This essay is a study of Yinka Shonibare MBE, London-born and Nigerian-raised contemporary artist, and his recent photographic practice that includes three series: Fake Death Pictures, William Morris Family Album, and Medusa. Exploration of the series reveals insight into Shonibare’s unique relationship to photography, in which he employs the hyper-realism and theatricality of the medium to interact with individuals from British history and reveal contemporary social and political injustices.

The purpose of this essay is to examine how Navid Moodiris concept of "mellanförskap", translated by the author himself as "inbetweenship", the postcolonial we and them as well as different identity constructions are expressed in social debator Navid Modiris authorship. The notion of identity is used from a social psychological perspective and the notion of inbetweenship is based on Modiris own description of the term. The theoretical starting point for the study is the post-colonial theory with focus on Said's construction of "the Other" and Spivak and Halls thoughts on how colonialism influenced and influence today's society. The questions at issue are examined by analysis of three poems from the poem vollection Skrik om du brinner (eng. Cry if you are on fire) and two lyrics. Analysis results are presented through quotes from the texts, which are discussed and commented on the basis of how inbetweenship, we and them as well as different identities are expressed in the texts. Overall, it is mainly through themes such as family relationships, distance, generalizations and lack of limits that the investigated objects are highlighted. The clear conclusion is that it's because of the normative society that we and them, and the feeling of inbetweenship can be produced and that the criticism of this society is the underlying theme of the Modiris entire authorship. / Syftet med uppsatsen är att undersöka hur mellanförskap, det postkoloniala vi och dem samt olika identitetskonstruktioner kommer till uttryck i samhällsdebattören Navid Modiris författarskap. Begreppet identitet används utifrån ett socialpsykologiskt perspektiv och mellanförskap utifrån Modiris egen beskrivning av termen. Den teoretiska utgångspunkten för studien är den postkoloniala teorin med fokus på Saids konstruktion av "de Andra" samt Spivak och Halls tankar om hur kolonialismen påverkat och påverkar dagens samhälle. Studiens frågeställningar undersöks genom analys av tre dikter från diktsamlingen Skrik om du brinner samt två låttexter. Analysresultatet presenteras genom citat från texterna, vilka diskuteras och kommenteras utifrån hur mellanförskap, vi och dem samt olika identiteter kommer till uttryck i texterna. Sammantaget är det främst genom teman som släktskap, avstånd, generaliseringar och avsaknaden av gränser som de undersökta objekten lyfts fram. Den tydliga slutsatsen är att det är på grund av det normativa samhället som vi och dem samt känslan av ett mellanförskap kan skapas samt att det är kritiken mot detta samhället som är det underliggande temat för hela Modiris författarskap.

This case study uses post-colonial and dependency theoretical lenses to investigate the forces influencing policy, procedures, and participation in international activity in the post-colonial African university environment of Kenya’s first national public university—the University of Nairobi (UoN). The research addresses (1) the approaches and strategies adopted by UoN to engage in international activity; (2) the changes that have taken place over time in international activity engagement at UoN since the attainment of political independence by the Republic of Kenya; and (3) the rationales driving participation in international activity. This investigation included library research, document analysis, multiple campus visits, and 20 formal interviews with the faculty and administrators of the University of Nairobi, Kenya. I argue that even though the University of Nairobi now exhibits some degree of agency in her international engagement as an independent post-colonial African University, limitations to this agency are evident given her colonial genesis as a university college linked to the University of London. Despite the fact that greater control has been realized in curricula issues, institutional level governance, income generating projects, and joint research collaboration and international partnerships, the road to independence in international engagement in a post-colonial university environment is still under construction. The University of Nairobi faces many challenges in her efforts to find a place in the global community of higher education. These challenges include, but are not limited to, lack of resources for human capacity building, shortage of faculty and staff, heavy teaching load, bureaucracy, loss of faculty control in setting their research agendas, commercialization of higher education, intellectual property rights violations, and brain drain. Rationales driving internationalization at the University of Nairobi are a consequence of contextual factors, some of which are external to the university and others internal and individual in nature. For example, whereas the academic rationales for participation, including research outlet, professional development, and networking are commonly cited as key motivators for international engagement, equally powerful economic motivators drive participation. I conclude this investigation by questioning the assumption that there can be balanced interdependence between marginalized African institutions of higher education (IHEs) and the developed world, as internationalization proponents suggest, arguing that these institutions are yet to break away from the colonial mold that led to their creation. KEYWORDS: African Higher Education, Internationalization, Post-colonialism, Dependency, Agency

Animated movies have had a big impact in the film business all over the world. A lot of these films are mainly produced for a younger audience, which leads to a greater responsibility to show a legitimate worldview. Children do not have the same ability of critical thinking as an adult, and that is why it is vital in such movies. In this study, we have examined the movies Kung Fu Panda and Mulan to see how the Chinese culture is represented, having in mind that the relation between East and West have been, and in some ways still are strained. We have examined whether there have been any postcolonial elements such as cultural myths, orientalism, ethnocentrism and stereotypes, originated from the field of cultural studies. Based on a three dimensional analysis, we have looked at the films’ structure, the context and the socio-historical context. The study concluded that the Chinese culture is often represented in a somewhat stereotypical way and with symbols associated with Asia and its culture but the movies also includes certain Western elements.

Shakespeare criticism has been a rapidly evolving field of literary studies. Scholars such as Francis Barker and Peter Hulme, Meredith Anne Skura, Stanley Wells, Harold Bloom and Sidney Shanker have continuously developed new theories and dismissed previous theories. In this essay, I discuss the negative results of such attitudes and the problems of “over-reading”, in the critiques which are based on the following theories: the post-colonial, psychoanalytical, biographical and ideological. I elaborate on the relevant arguments and issues within literary critique mentioned by Michael Taylor in his book Shakespeare Criticism in the Twentieth Century. To create a common ground for the theories, I have used critical texts concerning William Shakespeare’s The Tempest. I find that while all forms of literary critique have flaws, the theories also contribute valuable insights for further readings. I maintain that combining several forms of literary critique when analysing a text will create a more complex and in-depth reading, impossible to achieve through a singular critical theory.

Community archives have developed in response to gaps in the documentary record and the real and perceived limitations of state-funded archives. These communities, whether defined by location, shared identity, or common interests, recognize the vital role of records in building collective memory and the importance of having access to their history. Informed by postmodern and postcolonial intellectual concerns, archivists have explored such themes and taken a greater interest in community archives as models of archiving that offer new opportunities and tools for capturing diversity and multiple perspectives on the past. This thesis traces the history of archival thought in relation to community by examining the dichotomy between community and mainstream archives. It explores the breakdown of the dichotomy, as exemplified in recent models of independent community archives and participatory archives. Case studies of the Boissevain Community Archives and Shingwauk Residential Schools Centre test the hypothesis that archivists stand to benefit from a historical perspective on community archives, one that takes into account the ongoing production of community and the role of archives, archivists, and community members in that production. Throughout, this thesis reaffirms the value of historical analysis in archival studies, arguing that it enriches understandings of the provenance of records created, maintained, and preserved by community. / October 2016

Abstract “LANDSCAPES SUBLIME: IMPERIALISM, THE WILDERNESS IDEAL AND THE HISTORY OF CONSERVATION IN TANZANIA" The aim of this dissertation is to trace the implications that Western views of nature have had for the restructuring of African landscapes through the creation of game reserves and national parks, with a particular focus on Tanzania. I contend that wilderness spaces are the main repositories of a western imaginary that longs for those places where nature is prodigious and untamed, uncontaminated by development and devoid of people. The idealization of landscapes is derived from the aesthetic of the Romantic sublime with its dual impulse: the quest for escape from a fragmenting and morally corrupting capitalist society, and the search for the immutable and the transcendent in landscape 'untouched' by development. In Africa the physical manifestation of the wilderness landscape ideal came to be reflected in real space – the space of the East African national park. To produce a wild landscape in which animals roam free required the reproduction of a certain ideology of nature which may have been inaugurated during the colonial period, but which has been assimilated and even expanded by post-colonial regimes like Tanzania. Why is it, I ask, that the wilderness landscape ideal is so remarkably persistent in the post-colonial, post-socialist Tanzania of today? Taking the approach of scholars like Mitchell, I ask not just what landscape ‘is or ‘means’ but what it does in this context.

A l'intersection de la littérature comparée, des études de genre et des études postcoloniales, cette thèse vise à étudier le renouveau du Bildungsroman chez trois auteurs français contemporains : Azouz Begag, Farida Belghoul et Leïla Sebbar. Ce travail s'intéresse aux modalités des tensions sociales dont les protagonistes font l'expérience pendant leurs interactions avec la société dominante. Nous nous efforçons de comprendre comment ces trois auteurs déplacent les conventions du genre littéraire du Bildungsroman traditionnel pour négocier les obstacles sociaux qu’ils rencontrent et pour ménager des espaces limitrophes vivables dans et au-delà des espaces imposés par la société. La première partie de notre travail s'attache à reconsidérer les voies d'analyse traditionnelles de la « littérature beur », corpus dont font partie les romans des trois auteurs. La deuxième partie explore la façon dont ces textes renouvellent le genre du Bildungsroman notamment en problématisant l’expérience des jeunes personnages principaux de parents immigrés algériens dans la société française. L'acte de nommer et la dichotomie école-famille constituent les voies d'entrée principales dans l'analyse des romans. La troisième partie se focalise sur les stratégies textuelles et narratives par lesquelles les trois auteurs mettent en scène l'inscription des corps vus comme étrangers dans les espaces publics de la Métropole et par lesquelles ils proposent de nouvelles narrations pour inscrire l’expérience postcoloniale des jeunes protagonistes dans l’écriture. L'ironie, la subversion du regard et l'appropriation des espaces transitoires et limitrophes se trouvent ainsi au centre de notre analyse. / At the intersection of comparative literature, gender studies and postcolonial studies, this dissertation aims to study the renewal of the Bildungsroman in the novels of three contemporary French authors: Azouz Begag, Farida Belghoul and Leïla Sebbar. This work focuses on how the novels of the three writers express the social tensions the young protagonists are subjected to during their interactions with the dominant society. We strive to analyze how the conventions of the literary genre of the traditional Bildungsroman shift subtly in order to inscribe the social barriers in the textual body of literature and to propose border zones in place of the dominant society as living spaces. The first part of our work seeks to reconsider the traditional avenues of the analysis of littérature beur, the corpus of which the three authors belong to. The second part tackles the renewal of the genre of the Bildungsroman in these texts by in particular problematizing the presence of these young protagonists of Algerian immigrant descent in the French society. The act of naming and the dichotomy of school and family constitute the main entry point in the analysis of the novels. The third part concentrates on the textual and narrative strategies by which the three authors realize the inscription of bodies seen as foreign in the public spaces of the Métropole and by which they propose new narratives to set in writing the postcolonial experience of the young protagonists. The irony, the subversive gaze and the appropriation of transitory and border zones lie at the center of our analysis.

Teria sido Marx um pensador inescapavelmente eurocêntrico? Como Marx pensou o colonialismo? Qual sua análise a respeito de formações sociais ditas periférias? Esta dissertação pretende propor algumas respostas para estas questões. Para isso, acompanhamos as idas e vindas do autor em textos sobre a colonização britânica na Índia, na China e Irlanda. Como ponto de partida de nossa análise, seguimos o princípio metodológico de observar como as lutas sociais impactaram o filósofo alemão. Mostramos que seu pensamento político está intimamente ligado a seu contexto histórico. Marx é interpelado pelas lutas dos povos periféricos e responde a elas. Sua reflexão se constitui, assim, em um pensamento-luta. Com efeito, a alcunha também serve para descrever outra face do filósofo: seu profundo engajamento com essas mesmas lutas. Se Marx se deixou contaminar por elas foi porque ele se encontrava envolvido, seja diretamente no caso da Irlanda , seja indiretamente no caso de Índia e China, se solidarizando com a luta do povo oprimido. Nessa chave, observar o percurso da análise do filósofo a respeito do colonialismo implica um olhar duplo: por um lado, teremos de percorrer suas inflexões teóricas que se manifestam em suas análises conjunturais; por outro, é preciso observar sua mudança de postura para com os povos outros todos aqueles com os quais Marx não se identifica a princípio, sejam indianos e chineses (orientais), russos (eslavos) ou irlandeses (celtas). Espera-se, com isso, evidenciar algumas mudanças na visão do autor, que irá, progressivamente, se des-europeizar, assumindo uma concepção de história multilinear e estabelecendo uma crítica contumaz do colonialismo. Destacamos no decorrer da pesquisa alguns momentos-chave dessas mudanças: 1857-1858 para a Índia e a China, 1867 para a Irlanda e os textos do fim da vida, sobre a Comuna Russa. Estes, considerados uma espécie de culminação desta nova visão de Marx sobre a história, são analisados em nossa conclusão, de modo a marcar a perspectiva marxiana final. Por fim, procuramos defender, a partir desta nova posição encontrada, a possibilidade de um diálogo mais profundo entre a obra de Marx e o chamado pós-colonialismo. Dado que a posição de Marx com relação ao colonialismo e ao capitalismo irá se modificar no decorrer de sua vida, movendo-se em um sentido mais crítico, indagamos se não haveria a possibilidade profícua de, por meio de um diálogo com a perspectiva marxiana, reconectar a teoria pós-colonial à crítica do capitalismo contemporâneo. / Had Marx been an inescapably Eurocentric thinker? How did Marx think colonialism? What is his analysis about so-called peripheral social formations? This dissertation intends to propose some answers to these questions. Thus, we follow the comings and goings of the author in texts on British colonization in India, China and Ireland. As a starting point for our analysis, we follow the methodological principle of observing how social struggles affected the German philosopher. We show that there is a connection between his political thinking and the historical context. When challenged by the struggles of the peripheral peoples, Marx responded to them and thence reelaborated his theories. His reflection thus constitutes a \"thought-struggle\". In fact, the label also serves to describe another face of the philosopher: his deep commitment to these same struggles. If Marx allowed himself to be contaminated by them, it was because he was involved, either directly - in the case of Ireland - or indirectly - in the case of India and China, in solidarity with the struggle of the oppressed people. For this reason, to observe the course of the philosopher\'s analysis of colonialism implies a double look: on the one hand, we will have to go through his theoretical inflections that show themselves in his conjuncture analyzes. On the other hand, it is necessary to observe the change of attitude towards the \"other\" peoples - all those with whom Marx does not identify at first, whether Indian or Chinese (\"oriental\"), Russian (Slavic) or Irish (Celtic). It is hoped, therefore, to point out some changes in the author\'s vision, which will progressively \"de-Europeanize\", assuming a multilinear conception of history and establishing a contumacious critique of colonialism. In the course of our research, we highlight some key moments of these changes: 1857-1858 for India and China, 1867 for Ireland and the texts of the end of his life, on the Russian Commune. These specifically are considered a kind of culmination of this new vision on history, and therefore are analyzed in our conclusion, in order to mark the final Marxian perspective. Finally, we try to defend, from this new perspective, the possibility of a more fruitful dialogue between Marx\'s work and the so-called post-colonialism. Since Marx\'s position on colonialism and capitalism will change over the course of his life, moving in a more critical sense, we ask whether there would be no fruitful possibility of, through a dialogue with the Marxian perspective, reconnecting postcolonial theory with the critique of contemporary capitalism.

Na África francófona muitos intelectuais usaram a literatura e o cinema como veículos de exaltação aos valores culturais da terra, de transformação social e política. O escritor e cineasta Sembène Ousmane pode ser considerado um destes intelectuais, uma vez que por meio de uma vasta produção literária e cinematográfica abordou temas recorrentes à sociedade na qual pertencia, fazendo dessas duas artes importantes aliadas no seu percurso de militante. A presente pesquisa visa estudar de que maneira a novela e o filme homônimo La noire de... exprimiram a visão do escritor e cineasta sobre de identidade cultural do Senegal. Para tanto, discutiremos o projeto literário e cinematográfico de Sembène, levando em consideração o contexto político do Senegal e da França. Além disso, discutiremos também o conceito de pós-colonialismo, por entender que esse campo teórico é imperativo para se pensar a identidade cultural senegalesa. / In Francofone Africa lots of intellectuals used literature and film-making as means of exaltation to the lands cultural values, social and political transformation. The writer and film-maker Sembène Ousmane can be considered one of these intellectuals, once through a vast literary and film production brought current issues about the society he belonged to, allying these two important pieces of art in his millitant path. The present research aims to study in which way the novel and the eponymous film La noire de... expressed the vision of this writer and director about the cultural identity of Senegal. Therefore, the literary and film Project of Sembène will be discussed, taking into consideration the political context of Senegal and France. Furthermore, we will also discuss the post-colonialism concept, for understanding that this theoretical field is highly importante to think about the Senegalese cultural identity.