xvi, 138 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / This study attempts to reconstruct Proto-Boro-Garo (PBG), the ancient language from which the modern Boro-Garo (BG) family evolved. BG is a largely underdocumented sub-branch of Tibeto-Burman that is spoken primarily in the Brahmaputra valley of northeastern India. While other comparative studies have focused on PBG phonology, this study concentrates on grammatical elements and syntactic structures. An initial reconstruction is attained by examining data from the limited number of descriptive grammars available on BG languages and using the comparative method to determine the oldest forms of grammatical elements. Where elements correspond across languages, they can be reconstructed for the common ancestor. When they do not, we have evidence for independent innovation. This is accounted for, when possible, by language-internal reconstruction. / Committee in Charge: Dr. Scott DeLancey, Chair; Dr. Spike Gildea

Master's thesis. / Format: PDF. Bibl.

The assemblage of competing development programs I call an "NGOscape", effective in Bangladesh's forest spaces, is a window into understanding both local and extra-local imaginings of the future of these spaces. By tracing the close interaction of three of the most prominent forces in operation in Bangladesh's forest NGOscapes: indigeneity, environmentalism, and entrepreneurialism, I discuss how the government and NGOs (Non-Governmental Organizations) work to increase management and securitization of these forces. Through ethnography and close analysis of the minority Mandi community, and NGOs in the capital city of Dhaka and in rural Modhupur, Tangail, I interpret Modhupur as a vital and telling site for examining the close interdependence of these three themes. Adivasi ("aboriginal") folklorization and representation is deployed by Mandi leaders and NGOs, and provides a space for Mandi internal debates about authenticity, representation, modernity, and the way forward. Neoliberal imaginings centered on transforming Mandi livelihoods into something more appropriately modern are realized on the ground, evidenced by Alternative Income Generation (AIG) programs that push for market integration, and attempt to utilize claims about adivasi indigeneity to advance a security-management paradigm, national stability, and civic responsibility. Young activists and environmentalists based in Dhaka are crucial forces in promoting the broader development and NGO agenda, utilizing the themes of environmental responsibility and progressive conservation programs. Additionally, development agendas are complicated by other factors, such as eco-tourism trends that seek to indoctrinate the Mandi and other rural actors into acceptable and responsible ways of managing environment, while also relying on national pride. These competing forces rely on national pride and social shaming to transform rural Bangladeshis from being somehow "backward" into more desirable, modern subjects. Yet severe distrust within a larger "climate of suspicion," between adivasi leaders, activists, and the state ultimately disrupt the fluidity of development practices at the local level. The result places various actors in precarious positions, left to interpret and be interpreted into development, NGO, and state-based objectives. / text

Indigenous communities historically live outside of the state. Colonialism, feudalism, and globalization have pushed them to society's fringe. In many nations, indigenous communities feel they are isolated from mainland society. This study examines the exclusion process of the Garo indigenous community of Bangladesh. Garo indigenous Community lives in Madhupur Sal forest, and they often express they are socially excluded. Based on specific characteristics of social exclusion, this study examines the social exclusion process of the Garo indigenous community in Bangladesh. It finds that Garo communities are socially excluded in terms of economic, cultural, social rights, and social involvement. The empirical data shows that they feel isolated because of their religion, cultural practice, and stereotypical thinking of the mainland community.

Ce mémoire se penche sur l’absurde dans les oeuvres de deux mangakas de l’après Deuxième Guerre mondiale, soit Tsuge Yoshiharu（つげ義春） et Sasaki Maki（佐々木マキ）. Cette étude comparative approche l’absurde comme expérience et tente de penser l’écho que le concept a pu ou non avoir chez les auteurs en question. Pour ce faire, une exploration de divers courants underground des années 50 et 60 au Japon (culture kasutori, nouvelle vague japonaise et avant-garde) est menée afin de retracer comment ceux-ci auraient éventuellement influencés les oeuvres des auteurs analysées, elles-mêmes s’inscrivant dans la culture manga underground de l’époque. Cette section sert également de point d’appui afin de réfléchir sur la place que l’absurde aurait pu prendre au sein de la société japonaise, voyant ses fondements basculer à l’aube de la défaite et contrainte à coopérer sous tutelle américaine. C’est dans cette optique que nous proposons une lecture de l’oeuvre culte de Tsuge Yoshiharu, Nejishiki (ねじ式) comme exprimant une nostalgie propre à une « sensibilité absurde », telle que théorisée par Camus, via le motif de la réparation du corps. Parallèlement à ceci, nous nous attarderons à l’oeuvre de Sasaki Maki au coeur de laquelle le nansensu, compris comme interjection ainsi que référence au courant de l’ero-guro-nansensu, s’érige. À la suite de quoi, nous conclurons sur une comparaison entre les deux expressions de l’absurde chez les mangakas étudiés de manière à dégager, également, ce qui différencie le nansensu de l’absurde. / This text focuses on the artwork of two mangakas of the post Second World War, Tsuge Yoshiharu（つげ義春） and Sasaki Maki（佐々木マキ）. This comparative study investigates the absurd through its experimental component and tries to think the resonance that the concept might have had (or not ) among the authors cited. To this effect, we will explore diverse movements of the 50’s and 60’s in Japan (kasutori culture, Japanese new wave and avant-garde) in order to retrace how they might have eventually influenced the works of the mangakas analysed, themselves being part of an underground culture in the manga community of the time. This section also serves as a starting point for reflecting on the place that the absurd had in the Japanese society of that era, the country being recently defeated and obliged to cooperate under the American occupation which will bring profound changes to the society. It’s in the same vein that we propose a reading of Tsuge Yoshiharu’s masterpiece, Nejishiki (ねじ式), as expressing a nostalgia specific to what Camus calls an « absurd sensibility » through the motive of a body in search of repair. Alternatively, we will analyse Sasaki Maki’s work in the heart of which nansensu, thought as an interjection and in reference to the movement of the ero-guro-nansensu, is present. Finally, we will conclude on a comparison between the two expressions of the absurd in Tsuge and Sasaki’s respective work in order, as well, to elucidate what distinguishes nansensu from the absurd.