The purpose of this thesis is to substantiate the hypothetical development of a community radio station for a South African National Park, such as the Kruger National Park and to design the programming. As such the thesis has two phases namely a theoretical phase, where the variables and dynamics of the process of community unification, tourism’s ability to alleviate poverty and the central role played by radio are considered, and a creative phase, where the findings of the theoretical phase are applied in the design of the programme. The research leads to a model, and its methodology can be described as applied creative research. In order to arrive at the model, the research investigates a number of dynamics. In the first instance the research investigates a potential audience for such a community radio station. The notion of this potential audience or imagined community is interrogated. The thesis argues that there needs to be a conceptually synthesised audience, consisting of the local ethnic community, and a tourist community and that these two communities have interwoven functions around the provision and exploitation of tourism. Secondly, the thesis argues the demands of the audience synthesis, by investigating the nature of the South African tourism industry, with specific reference to the National Parks. In this section, the interrelatedness of the function and demands of the two communities are posited and developed, so that the groundwork for potential content of the Community Radio Station can be foregrounded. The thesis then interrogates the concept of communication by radio and draws on Marshall McLuhan’s concepts of ‘hot’ and ‘cold’ receivers and Walter Ong’s work around primary and secondary orality, amongst others. Here the thesis argues for the way that radio may be used to exploit and develop the synergy of the ethnic and the tourist community. The thesis then moves into the phase, where, through the recognised research process oftriangulation, which includes the synergised two communities (now a ‘Parks Emergent Radio Community’/ PERC), the shared content around the demands of tourism in National Parks, and the communal form of radio are creatively interwoven into a potential or hypothetical programme layout. The study concludes with a consideration of what might be the stumbling blocks in the way of implementing such a triangulated process and notes finances and budgets, training, and most specifically, bureaucratic intervention by licensing authorities as primary obstacles. The thesis argues for the advantages of the development of such a Community Radio Station for National Parks, given the projected steep increment in the tourist trade in South Africa. / Thesis (DPhil (Community Radio))--University of Pretoria, 2006. / Drama / unrestricted

This is a multimodal discourse analytical study about national identity in russian film posters specifically in regards to four themes, posters that demonstrates wars, conflicts, violence or weapons. The aim of the study is to illustrate how national identity is portrayed in russian film posters, in relation to these four above themes from the start of the Soviet union 1922, until the end of the union 1991, plus four years ahead. This is studied by looking at how these four above themes are emphasized during different time periods, how the common history is described during different time periods, which similarities and differences that can be deduced from this, and how the question “who are we as a nation?” can be deduced from the pictures. The study also discusses the problem regarding media and its potential to influence, with a focus on the film media and the film poster, since these mediums have a huge potential to create a certain imagined community. For this reason it becomes important to understand who controls the media, since the one with control also beholds the power to decide what the nation identity should consist of, and how it should be portrayed. The study shows that the national identity in russian film posters is portrayed with a strong interconnection to wars, conflicts, violence and weapons during the whole investigation period, but how these themes are portrayed differs between the early/mid Soviet period and the late/post-Soviet period. The early/mid period puts a focus mainly on a strong patriotism where the soldier and the hero are frequently used motifs, which could be interpreted as motifs that are meant to eliminate questions about death in relation to wars. This could be seen as a result of an autocratic state controlled media. The late/post period instead emphasizes a criticism interconnected with conflicts with a focus on motifs like blood and dead bodies, that could be interpreted as motifs that demonstrate the tragic consequences of a violence. This could instead be seen as a result of a media that has been affected by a public sphere that has opened up, where the citizens are allowed to voice their opinions. The similarities is henceforth that the whole investigation period emphasizes a russian hegemony that puts a focus on the “russian” of the nation. The study recommends further studies in the area, either by investigating more themes in regards to film posters and national identity, or by investigating how another country portrays the national identity or the common history, there amongst war memories, in a media material. / Det här är en multimodal diskursanalytisk studie om gestaltning av nationell identitet i ryska filmaffischer, specifikt kopplat till fyra teman, affischer som gestaltar krig, konflikter, våld eller vapen. Studien har som syfte att illustrera hur nationell identitet uttrycks i ryska filmaffischer, kopplat till dessa fyra ovan teman från Sovjetunionens start 1922, till efter dess fall 1991, och fyra år framåt. Detta studeras genom att titta på hur dessa fyra ovan teman har betonats under olika tidsperioder, hur den gemensamma historieskrivningen har gestaltats under olika tidsperioder, vilka likheter och skillnader som går att utläsa från detta, samt hur frågan om “vem är vi som nation?” kan utläsas ur bilderna. Studien diskuterar även problematiken kring media och dess påverkanspotential i speciellt avseende till filmmediet och filmaffischen, då dessa medium har potential att skapa en viss föreställd gemenskap. Problematiken blir därmed vem som har kontroll över filmmediet, då den som har kontroll är den som besitter makten att bestämma vad nationsidentiteten ska bestå av och hur den ska gestaltas. Studien visar att den nationella identiteten uppvisar en stark koppling till krig, konflikter, våld och vapen under hela undersökningsperioden, men hur dessa teman gestaltas skiljer sig dock åt från tidiga/mitt Sovjettiden till sena/post-Sovjet tiden. Den tidiga/mitt perioden lägger främst fokus på en stark patriotism där soldaten och hjälten är vanligt förekommande motiv, som kan tolkas som motiv som ska eliminera frågor om död i samband med krig. Detta kan vidare tolkas som ett resultat av att en autokratisk stat har kontrollerat media. Den sena/post perioden betonar istället en kritik i samband med konflikter genom ett fokus på motiv som blod och döda kroppar, som kan tolkas demonstrera de tragiska konsekvenserna av ett våld. Detta kan istället tolkas som ett resultat av att media har påverkats av att en offentlig sfär har öppnats upp, där medborgare får lov att uttrycka sina åsikter. Likheterna är dock att hela undersökningsperioden betonar en rysk hegemoni som lägger fokus på det “ryska” i nationen. Studien rekommenderar fortsatt forskning av området, antingen genom att undersöka fler teman kopplat till nationell identitet i filmaffischerna, eller genom undersökning av hur andra länder länder gestaltar den nationella identiteten eller den gemensamma historien, däribland krigsminnen, i ett medialt material.

本論文以布里斯本澳籍台裔的族裔認同為研究對象，從符號互動論角度瞭解移民如何在傳播互動中建構認同並形成共同體，以此探討「認同」、「傳播」與「想像共同體」間之關係，在澳洲布里斯本台灣移民社區進行田野調查並深度訪談六十五位台灣移民，以實際的經驗研究和兩個本文欲互補或質疑的觀點展開對話：一為Anderson以媒介資本主義作為傳播構連想像共同體之核心角色，在傳播建構認同的過程中是否充分？二為離散理論當中的「母國導向」與「邊界維持」觀點，對澳籍台裔離散經驗的適用性為何？研究目的除了回饋符號互動論，重新思考該理論在探討當代跨國移民認同建構之不足，並增添一些在跨文化／國情境下影響移民認同建構之相關傳播因素，以符合跨國移民認同研究所需；而從符號互動論角度研究想像共同體之形成，其想像機制能夠與Anderson的鉅觀角度產生哪些互補？希望藉此提供思考「認同」、「傳播」與「想像共同體」三者關係新的想像視野。 本文在理論耙梳與田野來回交錯中，發現Mead符號互動論在互動中構連認同與想像共同體的關鍵傳播因素是「重要象徵符號」，不過，Mead似乎只考慮了一個共同體中個體「趨同」的重要象徵符號，但忽略和外部社群互動接觸的「區異」重要象徵符號也會形成自我所從出的共同體，這種由「區異」所形成的「重要象徵符號」，更具有以「想像」構成共同體之性質，雖然處在同一個共同體的成員並不相識，但是當我們和他群接觸有共同的差異感產生時，這種共同的「差異感」讓我們有同屬一個共同體的感覺。本論文於是結合Mead符號互動論與Barth族裔邊界理論，且不偏廢根基論的族裔認同，提出離散族裔的族裔認同來自族裔內根基（同一性）與邊界互動（差異性）所形成的重要象徵符號構成了族裔象徵邊界（symbolic boundary），正是這些被社群成員認為”重要”、”可區辨”不同族群的重要象徵符號，構成集體認同之基礎，提供族裔認同之來源。澳籍台裔離散認同是一個「混雜的想像共同體」，其中的族裔認同「想像共同體」是透過傳播互動中社群成員認為重要可區辨不同族裔的「重要象徵符號」實踐形成之邊界所構成，族裔邊界維持與變遷之機制，來自於對母國原生情感或宗主國情感的強弱、族裔評價之抉擇、家鄉情懷的強弱、宗主國溝通能力之具備與否以及在社會互動中自我與他者關係之多重匯聚。 台裔離散的族裔認同是由人際傳播與大眾傳播共同建構的，傳播科技連結了”根”與”路徑”，藉由個人對於母國強烈的原生情感和家鄉情懷作為觸媒，使得族裔媒介透過解鄉愁、更新家鄉記憶、增進母國和同族裔親友間交流而喚起族裔認同；對年幼移民後裔而言，由於自小離鄉或在澳洲出世，對於原鄉的記憶與感情變得遙遠模糊，族裔中重要他人的文化傳承以及對於媒介中母國風土民情的解釋互動，搭起了族裔媒介建構認同的橋。同樣的，宗主國的主流媒介建構跨界認同，是移民積極運用媒介內容作為和澳洲人建立友誼和相互交流的工具，在與宗主國人際互動中，跨界的認同在一來一往的認肯中逐漸形成。 本文認為，在應用Anderson「想像共同體」觀點解釋媒介內容建構或凝聚集體認同之推論應有所保留。形成族裔認同感的傳播機制，在Anderson那裡，是將現代時間觀念的改變與印刷資本主義和統一方言使用做了扣連，廣大的讀者同胞因而產生共時性的連結，形成想像共同體的胚胎（Anderson, 1991），在Mead這裡，形成共同體的語言過程，是一種「重要象徵符號」的溝通（Mead, 1934），個人即使沒有和共同體中的所有成員碰面，但認同也不可能在真空中產生，沒有社會互動，自我和共同體都不可能生成，是「重要象徵符號」構連了許許多多未曾謀面的共同體成員。象徵符號原本是具有多義性的，但「重要象徵符號」卻能在彼此之間形成共同的態度與反應，以致形成一個「想像共同體」。本研究發現族裔媒介引發族裔情感的方式其實還有「原生情感」、「濃烈鄉愁」、「同族裔同胞或母國親友交流」作為觸媒；主流媒介建構「澳洲人」認同也是透過人際傳播中介，受到互動中澳洲人的認肯，才引發「澳洲人」的認同感。因此，大眾媒介或許只是強化原有的族裔情感或是作為人際互動中促使認同更容易產生之內容來源，是和人際傳播互動共同建構了族裔認同，而非單一造就。 澳籍台裔的離散認同由三種族裔想像共同體組成：「Chinese共同體」、「台灣人共同體」與「澳洲人共同體」，源自三種共同體的自我認同有八種樣貌：「在澳洲的台灣人」、「也（不）是台灣人也（不）是澳洲人，或是不同比例的兩種組合」、「台裔澳洲人」、「華裔澳洲人」、「中國人 or Chinese from Taiwan」、「在哪裡就是哪裡人」、「國際人」與「亞澳居間人」。三個族裔想像共同體擁有各自分享的評價標準與重要象徵符號，形成族裔認同邊界：台灣人共同體主要是以「和來自中國大陸予人負面印象的Chinese不同」為核心評價；Chinese共同體多以策略性本質主義定義「Chinese」為「中華文化」、「華裔血緣」，作為提升己身認同以對抗環境中多數認為「Chinese=來自中國大陸」之意含；澳洲人共同體則多欣賞澳洲的價值觀和生活形態，如：平等、守法、輕鬆隨和、熱愛戶外運動、注重隱私、獨立自主、友善親切等。 台裔離散認同流動的大方向為：「中國人」的認同如同母國的流動方向一般，當面對真實而非課本上虛幻的中國人時，大部分會轉向「台灣人」；第一代移民大多停滯於「在澳洲的台灣人」；1.5世代認同以「半個澳洲人半個台灣人或也是澳洲人也是台灣人」居多，會逐漸流向「澳洲人」，但不會出現純粹的「澳洲人」認同；而中、英語流利且和多國人接觸的移民最終會流向「國際人」；在澳洲出生或三、四歲就移民澳洲的1.5代移民，其認同會從原本自以為是「澳洲人」回流為「台裔澳洲人」或「華裔澳洲人」。就台裔離散而言，「離散」有另一種新的詮釋，離散認同的邊界不盡然維持，也不盡然腐蝕，有的只是邊界的跨越、衝突、矛盾與協商。 過去離散研究強調離散族裔有共同鄉愁以及「母國導向」的論點並不適用於澳籍台裔離散。雖然對第一代台灣移民而言，台灣家鄉和原生情感以及族裔認同分不開，「出生地」、「成長地」、「父母家人都在台灣」、「台灣是我的國家」是其家鄉歸屬感之來源，但即使「家鄉」是台灣，由於這群移民當初選擇的是澳洲優質的生活環境，因此大多數仍會選擇在澳洲定居，回歸母國或落葉歸根的比例並不高，第一代僅18%表達會回台灣長住，後裔更僅有9%有此意願。雖然大部分1.5代高中以上年齡移民仍和第一代一樣，覺得「親情」、「家鄉」和「成長地」的構連形成強烈的台灣歸屬感，但傳播科技的發達以及大眾交通之便捷，打破了時空界線，使得「多重的家」、「跨國的家」逐漸取代單一「台灣是家鄉」的意義，「家鄉」象徵”多重的地方”，「台灣、澳洲都是家鄉」使得「家鄉」與「母國地域」的關係開始鬆動，「家鄉」成為一個連結母國和宗主國的空間；更年幼移民澳洲的1.5代，或是「澳洲人」認同感較多的移民後裔，大多會認為「家人在澳洲，澳洲就是我的家」，甚至直接稱澳洲是自己的家鄉，原本第一代「家鄉」、「母國親人」和「母國地域」三者構連的家鄉歸屬感開始解構，轉為「在澳洲親人」和「去母國地域」的家鄉。台裔離散的「家鄉」意義，已從第一代與「母國」、「出生地」、「成長地」、「國家」、「親人所在地」緊緊扣連，提供族裔認同重要來源，逐漸在後裔於澳洲久居生根之後，意義變遷為「多重的地方」、「跨國的家」，使得移民後裔的認同也有了多元的變貌，「從何處來」與「身在何處」兩者間的抉擇，在「台灣出生地」與「久居澳洲」、「家人在澳洲」兩方的牽引中，後裔逐漸選擇在澳洲的親情和經歷成長已習慣的澳洲生活作為「家鄉」意義之來源，「日久他鄉是故鄉」是離散後裔「澳洲人」認同漸多時家鄉意義的變貌，「台灣」對年幼移民後裔而言，漸漸只剩下「好吃、好玩、度假、買便宜東西的地方」。 / This dissertation aims to explore the relations among identity, communication and imagined community. Mead’s symbolic interactionism and Barth’s theory of ‘ethnic boundary’ have been employed as the main theoretical frames in this study. Furthermore, extended from Mead’s and Barth’s theory in assist with ethnographic observations and in-depth interviews with 65 Taiwanese immigrants in Brisbane, I argue that ethnic identity of diaspora is constructed by the symbolic ethnic boundary which is formed with identical ( primordialism ) and different ( boundary interactions ) significant symbols. The boundaries between ethnic groups are constructed through the internalized and externalized practice of these significant symbols. The results revealed from this research show that the Australian-Taiwanese diasporic identity is a ‘hybrid imagined community’ being constituted by Chinese, Taiwanese and Australian imagined communities. The transitional mechanism of ethnic boundary is driven by the convergence of attachments to homeland or host country, the choices of ethnic appraisals, the possession of the host communication competences, and the self-other relations within social interactions. The ethnic identities of Taiwanese diaspora are constructed by both interpersonal communication and mass media. This finding is complementary to Anderson’s stance that mass communication is central to the construction of the imagined communities in capitalism. Namely, only mass media isn’t sufficient enough for constructing the imagined community. Interpersonal communication is another concerned factor. Taiwanese diaspora cannot be simply viewed as a homeland-orientated ethnic group. The meaning of homeland has been changed among different generations. After staying longer in a place far away from home, gradually, young generations will identify this place as their homeland. For Taiwanese descendants who immigrated to Australia at their young age, when they grow up in Australia and become more Australian, they will feel Australia is their homeland.

In einem politisch-geteilten ukrainischen Staat legen die Odessiten besonderen Wert darauf, ihre lokale Identität zu betonen. Patriotische Diskurse schöpfen aus dem Imaginären der Stadt, das im lokalen historischen und kulturellen Erbe verwurzelt ist. Durch Repräsentationen aus der Sowjetzeit wurde eine „odessitische Lebensweise“ verbreitet und popularisiert, die heutzutage als Identitätsmodell in den Diskursen benutzt wird. Mit Hilfe dieses symbolischen Kapitals grenzen sich die Bewohner der Stadt von anderen Ukrainern ab. Odessit-sein gilt im Jahr 2013 als politische Aussage. Die Zugehörigkeit zur imaginierten Lokalgemeinschaft wird zum Protest gegen die politischen Schwächen der zeitgenössischen Ukraine. Auf diese Weise wird eine engagierte und respektvolle Haltung gegenüber dem lokalen Erbe eingenommen. In der gespaltenen Ukraine, ist Odessa für seine Bewohner eine positive und inklusive Alternative zum zweipoligen Identitätsmodell (Ukrainer vs. Russen). / The residents of Odessa strive for recognition of their local identity using the city’s inherited imaginary in order to affirm their difference from the rest of Ukraine as well as from Russia. The local historical and cultural heritage is used as symbolic capital. The city of Odessa has always been the object of exoticization, continually represented as “other.” Famous exoticizing representations have kept the myth of Odessa alive in collective memory until the present day. However, this local imaginary competes symbolically with Ukrainian national identity by proposing a more positive set of values. Claiming to be from Odessa turns out to be a political statement. Indeed, “to be an Odessite” refers to the conception of local engagement based on an individual’s responsibility for the community. Nonetheless, this identity is being undermined by the latent destruction of the city’s material heritage and the lack of opportunities for many of its inhabitants. In a country divided by competing identities (e.g. being Ukrainian or Russian), Odessa represents a third inclusive alternative and offers a positive communal identity in a time when the country is being torn apart by regional conflict.

The main goal of this thesis was an investigation into the ways in which whiteness is constructed and positioned in the South African soap opera, 7de Laan, and the Flemish soap opera, Thuis, with the emphasis on the possible implications of these constructions for local as well as global discourses on whiteness in the media. In conjunction with the above, this thesis endeavoured to answer a number of subquestions relating to the origin and history of the construct of “whiteness” and Critical Whiteness Studies (CWS) as a theoretical approach and its relevance in the South African and Flemish contexts, specifically as it pertains to the analysis of mass media texts like 7de Laan and Thuis. It, moreover, sought to explore if and how whiteness functions as an organising principle in the narratives and representations of these soap operas with the emphasis on potential similarities, differences and the kinds of whiteness constructed in these texts. Finally, the goal was to draw conclusions on the possible implications of these differences and similarities in the wider context of the way in which whiteness functions in the media. To that end I conducted a controlled case comparison of a sample from these two community soap opera texts, which was informed by a literature review and deep description of each context as part of the qualitative approach I chose to take. Despite a number of similarities between the two contexts, they still differ significantly, and this afforded me an opportunity to highlight both the consistencies and particularities in the ideological patterning of representations of whiteness, across seemingly unrelated domains, to illustrate its pervasiveness. Added to the emergence of three shared rhetorical devices perpetuating whiteness in both texts, I was also able to draw conclusions about the unique way in which whiteness functions in 7de Laan in particular, since South Africa remains the primary context of the study. / Communication Science / D. Litt. et Phil. (Communication)

No description available.

ʼn Visuele analise van twee Afrikaanse, Christelike vrouetydskrifte het ten doel om die aard van ʼn hedendaagse Christen-Afrikaanse vroue-ideaal te ondersoek, soos dit in alledaagse kultuur gekonstrueer word. Hierdie studie bestaan uit ʼn visuele analise wat fokus op populêre media, naamlik die Afrikaanse, Christelike glansvrouetydskrifte Finesse en Lééf. Die tiende verjaardaguitgawe van Finesse in Mei 2008 dui op ʼn mylpaal vir Christen-Afrikaanse vroulikheid. Daarom ag hierdie studie die Christen-Afrikaanse vroue-ideaal as ʼn waardige onderwerp om te bestudeer. Die studie stel ondersoek in na die agtergrond rondom die Christen-Afrikaanse vroue-ideaal, wat insluit: die sosio-politieke konteks rondom die Afrikaner/Afrikaanses, ʼn Godsdienstige kultuurgeskiedenis, en die bydrae van vrouetydskrifte tot die konstruering ʼn vroue-ideaal. Hierdie visuele analise bepaal dat die Christen-Afrikaanse vroue-ideaal subtiel gekonstrueer word deur sekere kodes wat met vroulikheid geassosieer word. Dit sluit onder meer in: visuele tekens wat ʼn denkbeeldige gemeenskap simboliseer, teekoppies, inskrywings, mooimaaksessies, vrugte, see, skoenlappers en skoonheid. Hierdie tekens simboliseer mitiese vroulikheid wat vergestalt in die Christen-Afrikaanse vroue-ideaal, wat deur die raamwerk van Finesse en Lééf ondersteun word. ʼn Kritiese, visuele analise van Finesse en Lééf volg, met spesifieke verwysing na visuele beelde waar ʼn vrou as individu in ʼn foto verskyn. Hierdie analise eien sekere karaktereienskappe wat die Christen-Afrikaanse vroue-ideaal voorhou, terwyl sekere tekens of kodes wat bepalend is tot haar uiterlike voorkoms, uitgelig word. Die studie bepaal dat die rolle wat die Christen-Afrikaanse vroue-ideaal voorhou, dié van eggenote en moeder insluit en word ondersteun deur die visuele analise. Die belang van iii haar rolle lei waarskynlik tot die Christen-Afrikaanse vroue-ideaal se beperking tot die huislike sfeer. Die huislike sfeer in die betrokke tydskrifte word visueel uitgebeeld aan die hand van resepte en dekor. Deur middel van die visuele analise van Finesse en Lééf bepaal hierdie studie die aard van Christen-Afrikaanse vroulikheid soos dit tydens 2008 in alledaagse kultuur weerspieël word. ENGLISH : The aim of a visual analysis of two Christian, Afrikaans, women's magazines is to explore the nature of the contemporary Christian-Afrikaans feminine ideal, as it is constructed in popular culture. Therefore, this study consists of a visual analysis which focuses on popular media, in this case the Christian, Afrikaans, glossy women's magazines, Finesse and Lééf. This coincides with the tenth birthday celebration of Finesse, which represents a milestone for Christian-Afrikaans femininity. Therefore, this research regards the Christian-Afrikaans feminine ideal as a significant topic to be studied. The construction of the Christian-Afrikaans feminine ideal is considered in terms of: the social-political context surrounding the Afrikaner/Afrikaanses; a religious cultural history; and the contribution of women's magazines to the construction of a feminine ideal. From the visual analysis it is clear that the Christian-Afrikaans feminine ideal is subtly constructed by codes that may be associated with femininity. These include: visual signs that symbolise an imagined community, tea cups, subscriptions, make-overs, fruit, the sea, butterflies and beauty. These signs, which are supported by the frameworks of Finesse and Lééf respectively, work together to construct not only a myth of femininity, but more importantly to this study, the Christian-Afrikaans feminine ideal. The critical visual analysis of Finesse and Lééf focuses on photographs of individual women in these magazines. This allows the study to pinpoint specific characteristics that form part of the persona of the Christian-Afrikaans feminine ideal. Signs and codes that contribute to the physical appearance of the Christian-Afrikaans feminine ideal are also pointed out. This study discovers that the various roles expected from the Christian-Afrikaans feminine ideal include that of wife and mother. These two primary roles then lead to the association of the Christian-Afrikaans feminine ideal with the private sphere. The visual analysis reveals that the private sphere is constituted by articles on decor and recipes in both magazines. Through a visual analysis of Finesse and Lééf, this study explores the nature of Christian-Afrikaans femininity as it was portrayed in 2008 in two popular magazines. Copyright / Dissertation (MA)--University of Pretoria, 2012. / Visual Arts / unrestricted

Ce mémoire est une étude de cas sur une francophonie locale et sur la réinterprétation de l’imaginaire d’une communauté francophone. Nous nous sommes basés sur le cas de la Bulgarie et de sa communauté bulgare francophone. Nous avons alors questionné la réinterprétation de l’imaginaire communautaire bulgare francophone depuis 1989. Pour répondre à cette interrogation, nous avons analysé les programmes scolaires du Ministère de l’Éducation bulgare pour l’apprentissage du Français Langue Étrangère, les manuels scolaires utilisés dans les lycées bilingues bulgares francophones. Puis, nous nous sommes entretenus avec des personnalités politiques, diplomatiques et professeurs de français en Bulgarie. Nos résultats soutiennent que l’imaginaire communautaire bulgare francophone a été réinterprété selon deux logiques. D’abord, dans une volonté d’européaniser la langue française et le Bulgare francophone, c’est-à-dire, d’interpréter le français comme langue de l’Europe, et former ensuite un individu européen plurilingue. La seconde logique consiste à déployer l’imaginaire bulgare francophone et la langue française en Bulgarie vers d’autres francophonies locales à défaut d’une vision seulement francocentrée. Ces deux aspirations ont été soutenues par des francophonistes – des individus qui ont re-pensé les représentations de la langue française et la définition de la francophonie bulgare. Ces francophonistes ont été placés dans diverses institutions en Bulgarie, notamment au sein de l’Association des professeurs de et en français de Bulgarie. En parallèle des actions de ces individus, d’autres structures et individus en place ont soutenu ou modéré ces deux aspirations – maintenant alors parfois le francocentrisme au sein de l’imaginaire bulgare francophone. / This paper is a case study of a local francophonie and the reinterpretation of the imaginary of a Francophone community. We focused on the case of Bulgaria and its Bulgarian francophone community. Then we questioned the reinterpretation of the imaginary of the Bulgarian French-speaking community since 1989. To answer this question, we analysed the Bulgarian Ministry of Education's curricula for learning French as a foreign language and the textbooks used in bilingual French-speaking Bulgarian high schools. We also interviewed leading Bulgarian politicians, francophone diplomats and French teachers. Our results show that the Bulgarian francophone community imaginary has been reinterpreted according to two logics. On the one hand, into a desire to Europeanise the French language and French-speaking Bulgarian, meaning, to interpret French as the language of Europe, and then to form a plurilingual European individual. The second aim is to extend the French-speaking Bulgarian imaginary and the French language in Bulgaria to other local francophonies, rather than having only a francocentric vision. These two aspirations have been supported by francophonists - individuals who have rethought the representations of the French language and the definition of the Bulgarian francophonie. These francophonists were placed in various institutions in Bulgaria, notably within the Association des Professeurs de et en français de Bulgarie. Alongside the actions of these individuals, other structures and individuals in place have supported or moderated these two aspirations - sometimes maintaining Francocentrism within the Bulgarian Francophone imaginary.

Participation as Pedagogy – Imagined Race and the Exhibit of Swedish Peoples-Types. This essay will analyse and give a deeper picture of the ”The Exhibit of Swedish People-Types” by focusing on the pedagogical ideals that formed the exhibit as an participatory media. The exhibit was led by the famous race-biologist Herman Lundborg and toured Sweden in 1919 displaying the racial constitution of the Swedish population using material gathered by the public itself. The exhibit has been described as an important tool in popularising eugenics in Swedish society during the early 20th century with the ambition of gaining funds to create the first race-biological institute and to influence policy-making. Nevertheless there has not been a single study which has focused solely on the exhibit and how the pedagogical ideals that permeated it affected the relation between the public and the media itself nor the political implications of this relation. I will show that the interactive participation enacted through the exhibit both defined a hierarchical relation between public and race-biological expertise, as well as it articulated a new “imagined community”, i.e., an “imagined race”. This participatory relation was not only key in creating the exhibit but also had implications on how the public should position itself and act in relation to society at large regarding eugenic matters. This gives me an opportunity to deepen our historical knowledge of the eugenics-movement and main-line racebiological networks in early 20 h century Swedish society. This essay also contribute to the history of participatory media and the popularisation of science.

This dissertation examines how Philippine (or Filipino) authors emphasise the need for articulating or “re/membering” cultural identity. The researcher mainly draws from the theory of Caribbean critic, Stuart Hall, who views cultural identity as an articulation which allows “the fragmented, decentred human agent” to be considered as one who is both “subject-ed” by power but/and one who is capable of acting against those powers (Grossberg 1996 [1986]: 157, emphasis mine). Applied to the Philippine context, this writer argues that, instead of viewing an apparent fragmented Filipino identity as a hindrance to “defining” cultural identity, she views the “damaged” (Fallows 1987) Filipino history as a the material itself which allows articulation of identity. Instead of reducing the cultural identity of a people to what-they-could-have-been-had-history-not-intervened, she puts forward a vision of identity which attempts to transfigure these “damages” through the efforts of coming-to-terms with history. While this point of view has already been shared by other critics (such as Feria 1991 or Dalisay 1998:145), the author’s contribution lies in presenting re/membering to describe a specific type of articulation which neither permits one to deny wounds of the past nor stagnate in them. Moreover, re/membering allows one to understand continuous re-articulations of “new” identities (due to current migration), while putting an “arbitrary closure” (Hall) to simplistic re-articulations which may only further the “lines of tendential forces” (such as black or brown skin bias) or hegemonic practices. Written as such (with a slash),“re/membering” encapsulates the following three-fold meaning: (1) a “re-membering”, to indicate “a putting together of the dismembered past to make sense of the trauma of the present” (Bhabha 1994:63); as (2) a “re-membering” or a re-integration into a group and; as (3) “remembering” which implies possessing “memory or … set [ting] off in search of a memory” (Ricoeur 2004:4). As a morphological unit, “re/membering” designates, the ways in which Filipino authors try to articulate cultural identity through the routes of colonisation, migration and dictatorship. The authors studied in this thesis include: Carlos Bulosan, Bienvenido Santos, N.V.M. Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, and Merlinda Bobis. Sixty-years separate Bulosan’s America is in the Heart (1943) from Hagedorn’s Dream Jungle (2003). Analysis of these works reveals how articulation is both difficult and hopeful. On the one hand, authors criticize the lack of efforts and seriousness towards articulation of cultural identity as re/membering (coming to terms with the past, fostering belonging and cultivating memory). Not only is re/membering challenged by double-consciousness (Du Bois 1994), dismemberment and forgetting, moreover, its necessity is likewise hard to recognize because of pain, trauma, phenomena of splitting, escapist attitudes and preferences for a “comfortable captivity”. On the other hand, re/membering can also be described as hopeful by the way authors themselves make use of literature to articulate identity through research, dialogue, time, reconciliation and re-creation. Although painstaking and difficult, re/membering is important and necessary because what is at stake is an articulated Philippine cultural identity. However, who would be prepared to make the effort? ------ Cette thèse démontre que, pour les auteurs philippins, l’articulation ou « re/membering » l'identité culturelle, est nécessaire. Le chercheur s'appuie principalement sur la théorie de Stuart Hall, qui perçoit l'identité culturelle comme une articulation qui permet de considérer l’homme assujetti capable aussi d'agir contre des pouvoirs (cf. Grossberg 1996 [1986]: 157). Appliquée au contexte philippin, cet auteur soutient que, au lieu de la visualisation d'une identité fragmentée apparente comme un obstacle à une « définition » de l'identité culturelle, elle regarde l’histoire philippine «abîmée» (Fallows 1987) comme le matériel même qui permet l'articulation d’identité. Au lieu de réduire l'identité culturelle d'un peuple à ce qu’ ils auraint pû être avant les interventions de l’histoire, elle met en avant une vision de l'identité qui cherche à transfigurer ces "dommages" par un travail d’acceptation avec l'histoire. Bien que ce point de vue a déjà été partagé par d'autres critiques (tels que Feria 1991 ou Dalisay 1998:145), la contribution de l'auteur réside dans la présentation de « re/membering » pour décrire un type d'articulation sans refouler les plaies du passé, mais sans stagner en elles non plus. De plus, « re/membering » permet de comprendre de futures articulations de « nouvelles » identités culturelles (en raison de la migration en cours), tout en mettant une «fermeture arbitraire» (Hall) aux ré-articulations simplistes qui ne font que promouvoir des “lines of tendential forces” (Hall) (tels que des préjugés sur la couleur brune ou noire de peau) ou des pratiques hégémoniques. Rédigé en tant que telle (avec /), « re/membering » comporte une triple signification: (1) une «re-membering », pour indiquer une mise ensemble d’un passé fragmenté pour donner un sens au traumatisme du présent (cf. Bhabha, 1994:63); (2) une «re-membering» ou une ré-intégration dans un groupe et finalement, comme (3)"remembering", qui suppose la possession de mémoire ou une recherche d'une mémoire »(Ricoeur 2004:4). Comme unité morphologique, « re/membering » désigne la manière dont les auteurs philippins tentent d'articuler l'identité culturelle à travers les routes de la colonisation, les migrations et la dictature. Les auteurs inclus dans cette thèse sont: Carlos Bulosan, Bienvenido Santos, NVM Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, et Merlinda Bobis. Soixante ans séparent America is in the Heart (1943) du Bulosan et le Dream Jungle (2003) du Hagedorn. L'analyse de ces œuvres révèle la façon dont l'articulation est à la fois difficile et pleine d'espoir. D'une part, les auteurs critiquent le manque d'efforts envers l'articulation en tant que « re/membering » (confrontation avec le passé, reconnaissance de l'appartenance et cultivation de la mémoire). Non seulement est « re/membering » heurté par le double conscience (Du Bois 1994), le démembrement et l'oubli, en outre, sa nécessité est également difficile à reconnaître en raison de la douleur, les traumatismes, les phénomènes de scission, les attitudes et les préférences d'évasion pour une captivité "confortable" . En même temps, « re/membering » peut également être décrit comme plein d'espoir par la façon dont les auteurs eux-mêmes utilisent la littérature pour articuler l'identité à travers la recherche, le dialogue, la durée, la réconciliation et la re-création. Bien que laborieux et difficile, « re/membering » est important et nécessaire car ce qui est en jeu, c'est une identité culturelle articulée des Philippines. Mais qui serait prêt à l'effort?