The central focus of my thesis is the symbolism of money and the power it holds in the Riau archipelago and Batam of Indonesia to affect the nature of social relationships. These social relationships in turn affect the different forms of exchange that take place in the archipelago. In particular, I am exploring the meaning and moral implications of monetary and commercial exchanges in contrast to exchanges of other kinds that take place between the Orang Suku Laut and other Malay and non-Malay communities. The Orang Suku Laut are regarded as the Orang asli Melayu (indigenous Malays) of Riau. Yet in the interaction between the Malays and Orang Suku Laut, there exists much fear between them with constant accusations of being poisoned and harmed by one and the other through practices of magic and witchcraft. This stems from the Malays' perception of the Orang Suku Laut as a "dangerous, dirty and unprogressive people. " The Orang Suku Laut are regarded as preferring a life of nomadism, and one without a religious orientation towards Islam, as opposed to a life of sedentism guided by the Islamic religion. This thesis explores how this self and other perceptions which have shaped the image of the Orang Suku Laut, have become enmeshed in the exchange economy of the Orang Suku Laut and the Malays.

No / Boat people, whether refugees or migrants, are protected by special provisions in custom and law relating to safety and rescue at sea. At the same time, the governments of coastal states have expressed concern about the arrival of boat people and have been robust in depicting and treating them as a threat. The questions addressed in this article are: how and why have boat people been regarded as a threat, and what challenges does this treatment present for the humanitarian regime at sea? The article connects two dimensions of the issue. First it deconstructs the prevailing images and discourse surrounding boat people that contribute to securitizing them as a threat. Securitization is defined as the process by which issues are identified, labelled and reified as threats to a community, often by politicians for electoral gain. Second, the article argues that this securitization challenges the maritime regime, which is infused with humanitarian values based on solidarity among seafarers. Both short and long-term remedies might be considered. The immediate requirement is to ensure not only that asylum seekers at sea continue to be rescued and protected but also that the maritime regime is strengthened to facilitate their arrival at a place of safety. Over the longer term, de-securitizing the issue of asylum seekers and boat people requires action to address perceptions in destination states.

La recherche sur la littérature de la diaspora vietnamienne dans une perspective nord-américaine a été longtemps négligée par les critiques littéraires. Aux États-Unis, les écrits des auteurs d’origine vietnamienne sont habituellement inclus dans un corpus appelé « Asian-American literature » alors qu’au Québec, on préfère parler de « littérature migrante ». C’est pourquoi ce mémoire propose d’analyser The Gangster We Are All Looking For (2003), de Lê Thi Diêm Thúy, et Ru (2009), de Kim Thúy. Outre le fait de mettre en scène une protagoniste appartenant à la deuxième génération, les deux romans questionnent le rôle de l’héritage familial et de la mémoire collective dans le rapport à soi et aux autres. Dans The Gangster We Are All Looking For, la quête identitaire se définit par le maintien de l’anonymat et le désir d’incarner la figure subversive qu’est le gangster. Dans Ru, il est plutôt question d’intégration : le parcours de la narratrice est celui d’une ascension vers le « rêve américain ». Les critiques littéraires ont été nombreuses à penser l’exil en termes de culture et d’hybridité, mais peu ont tenu compte de sa dimension juridico-politique. En nous appuyant sur le concept de la « vie nue » de Giorgio Agamben et le texte d’Edward Saïd intitulé « Nationalism, Human Rights, and Interpretation », nous démontrerons que l’exil n’est pas simplement une expérience de déchirure romantique de citoyens privilégiés (écrivains, artistes, poètes, intellectuels). Il illustre aussi la condition précaire de ceux qui ne sont pas reconnus par le pouvoir étatique (réfugiés, apatrides, sans-papiers). / Research on Vietnamese diasporic literature from a North American perspective has long been neglected by literary critics. In the United States, writings of authors who originated from Vietnam are usually labeled as Asian-American literature, while in Quebec we prefer to use the term « migrant literature ». This is why this master thesis proposes an analysis of The Gangster We Are All Looking For (2003), from Lê Thi Diêm Thúy, and Ru (2009), from Kim Thúy. Aside from featuring a second generation protagonist, both novels question the way family and collective memory shape the relation to self and others. In The Gangster We Are All Looking For, the quest for identity is defined by the persistance of anonymity as well as by the desire to become a “gangster”, a rebellious figure. In Ru, the future is more related to the notion of integration : the narrator’s life trajectory can be described as an ascent towards the American dream. Many literary critics understood exile in terms of culture and hybridity, but few of them took into account its juridico-political aspect. Using Giorgio Agamben’s concept of “bare life” and Edward Said’s ideas in « Nationalism, Human Rights, and Interpretation », we will demonstrate that exile cannot be merely reduced to a compelling journey told from the perspective of privileged citizens (writers, artists, poets, intellectuals), since it also reflects the precarious status of those who are not recognized by the State (the refugees, the stateless, the undocumented workers).

This thesis seeks to interpret the cinematic representations of Hong Kongers’ identity quest during a transitional state/stage related to the sovereignty transfer. The Handover transition considered is an ideological one, rather than the overnight polity change on the Handover day. This research approaches contemporary Hong Kong cinema on two fronts and the thesis is structured accordingly: Upon an initial review of the existing Hong Kong film scholarship in the Introduction, and its 1997-related allegorical readings, Part I sees new angles (previously undeveloped or underdeveloped) for researching Hong Kong films made during 1982-2002. Arguments are built along the ideas of Hong Kongers’ situational, diasporic consciousness, and transformed ‘Chineseness’ because Hong Kong has lacked a cultural/national centrality. This part of research is informed by the ideas of Jacques Derrida, Homi Bhabha and Stuart Hall, and the diasporic experiences of Ien Ang, Rey Chow and Ackbar Abbas. With these new research angles and references to the circumstances, Part II reads critically the text of eight Hong Kong films made during the Handover transition. In chronological order, they are Boat People (Hui, 1982), Song of the Exile (Hui, 1990), Days of Being Wild (Wong, 1990), Happy Together (Wong, 1997), Made in Hong Kong (Chan, 1997), Ordinary Heroes (Hui, 1999), Durian Durian (Chan, 2000), and Hollywood Hong Kong (Chan, 2002). They meet several criteria related to the undeveloped / underdeveloped areas in the existing Hong Kong film scholarship. Hamid Naficy’s ‘accented cinema’ paradigm gives the guidelines to the film analysis in Part II. This part shows that Hong Kongers’ self-transformation during transition is alterable, indeterminate, and interminable, due to the people’s situational, diasporic consciousness, and transformed ‘Chineseness’. This thesis thus contributes to Hong Kong cinema scholarship in interpreting films with new research angles, and generating new insights into this cinematic tradition and its wider context.