Thesis (M.A.)--University of Victoria, 2001. / Includes bibliographical references.

My thesis consists of a commented translation of five selected short stories, including the title story of Thomas King’s One Good Story, That One, and a theoretical and contextual introduction. My commentary, beyond the explanation of my syntactic and vocabulary choices -which I will relate to King’s interfusional use of idiolect, which is to say his uniquely personal use of orality in writing-, discusses the use of irony and the Trickster as instruments of anticolonial resistance (based on King’s “Godzilla vs. Post-colonial”), with which King hopes to both challenge Western paradigms and raise awareness of Natives’ plight. King uses both of these strategies, interfusional dialect and the Trickster, not simply as postcolonial but rather as anticolonial instruments of discursive resistance (based on King’s “Godzilla vs. Post-colonial”), being in tune with King’s vision that postcolonialism is a concept which only lives in academia and in fact has no real basis in our current society, since we are still, in many ways, living in colonial times. King uses satire, first, to raise awareness of Natives’ physical and psychological plight to this very day, and second, to create a sense of accountability in these same people, to transform them by playfully making them aware of their unwitting complicity in this sordid affair. King's use of the Trickster Coyote as well is an important humorous element which also serves as an instrument of anticolonial discursive resistance and education, and whose mythological significance is crucial to the development of an alternate ideological structure, one which King establishes as a healthy counter-part to the Western religiously inspired one with its traditional Judaeo-christian dualism. When commenting on my translation, I note how King, with his use of the Trickster, satire and orality, contests the validity of Eurocentric paradigms with his literarily and orally established framework of modern Native mythologies and perspectives. With my translation, my aim was to reproduce King’s own translation of orality and traditional Native storytelling into writing, albeit with a slightly different use of dialect (closer to international French than Quebec French), since translating King's idiolect was no easy feat. And so, my main concern was to stay as true as possible to the original work, its gaps, repetitions, syntax and phatic (speech used as social function) use of language. In doing so, my goal was to once again foster the reader’s understanding of Natives and their plight, establishing an oral bond through the translation of King's orality between them and the translated work. Pertaining to the latter will be a discussion on how translation also ideally bridges the gap between cultures while expanding their horizons, just as King's modern, syncretic Native storytelling breathes new life into traditional spiritual practices and beliefs. However, as King warns us about stories, which can be not only healing but also harmful, translation can adversely widen that gap and harm intercultural relationships when improperly harnessed. When properly harnessed, however, translation re-enacts a narrative to launch it in a new language-culture (Benjamin in Venuti), in the same manner that Native storytelling (both traditional and modern) enacts a performative that not only preserves culture but recreates it anew. Hence my interest in discovering the links between the fashioning of a new world, full of promise, through narrative, and the refashioning of a narrated text through translation into a new language-culture. Translating the activism at work in King’s own telling of One Good Story, That One, I would further like to capture the ways in which King's modern Native storytelling and the bleak, satiric humour with which much of it is tinged, continues to combat neocolonialism to this day, even in this so-called postcolonial society. Eva Gruber's Humour in Contemporary Native North American Literature is an in-depth and informative work on this subject. I would like to elaborate on Gruber's statement that humour, more than just a coping strategy, as many would claim, is also, more importantly, especially to a non-Native audience, a Trojan horse of sorts: “Sneaking up on readers through shared laughter, humour can align their empathy with Native viewpoints, obscuring conflicts and hierarchies and triggering consensus and solidarity instead” (“Humour in Native Lit”, 118). As well, I take into account in the course of my translation how in presenting Western history and religion from a humorous angle, the author is exposing its fallacies in a tragi-comical context which blurs the boundaries between reality and myth, and thus alleviates the burden of colonialism upon his Native & non-Native readers, while also encouraging accountability. // Abstract : Mon mémoire consiste en une traduction commentée de cinq nouvelles, incluant la nouvelle titre, du recueil One Good Story, That One de Thomas King, ainsi qu'une introduction théorique et contextuelle. Mon commentaire, au delà de la justification de ma syntaxe et de mes choix de mots -que je relierai à l'utilisation d'un idiolecte interfusionnel de l'auteur, c'est-à-dire son usage personnalisé d'oralité dans son écriture- aborde l'usage d'ironie et du Trickster en tant qu'instruments de résistance anticoloniale (basé sur l'article « Godzilla vs. Postcolonial » de King), avec lesquels King espère contester les paradigmes occidentaux et contribuer à la reconnaissance du fardeau des Autochtones. King utilise ces deux éléments en tant qu'instruments discursifs de résistance anticolonialiste plutôt que postcoloniale, en accord avec son idée que le postcolonialisme est un concept qui n'existe que dans un contexte académique et non dans la réalité quotidienne de notre société, puisque nous vivons ultimement encore dans un contexte colonial. King utilise la satire premièrement pour contribuer à la reconnaissance du fardeau physique et psychique des Premières Nations jusqu'à ce jour, et deuxièmement, pour créer un sens de responsabilité chez ces même gens, pour les transformer en les rendant humoristiquement conscients malgré eux de leur complicité dans cette histoire sordide. L'usage de King du Coyote trickster est aussi un élément humoristique important qui est également un instrument discursif de résistance et d'éducation anticolonialiste, dont la signification mythologique est cruciale au développement d'une structure idéologique de rechange, qu'il établit en tant que saine contre-partie à celle inspirée par les religions occidentales, avec sa dichotomie traditionnelle judéo-chrétienne. Je commente sur le fait que King, avec son usage du Trickster, de la satire et de l'oralité, conteste la validité des paradigmes eurocentristes avec sa littérature oralisée portant sur les mythologies et perspectives autochtones modernes, qui exposent les problèmes de ces 8 paradigmes. Avec ma traduction, mon but est de reproduire la propre traduction de l'oralité des contes traditionnels autochtones de King dans un contexte littéraire, quoique avec un usage partiellement différent de dialecte (plus près du français international que de celui du Québec), puisque traduire l'idiolecte de King n'était pas une tâche aisée. Donc, ma principale priorité était de rester aussi fidèle que possible à l'original, à ses pauses, ses répétitions, sa syntaxe et son usage phatique de la langue (le langage en tant que fonction sociale). En ce faisant, mon but est encore une fois de donner une meilleure contextualisation aux lecteurs de la cause des Premières Nations, et d'établir une relation orale entre eux et la traduction. En relation à ce dernier aspect, je discute du fait que la traduction est aussi idéalement un pont entre les cultures qui sert également à élargir leurs horizons, comme les contes modernes, syncrétiques de King insufflent une vie nouvelle dans les croyances et pratiques spirituelles autochtones traditionnelles. Cependant, comme King nous met en garde contre les histoires, qui peuvent guérir mais aussi empoisonner, la traduction peut également élargir ce fossé et nuire aux relations interculturelles quand elle n'est pas adéquatement utilisée. Quand elle l'est, par contre, la traduction recrée une narration pour la relancer dans une autre culture langagière, de la même façon que les contes autochtones (traditionnels et modernes) recréent une performance qui non seulement préserve la culture mais la fait renaître. C'est pourquoi j'ai un tel intérêt dans la découverte des liens entre la création d'un monde nouveau, plein de possibilités, à travers la narration, et la nouvelle création d'un texte narré dans une nouvelle culture langagière à travers la traduction. À travers la discussion de l'activisme de King dans les nouvelles que j'ai traduites, je discute aussi des façons dont les contes modernes de King et leur humour noir et satirique continuent de 9 combattre le néocolonialisme jusqu'à ce jour, même dans notre société soi-disant postcoloniale. Le livre d'Eva Gruber, Humour in Contemporary Native North American Literature, est un ouvrage approfondi et très informatif à propos de ce sujet. Je voudrais élaborer partiellement sur l'affirmation de Gruber que l'humour, bien plus qu'une stratégie de survie comme plusieurs le croiraient, est aussi un cheval de Troie en quelque sorte, particulièrement pour un lectorat non-Autochtone : « S'approchant discrètement des lecteurs grâce au rire partagé, l'humour peut créer une empathie pour les points de vue autochtones, obscurant les conflits et les hiérarchies et déclenchant au lieu une solidarité et un consensus. » (« Humour in Contemporary Native Lit », 118, ma traduction). Je discute également de comment, en présentant l'histoire et la religion occidentale d'un point de vue humoristique, l'auteur expose ses faussetés dans un contexte tragi-comique qui estompe les barrières entre réalité et mythe, et ainsi réduit le fardeau du colonialisme sur les épaules de ses lecteurs autochtones et non-autochtones, tout en encourageant une prise de responsabilité.

It is the aim of this dissertation to discuss the creation of historiographic space in the works of Francis Parkman. More specifically, this dissertation intends to analyze Parkman’s The Oregon Trail and Montcalm and Wolfe as literary texts that examine geographies of cultural interaction and transnational empire building. Parkman’s historical narratives, this dissertation suggests, not only describe historically significant sites, such as the Oregon Trail and the Northern Frontier, but further create literary heterotopias. These textual counter geographies, as for instance his conceptualizations of the trading posts of the far West and the wilderness fortifications of the far North, allow Parkman to effectively interrogate American history. By investigating the fruitful juncture between history, geography, and literature this project aims to establish the importance of historical geographies for Francis Parkman’s methodology and define its function for the creation of a national consciousness. In addition to Parkman’s use of space, this dissertation further analyzes the historian’s depiction of historical characters and his subsequent attempts to define American identity. Thereby, my analysis specifically highlights the relationship between Parkman’s literary characters and their environment. In an attempt to trace the impact Parkman’s historical narratives exert on postmodern authors of American literature, the concluding chapters interrogate the re-negotiation of Parkman’s historiographic spaces in Thomas King’s Truth and Bright Water and William T. Vollmann’s Fathers and Crows.

No description available.

This thesis explores the issues of representation and identity through an examination of the writings of Thomas King and Mudrooroo. The particular focus of the dissertation is on the similar yet distinctive ways these authors explore past and present possibilities for representing Indigenous peoples in fiction. This discussion has a largely Canadian-Australian cross-cultural comparison because of the national milieux in which each author writes. The research question, then, addresses the authors' common approaches to Indigenous, colonial and postcolonial themes and the similar textual attitudes to the act of representation of identity in writing. In order to explore these ideas the chapters in the thesis do not each focus on a particular author or even on a specific text. Each chapter examines the writings of both authors comparatively, and reads the novels of both Thomas King and Mudrooroo thematically. The themes unifying each chapter occur in four major movements. Firstly, the Preface and Chapter One are primarily concerned with the methodology of the thesis. This methodology can be summarised as a combination of general postcolonial assumptions about the impact of colonial texts on representations of Indigenous peoples; ideas of reading practice coming from North American and Australian Indigenous writing communities and cultural studies theories on race. A movement in argument then occurs in Chapters Two and Three, which focus upon how the authors interact with colonising narratives from the past. Chapter Four shifts from this focus on past images and explores how the authors commonly re-imagine the present. In Chapters Five and Six the dissertation progresses from charting the authors' common responses to colonising narratives -- past and present -- and engages in the writings in terms of the authors' explications of Indigenous themes and their celebrations of Indigenous presence. These chapters analyse the ways in which King and Mudrooroo similarly re-envisage narrative process, time and space. Overall, the thesis is not interested in authorisations of Thomas King and Mudrooroo as 'Indigenous writers'. Rather, it argues that these authors on either side of the world use very similar techniques to reject previous representations of Indigenous people, and, importantly, attempt to change the meaning of and approach to representation. In so doing this thesis finds that the novels of both authors respond to colonising semiotic fields, as well as reducing the importance of such fields by incorporating them within a larger framework of repeated and multiple evocations of Indigenous identity. The writings of both Thomas King and Mudrooroo share a selfconscious textuality. The same tales and emblems are repeated within each author's entire oeuvre in order to reinforce their thematic trope of re-presentation as a constantly evolving process. Finally, the thesis concludes that a significant common effect of this similar approach to re-presentation is an emphasis on the community over the individual, and a community that can be best described as pan-Indigenous rather than specific.

O objetivo desta dissertação é o de investigar as disputas pelo poder subjacentes no texto literário do autor cherokee/canadense Thomas King, mais especificamente em seu romance publicado em 1993 intitulado Green Grass, Running Water. Serão destacadas as estratégias performáticas empregadas na desconstrução de representações opressivas de nativo-americanos por discursos ocidentais que compõem um complexo campo de batalha onde vozes em conflito disputam por direitos discursivos nas relações de poder. Se por um lado temos a tradição epistemológica positivista/cartesiana que trabalha há cinco séculos no sentido de exercer controle sobre as representações simbólicas dos nativo-americanos, a fim de que poder executivo e discursivo possa ser exercido sobre eles, por outro lado temos que Thomas King proporciona ao leitor o acesso a uma estrutura cíclica, não hierarquizada da narrativa e do epistêmio nativo-americanos. Esta investigação irá apontar os momentos de conflito entre essas vozes e analisará uma potencial interpretação democrática, de terceira via para esses encontros aparentemente binários. Espera-se ser possível indicar que Green Grass, Running Water propicia um privilegiado campo simbólico para que conflitos culturais e epistemológicos possam ocorrer e ser resolvidos com alguma espécie de resolução positiva em relação ao aspecto frequentemente belicoso dos engajamentos nativos e ocidentais. Para tanto, investigaremos a tradição bíblica e judaico-cristã de hierarquização e como o processo de nomeação de indivíduos e categorias permite que ocorra uma relação de dominação. Discutiremos a estrutura organizacional das comunidades, baseando-nos nas proposições de Zygmunt Bauman, com o intuito de averiguar de que forma o texto literário lida com questões como o pertencimento a grupos que possuem critérios subjetivos de aceitação, permitindo-nos responder se tais critérios permitem uma opção de filiação ou se representam uma demanda coletiva opressiva sobre o indivíduo. Uma análise dos discursos científicos de verdade também será feita, contrastando-os com a construção mítica coletiva das narrativas nativo-americanas como construções alternativas de verdade. Finalmente, teremos um capítulo sobre o poder narrativo da fotografia (mídia presente no romance em diversos momentos), no qual os usos da câmera serão descritos e analisados em seus potenciais de malícia e de narração distorcida. / The aim of this paper is to investigate the power struggles underlying the literary text of Canadian/Cherokee author Thomas King in the novel Green Grass, Running Water, published in 1993. We will highlight the performative strategies employed in the deconstruction of oppressive representations of the Native American by Western discursive and mediatic voices. The novel offers an interweaved narrative of Native and Western cultural materials that, together, will compose a complex battlefield of contentious voices that, ultimately, weigh on the balance of power relations to claim discursive rights. On the one hand, we have the epistemological tradition of a Positivist/Cartesian logic that has been working for five centuries to hold sway over the symbolic representations of the Native Americans in order to exert executive and discursive power over them; on the other hand, Thomas King provides the reader a glimpse of the cyclical, non-hierarchized structure of Native narrative and episteme. This investigation will point out the moments of conflict between these two voices and attempt to elaborate on the potential democratic/third-way interpretation of these seemingly binary encounters. We hope to be able to indicate that Green Grass, Running Water provides a privileged symbolic battleground for cultural and epistemological clashes to occur and be settled with some sort of positive resolution to the long-lasting contentious nature of Native and Western engagements. In order to accomplish that, we will delve into the biblical and Judeo-Christian tradition of hierachization and how the process of naming of individuals and categories allows for domination to occur. We will elaborate on the structural organization of communities, based on the propositions of Zygmunt Bauman, in order to assess how the literary text handles issues such as belonging to groups that have subjective criteria for acceptance, aiming at answering whether these criteria allow for an option of membership or if they pose as oppressive collective demands over the individual. An analysis of the scientific discourses of truth will also be provided, contrasting them with the collective mythmaking of Native American narratives as alternative constructors of truths. Finally, we will have a chapter on the narrative power of photography (a medium present in the novel at various moments), in which the uses of the camera are described and analyzed in their guileful and (mis)narrating potentials.

O objetivo desta dissertação é o de investigar as disputas pelo poder subjacentes no texto literário do autor cherokee/canadense Thomas King, mais especificamente em seu romance publicado em 1993 intitulado Green Grass, Running Water. Serão destacadas as estratégias performáticas empregadas na desconstrução de representações opressivas de nativo-americanos por discursos ocidentais que compõem um complexo campo de batalha onde vozes em conflito disputam por direitos discursivos nas relações de poder. Se por um lado temos a tradição epistemológica positivista/cartesiana que trabalha há cinco séculos no sentido de exercer controle sobre as representações simbólicas dos nativo-americanos, a fim de que poder executivo e discursivo possa ser exercido sobre eles, por outro lado temos que Thomas King proporciona ao leitor o acesso a uma estrutura cíclica, não hierarquizada da narrativa e do epistêmio nativo-americanos. Esta investigação irá apontar os momentos de conflito entre essas vozes e analisará uma potencial interpretação democrática, de terceira via para esses encontros aparentemente binários. Espera-se ser possível indicar que Green Grass, Running Water propicia um privilegiado campo simbólico para que conflitos culturais e epistemológicos possam ocorrer e ser resolvidos com alguma espécie de resolução positiva em relação ao aspecto frequentemente belicoso dos engajamentos nativos e ocidentais. Para tanto, investigaremos a tradição bíblica e judaico-cristã de hierarquização e como o processo de nomeação de indivíduos e categorias permite que ocorra uma relação de dominação. Discutiremos a estrutura organizacional das comunidades, baseando-nos nas proposições de Zygmunt Bauman, com o intuito de averiguar de que forma o texto literário lida com questões como o pertencimento a grupos que possuem critérios subjetivos de aceitação, permitindo-nos responder se tais critérios permitem uma opção de filiação ou se representam uma demanda coletiva opressiva sobre o indivíduo. Uma análise dos discursos científicos de verdade também será feita, contrastando-os com a construção mítica coletiva das narrativas nativo-americanas como construções alternativas de verdade. Finalmente, teremos um capítulo sobre o poder narrativo da fotografia (mídia presente no romance em diversos momentos), no qual os usos da câmera serão descritos e analisados em seus potenciais de malícia e de narração distorcida. / The aim of this paper is to investigate the power struggles underlying the literary text of Canadian/Cherokee author Thomas King in the novel Green Grass, Running Water, published in 1993. We will highlight the performative strategies employed in the deconstruction of oppressive representations of the Native American by Western discursive and mediatic voices. The novel offers an interweaved narrative of Native and Western cultural materials that, together, will compose a complex battlefield of contentious voices that, ultimately, weigh on the balance of power relations to claim discursive rights. On the one hand, we have the epistemological tradition of a Positivist/Cartesian logic that has been working for five centuries to hold sway over the symbolic representations of the Native Americans in order to exert executive and discursive power over them; on the other hand, Thomas King provides the reader a glimpse of the cyclical, non-hierarchized structure of Native narrative and episteme. This investigation will point out the moments of conflict between these two voices and attempt to elaborate on the potential democratic/third-way interpretation of these seemingly binary encounters. We hope to be able to indicate that Green Grass, Running Water provides a privileged symbolic battleground for cultural and epistemological clashes to occur and be settled with some sort of positive resolution to the long-lasting contentious nature of Native and Western engagements. In order to accomplish that, we will delve into the biblical and Judeo-Christian tradition of hierachization and how the process of naming of individuals and categories allows for domination to occur. We will elaborate on the structural organization of communities, based on the propositions of Zygmunt Bauman, in order to assess how the literary text handles issues such as belonging to groups that have subjective criteria for acceptance, aiming at answering whether these criteria allow for an option of membership or if they pose as oppressive collective demands over the individual. An analysis of the scientific discourses of truth will also be provided, contrasting them with the collective mythmaking of Native American narratives as alternative constructors of truths. Finally, we will have a chapter on the narrative power of photography (a medium present in the novel at various moments), in which the uses of the camera are described and analyzed in their guileful and (mis)narrating potentials.

O objetivo desta dissertação é o de investigar as disputas pelo poder subjacentes no texto literário do autor cherokee/canadense Thomas King, mais especificamente em seu romance publicado em 1993 intitulado Green Grass, Running Water. Serão destacadas as estratégias performáticas empregadas na desconstrução de representações opressivas de nativo-americanos por discursos ocidentais que compõem um complexo campo de batalha onde vozes em conflito disputam por direitos discursivos nas relações de poder. Se por um lado temos a tradição epistemológica positivista/cartesiana que trabalha há cinco séculos no sentido de exercer controle sobre as representações simbólicas dos nativo-americanos, a fim de que poder executivo e discursivo possa ser exercido sobre eles, por outro lado temos que Thomas King proporciona ao leitor o acesso a uma estrutura cíclica, não hierarquizada da narrativa e do epistêmio nativo-americanos. Esta investigação irá apontar os momentos de conflito entre essas vozes e analisará uma potencial interpretação democrática, de terceira via para esses encontros aparentemente binários. Espera-se ser possível indicar que Green Grass, Running Water propicia um privilegiado campo simbólico para que conflitos culturais e epistemológicos possam ocorrer e ser resolvidos com alguma espécie de resolução positiva em relação ao aspecto frequentemente belicoso dos engajamentos nativos e ocidentais. Para tanto, investigaremos a tradição bíblica e judaico-cristã de hierarquização e como o processo de nomeação de indivíduos e categorias permite que ocorra uma relação de dominação. Discutiremos a estrutura organizacional das comunidades, baseando-nos nas proposições de Zygmunt Bauman, com o intuito de averiguar de que forma o texto literário lida com questões como o pertencimento a grupos que possuem critérios subjetivos de aceitação, permitindo-nos responder se tais critérios permitem uma opção de filiação ou se representam uma demanda coletiva opressiva sobre o indivíduo. Uma análise dos discursos científicos de verdade também será feita, contrastando-os com a construção mítica coletiva das narrativas nativo-americanas como construções alternativas de verdade. Finalmente, teremos um capítulo sobre o poder narrativo da fotografia (mídia presente no romance em diversos momentos), no qual os usos da câmera serão descritos e analisados em seus potenciais de malícia e de narração distorcida. / The aim of this paper is to investigate the power struggles underlying the literary text of Canadian/Cherokee author Thomas King in the novel Green Grass, Running Water, published in 1993. We will highlight the performative strategies employed in the deconstruction of oppressive representations of the Native American by Western discursive and mediatic voices. The novel offers an interweaved narrative of Native and Western cultural materials that, together, will compose a complex battlefield of contentious voices that, ultimately, weigh on the balance of power relations to claim discursive rights. On the one hand, we have the epistemological tradition of a Positivist/Cartesian logic that has been working for five centuries to hold sway over the symbolic representations of the Native Americans in order to exert executive and discursive power over them; on the other hand, Thomas King provides the reader a glimpse of the cyclical, non-hierarchized structure of Native narrative and episteme. This investigation will point out the moments of conflict between these two voices and attempt to elaborate on the potential democratic/third-way interpretation of these seemingly binary encounters. We hope to be able to indicate that Green Grass, Running Water provides a privileged symbolic battleground for cultural and epistemological clashes to occur and be settled with some sort of positive resolution to the long-lasting contentious nature of Native and Western engagements. In order to accomplish that, we will delve into the biblical and Judeo-Christian tradition of hierachization and how the process of naming of individuals and categories allows for domination to occur. We will elaborate on the structural organization of communities, based on the propositions of Zygmunt Bauman, in order to assess how the literary text handles issues such as belonging to groups that have subjective criteria for acceptance, aiming at answering whether these criteria allow for an option of membership or if they pose as oppressive collective demands over the individual. An analysis of the scientific discourses of truth will also be provided, contrasting them with the collective mythmaking of Native American narratives as alternative constructors of truths. Finally, we will have a chapter on the narrative power of photography (a medium present in the novel at various moments), in which the uses of the camera are described and analyzed in their guileful and (mis)narrating potentials.

Cette thèse a pour objectif de faire une lecture génétique de ce que consiste l’hostile hospitalité en Amérique et de ses prismes au cœur des littératures autochtones. J’y analyserai que l’histoire de l’hospitalité, dont la racine signifie à la fois hospes pour hôte et hostis pour ennemi, est une dialectique complexe lors du topos de la rencontre et témoigne d’une économie de l’échange qui au fil de ses transformations aura une incidence sur les tensions au sein de la littérature autochtone. J’étudierai comment dans cet échange fondé sur l’hospitalité le pôle étymologique de l’hostilité illustre que sous couvert d’hospitalité des lois sourdes d’équivalence, de compensation travaillèrent l’exclusion en des stratégies qui passeront par l’herméneutique, la mise en mythologie de ses cultures et d’insidieuses lois logocentriques religieuses. Différentes œuvres telles Ulysse et la Bible hébraïque poseront les fondements de ces traces au cœur des textes de la colonisation mexicaine et de la littérature autochtone nord-américaine afin d’illustrer l’empreinte patriarcale et hostile qui habite et transcende toujours les littératures actuelles. Les chapitres un à trois sont à entrevoir comme des fondements de cette trace transhistorique. Le premier chapitre esquissera une ligne de l’exclusion fondamentale entre le logos et le muthos depuis la Grèce archaïque, les circonvolutions du mythe de Thanksgiving et ses déviations historiques reverront les constructions hégémoniques de cette histoire de la survivance en Amérique. Le chapitre deux questionnera particulièrement l’économie de la transcendance au cœur de l’hospitalité, présence souvent habitée de diktats religieux et procédant d’une économie insidieuse d’exclusion. J’y montrerai à partir des scènes fondamentales de l’hospitalité dans l’Odyssée et la Bible hébraïque que ces histoires mettent en forme une hospitalité de plus en plus limitée devant prendre les traits du même et de l’équivalence au contraire de la tradition du potlatch dont l’économie est disruptive. Le chapitre trois se tournera essentiellement sur le corps des femmes dans les rites de l’hospitalité : de la Bible hébraïque à la figure de la Malinche, autochtone aztèque ayant été la traductrice de Cortes, les femmes furent des objets discriminés dans les rituels de l’hospitalité, des outils d’échanges et d’expropriation. Le dernier chapitre, éclairé des trois chapitres précédents, fera un bond dans le présent. À partir de textes de Leslie Marmon Silko, de Thomas King et des archives de la psychose du windigo, j’aborderai particulièrement la question de la langue et de l’exclusion épistémologique. Cette longue trace de l’hostilité au cœur de l’hospitalité dévoilera les sourdes lois régulant l’échange et montrera donc que si le texte et la lettre instituent cette première violence, ils ont aussi la possibilité de par leur dialectique, de proposer un dire de l’hospitalité et de renverser et se réapproprier une parole, le texte étant donc travaillé en miroir des mêmes paradoxes que le phénomène de l’hospitalité. / The objective of this thesis is to undertake a genetic reading of what hostile hospitality in America consists of and its prisms at the heart of indigenous literature. I will analyze that the history of hospitality, whose root means both hospes as host and hostis as enemy, is a complex dialectic at work in the topos of the encounter and testifies to an economy of exchange that, as it changes, will affect the tensions at the heart of indigenous literature. I will study how in this exchange based on hospitality, the etymological basis of hostility illustrates that under its guise, muted laws of equivalence and compensation elaborated exclusion into strategies that will run through hermeneutics, the mythology of its cultures and insidious religious logocentric laws. Various works such as The Odyssey and the Hebrew Bible laid the foundations for these traces in the texts of Mexican colonization and North American indigenous literature, patriarchal and hostile traces trace that still inhabits and transcends current literature. Chapters one to three are to be seen as the foundations of this transhistorical trace. The first chapter will outline a line of fundamental exclusion between the logos and the muthos from archaic Greece, the convolutions of the myth of Thanksgiving, and its historical deviations will consider the hegemonic constructions of this history of survival in America. Chapter two will focus on the economy of transcendence at the heart of hospitality, a presence often inhabited by religious diktats and stemming from an insidious economy of exclusion. I will show from the fundamental scenes of hospitality in The Odyssey and the Hebrew Bible that these stories shape an increasingly limited hospitality that must take on the same and equivalent features and differs from the potlatch tradition whose economy is disruptive. Chapter three will focus mainly on the bodies of women in the rites of hospitality: from the Hebrew Bible to the figure of La Malinche, an Aztec native who was the translator of Cortes, women were discriminated against in the rituals of hospitality, tools of exchange and expropriation. The last chapter, illuminated by the three previous chapters, will jump into the present. Based on texts by Leslie Marmon Silko, Thomas King, and the archives of the windigo psychosis, I will focus on the question of language and epistemological exclusion. These extensive traces of hostility at the heart of hospitality will show the muted laws regulating the exchange and will therefore show that even if the text and the letter institute this first violence, they also have the possibility, through their dialectics, to propose a way of saving hospitality by subverting the hostile part of its dialectic, the text being therefore elaborated as a reflection of the same paradoxes as the phenomenon of hospitality.

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