Por meio de uma investigação que incide sobre as práticas críticas, o trabalho apresenta uma elaboração sobre o potencial político da desconstrução para uma leitura de textos literários comprometida com reivindicações identitárias feitas às margens dos discursos hegemônicos. O gesto desconstrutivo, como proposto pelo pensador franco-argelino Jacques Derrida, desafia a estabilidade de categorias que fundamentam estes discursos, tais como “essência”, “natureza”, “origem” e outros nomes metafísicos que envolvem a idéia de identidade a si, demonstrando, desta forma, que toda estrutura é atravessada por uma falta constitutiva. Sugerindo uma noção de identidade enquanto diferença, o trabalho examina estratégias gerais da desconstrução e propõe uma análise de suas apropriações nos esforços teórico-críticos dos autores indianos Gayatri Spivak e Homi Bhabha no que diz respeito à leitura de produções textuais que articulam questões de gênero e diferença sexual e de nação e diferença cultural respectivamente. / By way of investigating critical practices, this work deploys an elaboration on the political potential of deconstruction aimed at a reading of literary texts committed to identity claims from the margins of hegemonic discourses. The deconstructive gesture, as proposed by French-Algerian thinker Jacques Derrida, challenges the stability of categories that ground these discourses, such as “essence”, “nature”, “origin”, and other metaphysical names which involve the idea of identity to itself, demonstrating, thus, that every structure is crossed by a constitutive lack. In suggesting a notion of identity as difference, this work examines general strategies of deconstruction and proposes an analysis of its appropriations by the theoreticcritical efforts of Indian authors Gayatri Spivak and Homi Bhabha in the reading of textual productions that articulate questions of gender and sexual difference, and of nation and cultural difference respectively.

Por meio de uma investigação que incide sobre as práticas críticas, o trabalho apresenta uma elaboração sobre o potencial político da desconstrução para uma leitura de textos literários comprometida com reivindicações identitárias feitas às margens dos discursos hegemônicos. O gesto desconstrutivo, como proposto pelo pensador franco-argelino Jacques Derrida, desafia a estabilidade de categorias que fundamentam estes discursos, tais como “essência”, “natureza”, “origem” e outros nomes metafísicos que envolvem a idéia de identidade a si, demonstrando, desta forma, que toda estrutura é atravessada por uma falta constitutiva. Sugerindo uma noção de identidade enquanto diferença, o trabalho examina estratégias gerais da desconstrução e propõe uma análise de suas apropriações nos esforços teórico-críticos dos autores indianos Gayatri Spivak e Homi Bhabha no que diz respeito à leitura de produções textuais que articulam questões de gênero e diferença sexual e de nação e diferença cultural respectivamente. / By way of investigating critical practices, this work deploys an elaboration on the political potential of deconstruction aimed at a reading of literary texts committed to identity claims from the margins of hegemonic discourses. The deconstructive gesture, as proposed by French-Algerian thinker Jacques Derrida, challenges the stability of categories that ground these discourses, such as “essence”, “nature”, “origin”, and other metaphysical names which involve the idea of identity to itself, demonstrating, thus, that every structure is crossed by a constitutive lack. In suggesting a notion of identity as difference, this work examines general strategies of deconstruction and proposes an analysis of its appropriations by the theoreticcritical efforts of Indian authors Gayatri Spivak and Homi Bhabha in the reading of textual productions that articulate questions of gender and sexual difference, and of nation and cultural difference respectively.

Por meio de uma investigação que incide sobre as práticas críticas, o trabalho apresenta uma elaboração sobre o potencial político da desconstrução para uma leitura de textos literários comprometida com reivindicações identitárias feitas às margens dos discursos hegemônicos. O gesto desconstrutivo, como proposto pelo pensador franco-argelino Jacques Derrida, desafia a estabilidade de categorias que fundamentam estes discursos, tais como “essência”, “natureza”, “origem” e outros nomes metafísicos que envolvem a idéia de identidade a si, demonstrando, desta forma, que toda estrutura é atravessada por uma falta constitutiva. Sugerindo uma noção de identidade enquanto diferença, o trabalho examina estratégias gerais da desconstrução e propõe uma análise de suas apropriações nos esforços teórico-críticos dos autores indianos Gayatri Spivak e Homi Bhabha no que diz respeito à leitura de produções textuais que articulam questões de gênero e diferença sexual e de nação e diferença cultural respectivamente. / By way of investigating critical practices, this work deploys an elaboration on the political potential of deconstruction aimed at a reading of literary texts committed to identity claims from the margins of hegemonic discourses. The deconstructive gesture, as proposed by French-Algerian thinker Jacques Derrida, challenges the stability of categories that ground these discourses, such as “essence”, “nature”, “origin”, and other metaphysical names which involve the idea of identity to itself, demonstrating, thus, that every structure is crossed by a constitutive lack. In suggesting a notion of identity as difference, this work examines general strategies of deconstruction and proposes an analysis of its appropriations by the theoreticcritical efforts of Indian authors Gayatri Spivak and Homi Bhabha in the reading of textual productions that articulate questions of gender and sexual difference, and of nation and cultural difference respectively.

This qualitative study of a migrant self-organisation in Bologna, Italy analyses the power relations between immigrants and supporters within the field of voluntary work in the migration sector. Based on eight semi-structured interviews it explores the perception of power relations of the members of the intercultural association Spazio per tutti. The material was analysed with the help of thematic analysis and a postcolonial and intersectional perspective. In the first part of the discussion, it is demonstrated, along the theory of “strange encounters” of Sara Ahmed (2000), how dominant norms, such as the invisible norm of whiteness, are still present in the association and immigrants are confronted with the paradigm of integration. The second part of the analysis shows instead, with the help of Homi Bhabha’s theory of the third space (1994), how the association creates a space where fixed identities and roles can be challenged and negotiated. By taking the intersectional approach into account, it gets further clear that the internal power relations are more complex for being grasped along binary categories (e.g. immigrants and non-immigrants), as they for example do not reflect the special subject position of Black women. In a nutshell, the present case study demonstrates the need to draw the attention to the political dimension of social work with immigrants and to create more awareness for intersectional justice, also within organisations that already follow an empowerment approach.

Through a close reading of Tsitsi Dangarembga’s Nervous Conditions, this essay shows the key links between the novel and Frantz Fanon’s major works. In addition to providing a deeper understanding of Dangarembga’s narrative as a whole, it takes into particular consideration the em­bedded criticism of colonialism in the text. The psychological conditions implied by the title play a central role: the essay shows how these conditions relate to the colonial situation and how refusing to consent to subjugation can be understood as radical criticism of colonial, Christian, as well as patriarchal superstructures as well as forming clear opposition to the colonial institution. The analysis is primarily based on Fanon and his comprehension of other theorists. It also draws on the ideas of Homi K. Bhabha, which will provide an additional level of understanding regarding questions about colonial identities in general, and Dangarembga’s characters Tambu, Nyasha, and Babamukuru in particular.

The purpose of this master’s thesis is to examine the relationship between mothers and sons in Mustafa Can’s Tätt intill dagarna: Berättelsen om min mor (Close to the days: The story of my mother) from 2006, Theodor Kallifatides’ Mödrar och söner (Mothers and sons) from 2007 and Ocean Vuong’s On Earth We’re Briefly Gorgeous from 2019. These novels examine themes of migration and motherhood through the perspective of the sons, who all write semi-autobiographically about their mothers.   This thesis uses a broad theoretical framework, with postcolonial theories of hybridity and double consciousness alongside motherhood studies as the primary sources. Works by Frantz Fanon, Homi K. Bhabha, Sara Ahmed, and Marianne Hirsch, are, alongside others, used in purpose of creating a nuanced understanding of the relationships between mother, son and place, as these relations are portrayed in the novels.   The analysis is divided into three chapters, where the novels are represented by one chapter each. The final part of the thesis is a comparative discussion, in which the novels are read alongside each other, in order to draw conclusions on the ways in which these authors represent the relations between mother and place, and how this affects the sons’ feelings of identity. In summary, this thesis shows that the mothers play an important role in their sons’ subject formations, and that the sons’ relationships with their home countries are affected by, or correlated to, their relationships with their mothers. This is done using imagery of nature, portrayals of language barriers, and other descriptions of fragmented identities.

No description available.

This thesis, situated in the context of francophone and maghrebian postcolonial studies, examines the impact of identity discourses on the protagonists’ subjectivity in Assia Djebar’s La Femme sans sépulture (2002) and La Disparition de la langue française (2003) and Nina Bouraoui’s Garçon manqué (2000) and Mes mauvaises pensées (2005). These novels draw a parallel between two historically connected spaces, France and Algeria, and periods,  the years of the Algerian war of independence and the rise of Islamists in 1990s  Algeria. The movement between the two spaces and periods constitutes in a literal and figurative sense a third space that contributes to the protagonist’s hybridisation. Hybridity is analysed as a narrative and discursive strategy that subverts and recodifies different identity dis­courses that transmit normative ideas about cultural, ethnic and gendered belonging. Hybridity is also shown in the literary genre. By connecting the past and the present through individual and collective reminiscence, the four novels reinterpret history while transgressing the frontiers of classical genres: the fictional, the testimonial and the autobiographical intertwine with the historiographical. Through the character of the narrator-cineaste and the story of Zoulikha, Assia Djebar reconstitutes in La Femme sans sépulture her own heritage and that of the interviewed women which is associated with Luce Irigaray’s theory of feminine genealogy as a model of identification. The languages’ different transcultural influences are shown in La Disparition de la langue française in the light of Homi Bhabha’s theory of cultural translation. Bouraoui’s fiction shows more radically than Djebar’s the body as a surface of cultural inscription, determined by ethnic and gendered norms. To emphasize the sociocultural dimension of the Bouraouian protagonist’s problems of identity the analysis uses Judith Butler’s theories about the performativity, the recognition and the melancholy of gender. In the four novels the return to one’s origins remains an illusion. The only place where the protagonists can negotiate and express their hybrid subjectivity is constituted in and through their writing. / Cette thèse, située dans le contexte des études francophones maghrébines et postcoloniales, analyse l’impact des discours identitaires sur la subjectivité des protagonistes dans La Femme sans sépulture (2002) et La Disparition de la langue française (2003) d’Assia Djebar, et dans Garçon manqué (2000) et Mes mauvaises pensées (2005) de Nina Bouraoui. Ces romans  mettent en parallèle deux espaces historiquement liés, la France et l’Algérie, et deux périodes, le temps de la guerre d’indépendance algérienne et les années 1990 avec la montée des islamistes en Algérie. Le mouvement entre les deux espaces et temps constitue au sens littéral et au sens figuré un tiers espace, qui contribue à l’hybridation des protagonistes. L’hybridité est analysée comme une stratégie narrative et discursive qui subvertit et récodifie différents discours identitaires véhiculant des idées normatives concernant l’appartenance culturelle, ethnique et genrée des protagonistes. L’hybridation se reflète également dans le genre littéraire. À travers la remémoration individuelle et collective des événements passés mis en rapport avec le présent, les quatre romans donnent une nouvelle signification à l’Histoire en transgressant les frontières entre les genres classiques : le fictionnel, le témoignage et l’autobiographique s’inscrivent dans l’historiographique. Moyennant le personnage de la narratrice-cinéaste et l’histoire de Zoulikha, Djebar reconstitue dans La Femme sans sépulture, son propre héritage et celle des femmes interviewées, ce qui est associé à la théorie de Luce Irigaray sur la généalogie féminine au sens d’un modèle d’identification. Les différentes influences transculturelles des langues sont éclairées dans La Disparition de la langue française à la lumière de la théorie de la traduction culturelle de Homi Bhabha. Bouraoui montre plus radicalement que Djebar le corps comme surface d’inscription culturelle gérée par des normes ethnicisantes et genrées. Pour souligner la dimension socioculturelle des problèmes identitaires de la protagoniste bouraouienne, les théories de Judith Butler concernant la performativité du genre, la reconnaissance et la mélancolie genrée sont utilisées. Le retour à l’origine reste dans les quatre romans illu­soire. Le seul lieu où les protagonistes puissent négocier et exprimer leur subjectivité hybride est constitué dans et à travers l’écriture.

Dans cette thèse nous présentons la conception, l'étude des performances et les premiers tests, effectues au Cosmic Muon Telescope situe au SLAC, d'un nouveau détecteur d'identification des particules émises dans la région ''avant'' du détecteur SuperB.Ce détecteur est base une technique de temps de vol (TOF). Pour identifier les particules avec une impulsion jusqu'à 3GeV/c et une distance de vol de l'ordre de deux mètres nous avons besoin d'un détecteur TOF capable de mesurer le temps avec une précision typique de 30 ps. Pour atteindre cet objectif nous avons conçu un composant pour lequel le passage d'une particule chargée produit de la lumière Cherenkov dans un ''fused silica'' (quartz) radiator qui est ensuite détectée par des photodétecteurs tres rapides et une électronique rapide dédiée. Nous l'appelons détecteur DIRC-like TOF.Les photodétecteurs HAMAMATSU SL-10 MCP-PMT ont été caractérises sur faisceau de test au LAL et la résolution en temps d'environ 37 ps a été mesurée. La nouvelle électronique 16-canaux USB WaveCatcher développée au LAL(CNRS/IN2P3) et CEA/IRFU montre un jitter de moins de 10 ps. La géometrie du détecteur a quartz a été étudiée avec une attention particulière a l'aide d'une simulation Geant4. Celle-ci montre que la meilleure géométrie permet d'atteindre une résolution en temps d'environ 90 ps par photoélectron avec au moins 10 photoélectrons détectés, donnant en moyenne la résolution totale désirée de 30 ps.Nous avons construit un prototype d'un tel composant, utilisant les barres de quartz utilisées pour l'expérience Babar et nous l'avons installe dans le Cosmic Ray Telescope au SLAC. Une résolution en temps d'environ 70~ps par photoélectron a été obtenue, en accord avec la simulation.Cette preuve de principe a convaincu la Collaboration SuperB d'adopter un tel composant comme solution de base pour l'identification des particules émises vers l'avant dans SuperB. Le point délicat, encore ouvert, est celui de la résistance de ce détecteur aux bruits de fond de la machine.Dans cette thèse nous présentons aussi les études préliminaires de différents types de bruit de fond et leur effet sur les performances du détecteur DIRC-like TOF. Le processus Bhabha radiatif est de loin la source dominante de bruit de fond. Le taux de photoélectrons de bruit de fond principalement du aux gammas d'énergie d'environ 1.4 MeV est estimée a ~480 kHz/cm^2 ce qui correspond a 2 C/cm^2 de charge d'anode integrée sur 5 ans. Le flux de neutrons traversant l'électronique de front end du détecteur DIRC-like TOF est estimée a ~10^11/cm^2/year. Ces résultats préliminaires sont rassurants. / In this thesis, we present the conception, the performances studies and the first tests in the Cosmic Muon Telescope situated at SLAC of a new detector for the particle identification in the forward region of the SuperB detector.This detector is based on time-of-flight (TOF) technique. To identify the particles with momentum up to 3 GeV/c and flight base around two meters we need a TOF detector able to measure the time with a precision of about 30 ps. To achieve this goal we have conceived a device producing Cherenkov light in a fused silica (quartz) radiator, by a charged particle, which then detected with very fast photodetectors and dedicated ultrafast electronics. We call it, the DIRC-like TOF detector.For what concern the photodetectors, the HAMAMATSU SL-10 MCP-PMT has been characterized at LAL test bunch and the time resolution of about 37 ps has been measured. The new 16-channel USB WaveCatcher electronics developed by LAL (CNRS/IN2P3) and CEA/IRFU has shown to have a jitter of less than 10 ps. The geometry of the quartz detector has been then carefully studied with Geant4 simulation. Which shows that the best detector geometry allow to reach the time resolution of about 90 ps per photoelectron with at least 10 photoelectrons detected, giving in average the desired 30 ps total time resolution.We have constructed a prototype of such device, using the quartz bars available from the Babar experiment, and we have installed it, in the SLAC Cosmic Ray Telescope. A time resolution of about 70 ps per photoelectron was obtained, in agreement with simulation.This proof-of-principle has convinced the SuperB Collaboration to adopt such a device as the baseline for the SuperB particle identification detector in the forward region. The delicate point which is still opened is the resistance of this detector to the machine background.In this thesis we also present preliminary studies of different types of background and their effect on the performances of the DIRC-like TOF detector. Radiative Bhabha process is by far the dominant source of background. The rate of the background photoelectrons caused mainly by the gammas with energy around 1.4 MeV is estimated to be ~480 kHz/cm^2 which corresponds to 2 C/cm^2 of integrated anode charge in 5 years. The neutron flux thought the DIRC-like TOF front end electronics is ~10^11/cm^2/year. These preliminary results are reassuring.

諾貝爾文學獎得主奈波爾(V. S. Naipaul)可以說是當代文學中最具爭議性及最難以捉摸的一位作家，因為他對自己祖國千里達的前殖民國英國懷有一種好惡相參的矛盾態度。奈波爾的自傳性小說《抵達之謎》，故事橫跨三十年，描述一位曾被殖民的離散敘事者其人生旅程。旅程始自敘事者還是一個得到牛津大學獎學金的十八歲學生，終至敘事者成為在英國有立足之處的作家，其間歷經迷惘、錯置、覺醒、安頓等過程。在後殖民批評及文學的「信條」下，奈波爾的作品理應對大英帝國表示出一種明確的對抗態度，但其作品卻幾乎未能達到此一預期，而這也使得他必須承受遭指控為背叛者的衝擊。批評家普遍將奈波爾稱為英國的喉舌，而本論文旨在提供一個有別於此的觀點。本論文想要處理的關鍵問題如下：奈波爾是否真的是大英帝國的擁護者？如果不是的話，他如何與英國性(Englishness)協商以換取發言位置？ 論文首章對奈波爾及《抵達之謎》的批評做簡短的回顧。第二章以法農(Frantz Fanon)的觀點來檢視敘事者與白人女性角色的關係，以說明敘事者從崇拜英國文化到擺脫對英國謬誤幻想的發展。筆者也嘗試描繪出敘事者成為一個作家的軌跡。藉此，筆者認為敘事者經歷一段從目光狹隘的英國經典作家模仿者，到寫自己人生故事的作家的歷程。在第三章，本文認為在倫敦及英國鄉間的停留期間，敘事者看出帝國中心的破敗以及英國文化核心中英國性的矯揉造作。第四章首先就「離散」這個概念做一回顧，並說明奈波爾及《抵達之謎》如何能置於這樣的概念之下來解讀。筆者指出，敘事者同時身為離散者及流亡者的身份，使得他能夠取得一個「對位」的觀點，而此觀點幫助敘事者發展其後殖民牧歌，揭發英國性背後的殘酷。第五章揭示筆者對現存奈波爾批評中潛在缺陷的根本關懷。本論文希望藉由提供非主流但具建設性的觀點來補足現存的奈波爾批評。 / A Nobel laureate in literature, V. S. Naipaul is arguably the most controversial and elusive writer in contemporary literature because his signature is his ambivalence on England, a country which once colonized his mother country Trinidad. Spanning thirty years, The Enigma of Arrival, Naipaul’s autobiographical novel, delineates an ex-colonial and diasporic narrator’s life journey—from an eighteen-year-old schoolboy granted a scholarship to Oxford University to a writer gaining a foothold in England—of disorientation, dislocation, awakening and anchorage. Under the “doctrine” of postcolonial criticism and literature, Naipaul’s works are expected to express an explicit and confrontational attitude towards the British Empire, but his works hardly come to terms with such expectation, which makes him bear the brunt of the accusation of being an apostate. This thesis aims at providing a different viewpoint from criticism in general which labels Naipaul as the mouthpiece of England. The pivotal issues this thesis intends to tackle are as follows: Is Naipaul really an exponent of the British Empire to the core? If not, how does he negotiate with Englishness for a position of enunciation? The opening chapter offers a brief review of criticism about Naipaul and The Enigma of Arrival. In Chapter II, I examine the narrator’s relationship with white female characters in the light of Fanon’s perspective, trying to illustrate the progression in which the narrator at first worships the English culture but at last sheds his false fantasy. I also try to chart the trajectory of the narrator’s becoming a writer. By doing so, I intend to argue that the narrator undergoes a course from a blinkered colonial emulating English canonical writers to a writer writing his own life story. In Chapter III, I argue that during his stay in London and the English countryside, the narrator discerns the dilapidation of the imperial center and the artificiality of Englishness in the heart of English culture. Chapter IV begins with a review of the concept “diaspora” and how Naipaul and The Enigma of Arrival could be situated in this concept. I point out that the narrator’s identity as a diasporan and an exile enables him to obtain a “contrapuntal” perspective that contributes to the narrator’s postcolonial pastoral which exposes the cruelty behind Englishness. The concluding chapter reveals my ultimate concern about the latent flaw in the established Naipaul criticism, unfolding my intention to make this thesis complement the Naipaul criticism by contributing an alternative yet constructive perspective.