Neste corpascrever, meu argumento é o de que levar a sério o problema da naturalização da violência estrutural confere uma (re)nova(da) perspectiva sobre processos de politização de diferenças. Ao inquirir acerca das precondições para a geração de enquadramentos não hegemônicos em contextos marcados por violências estruturais, proponho a reconceitualização dos projetos de politização de diferenças enquanto defesa de processos de autodeterminação cole(a)tiva. Essa tese é defendida em três movimentos interdependentes: (3) por meio de reflexões filosófico-epistemológico-poéticas sobre a relevância da espacialização cole(a)tiva para a experiência da temporalidade; (2) por meio de considerações teóricopolíticas sobre a relação entre o problema do essencialismo e a possibilidade de agência cole(a)tiva subversiva; bem como (1) por meio do vislumbre da con-figur-ação do processo de (r)existência dos povos munduruku e ribeirinho à construção de barragens no Médio Tapajós. Conforme sugiro, a politização de diferenças, sob o proposto viés, apresenta-se como condição sine qua non para viabilizar a apreensão do modus operandi de violências estruturais, uma vez que apenas movimentos (pro)positivos cole(a)tivos permitem a emergência de imagens capazes de colocar a norma hegemônica fundamentalmente em xeque, de modo a transcender os limites inerentes a posturas exclusivamente reativas, co-movendo no sentido da reestruturação do mundo. / In this writingbody, I exam in depth the problem of naturalization of structural violence in order to argue for a (re)new(ed) perspective on the politicization of differences. I suggest a reconceptualization of the politicization of differences as a defense of colle(a)ctive selfdetermination processes through an investigation about the preconditions for the generation of non-hegemonic frames in contexts ruled by structural violence. This thesis is undertaken in three interdependent movements: (3) a philosophical-epistemological-poetical reflexion on the relevance of colle(a)ctive spatialization processes for the experience of temporality; (2) a political-theorical consideration on the relationship between the problem of essentialism and the possibility of subversive colle(a)ctive agency; and (1) a perspective on the con-figura( c)tion of the Munduruku and the riverside peoples (r)existence process to the construction of dams in Middle Tapajós region. I argue that the politicization of differences is conditio sine qua non in order to enable the denaturalization of structural violence, as only (pro)positional colle(a)ctive movements transcend the limits of merely reactive positions, enabling the emergency of images that can call the hegemonic rule into question and, therefore, initiate processes of structural trans-formation.

Neste corpascrever, meu argumento é o de que levar a sério o problema da naturalização da violência estrutural confere uma (re)nova(da) perspectiva sobre processos de politização de diferenças. Ao inquirir acerca das precondições para a geração de enquadramentos não hegemônicos em contextos marcados por violências estruturais, proponho a reconceitualização dos projetos de politização de diferenças enquanto defesa de processos de autodeterminação cole(a)tiva. Essa tese é defendida em três movimentos interdependentes: (3) por meio de reflexões filosófico-epistemológico-poéticas sobre a relevância da espacialização cole(a)tiva para a experiência da temporalidade; (2) por meio de considerações teóricopolíticas sobre a relação entre o problema do essencialismo e a possibilidade de agência cole(a)tiva subversiva; bem como (1) por meio do vislumbre da con-figur-ação do processo de (r)existência dos povos munduruku e ribeirinho à construção de barragens no Médio Tapajós. Conforme sugiro, a politização de diferenças, sob o proposto viés, apresenta-se como condição sine qua non para viabilizar a apreensão do modus operandi de violências estruturais, uma vez que apenas movimentos (pro)positivos cole(a)tivos permitem a emergência de imagens capazes de colocar a norma hegemônica fundamentalmente em xeque, de modo a transcender os limites inerentes a posturas exclusivamente reativas, co-movendo no sentido da reestruturação do mundo. / In this writingbody, I exam in depth the problem of naturalization of structural violence in order to argue for a (re)new(ed) perspective on the politicization of differences. I suggest a reconceptualization of the politicization of differences as a defense of colle(a)ctive selfdetermination processes through an investigation about the preconditions for the generation of non-hegemonic frames in contexts ruled by structural violence. This thesis is undertaken in three interdependent movements: (3) a philosophical-epistemological-poetical reflexion on the relevance of colle(a)ctive spatialization processes for the experience of temporality; (2) a political-theorical consideration on the relationship between the problem of essentialism and the possibility of subversive colle(a)ctive agency; and (1) a perspective on the con-figura( c)tion of the Munduruku and the riverside peoples (r)existence process to the construction of dams in Middle Tapajós region. I argue that the politicization of differences is conditio sine qua non in order to enable the denaturalization of structural violence, as only (pro)positional colle(a)ctive movements transcend the limits of merely reactive positions, enabling the emergency of images that can call the hegemonic rule into question and, therefore, initiate processes of structural trans-formation.

This study analyses two non-western novels used in the subject of Swedish in upper secondary school: Fatou Diomes The Belly of the Atlantic and Chimamanda Ngozi Adichies Half a Yellow Sun. Looking at how the books female main character relate to Stuart Halls theory of cultural identity, I come to the conclusion that they somewhat differently relate to an essential ”authentic” self. Salie talks explicit about a generic African soul that she possesses. Olanna never talks about anything ”authentic”, but her narrative and contrary subject positions can be read as a way of demasking her European ”white” self in favour of a truer Igbo self. I also come to the conclusion that both novels use themes of alienation related to gender structures and positioned westernness and that this kind of reading could contribute to interesting classroom discussions about a dynamic interpretation on culture and identity.

諾貝爾文學獎得主奈波爾(V. S. Naipaul)可以說是當代文學中最具爭議性及最難以捉摸的一位作家，因為他對自己祖國千里達的前殖民國英國懷有一種好惡相參的矛盾態度。奈波爾的自傳性小說《抵達之謎》，故事橫跨三十年，描述一位曾被殖民的離散敘事者其人生旅程。旅程始自敘事者還是一個得到牛津大學獎學金的十八歲學生，終至敘事者成為在英國有立足之處的作家，其間歷經迷惘、錯置、覺醒、安頓等過程。在後殖民批評及文學的「信條」下，奈波爾的作品理應對大英帝國表示出一種明確的對抗態度，但其作品卻幾乎未能達到此一預期，而這也使得他必須承受遭指控為背叛者的衝擊。批評家普遍將奈波爾稱為英國的喉舌，而本論文旨在提供一個有別於此的觀點。本論文想要處理的關鍵問題如下：奈波爾是否真的是大英帝國的擁護者？如果不是的話，他如何與英國性(Englishness)協商以換取發言位置？ 論文首章對奈波爾及《抵達之謎》的批評做簡短的回顧。第二章以法農(Frantz Fanon)的觀點來檢視敘事者與白人女性角色的關係，以說明敘事者從崇拜英國文化到擺脫對英國謬誤幻想的發展。筆者也嘗試描繪出敘事者成為一個作家的軌跡。藉此，筆者認為敘事者經歷一段從目光狹隘的英國經典作家模仿者，到寫自己人生故事的作家的歷程。在第三章，本文認為在倫敦及英國鄉間的停留期間，敘事者看出帝國中心的破敗以及英國文化核心中英國性的矯揉造作。第四章首先就「離散」這個概念做一回顧，並說明奈波爾及《抵達之謎》如何能置於這樣的概念之下來解讀。筆者指出，敘事者同時身為離散者及流亡者的身份，使得他能夠取得一個「對位」的觀點，而此觀點幫助敘事者發展其後殖民牧歌，揭發英國性背後的殘酷。第五章揭示筆者對現存奈波爾批評中潛在缺陷的根本關懷。本論文希望藉由提供非主流但具建設性的觀點來補足現存的奈波爾批評。 / A Nobel laureate in literature, V. S. Naipaul is arguably the most controversial and elusive writer in contemporary literature because his signature is his ambivalence on England, a country which once colonized his mother country Trinidad. Spanning thirty years, The Enigma of Arrival, Naipaul’s autobiographical novel, delineates an ex-colonial and diasporic narrator’s life journey—from an eighteen-year-old schoolboy granted a scholarship to Oxford University to a writer gaining a foothold in England—of disorientation, dislocation, awakening and anchorage. Under the “doctrine” of postcolonial criticism and literature, Naipaul’s works are expected to express an explicit and confrontational attitude towards the British Empire, but his works hardly come to terms with such expectation, which makes him bear the brunt of the accusation of being an apostate. This thesis aims at providing a different viewpoint from criticism in general which labels Naipaul as the mouthpiece of England. The pivotal issues this thesis intends to tackle are as follows: Is Naipaul really an exponent of the British Empire to the core? If not, how does he negotiate with Englishness for a position of enunciation? The opening chapter offers a brief review of criticism about Naipaul and The Enigma of Arrival. In Chapter II, I examine the narrator’s relationship with white female characters in the light of Fanon’s perspective, trying to illustrate the progression in which the narrator at first worships the English culture but at last sheds his false fantasy. I also try to chart the trajectory of the narrator’s becoming a writer. By doing so, I intend to argue that the narrator undergoes a course from a blinkered colonial emulating English canonical writers to a writer writing his own life story. In Chapter III, I argue that during his stay in London and the English countryside, the narrator discerns the dilapidation of the imperial center and the artificiality of Englishness in the heart of English culture. Chapter IV begins with a review of the concept “diaspora” and how Naipaul and The Enigma of Arrival could be situated in this concept. I point out that the narrator’s identity as a diasporan and an exile enables him to obtain a “contrapuntal” perspective that contributes to the narrator’s postcolonial pastoral which exposes the cruelty behind Englishness. The concluding chapter reveals my ultimate concern about the latent flaw in the established Naipaul criticism, unfolding my intention to make this thesis complement the Naipaul criticism by contributing an alternative yet constructive perspective.

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本篇論文主要呈現非裔劇作家奧古斯特˙威爾森在《鋼琴課》劇中，如何藉由書寫黑人經驗來解構被白人扭曲的黑人歷史，從而建構真實的黑人歷史。威爾森在此劇中透過三個重要的議題：黑人的遷徙、奴隸制度、以及藍調，來探究舊有的和新開發的黑人認同。為了進一步說明劇作家在黑人主體上的看法，史都華˙霍爾（Stuart Hall）的後現代認同觀念便可作為此研究的大前提：主體並不是由個別的、單一的認同所組成，而是同時由數個認同所構成。理論部分，史都華˙霍爾對文化認同與漂泊離散（diaspora）的概念、保羅˙吉爾羅伊（Paul Gilroy）對漂泊離散、奴隸制度、與黑人音樂的闡述、米歇˙傅柯（Michel Foucault）的對抗記憶（counter-memory）與歷史的觀念以及法蘭茲˙法農（Frantz Fanon）的後殖民理論均被運用來閱讀《鋼琴課》這一劇。 本論文共分為五個章節。第一章提供劇作家、劇本、以及理論架構的一般介紹。第二章處理黑人漂泊離散認同（diasporic identity）的議題，而此認同展現於黑人的遷徙經驗上。劇中男主角威利男孩（Boy Willie）最後決定要返回南方的家，他的決心使他有別於待在北方的其他黑人。第三章透過審視鋼琴與鬼的意義與功用，著重在黑人種族認同（racial identity）的討論上。威利男孩與白人鬼的爭鬥突顯威爾森對黑人自主權的重視。第四章探索藍調跟文化認同（cultural identity）的關連性。劇中女主角柏妮斯（Berniece）藉由彈奏鋼琴來召喚祖靈，此不僅幫助她與過去作連結，並使她得到一個正面的自我確認形象。第五章是結論，總結威爾森在此劇中所展現的新的黑人認同。 / This thesis attempts to show how August Wilson deconstructs the white distortion of black history and constructs an authentic black history by writing about the black experience in The Piano Lesson. Wilson explores the old and the new black identities from three significant issues of migration, slavery, and the blues respectively in the play. In order to further explicate the playwright’s arguments on the black subject, Stuart Hall’s idea of postmodern identity serves as a major premise: the subject is composed not of a single, unitary, but of several identities at the same time. Stuart Hall’s idea about cultural identity and diaspora, Paul Gilroy’s elaboration on diaspora, slavery, and black music, Michel Foucault’s theory of counter-memory and the concept of history, and Frantz Fanon’s postcolonial argument are applied to the reading of The Piano Lesson. The thesis consists of five chapters. Chapter One provides a general introduction to the playwright, the play, and the theoretical framework. Chapter Two deals with the issue of black diasporic identity, which is demonstrated in black migration. Boy Willie’s final decision to return home in the South distinguishes him from those who stay in the North. Chapter Three centers on the discussion of black racial identity by scrutinizing the meaning and function of the piano and the ghosts. Boy Willie’s fighting with the white ghost foregrounds Wilson’s concern over black autonomy. Chapter Four explores the relationship between the blues and cultural identity. Berniece’s invocation to her ancestors through playing the piano helps her connect with the past and gain a positive image of self-recognition. Chapter Five is the conclusion which sums up the manifestation of Wilson’s construction of new black identities in the play.

本論文研究渥雷‧索因卡《死亡與國王的侍衛長》一劇，以及本劇對約魯巴（Yoruba）人孤注一擲抵制西化卻徒勞無功的境遇所做的關注。本劇改編真實歷史，重演一九四五年在奈及利亞奧約（Oyo）城發生的動亂。當時應舉行侍衛長（Horseman）自殺儀式，然而英國殖民者以武力中斷。本劇一方面解釋這個儀式在約魯巴社會的重要性，另一方面揭露侍衛長心不甘情不願了結生命，並斷言活人獻祭這類殘忍的傳統必然要革除，特別是在因英國殖民而致的動盪時刻。 / 論文分為四個章節，依據米哈依爾‧巴赫汀（Mikhail Bakhtin）的時空型（chronotope）理論，探究《死亡與國王的侍衛長》其社會歷史背景與戲劇表演手法。第一章介紹作者和劇本，並回顧評論，以及說明接下來討論的議題和理論架構。第二章分析文本與現實世界相互輝映的關係。艾瑞克‧霍布斯邦（Eric Hobsbawm）在〈發明傳統〉（"Inventing Traditions"）的見解用以闡明傳統是因時制宜的產物。比爾‧阿希克洛夫特（Bill Ashcroft）等三人提出的後殖民典型，有助於瞭解約魯巴人為了阻擋外來影響竭力奮戰，儘管殖民政府的干預相當強勢。第三章詮釋劇中人物的性格特徵，以弗朗茲‧法農（Frantz Fanon）告誡不可畫地自限的觀點為鑑。無法順應社會變異因此冥頑不靈的人，失去了看世界的洞察力。而那些猶豫不決者，為了遵從老一套的價值觀，受煎熬得筋疲力盡。第四章總結本文，認為本劇主張靈活性和果斷力以進行改變。 / This thesis studies Wole Soyinka's Death and the King's Horseman and its concerns for the Yoruba people's desperate but futile resistance to Westernization. Adapted from a real historical event, this play reenacts the disturbance in the Oyo city of Nigeria in 1945, when the ritual of the Horseman's suicide was interrupted by the British colonial force. While the play explains the importance of the ritual in the Yoruba society, it reveals the Horseman's reluctance to end his life and asserts that cruel tradition like human immolation must be reformed especially at the fluctuating moment caused by the British colonization. / Consisting of four chapters, this thesis relies on Mikhail Bakhtin's chronotope to explore the socio-historical context and theatrical representation of Death and the King's Horseman. Chapter one introduces the dramatist and the play, reviews critical opinions, and illustrates the purpose and theoretical framework of the following discussion. Chapter Two, which analyzes the interrelationship between textual and actual worlds, adopts Eric Hobsbawm's "Inventing Traditions" to clarify tradition as produced according to specific circumstances. The postcolonial models proposed by Ashcroft et al helps understand the Yoruba people's struggle for no foreign impact despite powerful intervention by the colonial government. Chapter Three interprets the roles' characterization with the aid of Frantz Fanon's warning of self-confinement. Unable to adjust to social variances, the obstinate people blind their vision of the world, while those procrastinating become dead exhausted by difficult conformity to old values. Chapter Four concludes that this play argues for resilience and resolution to make difference.

本論文期望藉由探究《陽光下的葡萄乾》一劇，對非裔美人在面對社會困境以及白人意識型態時，如何發展自我認同的議題啟發新的思考。蘿琳．漢司白瑞以寫實的寫作手法，呈現非裔美人在美國一九五○年代種族隔離區的生活。種族隔離政策(segregation laws)中，空間具有特別的指涉意義，因此本文選擇米哈依爾．巴赫汀(Mikhail Bakhtin)的「時空型」(chronotope)理論作為本論文的基本架構。由於劇本和其當代歷史相互輝映，歷史背景的研究可以幫助理解劇中人物動機；反之，由解析劇中情節和人物行為，亦可推測非裔美人的未來發展。 本論文分為四個章節。第一章提供作者生平、劇本、評論、以及理論架構的基本介紹。第二章有兩個主題：呈現作品如何反映歷史，以及從社會背景的角度詮釋角色。其中，弗朗茲．法農(Frantz Fanon)的《黑皮膚，白面具》幫助解釋部分角色的同化行為。第三章顯示非裔美人如何在白人霸權之下建立自我認同：在社會上表達訴求以對抗白人霸權，在文化上接納非洲本能和美洲文化，及在家庭方面堅守傳承下來的家庭尊嚴。史都華．霍爾( Stuart Hall)的離散理論(diaspora)特別用來處理其中同時具有非洲和美洲本質的文化議題。第四章則是本論文的結論，總結作者寫本劇的信念和目的。 / This thesis studies A Raisin in the Sun and expects to bring new inspirations of how African Americans develop their own identities confronting social plights and white ideology. With the realistic writing style, Lorraine Hansberry truthfully depicts and reflects African Americans’ life in the segregated ghetto in the 1950s. As space carries significant meanings in the enforced segregation laws, Mikhail Bakhtin’s chronotope serves as the main theoretical framework of this thesis. The play is interconnected with its contemporary history, so we may interpret the characters by considering their historical background and infer the American blacks’ future path by scrutinizing the plot and actions in the play. This thesis consists of four chapters. Chapter One is an introduction to the author’s life, the play, the critical opinions, and the theoretical framework. In Chapter Two, there are two main issues: first, how this play reflects the historical background, and second, interpretation of characters in relation to their specific social contexts. Frantz Fanon’s Black Skin, White Masks is applied to explain the potential of assimilation of some characters. Chapter Three reveals how African Americans under the white hegemony find their own identities in social, cultural, and family perspectives. The gist is that they must strive for the improvement of their social status, embrace both African and American cultural roots, and stick to their family pride. Stuart Hall’s theory on diaspora is useful to deal with the cultural identity which ambiguously covers both African and American essences. Chapter Four is the conclusion of the thesis that sums up the author’s belief and intention in writing the play.

Världen är oupplösligt sammankopplad i sina relationer och förhållanden, ändå finner människan sätt att separera och låta skillnader hindra henne från att leva och samexistera i sin mångfald. Friedrich Nietzsche skriver ”Kanske uttrycker vårt ord ’människa’ (manas) ännu något av denna självkänsla: människan betecknade sig själv som det väsen som mäter värden, som värderar och mäter, som det ’värderande djuret i sig’.” I den här uppsatsen börjar jag i Nietzsches genealogi och filosofi som utgångspunkt för att förstå hur och när den europeiska filosofin började plocka isär sig själv inifrån och titta närmare på människans subjekt och hennes värden. Jag vill genom det se på den moderna filosofins sätt att skildra och förstå människan i världen. Vidare anser jag att filosofin måste öppna sig för en bredare kanon för att i det moderna samhället kunna vara en praktik som inkluderar alla levda erfarenheter. Min uppsats har även syftet att utforska en sådan möjlig brygga för var filosofin kan få en materiell och aktivistisk mening. Vägen jag tar för att föreslå en sådan brygga är som nämnt från Nietzsches genealogi. Sedan fortsätter analysen framåt genom Frantz Fanons avkolonialiserande tänkande som tar utgångspunkt i levd erfarenhet. Av särskild vikt är något jag här kallar för en teori om skillnad som ovärderlig, som utarbetas i närhet till Édouard Glissant framför allt, och som vilar på ett fokus på detaljen och hur den måste förstås på ett icke-hierarkiserande sätt för att ingå i Glissants tanke och term Relation. Skillnaden som ovärderlig öppnar i det dekoloniala tänkandet upp för kunskapen utanför den traditionellt överlägsna diskursen och leder oss in i Glissants filosofi och relationens tänkande. / In this paper I am asking the question about the European human values and their effect on philosophy and thought through three different philosophers. What I want to examine is how we can get past thinking human subjects as constituted by the hierarchical and often oppositional differences that were installed by means of a normalizing universal with colonial roots. The essay begins with Nietzsche’s geneological account of how and when European philosophy began to disassemble itself from within, focusing on his idea of the need for a new man. Then I turn to Frantz Fanon and the decolonization of European thought and power, as one based on violence and hiererachy. Édouard Glissants poetics of Relation is then essential for thinking man today in the entangled, constantly changing world that we live in.

As a popular historic work with constant and worldwide performances, the sexist and racist narratives disseminated by Giacomo Puccini's opera Madama Butterfly causes harmful social and political ramifications. Many scholars point to this opera specifically when discussing the fetishization of Asian females, and mention the title character as the quintessential example of damaging stereotypes. Thus, I conduct a postcolonial and feminist reading of Madama Butterfly, through analysis of the opera's libretto, the libretto sources, and the opera's score. I unravel the Orientalist assumptions that make up the foundation of the Butterfly narrative, and trace them as they make their way into Puccini's opera. I re-read Madama Butterfly as a metaphor for imperialism, and its effects on the colonized psyche. I examine Lieutenant Pinkerton and Butterfly's characters with specific attention to the power dynamics of their relationship in the context of colonization. I emphasize gender, race, and class tensions evident within the white male and white female gazes on the bodies of third world women of color. I present Puccini's musical choices in the operatic score as supplementary to my postcolonial-feminist reading. Puccini's use of pentatonic scales to evoke "Oriental" sounds, as well as his appropriation of Japanese folk tunes and "The Star Spangled Banner" into the score serve to supplement my basic contentions that Madama Butterfly is a product of Oriental discourse and a metaphor for imperialism and its effect on the colonized psyche.