This thesis explores the role of authority and how Indigenous people have been gravely impacted throughout the 2014 Mount Polley Mine Disaster. Through critical engagement of political theory, environmental racism, and Indigenous Nationhood, I offer an analysis of the disaster that asks: How do we construct, accept, and uphold notions of authority in the Mount Polley Mine Disaster? I answer this by conducting a discourse analysis informed by Kwakwaka’wakw geographer Sarah Hunt’s colonialscape, Environmental historian Traci Brynne Voyles’s wastelanding, and Italian philosopher Giorgio Agamben’s spatiolegal concepts of the state of exception and bare life. To conclude, I will provide an alternative understanding of authority that is grounded in Indigenous feminist approaches that can better represent what authority should look like. / Graduate / 2020-08-29

In this study the researcher explored what participation was like for Kenyan women involved in an international curriculum development project, considering important aspects of international curriculum development projects that have been neglected in the research literature. The main research purpose was to understand the womens experiences in a Canadian-sponsored post-secondary education curriculum development project titled "Supporting Environmental Education in Kenya". In addition the research investigated the conflicts, tensions, and contradictions the women experienced between their previous ways of learning and their workshop experiences. Finally, the researcher addresses what could be done to mitigate contradictions generated by the project implementation.<p> The study documented power relationships, issues of control and issues of role functionality; the researcher also identified the ways in which, in a patriarchal country women, especially married women, are closely monitored by their husbands or other significant males. In fact the women needed permission from their husbands to participate, to educate, to visit, and to consort with others such as the researcher. The study shares the womens stories about the experiences that they had during and after the workshop situations, and how they interpreted these experiences.<p> Additionally, the study identified differences in the teaching methods and learning styles experienced by the women. All the participants had experienced the Kenyan education system; the Kenyan curriculum was based on the English, post-colonial system that treated the learner as an empty vessel into which knowledge was poured; within classroom sessions this system did not encourage learner engagement that might be evidenced through questioning the teacher or discussing the topic at hand. Indeed, it was observed that all of the women participating in the project required encouragement to voice their thoughts.<p> By honouring the experiences of the women and including their voices, the researcher generated information for proposal writers and project leaders to make appropriate decisions for programming that includes cultural and indigenous ways of knowing, learning and dissemination of knowledge.

In this study the researcher explored what participation was like for Kenyan women involved in an international curriculum development project, considering important aspects of international curriculum development projects that have been neglected in the research literature. The main research purpose was to understand the womens experiences in a Canadian-sponsored post-secondary education curriculum development project titled "Supporting Environmental Education in Kenya". In addition the research investigated the conflicts, tensions, and contradictions the women experienced between their previous ways of learning and their workshop experiences. Finally, the researcher addresses what could be done to mitigate contradictions generated by the project implementation.<p> The study documented power relationships, issues of control and issues of role functionality; the researcher also identified the ways in which, in a patriarchal country women, especially married women, are closely monitored by their husbands or other significant males. In fact the women needed permission from their husbands to participate, to educate, to visit, and to consort with others such as the researcher. The study shares the womens stories about the experiences that they had during and after the workshop situations, and how they interpreted these experiences.<p> Additionally, the study identified differences in the teaching methods and learning styles experienced by the women. All the participants had experienced the Kenyan education system; the Kenyan curriculum was based on the English, post-colonial system that treated the learner as an empty vessel into which knowledge was poured; within classroom sessions this system did not encourage learner engagement that might be evidenced through questioning the teacher or discussing the topic at hand. Indeed, it was observed that all of the women participating in the project required encouragement to voice their thoughts.<p> By honouring the experiences of the women and including their voices, the researcher generated information for proposal writers and project leaders to make appropriate decisions for programming that includes cultural and indigenous ways of knowing, learning and dissemination of knowledge.

This ‘practice-informed’ doctorate research is the beginning of a creative investigation, integration and unification of theory and practice as a method of analysis of ideas about my performances, and the context it emerged from: my experiences of the postcolonial and intercultural relationship between Angola and Britain. It focuses on the trajectories of the self that are ‘re-invented’ as a process of evolution and as a result of migration and dislocation in the British diaspora. It looks deeply at the complex interplay of my practice of body painting, as a symbolic ritual and dance in relation to notions of “origin” and “identity” and other sources of influences. The roots of Angolan cultural traditions and the veneration of the Angolan ancestral spirit when I perform play an important part in my work and this research strives to simplify my ideas of body and spirit, material and aesthetic. However, this research analyses, investigates and interrogates Angolan contemporary arts and artists and the progress of their practice in the Britain postcolonial and intercultural setting. At the core of this research is a comparative interrogation of contemporary art practices, artists and their influences on my work in order to contextualise my own practice and its implications and generative potential. I describe the main artists that influenced my practice (Pablo Picasso, ean- ichael as uiat and ela ansome ni ulapo-Kuti compare my or ith the or s of other non- estern artists oco usco, uillermo me - e a and ani-Kayode) who work with reference to ancient traditions as a fictional and racial identity. Furthermore, it is suggested by Gen Doy that artists working with ancient traditions and producing these types of works in the west are stereotyped and their works are considered backward and unsophisticated; their or s suffered and continue to suffer “discrimination on the grounds of race…” Doy, 2000: 15 n other words, this takes place when these artists attempt to present their works in mainstream western galleries, shows and festivals. I argue that much ancient Angolan tradition has lost its voices through the process of modernisation, civilisation, colonialism and capitalism. The key issue I am addressing is that my performances and the or s of these artists use the body to explore notions of ‘primitivism’ and ‘ethnicity’ and ritual to address personal and cultural concerns. In this light, through the dialectics of practice and theory, this thesis is searching for more attention to be paid to or s derived from concepts of ‘primitivism’ and ‘tribalism’ that are considered inferior ithin the estern parameters of modern art. At the very core of this thesis, propose that the practice of body painting and ‘primitivism’ and ‘tribalism’ are under recognised in the west because of western ideas of racial superiority, civilisation and colonialism (Darwinism).

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Thesis advisor: Zine Magubane / Considering the extent and nature of violence against LGBTQ+ communities and communities of color in the United States, this paper assesses the significance of the "protected" status of populations under the United Nations' genocide policy. Despite the fact that people of color are considered a "protected" group and LGBTQ+ persons are not, this study explores how a structural foundation of co-dependent capitalism and colonialism target both populations similarly. The author considers the extent to which violence against both populations meets criteria for genocidal risk factors and definitions, suggesting a case for concern for the unprotected status of queer folks and the state of violence against people of color today. / Thesis (BA) — Boston College, 2018. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Departmental Honors. / Discipline: Sociology.

Images of Oceania and Polynesia have traditionally been exoticised and romanticised by Western representations of a "paradise" populated by primitive natives with grass skirts and ukuleles. However, the movement towards political independence in the 1960s and 1970s has seen the emergence of a corpus of indigenous representations that depict and portray the real situation. These indigenous representations speak of subjugation and moreover testify to the debilitating effects colonialism has on cultural identities. The geographical area covered by this thesis is Western Polynesia, specifically the Pacific Island nations of Fiji, Tonga and Western Samoa and is concerned with literary representations. The thesis examines significant developments and trends in the creative writing of indigenous and migrant writers in these three countries of Western Polynesia: Western Samoa, Tonga and Fiji, seeing these literary representations from within as a writing out of multi-faceted aspects of the shifting identities of Pacific peoples in a post-colonial world. The introduction focuses on the historical colonial/post-colonial context of Western Polynesian writing and the socio-political imperatives for change which have had an impact on these writers and the texts they have produced. It also discusses the literary and anthropological representation of these Islanders from the 'outside', from the perspective of a European hegemonic self, forming the 'orientalist' stereotypes against which the initial texts written by the Pacific's colonised 'others' in the early 1970's reacted so strongly. Chapter One sets out the conceptual framework within which these texts will be discussed and analysed, beginning with indigenous and local concepts which indigenous and migrant Pacific Islanders use to connect and accommodate different 'ways of seeing' this representative body of literature, then moving on to other theorists concerned with literary representation and post-coloniality. Chapters Two to Nine explore the writing of these three countries, beginning with the fiction of Albert Wendt, one of the major writers from Western Polynesia who has an established regional and international literary reputation, and then progressing to focus on other selected representative writers of the three countries, including those in the early stages of attempting publication. The thesis concludes by discussing the texts from all three countries and tying them together in the various thematic strands of cultural clash, the widening of borders, the quest for self-definition and national identity in the contemporary Pacific, reiterating major points and examining possible future directions in Western Polynesian writing. The study takes an interdisciplinary approach to the critical analysis of Western Polynesian literature, maintaining the importance of seeing them as important forms of cultural communication in post-colonial contexts, as literary representations from the inside, writing out of a cultural consciousness which values the various 'pasts' of Polynesia as definitive 'maps' which provide the grids and bridges which Pacific Islanders in this part of Oceania can utilise to mediate their experiences and articulate their identities, to fit the widening boundaries of the Pacific into a post-colonial global context.

J M Coetzee’s Disgrace deals with race and power in contemporary, post-colonial South Africa. This prize-winning novel is written after the country's first all-race elections, in 1994. It has therefore most often been analyzed as a representative for the writing of the new South Africa, where the social problems relating binary oppositions such as black – white, native – immigrant, powerless – powerful, are stressed. More specifically the shift of power within the above mentioned pairs is in focus. This is also the case for this essay, but instead of analyzing the realistic elements in the book it will examine the imaginary complexity of the opera Byron in Italy, which is created by the protagonist, David Lurie. This essay aims to widen the concept of “native” regarding post-colonial theory by looking at the peculiarity of Lurie’s situation; him being a representative of the white population in South Africa. By using post-colonial theory this essay aims at showing that Lurie can be seen as a white native, and that his process of writing the opera can be seen as symbolizing the evolutionary phases a colonized nation goes through in order to develop a national culture, as described by Franz Fanon.

The conflicts happening around the Territorio Indígena Parque Nacional Isiboro­ Sécure (TIPNIS) in Bolivia among the multiple and diverse stakeholders within it, cannot be reduced to a simple confrontation between conflicting interests regarding a highway. A political analysis of the TIPNIS conflicts should be an analysis of how Modernity responds to different, opposed and complementary civilizational projects, stressing the relation between indigenous peoples, and the plurinational state in Bolivia; the present locus of the conflict. The plurinational state in Bolivia was formed with the express intention of dismantling the colonial and its civilizational order through the reformulation of the Bolivian State. By contrasting, comparing, dissecting and analyzing how notions of citizenship, nationhood, and civilization are deployed in Modernity, in one geographical place, the TIPNIS in Bolivia, and through different historical eras, we can elucidate how those notions were and are enforced. The civilization/nation/citizen membership and non-membership, who fits and who doesn’t fit those categories, and how the movement between them is managed, throw light on how Modernity’s project is carried away in everyday life, and under what costs. / text