L’exil est un fait d’actualité qui concerne un grand nombre d’individus, il est aussi un sujet littéraire fréquent, car plusieurs auteurs l’ont vécu que ce soit par choix ou par obligation. Nous avons choisi dans cette thèse d’explorer l’enjeu de la question de l’exil dans la construction de la posture d’auteur chez Edward Said qui a fait de l’exil le thème central de sa réflexion et de son écriture. L’exil est pour Said une expérience qui mène à une condition interculturelle complexe avec une composante psychologique et une nostalgie qui génèrent une écriture tournée essentiellement vers l’élucidation des origines et la création d’un lieu d’habitat. Toutefois l’exil est un lieu de création et d’ouverture au monde qui permet d’appartenir à plusieurs univers sans être totalement d’aucun et de se positionner en « outsider ». Notre corpus d’étude est constitué, notamment de 46 essais et articles rédigés par Said entre 1965 et 2000, réunis dans son recueil Réflexions sur l’exil et autres essais. Nous avons choisi l’approche méthodologique qui considère la posture d’auteur comme un outil d’analyse permettant un double terrain d’observation : un terrain interne, avec la constitution de l’image de l’énonciateur dans le texte, et un terrain externe sur la présentation de soi qu’incarne l’auteur dans son rôle public. L’expérience de l’exil vécue et présente dans le discours et la pensée de Said l’a conduit à composer son identité auctoriale, à configurer son image d’auteur et enfin à construire sa posture d’auteur et sa singularité intellectuelle exilique. Sa posture d’auteur se définie en une multitude de postures : la posture critique et autocritique où Said s’interroge en essayiste sur lui-même et interprète son environnement sociologique, politique et culturel ; la posture humaniste où l’homme est au centre de son discours, il l’appelle à l’esprit critique et à la recherche de la vérité ; la posture anticoloniale où il défend les peuples opprimés et pourfend le colonialisme. Les postures de Said, qu’il nous a présentées et que nous avons perçues, ne sont ni contradictoires ni incohérentes, elles sont imprégnées de son statut d’exilé. / Exile is an event in which large number of individual are concerned, it is also a frequent literary subjects for several authors that lived in exile whether forced or by choice. We chose in this thesis to explore the issue of exile in the creation of the author posture, Edward Said who made exile the central theme of his reflection and writing. Exile for Said was an experience, which led him to a complex intercultural reflection, psychological and nostalgic components that was reflected on his writing and was the origin of the creation of his place in the surrounding world. However, exile creates an opening to the world and allows him to belong to several universes without being totally of any, nor feels as an “outsider” to any. Our body of study consisted particularly of 46 essays and articles that were drafted by Said between 1965 and 2000 were gathered in the collection and essays of Reflections on the exile”. We chose the methodological approach which considered the author posture as a tool of analysis allowing a double observations: an internal ground with the constitution of the image of the enunciator in the text, and an external ground on the presentation of the one whom embodies the author in his public role. The real-life and present experience of the exile in the speeches and the thoughts of Said led him to compose his auctorial identity and to configure his own image and finally to build his author posture and its intellectual exilic particularity. His author’s posture is defined in a multitude of postures: the critical posture and self-criticism where Said wonders his essay son himself and interprets his sociological, political and cultural environment; the humanistic posture where the man is in the center of his speech, he calls him the critical mind and in search of the truth; the anticolonial posture where he defend the oppressed people and assails the colonialism. The postures of Said, which he presented us and which we perceived, are neither contradictory nor inconsistent; they are filled with his exile status.

The Swahili novel, a literary genre lately appeared in Tanzania, has undoubtedly found a brilliant and mature expression in the works of the Zanzibarian writer Said Ahmed Mohamed. His novel Utengano, published in 1980, is a unique work in the Swahili literary production of the Seventies and Eighties, with regard to both the themes treated and the very elaborated style of the author, who has given a dense and homogeneous quality to this genre, which is by definition open and composite, totally different from the short story, the organisation of different elements representing a challenge to the capacities of a writer in terms of composition. In this paper I will focus on a feature of Utengano which, in my view, points out to the good achievement of a novel, namely the author`s utterance of a leitmotiv or general abstract idea creating cross-references and symbolic relations between the different levels of a literary text. The leitmotiv I found in Utengano is the idea of dynamism, in other words motion, energy that produces changes, which permeates the whole work unifying the different levels of expression. These latter will be analysed separately to allow a clear exposition, but the dialectical relationship between the `what` and the `how´ represents the key to the reading of this novel.

This project explores how cosmopolitan personas rhetorically negotiate the space between local and global, discursively tying people to the national as well as to the global or transnational. It examines the possible co-existence of cosmopolitanism and nationalism while identifying how each is articulated in response to the other. As global networks become increasingly complex, rethinking borders and how they are articulated is essential. Can a quintessential cosmopolitan also be a public nationalist? Are cosmopolitan discourses compromised by their presumed lack of attachment to the local? To what extent and with what success are cosmopolitanism and nationalism siultaneously articulated? In order to study these and other questions, I analyze the public personas crafted by cosmopolitan figures Vaclav Havel, Jimmy Carter, and Edward Said. By illuminating how they negotiate that ambiguous space between locale and its absence, a project attentive to the rhetorical possibilities of discursive connection in a world increasingly devoid of shared loyalties and histories enables a fuller understanding of the possibilites of intercultural contact in a globalizing world.

According to Edward Said the Orient is a European construction that has arisen out of a need to describe the Western civilisation as culturally superior. This occurrence Said gives the label "Orientalism". Art historian Linda Nochlin takes Said’s theories further in The Imaginary Orient where she conveys the thesis that the pictorial Orientalism is an expression of an imperialistic ideology. John M. Mackenzie, on the other hand is of the opinion that the pictorial Orientalism rather is an expression of the Romantic movement. To understand the Orientalist art we have to consider the social and historical context in which the work was created. By trying to justify the Orientalists choice of motive Mackenzie takes the view of those who consider art history as a positive discipline. Nochlin on the other hand means that we instead of fortifying the art historical canon we ought to politicize it, which only is possible if we contemplate art history as a critical rather than a positive discipline.

Syftet med denna uppsats är att genom textanalys granska ett antal läroböcker i Engelska A för gymnasiet, utgivna i Sverige under tiden 1995-2003, för att därigenom utforska i vilken mån ett interkulturellt synsätt kommer till uttryck i dessa läroböcker. Slutsatserna som dras utifrån studien visar att ett interkulturellt synsätt betonar ett dynamiskt möte, där mötet leder till en djupare förståelse av sig själv och andra. För att mötet skall vara framgångsrikt förordas en plats utanför den egna och den andres kultur, vilken möjliggör ett utvidgande av den egna horisonten. Vidare visar textanalysen av läroböckerna att en vanligt förekommande skildring av kulturer i den övriga världen, är konstruktionen av ”de andra”, som skiljer sig mot hur den engelsktalande vita kulturen skildras som ”oss”. Den dolda värdering som konstruerar västvärlden till ”oss” och den övriga världen till ”dem”, är värderingar som inte medverkar till ett interkulturellt synsätt. De texter i läroböckerna som understödjer konstruktionen av ”de andra”, motverkar ett interkulturellt synsätt. Här skall också nämnas att ett icke omnämnande av andra kulturer än den vita västerländska och därutöver ett omnämnande av dessa i relation till problem och rasism, inte heller kan ses som medverkande till ett interkulturellt synsätt. Dock finns därutöver några texter i läroböckerna som nyanserat beskriver det mänskliga ”oss” och inte betonar ”vi och de andra”, och dessa kan sägas medverka till ett interkulturellt synsätt.

In this thesis, I explore the journey between my worlds, the North and the South, examining the politics and poetics of diaspora. In this process I’ve assembled an archive of memory that has been complied over many years. This archive is a collection of memories and artefacts, of items that I still keep as well as items that were left behind a long time ago, and whose imprints are still very much alive in me. Furthermore, this thesis deals with art in Chile that arose out of the tumultuous period of unrest and unbalance following the rise of the dictatorship in 1973. In this thesis, I deal with artists such as Alfredo Jaar, Lotty Rosenfeld, and Eugenio Dittborn, among others. The work of these artists during this artistic period of resistance is constantly imprinted with signs and codes, as well as staunchness and obliqueness, marking a pivotal role in the continued resistance to the oppressors. Likewise, throughout this thesis I examine the ideas and the prevalently latent shift or “in-betweeness” that exists in the narrative of diaspora and in my own narrative as well. Here, I examine the works of artists, cultural theorists and writers including Stuart Hall, Edward Said, Nelly Richard, James Luna, and Salman Rushdie (among others) to reflect on how their work has influenced, shaped and directed my study of Diaspora, and to a greater extent, my understanding of the politics of it. Likewise, throughout his thesis I work to understand of the heterogeneous yet situated bodies of knowledge and experience that make up the contemporary cultural archive of diaspora. This includes various definitions of diaspora that both interrupt the text as well as enrich it.

No description available.

Thesis (Ph.D.) - University of Glasgow, 2001. / Ph.D. thesis submitted to the Faculty of Arts, Department of French Language and Literature, University of Glasgow, 2001. Includes bibliographical references. Print version also available.

Thesis (M.A.)--West Virginia University, 1999. / Title from document title page. Document formatted into pages; contains iii, 77 p. Includes abstract. Includes bibliographical references (p. 73-77).

Thesis--University of Wisconsin. / Vita. Includes bibliographical references (p. 183-195).