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This study discusses the evolutionist approach to African history as an action plan for challenging the hegemony of English in university education and in the teaching and writing of literature in post-independence Africa. The researcher selected Zimbabwe’s university education and literary practice as the microcosm case studies whilst Africa’s university education and literary practice in general, were used as macrocosmic case studies for the study. Some two universities: the Midlands State University and the Great Zimbabwe State University and some six academic departments from the two universities were on target. The researcher used questionnaires to access data from university students and lecturers and he used interviews to gather data from university departmental Chairpersons, scholars, fiction writers and stakeholders in organizations that deal with language growth and development in Zimbabwe. Data from questionnaires was analysed on the basis of numerical scores and percentage of responses. By virtue of its not being easily quantified, data from interviews was presented through capturing what each of the thirteen key informants said and was then analysed on the basis of the hegemonic theory that is proposed in this study. The research findings were discussed using: the evolutionist approach to the history of Africa; data from document analysis; information gathered through the use of the participant and observer technique and using examples from what happened and/or is still happening in the different African countries. The study established that the approaches which have so far been used to challenge the hegemony of English in post-independence Africa are not effective. The approaches are six in total. They are the essentialist, the assimilationist, the developmentalist, the code-switch, the multilingualist and the syncretic. They are ineffective since they are used in a wrong era: That era, is the era of Neocolonialism (Americanization of the world). Therefore, the researcher has recommended the use of the evolutionist approach to African history as a strategy for challenging the hegemony in question. The approach lobbies that, for Africa to successfully challenge that hegemony, she should first of all move her history from the era of Neocolonialism as she enters the era of Nationalism. / African Languages / (D.Litt. et Phil. (African Languages))

This dissertation demonstrates that notions of language and identity are not entirely about personal characteristics (what a person is born with, what is "in his blood"), nor are they entirely about agency (how a person chooses to present herself). Instead, they are largely about markets and about the multiple positionings of social actors within markets that are structured by ideologies of the nation state, immigration and the globalized new economy. This critical perspective challenges the normalized view that immigrant (diasporic) communities are simply natural social groupings or depoliticized transplantations of distinct ethnolinguistic units from their "homeland". They are, like language and identity, carefully constructed and managed social projects that are shaped by forces from within and from without. In Canada, the conditions for the institutionalization and (re)production of ethnolinguistic differences, which also make and mark class relations, are strengthened by the state’s multiculturalist policy. The Portuguese-Canadian community is one such ethnolinguistic market and the goal of this research is to examine which forms of portugueseness dominate the market, why and with what consequences for whom. Building from an ethnographic and critical sociolinguistic approach (Bourdieu 1977, Heller 2002), the qualitative data behind this research was produced through a two-year ethnography, participant observations and semi-structured interviews drawing primarily from six second-generation Portuguese-Canadians and members of their social networks. The findings suggest that the kind of portugueseness that dominates the Portuguese-Canadian market is one from Mainland Portugal; one that is folklorized, patriarchal, and that promotes (Mainland) Portuguese monolingualism and false cultural homogeneity. A consequence of this sociolinguistic structuration is a division between Azoreans and Mainlanders who make up two parts of the same Portuguese market; partners in conflict over the legitimacy and value of their linguistic and social capital. Furthermore, the inheritors of this market, the second and subsequent generations, navigate discursive spaces filled with contradictions that often marginalize them. Their experiences highlight strategic mobilizations of Portuguese language and identity, as well as the consequences of having delegitimized cultural and linguistic capital. In short, this dissertation highlights the productive tensions between structure and agency, between uniformity and variability, and between exclusion and inclusion.

This dissertation demonstrates that notions of language and identity are not entirely about personal characteristics (what a person is born with, what is "in his blood"), nor are they entirely about agency (how a person chooses to present herself). Instead, they are largely about markets and about the multiple positionings of social actors within markets that are structured by ideologies of the nation state, immigration and the globalized new economy. This critical perspective challenges the normalized view that immigrant (diasporic) communities are simply natural social groupings or depoliticized transplantations of distinct ethnolinguistic units from their "homeland". They are, like language and identity, carefully constructed and managed social projects that are shaped by forces from within and from without. In Canada, the conditions for the institutionalization and (re)production of ethnolinguistic differences, which also make and mark class relations, are strengthened by the state’s multiculturalist policy. The Portuguese-Canadian community is one such ethnolinguistic market and the goal of this research is to examine which forms of portugueseness dominate the market, why and with what consequences for whom. Building from an ethnographic and critical sociolinguistic approach (Bourdieu 1977, Heller 2002), the qualitative data behind this research was produced through a two-year ethnography, participant observations and semi-structured interviews drawing primarily from six second-generation Portuguese-Canadians and members of their social networks. The findings suggest that the kind of portugueseness that dominates the Portuguese-Canadian market is one from Mainland Portugal; one that is folklorized, patriarchal, and that promotes (Mainland) Portuguese monolingualism and false cultural homogeneity. A consequence of this sociolinguistic structuration is a division between Azoreans and Mainlanders who make up two parts of the same Portuguese market; partners in conflict over the legitimacy and value of their linguistic and social capital. Furthermore, the inheritors of this market, the second and subsequent generations, navigate discursive spaces filled with contradictions that often marginalize them. Their experiences highlight strategic mobilizations of Portuguese language and identity, as well as the consequences of having delegitimized cultural and linguistic capital. In short, this dissertation highlights the productive tensions between structure and agency, between uniformity and variability, and between exclusion and inclusion.

En tant qu’espace public, la scène théâtrale est le lieu de la construction et de la déconstruction de représentations de la nation, dans un dialogue incessant entre art et politique. En Écosse, la tension qui fragilise l’idée même de nation est exacerbée par le contexte géopolitique récent (référendum de dévolution en 1979, 1997 et référendum d’indépendance en 2014, puis Brexit en 2016). Miroir de cette instabilité, la scène écossaise réinvente ainsi son rapport à l’espace national en jouant sur les représentations spatiales et communautaires à différentes échelles, du local au global. Espaces et lieux, constamment problématisés, se changent en objets de représentations qui interrogent les multiples façons de faire, de montrer et de voir le théâtre. Ainsi, dans sa pratique comme dans son idéologie, le National Theatre of Scotland (NTS 2006) réinvente la nation : théâtre national sans espace physique de représentation, sans scène nationale, le NTS investit tous types d’espaces réels ou virtuels, qui donnent à repenser la présence et l’absence du corps en scène et font advenir de nouvelles communautés de « spect-acteurs » hors-frontières. Ce théâtre sans murs est métonymique de cette ouverture radicale du théâtre écossais, qui fait place à une représentation identitaire postnationale et horizontale. La scène écossaise offre donc un paradigme fécond pour rendre compte du renouvellement d’une pensée de la nation et des formes dramatiques contemporaines qui en émanent. / As a public space, the theatrical stage is where representations of the nation are constructed and deconstructed, in an unceasing dialogue between art and politics. In Scotland, the tension that destabilizes the very idea of nationhood is exacerbated by the recent geo-political context (the referenda on devolution in 1979, 1997, the referendum on independence in 2014, and Brexit in 2016). Reflecting this instability, the Scottish stage similarly reinvents its relationship to the national space by playing with the very scales of space and community, from the local to the global. Space and place, constantly challenged on the stage, become objects of representation that question the multiple ways of doing, showing, and seeing theatre. Both in its projects and its ideology, the National Theatre of Scotland (NTS 2006) seeks to reinvent the nation. As a building-less national theatre, the NTS reinvests all types of spaces, be they real or virtual, asking us to rethink the presence and absence of the body on stage, and fostering new transnational communities of “spect-actors”. This theatre without walls is a metonymy for the radical opening up of Scottish theatre itself, which invites postnational and horizontal representations of identity. The Scottish stage thus presents us with a productive paradigm to explore new understandings of the nation and the contemporary dramatic forms it fosters.

This thesis is a critical study of Scottish literary culture since 1989. It examines and interrogates critical work in Scottish literary studies through a ‘critical nationalist’ approach. This approach aims to provide a refinement of cultural nationalist literary criticism by prioritising the oppositional politics of recent Scottish writing, its criticism of institutional and state processes, and its refusal to exempt Scotland from this critique. In the introduction I identify two fundamental tropes in recent Scottish literary criticism: opposition to a cultural nationalist critical narrative which is overly concerned with ‘Scottishness’ and critical centralising of marginalised identity in the establishment of a national canon. Chapter one interrogates a tendency in Scottish literary studies which reads Scottish literature in terms of parliamentary devolution, and demonstrates how a critical nationalist approach avoids the pitfalls of this reading. Chapter two is a study of two novels by the critically neglected and politically Unionist author Andrew O’Hagan, arguing that these novels criticise an insular and regressive Scotland in order to reveal an ambivalent, ‘Janus-faced’ nationalism. Chapter three examines representations of Scottish traditional and folk music in texts by A. L. Kennedy and Alan Bissett, engaging with the Scottish folk tradition since the 1950s revival in order to demonstrate literature and music’s ambivalent responses to aspects of literary and cultural nationalism. Chapter four examines texts by Janice Galloway, Alasdair Gray and James Kelman, analysing the relationships they construct between gender, nation and class. Chapter five examines three contemporary Scottish texts and elucidates an ethical turn in Scottish literary studies, which reads contemporary writing in terms of appropriation and exploitation.

This thesis aims to analyze Dorothy Cross’s sculptural, installation, and video works in relation to Ireland’s Post-Conflict struggle with its cultural and global identity. Throughout the course of history, Ireland’s identity has always been in question, sparking new interest over the last thirty years in producing an Irish identity discerned by “hybridity, multiplicity, and mobility.”[1] Declan McGonagle states that the traditional Irish constructs of gender and sexuality were primarily challenged by Dorothy Cross during this period of rapid sociopolitical change.[2] Cross consistently deconstructs pre-Christian Mother Ireland and patriarchal Catholic Ireland in her early sculptural works, and ultimately transitions towards communicating a collective identity rooted in loss and desire. [3] The constructions of gendered, cultural, and collective identity are dismantled across multiple media throughout Cross’s oeuvre, which can be analyzed through a synthesis of poststructuralist, postmodern, and French feminist theory. In evaluating Dorothy Cross’s destabilization of identity, I will expand the literature on contemporary Irish art during the nation’s turbulent time of globalization, which has been underemphasized in the study of contemporary European art. [1] Robin Lydenberg, “Contemporary Irish Art on the Move: At Home and Abroad with Dorothy Cross,” Éire-Ireland: a Journal of Irish Studies 39, no. 3/4 (2004): 145. [2] Declan McGonagle, Fintan O’Toole, and Kim Levin, Irish Art Now: From the Poetic to the Political (London: Merrell Publishers Ltd., 1999): 19. [3] Enrique Juncosa and Sean Kissane, eds, Dorothy Cross (Milan: Edizioni Charta, 2005), 16.

This study discusses the evolutionist approach to African history as an action plan for challenging the hegemony of English in university education and in the teaching and writing of literature in post-independence Africa. The researcher selected Zimbabwe’s university education and literary practice as the microcosm case studies whilst Africa’s university education and literary practice in general, were used as macrocosmic case studies for the study. Some two universities: the Midlands State University and the Great Zimbabwe State University and some six academic departments from the two universities were on target. The researcher used questionnaires to access data from university students and lecturers and he used interviews to gather data from university departmental Chairpersons, scholars, fiction writers and stakeholders in organizations that deal with language growth and development in Zimbabwe. Data from questionnaires was analysed on the basis of numerical scores and percentage of responses. By virtue of its not being easily quantified, data from interviews was presented through capturing what each of the thirteen key informants said and was then analysed on the basis of the hegemonic theory that is proposed in this study. The research findings were discussed using: the evolutionist approach to the history of Africa; data from document analysis; information gathered through the use of the participant and observer technique and using examples from what happened and/or is still happening in the different African countries. The study established that the approaches which have so far been used to challenge the hegemony of English in post-independence Africa are not effective. The approaches are six in total. They are the essentialist, the assimilationist, the developmentalist, the code-switch, the multilingualist and the syncretic. They are ineffective since they are used in a wrong era: That era, is the era of Neocolonialism (Americanization of the world). Therefore, the researcher has recommended the use of the evolutionist approach to African history as a strategy for challenging the hegemony in question. The approach lobbies that, for Africa to successfully challenge that hegemony, she should first of all move her history from the era of Neocolonialism as she enters the era of Nationalism. / African Languages / D. Lit. et Phil. (African Languages)

This thesis identifies continuities and disruptions within the tradition of literary allegory in Latin America and critically revisits the category of “national allegory” (Jameson 1986) in order to articulate an interpretative model suited to contemporary “transnational allegorical fiction”. Based on the analysis of seven Mexican novels that register the transition of neoliberalism from the political-economic order to a form of biopolitical control (Althusser, Foucault, Žižek), I identify the emergence of what I call a “transnational affective field”: a symbolic horizon, alternative to the nation, where the prospective function of foundational romances (Sommer) and the retrospective function of mourning akin to postdictatorial fiction (Avelar), converge. This ideological device negotiates power relations, facilitates the transfer of local/global meaning, promotes intercultural empathy and compromise, and denounces mechanisms of exclusion; thereby, reconfiguring the affective and political functions of allegory in Latin American fiction. Part One discusses critical approaches to allegorical fiction in both Latin American and World literatures. Part Two compares the representation of the binomial nation/world in three historiographic metafictions by Carmen Boullosa, Francisco Rebolledo and J.E. Pacheco through recent approaches in post-/de-colonial and memory studies. Part Three examines the depiction of the nation as simulacrum and the figuration of postmodern subjectivities in Jorge Volpi and Juan Villoro from a poststructuralist perspective. It also contends that Álvaro Enrigue’s and Valeria Luiselli’s novels are representative of an emergent meta-allegorical imagination that, in an ironic reversal of allegory (de Man), simultaneously constructs it as a mechanism of ideological control as well as a conscious strategy to resist commodification and symbolic violence (Bourdieu) in the contemporary world. The analysis demonstrates the vitality of Mexican transnational allegorical fiction as a socio-political and affective counter-hegemonic discourse that also functions as an effective strategy of recognition in the international literary field.