Cette thèse explore la relation entre les littératures autochtones et multiculturelles du Canada. Même si les critiques littéraires examinent les littératures dites mineures de plus en plus, ces dernières sont rarement étudiées sans la présence médiatrice de la littérature canadienne considérée comme étant dominante. Afin de produire une telle analyse, cette thèse mobilise le concept d’hybridité en tant que catégorie d’analyse de texte qui, en plus de son histoire raciale et coloniale, décrit convenablement les formes d’expérimentations stylistiques que les écrivains autochtones et multiculturels emploient afin de représenter et questionner leur marginalisation. Ne voulant pas reproduire les interprétations fétichistes qui réduisent les littératures autochtones et multiculturelles à leurs représentations de concepts d’altérité, j’examine ces textes dans leurs relations avec différents discours et débats ayant marqué les études littéraires canadiennes, notamment, le long poème canadien, l’écriture des prairies canadiennes, la littérature urbaine, le multiculturalisme, et les premières nations. Ma méthode d’analyse repose sur la façon dont chaque texte étudié alimente ces catégories d’analyse littéraire tout en les modifiant radicalement. De plus, je développe un cadre conceptuel et théorique permettant l’étude de la relation entre les textes autochtones et multiculturels sans toutefois confondre ou réduire les contextes d’où proviennent ces littératures. Ma thèse et ma méthode d’analyse se concrétise par l’interprétation des textes écrits par Armand Garnet Ruffo, Suzette Mayr, Rawi Hage, et Jeannette Armstrong. Le chapitre d’introduction détaille la façon dont la relation entre les textes autochtones et multiculturels a été appréhendée jusqu’à présent. J’y élabore mon cadre théorique qui joint et réinterprète de manière critique diverses théories, dont celle du postcolonialisme, de l’hybridité, et de la mondialisation, et la façon dont ces théories se rapportent aux études littéraires canadiennes. Dans mon deuxième chapitre, j’analyse le long poème d’Armand Garnet Ruffo, Grey Owl: The Mystery of Archie Belaney, en m’attardant particulièrement aux stratégies d’expérimentations stylistiques et génériques que Ruffo développe afin de rendre le genre du long poème canadien autochtone et de questionner l’identité de Grey Owl. Mon troisième chapitre examine Venous Hum, un roman de Suzette Mayr. Ce texte remet en question la tradition de « prairie writing », le multiculturalisme canadien, et le conservatisme albertain à travers son style expérimental, son usage des métaphores et du réalisme magique. Mon quatrième chapitre interprète le roman montréalais Cockroach, de Rawi Hage, en examinant la façon dont ses unités locales, nationales, et globales rencontrent le colonialisme et contestent les discours nationaux une fois que sa critique de la mondialisation se trouve réarticulée dans une approbation des discours d’interventions humanitaires de l’occident. Mon dernier chapitre explore le roman de Jeannette Armstrong, Whispering in Shadows, afin de démontrer les limites de ma méthode d’analyse. Puisque l’hybridité sous-entend inévitablement la notion d’assimilation, son application dans le contexte de l’œuvre d’Armstrong s’avèrerait réductrice. Pour cette raison, ce chapitre utilise des concepts autochtones définis par Armstrong afin de développer une méthode de lecture non-hégémonique. Ma thèse examine donc la façon dont chaque texte déploie le concept d’hybridité pour à la fois contester et enrichir les discours critiques qui tentent de contenir ces textes. Elle contribue aux études postcoloniales de la littérature canadienne en élargissant leur champ habituel pour inclure les complexités des théories de la mondialisation, et en examinant quelles stratégies littéraires les textes autochtones et multiculturels partagent, mais mobilisent à des fins différentes. / This dissertation explores the relationship between indigenous and multicultural writing in Canada. While critics have paid increasing attention to minoritized literatures, indigenous and multicultural literary strategies are seldom examined together without the mediating presence of settler or dominant Canadian literatures. In order to perform such an analysis, this dissertation deploys the concept of hybridity as a category of literary analysis that comes from a history of colonial violence, but which adequately describes the forms of stylistic experimentation which indigenous and multicultural writers use to dramatize and subvert their marginalization. In order to avoid fetishizing indigenous and multicultural texts as markers of reified “otherness,” I examine them in relation to specific discourses and debates in Canadian literary studies, such as the Canadian long poem, prairie writing, city writing, multiculturalism, and indigeneity. Methodologically, my dissertation examines how each text under discussion contributes, yet radically reconfigures and particularizes, each of these literary categories. In addition, I develop a conceptual framework through which the relationship between multicultural and indigenous texts can be approached without rehearsing the conflations that have marked Canadian literary criticism. To this end, I provide close-readings of texts by Armand Garnet Ruffo, Suzette Mayr, Rawi Hage, and Jeannette Armstrong. My introductory chapter details the manner in which the relationship between indigenous and multicultural writing has been approached in Canadian literary studies so far, and elaborates my conceptual framework through critical re-interpretations of postcolonial, globalization, and hybridity theory as they relate to the field of Canadian literary studies. In my second chapter, I analyze Armand Garnet Ruffo’s long poem Grey Owl: The Mystery of Archie Belaney. I focus on the generic and stylistic strategies Ruffo develops in order to indigenize the genre of the Canadian long poem and question Grey Owl’s identity. My third chapter examines Suzette Mayr’s Venous Hum as a text which challenges prairie writing, Canadian multiculturalism, and Albertan conservatism through stylistic experimentation, metaphor usage, and use of magic realism. In my fourth chapter, I interpret Hage’s Montreal novel Cockroach as a text whose local, national, and global scales intersect with colonialism and contest national narratives as the novel ultimately replicates Western humanitarian intervention. My final chapter explores Jeannette Armstrong’s Whispering in Shadows in order to illustrate the conceptual limits of this dissertation. Since hybridity always assumes (partial) assimilation, its application in the context of Armstrong’s work would bear coercive results. For that reason, this chapter draws on Armstrong’s definition of indigenous concepts in order to develop a non-hegemonic method of analysis. My dissertation then examines the manner in which each text mobilizes hybridity in order to challenge and supplement the critical discourses that seek to contain them. It contributes to postcolonial Canadian literary studies by opening up the field to the complexities which competing definitions of the global generate, and by examining what literary strategies indigenous and multicultural texts share, yet deploy to different ends.

Made available in DSpace on 2016-04-27T17:27:11Z (GMT). No. of bitstreams: 1 Mariana Battistini Dalmolin.pdf: 713395 bytes, checksum: 70d562c24a86d270ac99faa7f6717490 (MD5) Previous issue date: 2015-05-11 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This work is a study on the theory of laws of nature proposed by the Australian philosopher D. M. Armstrong in his work What is a Law of Nature?, published in 1983. In that text, Armstrong shows the insufficiency of the regularty theory and, then, proceeds to develop his own theory, which is able to answer to several of the regularity theory's outstanding issues. In the first chapter of this work, we present (1.1) the naive regularity theory, as well as the critiques that it received from Armstrong and other authors. Afterwards (1.2), we present three suggestions to sophisticate that theory, which are not successful to address the difficulties found in its naive version. Therefore, the regularity theory is refuted, and a new theory of laws is needed. In the second chapter, we present, firstly (2.1), an assumption of Armstrong's theory of laws his realism about universals , and we see how it can be applied to a theory of laws. Afterwards (2.2), we present Armstrong's fundamental thesis: a law is a relation between universals and simultaneously an universal in itself, which regulates the behavior of particulars and generates uniformities in nature in virtue of the instaniation relation. We also show (2.3) how such theory makes it possible to deal with the difficulties faced by the regularity theory. In the third chapter, we evaluate the role of the concept of necessity in Armstrong's theory. Firstly (3.1), we deepen our understanding of the necessitation relation N, and, afterwards (3.2), we show that Armstrong rejects the thesis according to which laws are metaphisically necessary and advocates for their contingency. Therefore, the understanding of his theory is centered in the distinction between the nomic necessity asserted in his conception of laws, on one hand, and the metaphysic necessity of laws, which Armstrong denies, on the other / Este trabalho é um estudo sobre a teoria de leis da natureza proposta pelo filósofo australiano D. M. Armstrong em sua obra What is a Law of Nature?, publicada em 1983. Neste texto, Armstrong mostra a insuficiência da teoria regularista de leis e procede, então, a desenvolver sua própria teoria, que se mostra capaz de resolver diversos problemas que a teoria regularista deixava em aberto. No primeiro capítulo deste trabalho, apresentamos (1.1) a teoria regularista ingênua, bem como as críticas que ela recebeu de Armstrong e de outros autores. Em seguida (1.2), mostramos que três propostas de sofisticação da teoria não são bem-sucedidas para resolver as dificuldades encontradas na versão ingênua. A teoria regularista fica, assim, refutada, e uma nova teoria sobre leis é necessária. No segundo capítulo, apresentamos, primeiramente (2.1), um pressuposto à teoria de leis de Armstrong seu realismo sobre universais , e vemos como este pode ser aplicado a uma teoria de leis. A seguir (2.2), apresentamos a tese fundamental de Armstrong: uma lei é uma relação entre universais e, simultaneamente, um universal em si mesma que, devido à relação de instanciação, regula o comportamento de particulares e gera uniformidades na natureza. Mostramos, também, (2.3) como tal teoria permite dar conta das dificuldades enfrentadas pela teoria regularista. No terceiro capítulo, avaliamos o papel do conceito de necessidade na teoria de Armstrong. Em primeiro lugar (3.1), aprofundamos nosso entendimento da relação de necessitação N, que tem um papel central na teoria apresentada, e, a seguir (3.2), mostramos que Armstrong rejeita a tese de que leis são metafisicamente necessárias, defendendo sua contingência. O entendimento de sua teoria está centrado, portanto, na distinção entre a necessidade nômica afirmada em sua concepção de leis, por um lado, e a necessidade metafísica das leis, que Armstrong rejeita

Kenneth Burke's pentadic analysis has been a staple within the context of rhetorical criticism since the early days of critical communication studies. Throughout the years it has evolved from a heavy text criticism to application to film and documentary. The Armstrong Lie is another documentary that highlights the controversial actions of former seven-time Tour de France champion, Lance Armstrong. This film provides an opportunity in which the pentadic analysis can be applied in order to really dissect the message that is being told. Through application of the pentadic analysis to The Armstrong Lie it is possible to identify the true motivation of the documentary's director, Alex Gibney. The present study seeks to identify the true message being told through the narrative of the documentary. Alex Gibney's motivations come under question as to whether or not he was exonerating himself by lessening the controversy of what Lance Armstrong had done by cheating in a highly competitive sport by characterizing him more as a product of his environment.

Titel: När hjältar faller - En jämförande studie av Aftonbladets och Expressens skildring av idrottshjältarna Ludmila Engquist, Tiger Woods, Lance Armstrong och Oscar Pistorius. Författare: Marianne Andersson Publikationstyp: Uppsats Nivå: C Poäng: 15 hp Huvudområde: Medie- och kommunikationsvetenskap Kursnamn: MKV 61-90 hp Programnamn: Informatörsprogrammet Antal sidor: 39 Handledare: Mats Hyvönen Ämne: Hur Aftonbladet och Expressen berättar om idrottshjältar som faller karriärmässigt. Frågeställning: Hur berättar de svenska kvällstidningarna Aftonbladet och Expressen för sina läsare när/att en idrottshjälte faller karriärmässigt? Teoretiska perspektiv: Tidningsartiklarna har analyserats från Michael Foucaults teorier med utgångspunkt från hans bok ”Diskursens ordning” samt utifrån begreppen representation och identifikation i medier. Tillvägagångssätt: Utifrån en dokumentanalys har de publicerade artiklarna studerats för att ta reda på hur tidningarna valt att berätta om de olika fallen. Med hjälp av en kvalitativ analysmetod studeras om medierna använder sig av någon slags dramaturgi när de skildrar händelserna samt om det finns ett mönster med vilka som får komma till tals. Slutsats: Analysen visar att sättet som tidningarna rapporterar på om de fyra händelserna följer en bestämd dramaturgisk och kronologisk ordning. I samtliga fall kommer samma typer av människor till tals och de bilder som publicerar skildrar liknade motiv oavsett idrott eller fall.

According to natural class trope nominalism, properties are natural classes of tropes, where the "naturalness" of natural classes is taken to be primitive and unanalyzable. In this thesis I defend natural class trope nominalism from two objections: i) that the naturalness of natural classes is analyzable, and ii) that natural class trope nominalism cannot account for certain modal facts (namely, that there could have been more or fewer tropes of any given type), an objection raised by Nicolas Wolterstorff. I defend natural class trope nominalism from (i) indirectly by presenting several putative analyses (namely, those of D. M. Armstrong, Keith Campbell, and Gonzalo Rodriguez-Pereya) of natural classes and arguing that they are all deficient, thereby undermining the claim that natural classes are analyzable. Douglas Ehring has recently defended natural class trope nominalism from (ii) by developing a counterpart theory for types of tropes. However, counterpart theory is not universally accepted. So I present three non-counterpart-theoretic alternatives. The natural class trope nominalist can meet Wolterstorff's objection a) by positing existent, but uninstantiated, tropes, b) by accepting modal realism, and c) by accepting a thesis called 'transworld property exemplification'. / October 2005

In this thesis, I examine the use of Twitter by NHL athletes to determine how and in what ways professional hockey players’ personal and professional identities are shaped by their use of this medium. I explore the current cultural moment surrounding the lives of NHL athletes, focusing on the increasingly blurred line between their private and professional identities. By grounding my analysis of their Twitter use in a new labour context that is academically situated betwixt the literatures on media studies, celebrity culture and identity presentation, I show that participation in this medium allows both athletes and fans to actively reshape their own and each others’ identities, constructing a new set of standards for professional hockey players that takes into consideration the heightened demand for access to the behind-the-scenes of their lives. The ability of professional hockey players to interact with fans and media on Twitter is also creating new types relationships and producing new discourses for the typical hockey player identity, and the labour this career involves. Finally, through interviews with NHL players, I draw out their motives for using Twitter, their understanding of the impact of their interaction with fans on the perceptions those fans have of their professional identity, and their desire for work-life balance as their professional and personal identities seemingly merge on Twitter in a postmodern labour context fuelled by heightened celebrity culture. / Thesis (Master, Kinesiology & Health Studies) -- Queen's University, 2014-04-27 14:50:32.902

According to natural class trope nominalism, properties are natural classes of tropes, where the "naturalness" of natural classes is taken to be primitive and unanalyzable. In this thesis I defend natural class trope nominalism from two objections: i) that the naturalness of natural classes is analyzable, and ii) that natural class trope nominalism cannot account for certain modal facts (namely, that there could have been more or fewer tropes of any given type), an objection raised by Nicolas Wolterstorff. I defend natural class trope nominalism from (i) indirectly by presenting several putative analyses (namely, those of D. M. Armstrong, Keith Campbell, and Gonzalo Rodriguez-Pereya) of natural classes and arguing that they are all deficient, thereby undermining the claim that natural classes are analyzable. Douglas Ehring has recently defended natural class trope nominalism from (ii) by developing a counterpart theory for types of tropes. However, counterpart theory is not universally accepted. So I present three non-counterpart-theoretic alternatives. The natural class trope nominalist can meet Wolterstorff's objection a) by positing existent, but uninstantiated, tropes, b) by accepting modal realism, and c) by accepting a thesis called 'transworld property exemplification'.

Cette thèse explore la relation entre les littératures autochtones et multiculturelles du Canada. Même si les critiques littéraires examinent les littératures dites mineures de plus en plus, ces dernières sont rarement étudiées sans la présence médiatrice de la littérature canadienne considérée comme étant dominante. Afin de produire une telle analyse, cette thèse mobilise le concept d’hybridité en tant que catégorie d’analyse de texte qui, en plus de son histoire raciale et coloniale, décrit convenablement les formes d’expérimentations stylistiques que les écrivains autochtones et multiculturels emploient afin de représenter et questionner leur marginalisation. Ne voulant pas reproduire les interprétations fétichistes qui réduisent les littératures autochtones et multiculturelles à leurs représentations de concepts d’altérité, j’examine ces textes dans leurs relations avec différents discours et débats ayant marqué les études littéraires canadiennes, notamment, le long poème canadien, l’écriture des prairies canadiennes, la littérature urbaine, le multiculturalisme, et les premières nations. Ma méthode d’analyse repose sur la façon dont chaque texte étudié alimente ces catégories d’analyse littéraire tout en les modifiant radicalement. De plus, je développe un cadre conceptuel et théorique permettant l’étude de la relation entre les textes autochtones et multiculturels sans toutefois confondre ou réduire les contextes d’où proviennent ces littératures. Ma thèse et ma méthode d’analyse se concrétise par l’interprétation des textes écrits par Armand Garnet Ruffo, Suzette Mayr, Rawi Hage, et Jeannette Armstrong. Le chapitre d’introduction détaille la façon dont la relation entre les textes autochtones et multiculturels a été appréhendée jusqu’à présent. J’y élabore mon cadre théorique qui joint et réinterprète de manière critique diverses théories, dont celle du postcolonialisme, de l’hybridité, et de la mondialisation, et la façon dont ces théories se rapportent aux études littéraires canadiennes. Dans mon deuxième chapitre, j’analyse le long poème d’Armand Garnet Ruffo, Grey Owl: The Mystery of Archie Belaney, en m’attardant particulièrement aux stratégies d’expérimentations stylistiques et génériques que Ruffo développe afin de rendre le genre du long poème canadien autochtone et de questionner l’identité de Grey Owl. Mon troisième chapitre examine Venous Hum, un roman de Suzette Mayr. Ce texte remet en question la tradition de « prairie writing », le multiculturalisme canadien, et le conservatisme albertain à travers son style expérimental, son usage des métaphores et du réalisme magique. Mon quatrième chapitre interprète le roman montréalais Cockroach, de Rawi Hage, en examinant la façon dont ses unités locales, nationales, et globales rencontrent le colonialisme et contestent les discours nationaux une fois que sa critique de la mondialisation se trouve réarticulée dans une approbation des discours d’interventions humanitaires de l’occident. Mon dernier chapitre explore le roman de Jeannette Armstrong, Whispering in Shadows, afin de démontrer les limites de ma méthode d’analyse. Puisque l’hybridité sous-entend inévitablement la notion d’assimilation, son application dans le contexte de l’œuvre d’Armstrong s’avèrerait réductrice. Pour cette raison, ce chapitre utilise des concepts autochtones définis par Armstrong afin de développer une méthode de lecture non-hégémonique. Ma thèse examine donc la façon dont chaque texte déploie le concept d’hybridité pour à la fois contester et enrichir les discours critiques qui tentent de contenir ces textes. Elle contribue aux études postcoloniales de la littérature canadienne en élargissant leur champ habituel pour inclure les complexités des théories de la mondialisation, et en examinant quelles stratégies littéraires les textes autochtones et multiculturels partagent, mais mobilisent à des fins différentes. / This dissertation explores the relationship between indigenous and multicultural writing in Canada. While critics have paid increasing attention to minoritized literatures, indigenous and multicultural literary strategies are seldom examined together without the mediating presence of settler or dominant Canadian literatures. In order to perform such an analysis, this dissertation deploys the concept of hybridity as a category of literary analysis that comes from a history of colonial violence, but which adequately describes the forms of stylistic experimentation which indigenous and multicultural writers use to dramatize and subvert their marginalization. In order to avoid fetishizing indigenous and multicultural texts as markers of reified “otherness,” I examine them in relation to specific discourses and debates in Canadian literary studies, such as the Canadian long poem, prairie writing, city writing, multiculturalism, and indigeneity. Methodologically, my dissertation examines how each text under discussion contributes, yet radically reconfigures and particularizes, each of these literary categories. In addition, I develop a conceptual framework through which the relationship between multicultural and indigenous texts can be approached without rehearsing the conflations that have marked Canadian literary criticism. To this end, I provide close-readings of texts by Armand Garnet Ruffo, Suzette Mayr, Rawi Hage, and Jeannette Armstrong. My introductory chapter details the manner in which the relationship between indigenous and multicultural writing has been approached in Canadian literary studies so far, and elaborates my conceptual framework through critical re-interpretations of postcolonial, globalization, and hybridity theory as they relate to the field of Canadian literary studies. In my second chapter, I analyze Armand Garnet Ruffo’s long poem Grey Owl: The Mystery of Archie Belaney. I focus on the generic and stylistic strategies Ruffo develops in order to indigenize the genre of the Canadian long poem and question Grey Owl’s identity. My third chapter examines Suzette Mayr’s Venous Hum as a text which challenges prairie writing, Canadian multiculturalism, and Albertan conservatism through stylistic experimentation, metaphor usage, and use of magic realism. In my fourth chapter, I interpret Hage’s Montreal novel Cockroach as a text whose local, national, and global scales intersect with colonialism and contest national narratives as the novel ultimately replicates Western humanitarian intervention. My final chapter explores Jeannette Armstrong’s Whispering in Shadows in order to illustrate the conceptual limits of this dissertation. Since hybridity always assumes (partial) assimilation, its application in the context of Armstrong’s work would bear coercive results. For that reason, this chapter draws on Armstrong’s definition of indigenous concepts in order to develop a non-hegemonic method of analysis. My dissertation then examines the manner in which each text mobilizes hybridity in order to challenge and supplement the critical discourses that seek to contain them. It contributes to postcolonial Canadian literary studies by opening up the field to the complexities which competing definitions of the global generate, and by examining what literary strategies indigenous and multicultural texts share, yet deploy to different ends.

According to natural class trope nominalism, properties are natural classes of tropes, where the "naturalness" of natural classes is taken to be primitive and unanalyzable. In this thesis I defend natural class trope nominalism from two objections: i) that the naturalness of natural classes is analyzable, and ii) that natural class trope nominalism cannot account for certain modal facts (namely, that there could have been more or fewer tropes of any given type), an objection raised by Nicolas Wolterstorff. I defend natural class trope nominalism from (i) indirectly by presenting several putative analyses (namely, those of D. M. Armstrong, Keith Campbell, and Gonzalo Rodriguez-Pereya) of natural classes and arguing that they are all deficient, thereby undermining the claim that natural classes are analyzable. Douglas Ehring has recently defended natural class trope nominalism from (ii) by developing a counterpart theory for types of tropes. However, counterpart theory is not universally accepted. So I present three non-counterpart-theoretic alternatives. The natural class trope nominalist can meet Wolterstorff's objection a) by positing existent, but uninstantiated, tropes, b) by accepting modal realism, and c) by accepting a thesis called 'transworld property exemplification'.

Thesis (M.A.)--University of North Carolina Wilmington, 2009. / Title from PDF title page (January 14, 2010) Includes bibliographical references (p. 103-109)