On a small island in the Gulf of Saint Lawrence a distinct Francophone community has persisted for nearly three hundred years despite historical traumas and the pressures exerted by a majority Anglophone environment. The factors that have contributed to the persistence of this community are a matter of some debate, yet the cultural identity of the Acadians of Prince Edward Island in the twenty-first century appears to have remained intact. Contrary to a popular discourse of identity "revival," this distinct culture is neither a recent phenomenon nor is it something that is homogeneously pan-Acadian. While much popular and scholarly discourse on the Acadians centres on their tragic past and nationalist perspectives of Acadian identity construction, this dissertation focuses on how identity is created, perceived and expressed in a local context. Music plays a key role in articulating this local identity; it helps to create and maintain social relationships both within the community and with other cultural groups. The emergence of a distinct musical tradition has contributed substantially to the production and maintenance of cultural identity amongst these Island Acadians. Through case studies of specific performance contexts, individual musicians and professional groups, I examine current and ongoing processes of Acadian cultural definition and how musicians negotiate the dichotomy of traditional and modern performance contexts and forms of expression. I consider the musical alliances and exchanges that inform the experiences of these Islanders and how these intercultural encounters have influenced local musical practices and discourses about Acadian identity. My research demonstrates that contemporary cultural markers, and particularly music, are primary tools through which members of this invisible minority cultural group define and present their ethno-cultural identity both locally and to cultural outsiders.

On a small island in the Gulf of Saint Lawrence a distinct Francophone community has persisted for nearly three hundred years despite historical traumas and the pressures exerted by a majority Anglophone environment. The factors that have contributed to the persistence of this community are a matter of some debate, yet the cultural identity of the Acadians of Prince Edward Island in the twenty-first century appears to have remained intact. Contrary to a popular discourse of identity "revival," this distinct culture is neither a recent phenomenon nor is it something that is homogeneously pan-Acadian. While much popular and scholarly discourse on the Acadians centres on their tragic past and nationalist perspectives of Acadian identity construction, this dissertation focuses on how identity is created, perceived and expressed in a local context. Music plays a key role in articulating this local identity; it helps to create and maintain social relationships both within the community and with other cultural groups. The emergence of a distinct musical tradition has contributed substantially to the production and maintenance of cultural identity amongst these Island Acadians. Through case studies of specific performance contexts, individual musicians and professional groups, I examine current and ongoing processes of Acadian cultural definition and how musicians negotiate the dichotomy of traditional and modern performance contexts and forms of expression. I consider the musical alliances and exchanges that inform the experiences of these Islanders and how these intercultural encounters have influenced local musical practices and discourses about Acadian identity. My research demonstrates that contemporary cultural markers, and particularly music, are primary tools through which members of this invisible minority cultural group define and present their ethno-cultural identity both locally and to cultural outsiders.

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This thesis is an in-depth study of Shona fiction about the liberation war in Zimbabwe. It looks at the way Zimbabwe’s liberation war is portrayed in Shona fiction and focuses on the factors that shaped writers’ perspectives on that war. It is argued that Shona war fiction writers romanticised the war and in the process simplified and distorted history. The researcher postulates that writers’ perspectives on this liberation war were shaped by factors that include the mood of celebration and euphoria, the dominant ideology of the time, the situations of independence and freedom, and literary competitions. The thesis further raises and illustrates the point that writers produced romances of adventure because they were writing on the theme of war, and if one writes on the theme of war one ends up writing an adventure story. However, it is also acknowledged that because authors were writing on a historical event they could not ignore history completely. Some aspects of history are incorporated into the fiction, thereby retaining a semblance of historical realism. The post-independence period is also seen as a time of cultural revival and this is considered as the reason behind the authors’ tendency to celebrate Shona traditional institutions and culture. The celebration of Shona traditional religion and culture introduced into the fiction the element of the supernatural that strengthened the romance aspect of the novels. Shona war fiction writers also perpetuate female stereotyping. Female characters are depicted as everything except guerrilla fighters. It is argued that there are no female characters that play roles of guerrilla fighters because during the actual war women were not visible at the war front, fighting. The thesis argues that men, who were pioneers of the guerrilla war and writers of the war stories, excluded women from liberation war discourse and ultimately from literary discourse as well. A few writers who comment on the quality of Zimbabwe’s independence and freedom show the disillusionment and despair of the peasants and ex-combatants as they struggled to settle down and recover from the war. / African Languages / D.Litt. et Phil.

本論文主要以巴宰族為研究對象，關注其在1999年至2014年之間的文化復振過程，欲探討巴宰族是否有條件成為官定原住民族。 巴宰族原居現在的台中西部平原，過去曾幫助清朝政府平定許多亂事，因此得到賜姓，並獲得許多土地，所以巴宰族曾經有過輝煌的時期，後來因為漢人侵墾、土地流失、內部統治權力競爭…等原因，整個巴宰族的情勢開始走下坡，甚至得離開原鄉向外遷徙。現在還能找到明顯聚居的巴宰族分布地有：台中市豐原區的大社村、苗栗縣三義鄉的鯉魚潭村、南投縣埔里鎮的愛蘭里。 巴宰族尚保有自己的文化，其中宗教和語言是兩個重要的民族邊界要素，1871年潘開山武干因打獵受傷，經人介紹後輾轉到台南接受馬雅各醫生的治療，順利地恢復之後決定改信基督教，透過他將傳教士帶到台灣中部，許多巴宰族人因此也接受了基督教信仰，透過信仰的力量凝聚彼此，所以巴宰族因為教會的關係有很強的向心力，另外，教會中使用的羅馬拼音，使巴宰族人擁有書寫、紀錄的能力，間接地將巴宰族語言和歌謠留了下來。 平埔族一開始是以泛平埔的架構在推動民族的認同與文化復振運動，後來慢慢出現以各族為主體的文化復振，本文關注的巴宰族民族認定運動就是在此脈絡之下展開。1998年「臺灣巴宰族群文化協會」成立，隔年聚集三個聚居地的巴宰族人聯合舉辦停止多年的傳統過年儀式，這次的活動帶起了許多人的熱情，開啟了巴宰族的文化復振之路。 「苗栗縣巴宰族群協會」、「南投縣巴宰族群文化協會」在2003年成立，之後每年持續在鯉魚潭和愛蘭舉辦傳統過年，讓所有族人每年11月15日都能回到聚居地參與活動，將固有傳統祭儀延續下去，如：牽田、走鏢、銅鑼舞。在平埔族群當中，巴宰族的語言是保存相對較好的，恢復辦理過年之後就開始在教會中培訓族語老師，2002年參與政大原住民族研究中心編輯九階教材，將巴宰族語編寫出有架構的九階族語教材。除了學習、教學、編輯母語教材之外，族語老師們也參與原住民族語文學獎比賽，從第一屆開始共參與15人次，7人次得獎，從此也可以看到巴宰族對族語復振的用心；2012年底，平埔活力計畫開辦，巴宰族運用經費修改族語教材、辦理傳統過年、傳統技藝教學…等，持續不斷透過各種方式將文化傳承下去。 本文認為，巴宰族仍保有許多民族特徵，且積極的進行文化復振以維繫民族邊界與認同，目前最需要的是政府的肯認，並恢復其應有的原住民族身分與權利，最後透過民族認定正式成為臺灣的官定原住民族。

This thesis is an in-depth study of Shona fiction about the liberation war in Zimbabwe. It looks at the way Zimbabwe’s liberation war is portrayed in Shona fiction and focuses on the factors that shaped writers’ perspectives on that war. It is argued that Shona war fiction writers romanticised the war and in the process simplified and distorted history. The researcher postulates that writers’ perspectives on this liberation war were shaped by factors that include the mood of celebration and euphoria, the dominant ideology of the time, the situations of independence and freedom, and literary competitions. The thesis further raises and illustrates the point that writers produced romances of adventure because they were writing on the theme of war, and if one writes on the theme of war one ends up writing an adventure story. However, it is also acknowledged that because authors were writing on a historical event they could not ignore history completely. Some aspects of history are incorporated into the fiction, thereby retaining a semblance of historical realism. The post-independence period is also seen as a time of cultural revival and this is considered as the reason behind the authors’ tendency to celebrate Shona traditional institutions and culture. The celebration of Shona traditional religion and culture introduced into the fiction the element of the supernatural that strengthened the romance aspect of the novels. Shona war fiction writers also perpetuate female stereotyping. Female characters are depicted as everything except guerrilla fighters. It is argued that there are no female characters that play roles of guerrilla fighters because during the actual war women were not visible at the war front, fighting. The thesis argues that men, who were pioneers of the guerrilla war and writers of the war stories, excluded women from liberation war discourse and ultimately from literary discourse as well. A few writers who comment on the quality of Zimbabwe’s independence and freedom show the disillusionment and despair of the peasants and ex-combatants as they struggled to settle down and recover from the war. / African Languages / D.Litt. et Phil.