Colonization, which has resulted in the direct contact between the black man and the white man, leaves behind it an eternity of realities, of questioning and even an identity crisis. It was imposed on Africans by means of force, leaving no room for the concept of balance, equality or even of brotherhood. Instead you are faced with the concept of dominance between oppressors and oppressed. During colonization the white man had managed to impose its superiority to the black man by creating an absolute hierarchy: the white man is the all-powerful, the civilized, the absolute master of all, it is superior to all indigenous black; the black man, in the opposite, is found stripped of its roots, its customs, its history, in short it is found lower than the white man. In this work it was question to analyze the process of the demystification of the white man by the black man through Ferdinand Oyono’s Houseboy. We should then, through a study of this novel and other materials, show how this demystification is highlighted. By analyzing this novel and Toundi building his life the kingdom of the West, which will enable him to see more clearly in the behavior of its masters and demystify as well their universalist claims that their claims to the humanism ; we understand then the process and the circumstances which have enabled this demystification. The white man is debunked. Its superiority and its all-powerful are rendered to zero by the degradation of morals characterizing its way of life.

This thesis investigates how hegemonic white masculinity adopts a new mode of material accumulation by entering into an ambivalent existence as a historical agent and metahistory at the same time and continues to function as a performative identity that offers a point of identification for the working class white man suggesting that bourgeois identity is obtainable through the performance of bourgeois ethics. The thesis postulates that the phenomenal transitions brought on by industrialization and deindustrialization of 50's through 90's coincide with the representational changes of white masculinity from paradigmatic cowboy incarnations to the postmodern action heroes, specifically as embodied by Bruce Willis. The thesis also examines how postmodern heroes' "intero-alterity" is further problematized by antiheroes in Tim Burton's films.

L’objectif de ce travail est de faire une anthropologie de la violence au sein de couple marital composé d’une femme Noire et d’un homme Blanc. Malgré, les nombreuses lois votées ce fléau perdure et les réponses apportées à ces situations de couple varient selon les représentations que l’on se fait de ces femmes. Partant du constat que la couleur de peau détermine les réponses des institutions françaises, cette recherche s’appuie sur les récits de trois femmes Noires décrivant leur vie conjugale auprès d’hommes Blancs. Des vécus jalonnaient de violence qu’elles tentaient de dénoncer. Elles se sont heurtées à des institutions policières qui n’ont pas voulu les écouter. / The objective of this work is to an anthropology of violence within marital couples consists of a black woman and a white man. Despite the many laws passed this scourge continues the responses to these situations torque vary representations that we have of these women. Based on the observation that skin color determines the responses of French institutions, this research is based on narratives of three black women describing their married life with men whites. Of experienced marked out of a violence she tried to terminate. They clashes with police agencies that did not want to listen.

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