Thesis (doctoral)--Paris, EHESS, 1998.

Version remaniée de : Thèse de doctorat : ? : University of North Carolina at Chapel Hill : 1996 : Multiculturalism in contemporary France : cultural productions from the North African immigrant community. / Bibliogr. p. [201]-211. Index.

Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-02

Even as the numbers of migrants waiting in North Africa to continue their journeys to Europe continue to grow, the social and political consequences of this time spent “en route” remain marginal to conversations around migration across the Mediterranean. There is a focus on migrants’ movement through space, with emphasis on origin and destination, presumed to be Europe, but not much attention paid to the time in between. Rather than centering on how borders regulate, impede, and allow or not, migratory flow, and what happens when European borders are crossed, this dissertation focuses on another of the predominant phenomena to which borders give rise: waiting. This dissertation emerges from the social worlds and subjective transformations that take place in and around the borderlands of the Strait of Gibraltar. These worlds include communities of West African migrants who have become immigrants in Morocco, Moroccan and Spanish day-laborers who work as commodity porters moving back and forth between Morocco and Spain, and activist and mutual aid networks that have emerged around the rapidly growing immigrant community in Tangier, Morocco. Lives lived while waiting, whether in the city of Tangier among im/migrants or in the commodity warehouses that abut the border between Spanish Ceuta and Morocco, form consequential habits that sediment into social life and become fields for potential political claims grounded in communal sentiments. As such, this dissertation explores the consequences of these communal sentiments across the many borders of the Strait of Gibraltar, and draws on intensive fieldwork between 2017 and 2019 in the context of a decade of research in Tangier and Ceuta. It does so through a critical ethnographic analysis exploring the emergent languages, labors, and infrastructures of belonging and difference that emerge among immigrant and migrant communities in Tangier, Morocco and Ceuta, Spain. Theoretically, this dissertation builds from theories of metapragmatic discourse analysis, infrastructural flow and breakdown, and borderland political economies in order to emphasize the worlds emergent along these borders. When seen through the lens of waiting, understanding the growth and transformations of migratory dynamics and border politics in the region means paying more attention to this time spent “en route,” its consequences beyond just the regulation of access to spatial territories, and the categories of belonging and difference that emerge along the way.

Originally presented as the author's Thesis (doctoral)--Université des Sciences sociales de Toulouse, 2004.

Originally presented as the author's thesis (doctoral)--Université des Sciences sociales de Toulouse, 2004.

This dissertation examines the popular politics of the anticolonial struggle in Algiers from the perspective of people who participated in the Algerian Revolution at a grassroots level. It is largely the product of interviews conducted with 30 women and men who participated in the revolution in and around Algiers. Their participation in the struggle took diverse forms, including armed combat, material or logistical support to those fighting, participating in strikes or protests, and so on. In examining Algerians' anticolonial struggle 'from below,' I have sought to illuminate different and more plural perspectives of this period of history. In presenting this new material, I put forward a number of critiques on the existing historiography of the Algerian Revolution. My goal has been not only to include those who have been excluded from larger narratives in order to fold them into the political history of the revolution, but to demonstrate how these perspectives challenge those narratives. Finally, I have taken the experiences and perspectives of these Algerians to be a legitimate and productive vantage point from which to reflect on larger theoretical questions of popular politics and revolutions in the colonized world. These include questions about revolution, the diverse political imaginaries of what constitutes liberation and freedom, the means that can justly be used to attain such ends, the blurry lines between resistance and collaboration, the relationship between avant-garde parties and the masses that lend them support, and the different iterations of Islamic politics in modernity.

Thesis (Ph.D.)--Georgetown University, 2008. / Includes bibliographical references.

No description available.

As France expanded its empire in North Africa, French artists, writers and explorers traveled to Algeria in order to gain artistic inspiration and greater understanding of the culture, geography and inhabitants of the new colony. This dissertation places music within the context of French colonial culture, identifying the interconnections between government policies and cultural production during France's occupation of Algeria. A central theme is the examination of colonial difference and a phenomenon that may be characterized as colonial textuality in music. Drawing from Homi Bhabha, I define colonial textuality as a space where signifiers of value, judgment and power are encountered, negotiated and embedded within colonial discourse. Three composers--Ernest Reyer (1823-1909), Francisco Salvador Daniel (1831-1871) and Camille Saint-Saëns (1835-1921)--are presented as case studies to understand the complexities and tensions that arose out of the colonial moment and to examine how each figure negotiated his own compositional style, musical career and artistic identity vis-à-vis colonial Algeria. The dissertation is organized chronologically by examining the lives and compositions of three composers living in Algeria during three key periods of French political history, the July Monarchy, Second Empire, and Third Republic. Chapters draw on archival research, reception studies, travel journals, government reports, cultural and political history, and musical analysis to explore the ways in which music, broadly defined, addressed social issues of identity, nation, race, and ethnicity. Topics include how violent tactics and events during the 1840s infiltrated the early musical compositions of Reyer and how music may be considered an act of violence; Salvador Daniel's opportunistic musical career in Algeria from 1853-1865; Salvador Daniel's Album de chansons arabes, mauresques et kabyles as a reflection of French politics and travel writing; Algerian tourism and Saint-Saëns's Africa fantasy and Suite algérienne; and unisonance, soundscape and the typography of what I call Saint-Saëns's "colonial marches." In conclusion, I discuss a 2008 recording of Salvador Daniel's Algerian song transcriptions by the soprano Amel Brahim-Djelloul and the Ensemble Amedyez, thus illustrating that musical encounters with colonialism are continually reunderstood and readapted in the twenty-first century.