Popular literature on Tibetan Buddhism often overemphasizes the psychological dimension of the religion's beliefs and practices. This misrepresentative portrayal is largely traceable to the writings of the psychoanalyst C.G. Jung. By employing distinctly psychological terminology and interpretive strategies in his analyses of the Tibetan Book of the Dead and mandala symbolism, Jung helped to establish precedents that were adopted in subsequent analyses of the religion. Imposing a psychological lens on Tibetan Buddhism obscures other essential elements of the tradition, such as cosmology, physiology, and ritualism, thereby silencing the voices of Tibetans in analyses of their own practices. Jung's imposition of his own voice in place of that of Tibetans has commonly been criticized as an act of intellectually imperializing Orientalism that furthers Jung's personal aims of solidifying his system of analytical psychology. This thesis supports and demonstrates the validity of that critique through close analyses of Jung's commentaries on Tibetan Buddhism. However, Jung’s psychoanalytic perspective and qualifying comments found elsewhere in his corpus ultimately contextualize his commentaries and reveal that his writings on Tibetan Buddhism should not be treated as shedding light on the religion. Rather, they offer an additional lens for understanding analytical psychology. Furthermore, Jung's perspective as a psychoanalyst demonstrates the inherent instability of Orientalist epistemology that attempts to make sense of Eastern cultures on Western terms. Derridean deconstruction of Jung's commentaries reveals that the laws of psychoanalysis subvert those of Orientalism, thus allowing us to undermine the Orientalist episteme in which Jung writes and creates the possibility for appropriating foreign cultural content differently

電影作為跨文化傳播的重要媒介，對國家形象的扮演有著重大作用。胡錦濤特別在2004的四中全會上提到中國一方面發展硬實力，另一面就是軟實力的培養。中國當局希望透過文化電影的發展超越西方國家。 　　中國旅法畫家高醇芳女士於2004年有感於法國人對中國電影的生疏，因而創立「巴黎中國電影節」，其宗旨就是向法國人推廣中國的電影，而此活動也逐漸受到中國當局的關注和協助。因此，中國政府採用「巴黎中國電影節」進行「公共外交」的策略。也希望影片中的意識形態能讓法國人接受。 　　中國在經濟上已逐漸與歐美並駕齊驅，在文化上更是希望與歐美國家抗衡。然而在西方影展得獎的中國片或是西方電影呈現的中國意象，這些影片經常出現很深的東方主義觀念。「巴黎中國電影節」的出現提供中國宣揚自身文化，以及利用此機會平反歐美國家對中國東方主義的觀點。 / Film is an important medium of cross-cultural communication, it plays major role in the shaping of national image. In 2004, Hu Jintao particularly referred to the development of China on Fourth Plenary Session. One is hard power; another is the training of soft power. Chinese authorities want to go beyond the western countries through the development of cultural films. 　　In 2004, Chinese painter in France, Ms. Gao Chunfang felt the French were unfamiliar on Chinese films, so she found “the Chinese Film Festival in Paris”. The purpose is to promote the Chinese Films to French public, and this festival is also gradually paid attention by Chinese authorities. Therefore, the Chinese government has adopted "Chinese Film Festival in Paris" to execute "public diplomacy strategy". The government also hopes the film's ideology could be accepted by French person. 　　Chinese economy has gradually reached Europe or American; it also wants to compete on culture. However, Chinese films won the reward on West Film Festival and the Chinese image on western films which often appear the concept of "Orientalism". The appearing of ''The Chines Film Festival in Paris" provides China to promote their culture, as well as they use this opportunity to vindicate the perspectives on Chinese Orientalism from United States and Europe. / 第一章緒論 1 第一節研究動機與目的 1 第二節研究架構 6 第二章文獻探討8 第一節軟實力和公共外交理論探討 8 第二節意識形態理論11 第三節國際電影節與中國電影節概略 12 第三章研究方法 16 第一節樣本取樣 16 第二節研究限制 28 第三節符號學分析 28 第四節鏡頭分析 32 第四章、分析 35 第一節中國夢VS.美國夢：《中國合夥人》、《北京遇見西雅圖》 35 第二節宣揚政府形象：《三個未婚媽媽》、《蝶吻》 46 第三節歌頌青春愛情：《情人節》、《青春派》、《我願意》 51 第四節演繹女性主義：《蕭紅》 76 第五節彰顯愛國情操：《黃金大劫案》 90 第六節營造民族融合：《唐卡》 97 第七節再現古老中國：《畫皮II》 110 第五章、結論 119 第六章、文獻參考 125

The purpose of this study is to investigate binary discourses of self and other constructed by Canadian media in the representation of Saudi women. One of the modest aims of this research is to expound on the status of centralized media coverage in Canada. Drawing on Hegel’s model of dialectics, as framed by Edward Said’s Orientalism (1978) and David Nikkel’s conception of a moderate postmodernism, this research also aims at contributing to the ongoing modern-postmodern discussion by delineating and examining the ways in which dialectical analysis can aid in the deconstruction of metanarratives in Western culture. Utilizing a qualitative research design that employs multidimensional modes of textual analysis, the thesis examined the changes in the portrayal of Saudi Women through a non-probability sampling of 88 Canadian newspaper articles selected from the Toronto Star, Globe and Mail, and National post between 2001-2009. One major finding was that the metanarratives guiding these representations did not change significantly despite changes in narratives as brought about by several major political events. The implications of this thesis revealed what the ideological influences framing these depictions, as well as whether or not the changes that they have undergone, were self-reifying in nature. The research also highlighted the implications resulting from assessing the ontological identities of Saudi women vis-à-vis a Western framework of values.

This thesis deals with the sexuality of Iranian women living in Sweden. Considering sexuality as gendered and socio-culturally constructed, I examine the impact of Iranian Islamic discourses, contemporary socialization and migration on women’s narrations of sexuality. The theoretical platform arises from a Foucauldian discursive analysis of sexuality, including Iranian and/or Islamic discourses on sexuality, and diasporic and feminist postcolonial theories. The empirical basis of the thesis consists of ten in-depth interviews with first generation Iranian immigrant women in Sweden. The narratives are the textual field for exploring the divergent and contingent intersections of discourses that constitute the women’s sexuality. Themes that surface in the narratives are the importance of virginity, veiling practices, requirements for modest dress codes, lack of sexual education, first sexual experience, marriage, divorce and diasporic experiences. With sexuality as the main subject of analysis, my focus draws on articulations involving gender, otherness, agency and marginality. Being alert to different (at times contradictory) discourses, I study the tension that develops between the process of (self)disciplining the body and the women’s coping tactics. The study examines the ways women take part in existing institutions while exhibiting agency and creating new ways to negotiate across discourses. This thesis shows how moral values regarding sexual behavior undergo various and sometimes contradictory transformations. The women report being torn between two different cultures. Yet, while consistently facing a crossroads of racist and sexist discourses filled with stereotypes of so-called natives and outsiders, I argue that the women are not caught between two cultures. Rather, they live a hybrid experience of ‘Swedishness,’ ‘Iranianness’ and other social relations. Complexity defines their tactics; the women exist in the interstices of culture(s) and discourses.

Research Doctorate - Doctor of Philosophy (PhD) / The genre of travel writing is widely recognised as providing useful insights into the ways that discourse is used to frame the interplay between self, place and Other. Recently, it has been suggested that these writings inform the development of global citizenry literacy because, as cultural texts, they recount an engagement in, and with, cosmopolitanism while informing readerships about the foreign. However, it is important to remember that these writings appear in context and the authors of such texts craft discourse to construct sociocultural imaginings of the self and Other – of a journey told from a particular viewpoint, in a particular time, to a particular audience. Through an analysis of the travel writings of four Western women who travelled to Iran in a particular historical moment – after the Islamic Revolution of 1979 and until Iran was positioned as part of the ‘Axis of Evil’ in 2002 – this thesis examines the ways in which these authors script their gaze through discourse. The author/narrator is an aesthetic cosmopolitan figure, who casts her gaze from a particular ‘viewing platform’ informed by Western discourse and accumulated cultural capital. Attention is paid in this thesis to the ways in which these writers discursively frame their narratives according to the ‘I’ of the gendered experiencing self who focuses the ‘eye’ (or gaze) through a lens oriented by their cosmopolitical imagination or worldview. Notions of authenticity, fear, danger and threat appeared as recurring themes in each of the selected texts and operate to construct place as political, self as heroic and the journey as quest. The authors engaged aesthetic dimensions of time and space to position the liminal in their narratives and, in so doing mobilised discourses of gender and power. Notions of the liminal were employed to describe Iran����s physical and social scapes to position discursive spaces in the texts that were used to affirm traveller identity, build cultural capital and, in the process, make political comments. The texts revealed that while the authors commonly used metaphor and trope drawn from inherited Western discourses such as Orientalism, postcolonialism and imperialism to provide authority, they also drew from the currently circulating discourses of gender equity, human rights and liberal democracy; all of which foreground notions of freedom. However, these currently circulating discourses, when combined with dimensions of heroism, were found to work in the tradition of inherited Western discourse – to authorise the narrator voice and legitimise the ways that self and Other are constructed. The central argument this thesis makes is that Western travel writing is restricted in its contribution to global literacy because these texts reveal more about Western ways of seeing the world and about the author as cosmopolitan than they do about the foreign.

Research Doctorate - Doctor of Philosophy (PhD) / The genre of travel writing is widely recognised as providing useful insights into the ways that discourse is used to frame the interplay between self, place and Other. Recently, it has been suggested that these writings inform the development of global citizenry literacy because, as cultural texts, they recount an engagement in, and with, cosmopolitanism while informing readerships about the foreign. However, it is important to remember that these writings appear in context and the authors of such texts craft discourse to construct sociocultural imaginings of the self and Other – of a journey told from a particular viewpoint, in a particular time, to a particular audience. Through an analysis of the travel writings of four Western women who travelled to Iran in a particular historical moment – after the Islamic Revolution of 1979 and until Iran was positioned as part of the ‘Axis of Evil’ in 2002 – this thesis examines the ways in which these authors script their gaze through discourse. The author/narrator is an aesthetic cosmopolitan figure, who casts her gaze from a particular ‘viewing platform’ informed by Western discourse and accumulated cultural capital. Attention is paid in this thesis to the ways in which these writers discursively frame their narratives according to the ‘I’ of the gendered experiencing self who focuses the ‘eye’ (or gaze) through a lens oriented by their cosmopolitical imagination or worldview. Notions of authenticity, fear, danger and threat appeared as recurring themes in each of the selected texts and operate to construct place as political, self as heroic and the journey as quest. The authors engaged aesthetic dimensions of time and space to position the liminal in their narratives and, in so doing mobilised discourses of gender and power. Notions of the liminal were employed to describe Iran����s physical and social scapes to position discursive spaces in the texts that were used to affirm traveller identity, build cultural capital and, in the process, make political comments. The texts revealed that while the authors commonly used metaphor and trope drawn from inherited Western discourses such as Orientalism, postcolonialism and imperialism to provide authority, they also drew from the currently circulating discourses of gender equity, human rights and liberal democracy; all of which foreground notions of freedom. However, these currently circulating discourses, when combined with dimensions of heroism, were found to work in the tradition of inherited Western discourse – to authorise the narrator voice and legitimise the ways that self and Other are constructed. The central argument this thesis makes is that Western travel writing is restricted in its contribution to global literacy because these texts reveal more about Western ways of seeing the world and about the author as cosmopolitan than they do about the foreign.

Made available in DSpace on 2015-04-17T15:02:01Z (GMT). No. of bitstreams: 1 ArquivoTotalKlara.pdf: 8359930 bytes, checksum: 4eb9c31c5c696682fa7096814b15302d (MD5) Previous issue date: 2013-07-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This paper is a research proposal of recent insertion of Buddhism (eminently Eastern belief) in northeastern Brazil, specifically in the state of Paraíba (region of predominant Christian tradition). At first, we discuss the means that enable this insertion, as well as the people involved in the process of diffusion of a exotic" religion in the historical and cultural context of Paraiba. Secondly, the focus of this research is the process of translation (or "reframing") of the Buddhist ideals made by the belief system of its original paraibanos practitioners. Our hypothesis is that some of the Buddhist philosophical assumptions can be "read" in the light of Franciscan Christianity. If the discourses are essentially heterogeneous and polyphonic, then Buddhist doctrine when expanded in to the world, inevitably suffered interventions, additions and revisions. Therefore, our objective is to understand, beyond the manners, the process through which, from certain historical conditions, various discursive formations operate in the production of a "new" religious discourse in our region. / Este trabalho é uma proposta de investigação da inserção recente do budismo (crença eminentemente oriental) no nordeste brasileiro, especificamente no estado da Paraíba (região de tradição cristã predominante). Num primeiro momento, abordamos quais são os meios que viabilizam esta inserção, bem como quais são os atores envolvidos nesse processo de difusão de uma religião exótica no contexto histórico e cultural paraibano. Num segundo momento, o foco dessa investigação é o processo de tradução (ou ressignificação ) do ideário budista efetuado pelo sistema de crenças original de seus praticantes paraibanos. Se os discursos são essencialmente heterogêneos e polifônicos, também a doutrina budista, ao expandir-se pelo mundo, inevitavelmente sofreu intervenções, acréscimos e revisões de matrizes discursivas outras . O objetivo último do trabalho é compreendermos, além dos meios, o processo através do qual, a partir de determinadas condições históricas, formações discursivas diversas operam na produção de um novo discurso religioso em nossa região.

Submitted by Noeme Timbo (noeme.timbo@metodista.br) on 2016-08-09T19:21:18Z No. of bitstreams: 1 Tamires Silva Pereira Prazeres.pdf: 910375 bytes, checksum: 982d55415ff4191b071ad2ff48020523 (MD5) / Made available in DSpace on 2016-08-09T19:21:18Z (GMT). No. of bitstreams: 1 Tamires Silva Pereira Prazeres.pdf: 910375 bytes, checksum: 982d55415ff4191b071ad2ff48020523 (MD5) Previous issue date: 2016-03-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This search examines the religion in the conflict between Israel and Palestine, especially in the context of implementation of the State of Israel in 1948. The analysis takes as historical definition of conflict the period 1896-1948, when the inmigration of the first groups of Jews to the Palestinian territories. The initial question is how Jews and Muslims were related in the early years of inmigration to the creation of the State of Israel. The main issue to be clarified is how Western cultural building toward the Palestinians interfered in the conflict, especially with regard to the taking of the land and the construction of a new country within an existing, socially, religiously and culturally. Finally, the search asks about the effect of the conflict between Israelis and Palestinians in the Protestant religious space, especially among conservative groups and fundamentalists of this branch of christianity. The research is fully literature and refers to postcolonial theories to discuss the history of the territory, with regard to the religious aspects of the conflict / O presente trabalho analisa o papel da religião no conflito entre Israel e Palestina, principalmente no contexto da implantação do Estado de Israel, em 1948. A análise toma como delimitação histórica do conflito o período de 1896 a 1948, quando ocorre a migração das primeiras levas de judeus para os territórios palestinos. A pergunta inicial é sobre como judeus e muçulmanos se relacionavam nos primeiros anos de imigração até a criação do Estado de Israel. O problema principal a ser esclarecido é como a construção cultural ocidental em relação aos palestinos interferiu no conflito, principalmente no que tange à tomada da terra e à construção de um novo país dentro de um já existente, socialmente, religiosamente e culturalmente. Finalmente a pesquisa pergunta pela repercussão do conflito entre israelenses e palestinos no campo religioso protestante, principalmente entre grupos conservadores e fundamentalistas deste ramo do cristianismo. A pesquisa é totalmente bibliográfica e toma como referência as teorias pós-coloniais para debater a história do território, no que se refere aos aspectos religiosos do conflito.

South African photographer Nontsikelelo “Lolo” Veleko and South African painter Tracy Payne explore different ways of communicating African realities. The visual imagery of these two artists focuses a lot on movement, challenging the rigidity of boundaries set by Western social constructs. In their work, Veleko and Payne critique the limitations of terms such as “authenticity.” It is extremely difficult to portray shifting notions of contemporary African identity in light of the stain of colonial philosophies which have, in times past, exoticised and appropriated the African body and ascribed conventions of “authenticity” to African representations. Undermining the burden of Western boundaries1, Veleko and Payne redefine what it means to operate in Africa today. Veleko seeks additional cultural realities to complicate her identity as a woman living in Africa while Payne uses concepts of movement to question the validity of structures which advocate an either/ or binary such as “East” and “West” and “masculinity” and “femininity”. By subtly merging aspects of these binaries in their representations, Veleko and Payne bring transnational possibilities to light by undermining the restrictions inscribed in the social and political history of (South) Africa with regard to collective and individual identities. Constructs of gender have contributed to a heightened sense of “African” “masculinity,” forming a stereotype of the African body which is difficult to break free from. Considering the notion of transnationalism and the issue of moving beyond boundaries, borrowing aspects of different cultures in attempt to better define a sense of self, Veleko and Payne engage in the sampling of different lifestyles and perspectives to better define their individualities. This thesis seeks to provide an analysis of the visual language used by Veleko and Payne to promote fluid “African” identities.

Les récits des voyageurs, réputés pour leur caractère authentique, se présentent comme une source d’information véritable et de première main. Pourtant, l’étude littéraire de ces textes fait apparaître un ensemble de problématiques liées à l’écriture de cet ailleurs lointain mais déjà connu grâce aux témoignages des prédecesseurs antiques et médiévaux. Les interférences des différents genres littéraires réactualisent l’imaginaire d’une Inde des merveilles, pour une littérature à sensations fortes. La première partie interroge la mise en récit théâtralisée d’une des premières tentatives de classification humaine. Le voyageur apparaît alors comme soignant son auto-représentation, par rapport à laquelle se dessine le peuple indien, réparti selon les différentes castes perçues. La seconde partie s’intéresse à l’écriture d’une cartographie imaginaire construite à partir de trois pôles : ces derniers sont incarnés par trois figures prototypiques. Les mises en récit de ces personnages héroïques, en plus de s’inscrire dans une forme réaménagée du récit historique et/ou d’aventures, proposent une écriture du pouvoir en mettant au jour les intrigues de cour et autres histoires secrètes. La troisième partie confronte l’écriture de l’imaginaire avec sa mise en image. Il s’agit ici d’étudier la recréation d’une Inde comprise à travers le prisme chrétien mais aussi en réaction contre celui-ci. Ainsi l’élaboration d’un bestiaire indien, principalement contruit autour de grandes figures du panthéon hindou, donne aux voyageurs l’occasion d’interroger à la fois le rapport des indigènes avec leur religion et avec la nature. / The stories of travellers, known for their authenticity, they are a source of first-hand and authentic information. However, the literary study of these texts reveals a series of problems linked to the writing of this distant elsewhere but already known thanks to the testimonies of the ancient and medieval predecessors. The interferences of the different literary genres update the imaginary of an India of wonders, to offer a literature with strong sensations. The first part questions the theatrical narrative presentation of one of the first attempts at human classification. The traveller then appears as a healer of his self-representation, in contrast to which the Indian people are drawn up, divided according to the different castes perceived. The second part is concerned with the writing of an imaginary cartography constructed from three poles. The latter are embodied by three prototypical figures. The narration of these heroic characters, in addition to being part of a revamped form of the historical narrative and/or adventures, proposes a writing of power by bringing to light court intrigues and other secret stories. The third part confronts the writing of the imaginary with its image setting. The aim here is to study the recreation of an India understood through the Christian prism, but also in reaction to it. Thus, the elaboration of an Indian bestiary, mainly built around large figures of the Hindu pantheon, gives travellers the opportunity to question both the relationship of the natives with their religion and with nature.