The study is a narrative account of Chilean men who came to Canada after the September 11th, 1973 overthrow of government. In-depth interviews are used to reflect the life stories of 12 political exiles living in Saskatoon and Regina, Saskatchewan. This study expands the theme of belonging by analyzing how exiles negotiate identity to their country 25 years after their imposed departure. The accounts reveal how different groups of exiles draw on a view of their past as to reinforce links to the homeland. The question of identity is examined through the changing nature of exile political discourse and how that discourse provides meaning and shape to the host and home country. The study therefore asks how Chilean men in Canada remember their country, make sense of their political experiences, and give meaning to the question of belonging in the light of changing circumstances in their lives.

The unprecedented acts of brutality, persecution, and genocide perpetrated in the Second World War caused ruptures within language, creating a need for both individual and collective re-definitions of love, privacy, truth, and survival. In recent years, there has been a resurgence of Second World War fiction in both Canada and abroad, which suggests a need among contemporary authors to analyse and to understand retrospectively the way World War II has influenced current political and racial divisions. By looking specifically at the romantic relationships depicted in The Ash Garden, The English Patient, and The Walnut Tree, three Canadian World War II novels all written approximately fifty years after the war, this thesis not only examines the question of what is necessary for survival and how the public world of war either enables or inhibits individual survival, but also isolates how race, gender, and the public world influence the characters ability to endure in reciprocal love.

The unprecedented acts of brutality, persecution, and genocide perpetrated in the Second World War caused ruptures within language, creating a need for both individual and collective re-definitions of love, privacy, truth, and survival. In recent years, there has been a resurgence of Second World War fiction in both Canada and abroad, which suggests a need among contemporary authors to analyse and to understand retrospectively the way World War II has influenced current political and racial divisions. By looking specifically at the romantic relationships depicted in The Ash Garden, The English Patient, and The Walnut Tree, three Canadian World War II novels all written approximately fifty years after the war, this thesis not only examines the question of what is necessary for survival and how the public world of war either enables or inhibits individual survival, but also isolates how race, gender, and the public world influence the characters ability to endure in reciprocal love.

The study is a narrative account of Chilean men who came to Canada after the September 11th, 1973 overthrow of government. In-depth interviews are used to reflect the life stories of 12 political exiles living in Saskatoon and Regina, Saskatchewan. This study expands the theme of belonging by analyzing how exiles negotiate identity to their country 25 years after their imposed departure. The accounts reveal how different groups of exiles draw on a view of their past as to reinforce links to the homeland. The question of identity is examined through the changing nature of exile political discourse and how that discourse provides meaning and shape to the host and home country. The study therefore asks how Chilean men in Canada remember their country, make sense of their political experiences, and give meaning to the question of belonging in the light of changing circumstances in their lives.

The Return Home : Mongo Beti's Late OeuvreIn 1991 amid the wave of democracy sweeping Africa, Mongo Beti returned to his native country of Cameroon to continue his literary career after 32 years of exile in France. My dissertation investigates the originality of his homecoming discourse. I explore how this prominent writer's late oeuvre illustrates his struggle to re-discover the country he left decades earlier as well as how his experience of returning shaped a new literary perception. His work after returning home reflects his gradual re-acquaintance with and re-integration into his native country. I argue that at the outset, his perception is initially guided by a backward glance on the past and that his assessment of the present aims at resisting pessimistic representations of Africa. In his later works, however, one cannot but notice the same sentiments of dissatisfaction and disillusion that were based on his first hand experience. To this extent, Mongo Beti's post-return literature can be considered dynamic as it evolved over time. A diachronic approach allowed me to examine his changing perceptions and representations of Africa based on the magnitude of his comprehension of his environment at each point in time. His post-return writing demonstrates a progressive redefinition of some of his previous narrative techniques as regards such elements as political resistance, authoritative narrators, linear unfolding of the plot, time and space, and character development. My analysis also questions the concept of "home" as a place of safety and refuge just as his post-return novels portray exile as an ambiguous state of being in-between worlds, as an expression of a simultaneous connection to the "new old" home and the distant former one abroad. Therefore, there is a shift in Mongo Beti's post-return discourse away from questions of national responsibility and social progress rooted in a consciousness of belonging to a defined community. The conceptual organization of my dissertation is derived from my reading of each of the four texts of the post-return era, and the way they illustrate the author's process of re-discovery of postcolonial Cameroon.

It is commonly thought that New Zealand writers before World War II suffered from a "dual exile". In New Zealand, they were exiled far from the publishing opportunities and cultural stimulus of metropolitan centres. To succeed as writers they were forced to go overseas, where they endured a second kind of spiritual exile, far from home. They were required to give up their "New Zealandness" in order to achieve literary success, yet never completely belonged in the metropolitan centres to which they had gone. They thus became permanent exiles. This thesis aims to discover the true prevalence of "dual exile" amongst early twentieth-century New Zealand writers. Using both quantitative and qualitative analysis, it argues that the hypothesis of "dual exile" is a myth propagated since the 1930s by New Zealand‘s cultural nationalist tradition. New Zealand writers were not exiles because of the existence of the "colonial writing world"—a system of cultural diffusion, literary networks and personal interactions that gave writers access to all the cultural capital of Britain through lines of communication established by colonial expansion. Those who went to Britain remained connected to New Zealand through these same networks. The existence of the colonial writing world meant that the physical location of the writer, whether in New Zealand or overseas, had far less impact on literary success than the cultural nationalists assumed.

“When is a Man Where He Drowns” is a creative project that forms part of a novel in progress. In the novel, Paul Rasmussen, 31, an anthropology instructor and ethnographer, is recovering from a career setback and early prostate cancer. He takes a job as a fisheries technician in the remote Immitoin Valley, meeting a series of characters who both facilitate and complicate his convalescence. At the conclusion of “Part One: Archaeology,” he begins an ethnographical study of the people who were displaced and relocated when the valley was flooded to create the McCulloch Dam in 1970. The Immitoin Valley is a fictional location, a composite of various communities and geographical features along B.C.‟s Arrow Lakes, the Peace River valley, and other places that have experienced socio-geographical change due to hydroelectric dam activity. When is a Man Where He Drowns, in its entirety, is concerned with themes of exile, displacement and masculinity, using the body and landscape as parallel metaphors. My thesis, which consists of “Part One: Archaeology,” is a standard narrative told in third person. It attempts to establish the protagonist‟s relationship with his body, and sets the stage for the remainder of the novel which will play with different forms of storytelling, including ethnographic field notes, journal entries and transcribed interviews. / Graduate / 10000-01-01 / 9999-12-31

Thesis (Ph.D.)--Rutgers, the State University of New Jersey, 2007. / Title from screen (viewed on July 23, 2009). Includes vita. Graduate Program in Psychology, Rutgers, the State University of New Jersey. Includes bibliographical references (leaves 92-101).

This interdisciplinary dissertation examines the relationship between exile and collaborative authorship in the films of blacklisted American director Joseph Losey and British-Jewish playwright/screenwriter Harold Pinter. During the 1960s and early 1970s, they collaborated on the celebrated British art-house films The Servant (1963, based on the novella by Robin Maugham), Accident (1967, based on the novel by Nicholas Mosley), and The Go-Between (1971, based on the novel by L.P. Hartley), which won the prestigious Palme d'Or at the 1971 Cannes International Film Festival. Both Losey and Pinter commented frequently on the synergistic nature of their successful collaboration, but Anglo-American film scholarship tends to often incorrectly interpret the collaboration as a disproportionate alliance of talent with Losey serving subordinately to the Nobel laureate Pinter's dramatic genius. Moving beyond the auteur critics' emphasis on solitary film authorship, this dissertation reads the Losey and Pinter collaboration through the lens of exilic cinema. Losey and Pinter's shared exilic vision--the synthesis of the exiled blacklistee Losey and the British-Jewish insider-outsider Pinter--interrogated a British culture that, during the 1960s and early 1970s, possessed a new allure due, in large part, to the international popularity of the Beatles, James Bond, and the fashion of designer Mary Quant. Yet this veneer of sex appeal and economic prosperity veiled ongoing class and racial tension, gender inequality, homosexual oppression, and a dissolving Empire. Losey and Pinter foreground these socio-political issues through a complex modernist film aesthetic, which challenged the classical Hollywood and British narrative film structure by bending genre conventions and archetypes in The Servant, and later fusing elements of modernist literature and Continental European art-house cinema, particularly the films of the French Nouvelle Vague and Rive Gauche filmmakers, in Accident and The Go-Between. This dissertation analyzes The Servant, Accident, and The Go-Between against the socio-political climate of Britain in the 1960s and early 1970s, as well as the creative and economic alliance between the British and Hollywood film industries during this significant filmmaking period. The goal is not only to illustrate that the Losey-Pinter collaboration cannot be placed easily within a single author paradigm, but also that studies of film collaboration need to consider relevant historical, socio-political, and industrial factors.

Magister Artium - MA (Anthropology/Sociology) / This study examines the fears of Rwandan army deserters who oppose President Kagame, of being found by the External Security Organisation (ESO), a Rwandan spy organisation meant to sniff them out wherever they are in exile: in this case Cape Town, South Africa. The army deserters are perceived as both a political and military threat to the survival of President Kagame. I argue that the fear of being hunted is a real threat which (re)produces 'militarised identities' as these former soldiers employ their military training skills to hide from the ESO in South Africa. In this I employ Foucault's (1977) concept of 'panopticism' to examine these army deserters' experiences of surveillance by the ESO and also Vigh's (2006) concept of 'social navigation' to understand how the army deserters 'scan' and manoeuvre the exile terrain. In substantiating the thesis argument, my study draws from six in-depth interviews and conversations with Rwandan army deserters living in Cape Town. It also made use of thematic analysis, drawing themes from the data on which it is based.