The aim of this thesis was to analyze how the discourse between the two main characters in Richard Yates’s novel Revolutionary Road implies complex power dynamics concerning identity formation. The analysis has been conducted by the use of positioning theory as well as the critical lens of the Heterosexual Matrix in order to discuss positioning findings in relation to gender formation. The results show that the positionings in discourse between Frank and April reveal great and detrimental power dynamics entrenched in social and cultural practices as well as predetermined ideas of gender identity. This thesis has also addressed how the knowledge of such complexity in discourse can be analyzed in the Swedish EFL classroom. This has been argued for by demonstrating the use of the discursive tool of positionings and the gender critical lens of the Heterosexual Matrix in the classroom to validate the use of Revolutionary Road as a source to raise awareness of gender consciousness and encourage students to become conscious gender actors in their social life.

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This research is about Mai kadra massacre that happened on Nov. 9 2020 during the Ethiopian National Defense Force law enforcement operation against the Tigray regional state. The massacre has ended with two conflicting narratives. This short research is therefore to clearly analyze secondary data collected (sources) against the two narratives of the massacre. Though there were difficulties to get as many documents as possible, the already collected data with some additional sources were used to answer the research questions and to give solutions for the research problems. At the beginning, this study presented the details of all the main documents to explain what claims about the Mai kadra massacre have raised. Secondly, claimed reasons about the massacre have discussed to answer one of the research questions (why the massacre has happened?) based on the secondary data collected and some other related documents. At last, the different themes formed have been analyzed against the two opposing narratives of this study. In relation to data analysis, thematic analysis under qualitative approach is used. Significant and essential theme ideas are drawn out from the data collected and organized in to different themes. All the themes are described and summarized according to their position about the two conflicting narratives in order to give clear information for readers. Opinions of the researcher are also added.

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In 1793, the British government embarked on a war against Revolutionary France that few expected would last twenty-five years and engulf all of Europe. Radical French policies provided an opportunity for William Pitt, the British prime minister, to endeavor to cobble a European alliance, including a number of Mediterranean states. These efforts never progressed beyond theory and negotiations because of conflicted policy and tension between the British diplomatic corps and Royal Navy over the strategic goals in the region. With diplomats focused on coalition building and military commanders focused on national objectives, British efforts never congealed into a unified effort to defeat Revolutionary France.

During Tina Modotti's time in Mexico in the 1920s, much of her photography and political activities focused on and fought for the rights of those who had been previously overlooked and marginalized, namely the indigenous people of Mexico. Many government officials, artists and intellectuals at the time believed that it was through the indigenous culture that Mexico could redeem itself and create its own national identity. Indigenismo, the philosophy that supported this claim, was of interest to Modotti and was a recurring theme throughout her photography. Following the Mexican Revolution of 1910, indigenismo appeared to be the solution to establishing this new identity that was authentically Mexican and distinct from the perceived corruption of Europe and North America. However, the principles of this theory were paradoxical in that proponents supported incorporating indigenous elements into Mexican society, but they also supposed that the only way to recreate the country was by dismissing and destroying these native cultures. Modotti was not as interested in advocating a rebuilding of Mexico as she was in promoting social equality among all races and groups of people in the country, similar to what international Marxism endorsed. Indigenismo to Modotti was more of a way to give voice to the marginalized indigenous people who had been forgotten politically, educationally and artistically for centuries. Through three phases of her photographic career in Mexico—her early phase (which included the Idols Behind Altars project), Mexican Folkways, and her work done in Tehuantepec-we can see how Modotti progressed as an indigenista artist. Although her audience varied in each of these three phases, Modotti's commitment to, and portrayal of, Mexico's indigenous culture was a central unifying theme in her work. This study argues that the photographs of Tina Modotti illustrate her concept of indigenismo by celebrating what she perceived as strong, egalitarian indigenous communities that appealed to her Marxist political philosophy. Modotti sought to counter previous distorted or exaggerated misconceptions of indigenous culture, and she tried to compensate for this lack of authenticity within the Mexican national identity and Mexican art through her photography.

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Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.