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Urban space is a product of power relations and negotiations in society. Who gets represented and monumentalised in it, you? One is being formed and deformed by the environment they are placed into through the way it functions and suggests certain actions in a particular sequence, through the power distribution in its spatial equivalent. Cities, consciously or not, dictate and proclaim “norms” encoded into their visible and invisible fences by those in majority, those in power, systematically failing the misfits. Yet rebellious minorities coming out of oppressive systems refuse to be silenced and “normalised”, their dissent practices carry critical potential, highlighting systematic obstacles, testing response measures and prototyping alternative futures. For my research I define:Social sustainability as constant renewal of the system and social contract, adapting to the newly occurring challenges of the time.Dissent as expressing opinions, demanding conditions and carrying lifestyles, at variance with those hegemonic or officially held. Working in Stockholm’s suburban area of Tensta I concentrate on local postcolonial dissident practices. I want to take a look at how they can inform urban planning, making the system more flexible and adaptable to constant changes. I decode the disciplining choreography of the city and examine roles of such dissent actors as planner, civic educator, warrior and builder. In my design proposal I try toset a new civic urban stage with shifting borders, multilayered visibility, entrance and escape points, with mobilisation, education, commoning and retreat backstage able a) of making global, national and communal politics a local and tangible affair, b) of enhancing and empowering individuals and minorities in their role as civic actors, building peaceful urban voice; and create flexible local ecosystems c) facilitating new grassroots societies prototyping.

Violence against women continues to be an issue that severely impacts women worldwide. Since the global spread of the #MeToo movement in 2017, debates regarding this issue significantly increased. Yet the precise ways in which women are impacted by violence, heavily influenced by their unique and diverse aspects of identity, are often disregarded. By focusing on two of these aspects of identity, namely gender and nationality, and comparing the circumstances of sexual violence against women in Germany, Nigeria, and South Korea, this thesis aims to showcase the diverse experiences of ‘being a woman’ and what this implies regarding the issue of sexual violence against women. With an additional analysis of four important international conventions aimed at ameliorating women’s lives (UDHR, CEDAW, DEVAW, and BPfA) regarding their acknowledgement of this diversity and guided by three theories, namely Multi-Ethnic Feminism, Feminist Postcolonialism, and Intersectionality, this thesis highlights the necessity of including everyone and their unique experiences with all kinds of discrimination to adequately tackle an issue such as sexual violence against women.

This thesis explores an autoethnography which is written in the spirit of ubuntu, with and through others. Viewing this as an ethically responsible methodology for educational research conducted in and between the Global North and the Global South, this autoethnography foregrounds both self and other. The story of a practitioner- researcher unfolds around a move from disillusionment with the examinations factories of the English education system into exploring a human ethic of essential care (Boff, 2005) and a pedagogy of unconditional love (Andreotti, 2011) in a Brazilian non- government organisation. In these shifting contexts, the writer shares a journey of critical reflection (Brookfield, 1995; 2000) on ethical relationships in research and education, deconstructing the hegemonic assumptions underpinning her worldview. Borrowing insight from postmodern philosophy for education and actionable postcolonial theory in education, a journey of (un)learning unfolds as the author grapples with taken-for-granted assumptions about and in the Global South. The aims of the study emerge from a life lived forward (Muncey, 2005) through critical reflection on the ends of education and the role of the practitioner-researcher. As such, the nature of data collection becomes a process of data creation incorporating a rich tapestry of research conversations, images, sounds and other embodied memories. As ethical relations become a central focus of the author’s critical reflection, the author has sought to minimise her inflection on the data and in doing so includes many of the original contributions gifted to her throughout a two year period. Through critical self- scrutiny and reflection the author has been able to examine her own educational and cultural assumptions through a different lens in the Global South. The beauty of this autoethnography lies in exploring the kinds of intercultural spaces the author and others inhabit in twenty-first century research and classrooms.

The theme of this essay arises from problematic pictures which travel journalism can bring about foreign countries, and in this specific case Mexico. These pictures can be problematic in the way that they can carry colonial elements and form colonial discourses. The main purpose of this study is therefore to investigate the Swedish travel magazines, Vagabond, RES and Allt om resor, and how they portray places and people in the written texts and photographs. This was done with a postcolonial and discourse theoretical framework, whereas empowerment of certain pictures can lead to formation of discourses, myths and stereotypes about places and people in Mexico. The method used to reveal different aspects of the travel reports was semiotic analysis, Norman Fairclough’s critical discourse analysis and critical linguistics. These together allowed a closer reading of the texts and the photographs, with regards to the context of the text and the magazine’s development. The analysis was conducted with help of linguistic tools such as transitivity and lexical structure, and a thematic structure consisting of themes such as metropolis Mexico city, Mexico’s hinterland and Mexico’s coast. The result showed on many differences and similarities in the nine travel reports which have been studied, depending on the theme, magazine and publication year. The articles published in the 1980’s and 1990’s focused more on people as Indians and Mexicans which mostly were described by their attributes rather than their actions, and therefore objectified and stereotyped as Indians and cowboys, poor and childish. In articles from the 20th century there has been a shift in focus from people to places, these places were often beaches and the sea, constructing the myth of the relaxing paradise. Sometimes these pictures were combined with the Mayan culture to show a variation of destinations, and to meet new tourism trends such as ethnic and culture tourism.

The thesis aims to address criticisms of cosmopolitanism that characterise it as an elite discourse, by exploring the role that it might play in Third World resistance movements. In doing so, it complicates the landscape of international normative theory, which has traditionally been mapped as a debate between cosmopolitanism and communitarianism. Part I of the thesis argues that cosmopolitanism and communitarianism can function as languages in which First and Third World states respectively justify exercises of power that impede the self-determination of Third World societies. These discourses of power frame the condition of postcoloniality, which might be understood – borrowing the terminology of International Society theorists – as an entrapment of Third World societies between 'coercive solidarism' and 'authoritarian pluralism'. A normative worldview committed to enhancing the scope for self-determination of such societies must be critical of the production of both external and internal environments that are hostile to the enjoyment of self-determination by Third World peoples. Part II of the thesis explores the political challenges of sustaining such a critique by studying four theorists of resistance who perceive themselves as manoeuvring between hostile external and internal environments. It analyses the political thought of Rabindranath Tagore and Edward Said, who were both leading figures of anti-colonial nationalist movements but also fierce critics of nationalism. It also studies the activism of two leaders in the field of 'anti-globalisation' protest – Subcomandante Marcos of the Zapatistas in Mexico and Professor Nanjundaswamy of the Karnataka State Farmers' Association in India – who struggle against both national elites and global capital. Part II concludes that if resistance in the condition of postcoloniality must grapple simultaneously with both a hostile 'outside' and 'inside', it must speak in mixed registers of universalism and particularity. Cumulatively, the thesis demonstrates that the language of common humanity operates in ways that are both oppressive and emancipatory, just as the language of community is a source of both repression and refuge. Normative theory that does not seek to hold both in tension fails the needs of our non-ideal world.

The oppression that indigenous people experienced in many decades slowly began to loosen after the second world war, this is partly visible in the growing number of international convention protecting indigenous people. The racism and discrimination towards the indigenous people were exchanged with an aim to mediate a respectful and informative view of the history about the indigenous people to the majority. The Sami people’s history, the indigenous people of Norway, Sweden, Russia and Finland, is a European example of colonial oppression inside the boundaries of Europe. This essay aim to analyze how the Samis are represented in the Swedish curriculum from 1994 and 2011 and the Norwegian curriculum from 1997 and 2015. The analyze is concentrated to the subjects Religious Education and History. The theory of the analyze is based on postcolonial theory presented by Ania Loomba which make it possible to critically examine the curriculums.

Cette dissertation traite la danse comme une catégorie d’analyse permettant de réorienter ou de ré-chorégraphier les théories postcoloniales du corps. Mon étude montre qu’ Edward Said, par exemple, décrit la danse seulement à travers le regard impérial, et que Homi Bhabha et Gayatri Spivak négligent complètement le rôle de la dance dans la construction de la subjectivité postcoloniale. Mon étude explique que Stavros Karayanni récemment explore la danse masculine et féminine comme espaces de résistance contre la domination coloniale. Toutefois, l’analyse de Karayanni met l’accent seulement sur le caractère insaisissable de la danse qui produit une ambigüité et une ambivalence dans le regard du sujet impériale. Contrairement aux approches de Said et de Karayanni, ma dissertation explore la danse comme un espace ou le corps du sujet colonisé chorégraphie son histoire collective que l’amnésie coloniale ne cesse de défigurer au moyen de l’acculturation et de marchandisation. Je soutiens que la danse nous offre la possibilité de concevoir le corps colonisé non seulement dans son ambiguïté, comme le souligne Karayanni, mais aussi dans son potentiel de raconter corporellement sa mémoire collective de l’intérieur de la domination impériale. Ma dissertation soutient que les catégories de l’ambiguïté et de l’insaisissabilité mystifient et fétichisent le corps dansant en le décrivant comme un élément évasif et évanescent. Ma dissertation inclut plusieurs traditions culturelles de manière à réorienter la recherche ethnographique qui décrit la dance comme articulation codée par une culture postcoloniale spécifique. Mon étude montre comment le corps colonisé produit un savoir culturel à partir de sa différence. Cette forme de savoir corporelle présente le corps colonisé en tant que sujet et non seulement objet du désir colonial. Méthodologiquement, cette dissertation rassemble des théories occidentales et autochtones de la danse. Mon étude considère aussi les théories postcoloniales du corps dansant à partir des perspectives hétérosexuelles et homosexuelles. En outre, mon étude examine les manières dont les quelles les théories contemporaines de la danse, postulées par Susan Foster et André Lepecki par exemple, peuvent être pertinentes dans le contexte postcolonial. Mon étude explore également le potentiel politique de l’érotique dans la danse à travers des représentations textuelles et cinématographiques du corps. L’introduction de ma dissertation a trois objectifs. Premièrement, elle offre un aperçu sur les théories postcoloniales du corps. Deuxièmement, elle explique les manières dans lesquelles on peut appliquer des philosophies contemporaines de la danse dans le contexte postcoloniale. Troisièmement, l’introduction analyse le rôle de la dance dans les œuvres des écrivains postcoloniales célèbres tels que Frantz Fanon, Wole Soyinka, Arundhati Roy, et Wilson Harris. Le Chapitre un remet en question les théories de l’ambiguïté et de l’insaisissabilité de la danse à partir de la théorie de l’érotique postulé par Audre Lorde. Ce chapitre examine le concept de l’érotique dans le film Dunia de Jocelyne Saab. Le Chapitre deux ouvre un dialogue entre les théories occidentales et autochtones de la danse à partir d’une étude d’un roman de Tomson Highway. Le Chapitre trois examine comment l’écrivain Trinidadien Earl Lovelace utilise la danse de carnaval comme espace culturel qui reflète l’homogénéité raciale et l’idéologie nationaliste à Trinidad et en les remettant également en question. / Classical texts of postcolonial theory rarely address the embodied expression of dance as they examine the colonial body only through the imperial discourses about the Orient (Said), the construction of the Subaltern subject (Spivak), and the ambivalent desire of the colonial gaze (Bhabha). The Cyprian theorist and dancer Stavros Stavrou Karayanni has emphasised the centrality of dance as a key category of analysis through which discourses of resistance can be articulated from the perspective of the colonial heterosexual and queer body. However, Karayanni adopts the psychoanalytic method according to which the dancing body of the colonised subject has an ambivalent effect upon the Western traveller and / or coloniser who both desires and derides this body. In contrast to this approach, my study examines dance as a space in which the colonial body choreographs its collective history which colonial amnesia suppresses so as to de-historicise colonised subjects and disfigure their cultures. Departing from Frantz Fanon’s emphasis on the relevance of dance in colonial studies, I argue that the colonial body choreographs its collective memories in dance and prompts us to rethink hegemonic discourses of postcolonial identity formation that revolve around ambivalence and elusiveness. I borrow the notion of “choreographing history” from the Western contemporary discipline of dance studies which has integrated cultural studies since mid 1980s and influenced postcolonial inquiry of dance over the last decade. I include various cultural traditions in my project so as to re-direct today’s predominantly ethnographic research which describes dance as an encoded articulation of culture in specific postcolonial societies. I also include different cultural traditions to show that while choreographing silenced memories in various historical experiences of colonial violence, the dancing body allows us to construct discourses of resistance in ways that postcolonial theory has not addressed before. The re-choreography of postcolonial theories of the body, as developed in this dissertation, articulates an ethical imperative because it shows how the subaltern body not only choreographs memories that colonial amnesia silences but also produces cultural knowledge with a difference. Methodologically, this study brings together Western and indigenous theories of dance as well as postcolonial theories of the dancing body from both heterosexual and queer perspectives. My study discusses Susan Foster and André Lepecki’s contemporary theories of dance and the body in the context of postcolonial theories of Oriental dance and eroticism. It also examines the socially and politically transformative potential of the erotic in dance through textual and cinematic representations of the body. My study equally opens a dialogue between Western and indigenous theories of dance in the context of Canadian indigenous literary work of Tomson Highway. A critical examination of Trinidad Carnival and Calypso in a novel by Earl Lovelace demonstrates that dance is a central paradigm of analysis for a postcolonial critique of the body and the categories of identity that inscribe it.

There is considerable geographical overlap between areas set aside for nature conservation or protection and Indigenous peoples’ lands, and the social, economic, and political consequences of protected areas have often been extensive for Indigenous peoples. Discourses of conservation converge with discourses of Indigenous peoples, and both carry a legacy of colonial constructs and relationships. With these overlaps as a point of departure, the purpose of this thesis is to explore how the discourses that govern nature conservation and protected areas shape the conditions for Indigenous peoples’ influence and participation in the governance and management of protected areas on their lands. I pursue this aim by analyzing, and critically examining the consequences of, the construction of Indigenous subject positions and conditions for agency in discourses of nature conservation and protected areas. The empirical focus of the thesis lies with international discourses of protected areas and Indigenous peoples and on local and national discourses articulated in relation to two cases of protected areas in Sápmi. My analytical framework builds on postcolonial theory and discourse theory. I use space for agency as a concept to describe and analyze the effects of the discursive positionings and constructions that shape the ability or capacity of individuals or group to act or to be perceived as legitimate actors. My results show twomain articulations of Indigenous subject positions in protected area discourses, which enable and restrain the space for Indigenous agency in different ways. One articulation connects Indigenous peoples to conservation through the concept of traditional knowledge, thereby positioning Indigenous subjects mainly as holders of traditional knowledge and justifying Indigenous influence by its potential contribution to conservation objectives. The other articulation focuses on the rights pertaining to Indigenous peoples as peoples, including land rights and the right to selfdetermination. These articulations are not necessarily mutually exclusive, but they have potentially different consequences and indicate discursive tensions that can affect the space for Indigenous agency in relation to protected areas. Moreover, my results demonstrate the hegemony of discourses that takes conservation through area protection for granted and subordinates Indigenous land use to conservation objectives, structure Indigenous agency as “participation” in specific types of arrangement, and articulate Indigenous rights in relation to hegemonic constructions of sovereignty, self-determination, and rights. These hegemonic formations silence articulations that would challenge the authority of colonizing societies over Indigenous territories, suppress radical critique of the fundamental nature of arrangements for protected area governance and management, and subdue alternatives to discourses of contemporary liberal democracy and individual property rights.

Este trabalho se dedica a Os Sertões (1902), de Euclides da Cunha, Native Son (1940), de Richard Wright, e Cidade de Deus (1997), de Paulo Lins. Buscando construir-se uma leitura crítica criativa, esta tese utiliza o método comparativo de forma a possibilitar que novos aspectos das obras surjam, assim como os elementos hegemônicos e contra-hegemônicos que as constituem, e as suas fortunas críticas. Partindo do entendimento de que os textos críticos e literários sempre se situam num campo maior, político, o presente estudo visa compreender as relações estabelecidas entre as obras, a crítica, a nação e o Estado. Com esse objetivo, além dos textos de Euclides, Wright e Lins, e de algum das respectivas críticas, outras disciplinas e seus teóricos serão mobilizados; entre eles (mas não só): Gayatri Chakravorty Spivak, Ranajit Guha, Gilles Deleuze, Felix Guattari e Jacques Derrida. / This dissertation looks at the work of Euclides da Cunha\'s Os Sertões (1902), Richard Wright\'s Native Son (1940) and Paulo Lins\'s Cidade de Deus (1997). It seeks to be a creative reading of the books and their critical fortune by way of a comparative approach, ultimately allowing new aspects, such as hegemonic and counter-hegemonic elements, to come to the fore. The basis of this study is that literary and critical texts are all inserted in a greater political field. This research draws upon neighboring disciplines and theorists such as: Gayatri Chakravorty Spivak, Ranajit Guha, Gilles Deleuze, Felix Guattari and Jacques Derrida.