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La scène de théâtre, élément encore inexploré et pourtant clef dans de nombreux romans, questionne les liens entre l’œuvre et le médium enchâssé. À l’aide d’un corpus de romans français et canadiens-français, parus entre 1871 et 1949, cette étude repère les traits récurrents de la scène de théâtre, quels que soient l’époque, l’esthétique ou le lieu d’écriture du romancier. Topos privilégié pour le texte qui opère par ce biais un « retour sur lui-même », les questions de la réflexivité et de la spécularité éclairent ce que peut le théâtre dans le texte. À partir d’une lecture sociocritique, articulant l’art et le social, notre étude de la scène de théâtre couvre à la fois la dimension propre à l’art dramatique et celle inhérente au théâtre envisagé comme outil de classification sociale. Le costume, le corps des artistes, les lumières, ainsi que les espaces théâtraux, les types de public et la mondanité à l’œuvre dans la salle sont, entre autres, autant de facettes que notre analyse met au jour. Le prisme de la scène de théâtre ainsi révélé transcende l’intériorité de l’art et l’extériorité du social par le truchement du corps. Entre ce qu’André Belleau nomme le « code » et la « parole », la scène de théâtre incarne les deux aspects, elle les lie étroitement et les dépasse grâce aux corps tout à la fois érotisés et socialisés. / The theater scene, key element of several novels yet unexplored, questions the bounds between the medium and the œuvre within. Supported by a corpus made of French and French Canadian novels published between 1871 and 1949, this work argues the recurrent specificities of the theater scene, whatever the time, the aesthetics or the place from which the novelist writes. Becoming a privileged topos for the text that operates « a return on itself », the questions of reflexivity and specularity enlighten what theater can do to the text. From a sociocritic reading articulating social and art matters, our study on the theater scene covers not only the dramatic art’s aspect but also the theater aspect thought as a social classification tool. The costume, the body of the artist, the lights, but also the theatrical spaces, the category of public and the society life happening in the theater hall are, if anything else, some facets our work would like to point out. The prism of the theater scene once revealed goes beyond the interiority of art and the exteriority of the social behavior through and thanks to the body. Between what André Belleau calls the « code » and the « parole (speech)», the theater scene embodies both aspects, links them both tight and goes past them thanks to the bodies that are both eroticized and socialized.

Neoliberalism is the contemporary political and economic thought that promotes ideas of private property, individualism, and market logic as key to advancing humanity. Scholars generally link neoliberalism to poverty from a broad perspective, but few have explored how it specifically impacts food insecurity. Globally, many people impacted by poverty also experience food insecurity. Hip-hop is important to resistance and fostering my critical worldview. Existing literature primarily describes hip-hop as a critical tool giving expression to people living at the margins. However, there is a need for hip-hop to be used more often as resistance by artists doing research. First, this study aims to understand food insecurity from the perspectives of food insecure individuals. Second, using the dominant themes from our conversations, I co-construct a hip-hop album. After conducting semi-structured interviews with 8 guests at Trinity Cafe, the analysis reveals the guests make sense of food insecurity by questioning organizations, through understanding responsibility and response-ability, and by showing active optimism. The hip-hop EP entitled Margins also emerged. Their knowledge challenges the commodification of food, complicates ideas of resilience, and foregrounds the importance of the collective. The study also provides important considerations for nonprofits and policy-makers by suggesting collaborations, intersectional approaches, and context-specific solutions are crucial.

The research reported here evolved from the researcher’s ethnographic immersion in an ICT for Development (ICT4D) project in a deep rural part of South Africa. During ethnographic immersion, three key issues emerged from fieldwork. Firstly, the researcher realised his limited understanding of the worldview of research participants. Secondly, he realised his inability to appropriately and ethically do community entry and implement the ICT4D artefact (e.g. ICT4D training and policy), especially because of his limited understanding of the cultural context, underlying values, emancipatory concepts and interests, as well as incomplete insight into the oppressive circumstances that the people in the research setting find themselves in. The third issue relates to an inability to interpret and explain the collisions and conflicts that emerged from introducing, aligning, and implementing the ICT4D artefact. Through critical ethnographic methods and a critical orientation to knowledge, the researcher shows how these inabilities, collisions, and false consciousnesses emerged to be the result of cultural entrapment and ethnocentricity that he and the research participants suffered from. A key argument throughout this thesis is that the emancipation of the researcher is a precursor for the emancipation of the researched. The researcher thus asks: In what ways should ICT4D researchers and practitioners achieve self-emancipation, in order to ensure the ongoing emancipation and empowerment of the deep rural developing community in South Africa? The study subsequently argues the link between the topic of this thesis, namely the issue of ethical research practice, and the primary research question. A unique perspective on these problems is presented as the study looks at emancipatory ICT4D research and practice in context of a deep rural Zulu community in South Africa, and specifically the journey of social transformation that the researcher himself embarked on. The study retrospectively applies Bourdieu’s critical lineage to reflect on the research contribution and how the researcher was eventually able to construct adequate knowledge of the ICT4D social situation. Building onto the idea of critical reflexivity, the researcher argues that critical introspection should also be part of critical ICT4D research in South African contexts. Through confessional writing, the researcher describes experiential knowledge of the worldview collisions that emerged from ICT4D research and practice. In particular, manifestations of the collisions between the typical task-orientated or performance-orientated value system of Western-minded societies and the traditional loyalty-based value system or people-orientated culture of the Zulu people are described. The research contributes by challenging dominant ICT4D discourses and by arguing for an end to a line of ICT4D research and practice where outsiders with a Western task-orientated worldview, like the researcher himself, make unqualified and inadequate assumptions about their own position in ICT4D practice, and about their own understanding of how to “develop” traditional communities in South Africa through ICTs. Following Bourdieu, the researcher argues that one can only build an adequate understanding of the social situation through critical reflexivity, by making the necessary knowledge breaks, and by allowing oneself to be carried away by the game of ICT4D practice. / Thesis (PhD)--University of Pretoria, 2013. / gm2014 / Informatics / Unrestricted

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Internet has become increasingly ubiquitous and with the introduction of Web 2.0 technologies and concepts it has almost become second nature for many Internet users. This study attempts to view the “social life” of this “new” online environment through its current manifestation in the form of the popular social networking site Facebook. It argues that Facebook has become a tool for the management of one's self both online and offline and that people's reflexive relation to their self-identity is made visible through their engagement with this social media. How such a new form of social media incorporates itself into everyday life but also how the media acts as an extension of the reflexive self has been the main focus of this study.

This dissertation is has two parts: a critical essay on the lyric subject, and a collection of poems. In the essay, I suggest that, contrary to various anti-subjectivists who continue to define the lyric subject in Romantic terms, a strain of Post-Romantic lyric subjectivity allows us to think more in terms of space, process, and dialogue and less in terms of identity, (mere self-) expression, and dialectic. The view I propose understands the contemporary lyric subject as a confluence or parallax of imagined and felt subjectivities in which the subject who writes the poem, the subject personified as speaker in the text itself, and the subject who receives the poem as a reader are each repeatedly drawn out of themselves, into others, and into an otherness that calls one beyond identity, mastery, and understanding. Rather than arguing for the lyric subject as autonomous, expressive (if fictive) "I,” I have suggested that the lyric subject is a dialogical matrix of multiple subjectivities—actual, imagined, anticipated, deferred—that at once posit and emerge from a space whose only grounded, actual place in the world is the text: not the court, not the market, and not a canon of legitimized authors, but in the relatively fugitive realm of text. In this way, there is no real contradiction between what Tucker terms the intersubjective and the intertextual. The lyric space I am arguing for is ultimately a diachronic process in which readers take up the poem and bring that space partially into their bodies, imaginations, and consciousness even as the poem brings them out, or to the edge, of each of these.

Thesis Negotiation of "the West" in everyday Life of a Lebanese Family is focusing on the ways of designing the image of "the West" at a chosen Lebanese family, especially those members who do not have any direct "West" experience and their images of it are based on the information obtained from those who live there or from media. Research was conducted in Qalamoun city in northern Lebanon by the method of participant observation and unstructured interview. One of the central moments of the research was reflexivity. The research is based on theories of transnationalism and the concept of social networks. One of the primary identification and classfication of man is in Qalamoun his religion. A person, who believes in nothing is a threat in the sense that he is unpredictible (he has no clear governing rules). Keywords: Lebanon, orientalism, reflexivity, "western" culture

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