ‘hybridity’, Freud’s concept of the ‘uncanny’, and Zygmunt Bauman’s concept of ‘the stranger’ as distinctive, yet interconnected conceptual lenses through which to view all three of these transcultural novels. / AFRIKAANSE OPSOMMING: In die afgelope eeu het meer mense as ooit vantevore, om ‘n verskeidenheid redes, lands- en kultuurgrense oorgesteek. Tesame met die voortdurende vooruitgang van kommunikasietegnologie, het dit tot gevolg dat afgebakende grense, skeidings en verskille nie meer so maklik definieerbaar is as wat hulle eens was nie. Hierdie proses, waarna in die algemeen verwys word as ‘globalisering’, het gelei tot die groeiende neiging van ‘multikulturalisme’ en ‘kulturele hibriditeit’. Dit is terminologie wat dikwels in verband gebring word met feestelike beskouings van ons postmoderne, post-koloniale wêreld as ‘n kleurryke smeltkroes van kulture. Wat hierdie feestelike beskouings egter gerieflikheidshalwe verkies om te ignoreer, is die feit dat die toenemende voorkoms van hibriditeit ‘n groeiende aantal mense in ‘n pynlike posisie tussen identiteite plaas waar hulle nòg vis nòg vlees (“neither just this/nor just that” [Dayal 47]), nòg die Een… nòg die Ander is… maar eerder iets anders buiten.. (“neither the One… nor the Other… but something else besides” [Bhabha Commitment 41]). Miskien in ‘n poging om hierdie onkunde die hoof te bied, is ‘n nuwe geslag skrywers – wat die eise van migrasie eerstehands ervaar het – besig om met ‘n ontwikkelende genre van transkulturele literatuur ‘n stem te gee aan hierdie pynlike ‘plek’ op die periferie van kulture en identiteite. Hierdie literatuur handel tipies oor die kwessies van identiteit wat nou verwant is aan globalisering en multikulturalisme. In my tesis kyk ek na drie sulke romans: Jamal Mahjoub se The Drift Latitudes, Kiran Desai se Inheritance os Loss en Caryl Phillips se A Distant Shore. Hierdie skrywers beweeg weg van die idealistiese, feestelike beskouing van hibriditeit as die moeitelose vermenging van kulture na ‘n meer realistiese uitbeelding van hibriditeit as ‘n ingewikkelde vergestalting van verdeelde subjektiwiteite in ‘n verbrokkelende wêreld. Al drie romans leen hulle tot die lees daarvan uit ‘n psigo-analitiese oogpunt, met karakters wat hulself as eenvormig beskou, maar uiteindelik in ‘n krisis-oomblik te staan kom voor die werklikheid van hul onderdrukte verbrokkelde subjektiwiteit. Die psigo-analitiese model van die breuk tussen die bewuste en die onbewuste weerklink welluidend in die post-koloniale model van die intrinsiek verbrokkelde hibriede identiteit. Terwyl psigo-analise egter op interne prosesse toegespits is, fokus post-kolonialisme op eksterne prosesse. Derhalwe gebruik ek ‘n vermenging van psigo-analitiese en post-koloniale konsepte om uiteenlopende betekenisse in die onderskeie tekste te analiseer en hulle toeganklik te maak. Meer spesifiek gebruik ek Homi Bhabha se konsep van hibriditeit, Freud se konsep van die ‘geheimsinnige / onheilspellende’ en Zygmunt Bauman se konsep van ‘die vreemdeling’ as kenmerkende, maar steeds onderling verwante konseptuele lense waardeur aldrie transkulturele romans beskou word.

O tropeirismo é uma temática frequentemente exaltada por diferentes compositores e intérpretes da música regionalista gauchesca, dada sua importância no desenvolvimento econômico e cultural do Estado do Rio Grande do Sul. Esse fenômeno, que se estendeu do final do século XVII até meados do século XX, no sul do Brasil, além de ter sido responsável pelo surgimento de inúmeras vilas e cidades ao longo das rotas, proporcionou um imenso intercâmbio cultural. Essa mescla das diferentes culturas envolvidas no fazer tropeiro criou uma espécie de identidade comum. Vestígios culturais decorrentes do contato entre birivas – como eram conhecidos os tropeiros paulistas e os habitantes de Cima da Serra, no RS – e gaúchos manifestam-se na culinária, na dança, na descrição das lidas de campo e na linguagem, especialmente na seleção lexical. Neste trabalho, propomos uma análise léxico-semântica da letra de quatorze canções gauchescas de cunho regionalista, a fim de investigar de que maneira a música regionalista reconstitui a história do tropeirismo. Almejou-se verificar se ocorre a mitificação da figura do tropeiro à semelhança do que acontece com o gaúcho e, após as análises, observou-se que isso de fato ocorre. A partir do levantamento das lexias relacionadas à atividade tropeira presentes nas canções, apresentamos uma proposta de modelo de organização da memória sobre o tropeirismo em campos lexicais. De acordo com Abbade (2012), a organização de um determinado conjunto de lexias em campos lexicais vai além da mera contribuição para estudos linguísticos: também evidencia a história e os costumes do grupo linguístico que as utiliza. / Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2016-05-11T19:34:58Z No. of bitstreams: 1 Dissertacao Silmara Argenton.pdf: 1208883 bytes, checksum: 99b6426a9caaaebf71e832098cb660c9 (MD5) / Made available in DSpace on 2016-05-11T19:34:58Z (GMT). No. of bitstreams: 1 Dissertacao Silmara Argenton.pdf: 1208883 bytes, checksum: 99b6426a9caaaebf71e832098cb660c9 (MD5) Previous issue date: 2016-05-11 / The tropeirismo, the occupation of the muleteers, is a theme which is frequently exalted by different composers and interpreters of gauchesca regional music, having in mind its importance in the economic and cultural development of the state of Rio Grande do Sul. This phenomenon, which extended from the end of the XVII century until the middle of the XX century, in the southern states of Brazil, besides being responsible for the emergence of countless villages and cities throughout the routes, provided a huge cultural exchange. The mingling of the different cultures involved in the regular activities of the muleteers, the tropeiro, created a kind of common identity. Cultural tracescaused by the contact between birivas – as were known the muleteers from São Paulo and the inhabitants of northern area of the state of Rio Grande do Sul, called Cima da Serra region – and gaúchos (the inhabitants of Rio Grande do Sul) are expressed in the culinary, dance, description of the work in the fields and in language, especially revealed in the choice of lexical items. In this research, we propose a lexical-semantic analysis of the lyrics of fourteen gauchesca regional songs, in order to investigate how the regional music reconstitutes the history of tropeirismo. The aim is to verify whether the mystification of the muleteer occurs, similarly to what happens to the gaúcho, which our analysis proved to be right. Based on the survey of the lexis related to the activities of the tropeiros present in the songs, we propose a model of organization of the memory of tropeirismo in lexical fields. According to Abbade (2012), the organization of the lexicon goes beyond the mere contribution to linguistic studies: it also evidences the history and the customs of the linguistic group that uses it.

O tropeirismo é uma temática frequentemente exaltada por diferentes compositores e intérpretes da música regionalista gauchesca, dada sua importância no desenvolvimento econômico e cultural do Estado do Rio Grande do Sul. Esse fenômeno, que se estendeu do final do século XVII até meados do século XX, no sul do Brasil, além de ter sido responsável pelo surgimento de inúmeras vilas e cidades ao longo das rotas, proporcionou um imenso intercâmbio cultural. Essa mescla das diferentes culturas envolvidas no fazer tropeiro criou uma espécie de identidade comum. Vestígios culturais decorrentes do contato entre birivas – como eram conhecidos os tropeiros paulistas e os habitantes de Cima da Serra, no RS – e gaúchos manifestam-se na culinária, na dança, na descrição das lidas de campo e na linguagem, especialmente na seleção lexical. Neste trabalho, propomos uma análise léxico-semântica da letra de quatorze canções gauchescas de cunho regionalista, a fim de investigar de que maneira a música regionalista reconstitui a história do tropeirismo. Almejou-se verificar se ocorre a mitificação da figura do tropeiro à semelhança do que acontece com o gaúcho e, após as análises, observou-se que isso de fato ocorre. A partir do levantamento das lexias relacionadas à atividade tropeira presentes nas canções, apresentamos uma proposta de modelo de organização da memória sobre o tropeirismo em campos lexicais. De acordo com Abbade (2012), a organização de um determinado conjunto de lexias em campos lexicais vai além da mera contribuição para estudos linguísticos: também evidencia a história e os costumes do grupo linguístico que as utiliza. / The tropeirismo, the occupation of the muleteers, is a theme which is frequently exalted by different composers and interpreters of gauchesca regional music, having in mind its importance in the economic and cultural development of the state of Rio Grande do Sul. This phenomenon, which extended from the end of the XVII century until the middle of the XX century, in the southern states of Brazil, besides being responsible for the emergence of countless villages and cities throughout the routes, provided a huge cultural exchange. The mingling of the different cultures involved in the regular activities of the muleteers, the tropeiro, created a kind of common identity. Cultural tracescaused by the contact between birivas – as were known the muleteers from São Paulo and the inhabitants of northern area of the state of Rio Grande do Sul, called Cima da Serra region – and gaúchos (the inhabitants of Rio Grande do Sul) are expressed in the culinary, dance, description of the work in the fields and in language, especially revealed in the choice of lexical items. In this research, we propose a lexical-semantic analysis of the lyrics of fourteen gauchesca regional songs, in order to investigate how the regional music reconstitutes the history of tropeirismo. The aim is to verify whether the mystification of the muleteer occurs, similarly to what happens to the gaúcho, which our analysis proved to be right. Based on the survey of the lexis related to the activities of the tropeiros present in the songs, we propose a model of organization of the memory of tropeirismo in lexical fields. According to Abbade (2012), the organization of the lexicon goes beyond the mere contribution to linguistic studies: it also evidences the history and the customs of the linguistic group that uses it.

Submitted by Biblioteca Central (biblioteca@unicap.br) on 2018-04-10T18:16:55Z No. of bitstreams: 2 eroflim_joao_queiroz.pdf: 823438 bytes, checksum: 369347c34ee21531a400ddd00200eb8b (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-04-10T18:16:55Z (GMT). No. of bitstreams: 2 eroflim_joao_queiroz.pdf: 823438 bytes, checksum: 369347c34ee21531a400ddd00200eb8b (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-10-02 / The present study is related to the Master of Science of Religion, to the line of research: Brazilian religious field, culture and society, with the purpose of investigating in the Catholic religion and in Afro-Brazilian traditions the elements redefined by the Kardecist doctrine for its configuration in the Recife. For this study, we use as base the Human and Social Sciences, specifically History, Sociology, Anthropology and, in particular, the Sciences of Religion. From the methodological point of view, the research is characterized by the qualitative nature, in which the information is collected through historical research and in the empirical field, semistructured research, formed by interviews with 10 mediums who work in Spiritist Centers of the city of Recife. The theoretical framework adopted is anchored in the analysis of authors such as Canclini (2009, 2015), Hall (2003, 2011 and 2014), Silva (2014) and others dealing with the understanding of cultural hybridity and identity. In addition, the history of Spiritism is analyzed, where we highlight Sá (2001) and Maior (2002 and 2006), as well as, primary sources, the books that compose the Kardecist codification. In the analysis of the interviews, we used the technique of content analysis for our study. We find through these interviews the assertion that the communicating spirits in the mediumistic meetings belong to diverse religious traditions existing in Brazil, especially those of Afro-Brazilian traditions, and that in these Centers they manifest freely, in their cultural and religious identities, with respect to the only restrictions to rituals exist. Thus, the results of the research reveal the influence of religious hybridity on the (re) configuration of spiritualism in Recife. In this way we hope to contribute to the understanding of the religious hybridism that has been established since the arrival of these religions in Brazil and the (re) configuration of Kardecista spiritualism in Recife and its interfaces with the Catholic religion, indigenous religious traditions and Afro-Brazilian religions. / O presente estudo está relacionado ao Mestrado de Ciências da Religião, à linha de pesquisa: campo religioso brasileiro, cultura e sociedade, tendo o propósito de investigar na religião Católica e nas de tradições afro-brasileiras os elementos resignificados pela doutrina kardecista para sua configuração no Recife. Para este estudo, utilizamos como base as Ciências Humanas e Sociais, especificamente a História, a Sociologia, a Antropologia e, em especial as Ciências da Religião. Do ponto de vista metodológico, a pesquisa se caracteriza pela natureza qualitativa, em que as informações são coletadas através da pesquisa histórica e no campo empírico, pesquisa semiestruturada, formada por entrevistas com 10 médiuns que atuam em Centros Espíritas da cidade do Recife. O referencial teórico adotado ancora-se nas análises de autores como: Canclini (2009, 2015), Hall (2003, 2011 e 2014), Silva (2014) e outros que tratam do entendimento sobre hibridismo cultural e identidade. Além disso, é objeto de análise a história do Espiritismo, onde destacamos Sá (2001) e Maior (2002 e 2006), assim como, fontes primárias, os livros que compõem a codificação Kardecista. Na análise das entrevistas, utilizamos para o nosso estudo a técnica de análise de conteúdo. Averiguamos através dessas entrevistas, a afirmação de que os espíritos comunicantes nas reuniões mediúnicas pertencem a diversas tradições religiosas existentes no Brasil, principalmente as de tradições afro-brasileiras, e que nesses Centros se manifestam livremente, em suas identidades culturais e religiosas, com relação às comunicações, existindo apenas restrições a rituais. Sendo assim, os resultados da pesquisa revelam a influência do hibridismo religioso na (re) configuração do espiritismo no Recife. Dessa forma esperamos contribuir para o entendimento do hibridismo religioso que se estabeleceu desde a chegada dessas religiões ao Brasil, e da (re) configuração do espiritismo Kardecista no Recife e suas interfaces com a religião Católica, as tradições religiosas indígenas e as afro-brasileiras.

Thesis (Ph. D.)--Ohio State University, 2008.

Doctorat en Sciences politiques et sociales / info:eu-repo/semantics/nonPublished

Beyond the Binary explores the intersection of gender with cross-cultural identity in composer Reena Esmail's professional life and choral music. This intersection manifests in her musical style, which accesses the resonant spaces between Western and Indian classical music. I argue that it is through the convergence of Esmail's gender identity with her cross-cultural identity that her compositions challenge gender norms and break down perceived barriers between East and West, inviting her listeners into an intersectional feminist space. This project synthesizes musicological, theoretical, and ethnographic methods, and is meant as a starting point for choral musicians and scholars to consider cultural difference and its impact on choral music. What begins as a consideration of social themes within Esmail's life and work culminates in a practical musical analysis and performance practice guide to aid conductors in preparation of Esmail's music. The compositions discussed are I Rise: Women in Song (2016), Take What You Need (2016), TaReKiTa (2016), Tuttarana (2014), and This Love Between Us: Prayers for Unity (2016).

Identity always presupposes a sense of location and a relationship with others and the representation of identity most often occurs precisely at the point when there has been a displacement (Bhabha cited in Papastergiadis 1995:17, emphasis added). In this study I focus on the condition of displacement, placing emphasis on the disjunctures of identity arising from temporal and physical dislocations and relocations in historical and postapartheid South African contexts. Displacement, and the attendant senses of dislocation and alienation it may evoke, is explored with reference to three selected female personae. For each persona, displacement is shown to provoke transmutations in subjectivity and identity, resulting in disjunctive identities and relationships with place. Their individual narratives raise questions around the consequences of displacement for a sense of (un)belonging and the (re)making of identities across geographical, cultural, temporal, ethnic and environmental borders. The pivotal role displacement plays in the processes of formation and transformation of subjectivity and identity is foregrounded. Familial histories of diasporic displacement, together with colonial legacies that have shaped my subject position as a white, middle-class, female South African woman, are interlaced with a recounting of personal experience of displacement in postapartheid South Africa. This personal sense of displacement, experienced between the years 2000 to 2006, is extended to a discussion on what is argued to be collective forms of white, English-speaking South Africans’ dislocation during the same time period. I suggest that their sense of displacement was experienced in relation to the uncertainty of their subject positions in postapartheid South Africa. In the practical and theoretical components of the degree, I consider how the three personae’s subjectivities are practiced and lived from their different space-time continuums. This exploration prompts further questions around how the effects of displacement on subjectivity and new identity formations are contingent upon each persona’s relation to the Other of colonial discourse, or the other-strangerforeigner within. Although there are marked differences between their colonial, diasporic and postcolonial contexts, a central theme that underpins the study is that the three conditions of displacement are linked by disjunctures arising from processes of dislocation, alienation, relocation and adaptation. Each persona’s epistemological reality is shown to comprise multiple ambivalences and ambiguities, and is marked by processes of cultural contestation and inner conflict. Their ambivalences and ambiguities encompass slippages between positions of inclusion and exclusion; insider and outsider; inhabitant and immigrant; alienation and belonging; placelessness and locatedness; homely and unhomely that the experience of uprooting and relocating foregrounds. While displacement is understood in terms of trauma and conflict, this condition is also regarded as a generative space of possibility for the emergence of new identity formations. Using my experiences of self-transformation and renegotiation of my identity through processes of cultural contact and exchange as a departure point, I consider ways in which collective white, English-speaking South Africans’ cultural identities are being reformulated, renegotiated or ‘hybridised’ in postapartheid South Africa as a transforming, postcolonial society. / Thesis (DPhil)--University of Pretoria, 2012. / Visual Arts / unrestricted

Trajan conquered Dacia in 106 CE and encouraged one of the largest colonization efforts in the history of the Roman Empire. The new province was rich in natural resources. Immigrants from Dalmatia, Moesia, Noricum, Pannonia, Greece, Syria, Bithynia, Italy, indigenous Dacians, and soldiers from Legio XIII Gemina participated in the extraction of gold from the Apuseni Mountains. The inhabitants of mining settlements around Alburnus Maior and the administrative center Ampelum coexisted under Roman governance but continued to mark their identities in multicultural communities. At Alburnus Maior the presence of wage laborers with access to outside materials and ideas created the opportunity for miners to communicate identity through mediums that have survived. A series of wax tablet legal contracts, altars, and funerary monuments can be combined with recent archaeological data from settlements, burials, and the mines themselves to formulate the broad view necessary to examine the intricacies of group and self-expression. Through this evidence, Alburnus Maior offers a case study for how mobility and colonization in the ancient world could impact identity. Due to the pressures of coping within a multicultural community, miners formed settlements that were central to their daily lives and facilitated the embodiment of state, community, and personal identities. Identity changes over time and can simultaneously communicate several ideas that are hard to categorize. This study approaches this challenge by looking from macro to micro contexts that influenced several expressions of identity. Chapter 2 begins with a historical background that explores the expansion of the Roman Empire and considers how different experiences of conquest influenced the colonists who immigrated to Dacia. The circumstances that led to the massive colonization of Dacia are also considered. Chapter 3 describes how the mines at Alburnus Maior were exploited, who was present, and assesses the impact of state officials, legionaries, and elite entrepreneurs on the formation and expression of state identity through cult, law, and language. The formation of immigrant communities and the working conditions that permeated everyday life at the mines are then considered in the next chapter. Settlement, cult, and religious membership are evaluated for their role in creating and articulating community identities. Chapter 5 then analyzes the personal and sometimes private expression of identity that appears in commemoration, naming conventions, and burial. The three levels of state, community, and personal identities often overlap and collectively show that the hybridization of ideas from several cultures was central to how those at Alburnus Maior negotiated their identity in the Roman Empire.