Despite its presentation as a pragmatic and universally applicable path to peace, the author argues that liberal peacebuilding offers no clear break from past colonial and imperial relations. Liberal peacebuilding is, in fact, colonial in its attempt to penetrate the markets and political systems of post-conflict countries and restructure economies and political life through the hegemonic imposition of liberal norms, facilitating their integration into global capitalism and a liberal community of states. The “liberal peace” created by this political and economic order often involves violent conditions of assimilation and exclusion. Moreover, the confluence of security and development concerns in the 1990s has set the strategic foundation for the incorporation of locally-driven “civil society” approaches to peacebuilding within statebuilding operations. In this thesis, the author identifies existing criticisms of peacebuilding, and, drawing on theorists such as Michel Foucault, Partha Chatterjee, David Scott, and Jenny Edkins, initiates a deeper critique that considers the historical context of colonialism, legitimations of violence, the construction of the non-west in categories of development, and the relations of power and knowledge associated with liberal approaches to making peace. The author provides a historical and political overview of wars in Angola, proposing that discourses and practices of international peacebuilding have concealed the continuation of war by other means.

This thesis project explores the connection between Cuban identity and the twentieth-century Neobaroque. The paper approaches the Neobaroque as a concept that reoriginates or "refracts" culture, implying a relationship between Baroque forms and post-colonial Latin America that creates a transformation of cultural expression. Furthermore, the Neobaroque is seen relating to questions of cultural identity, post-colonialism, transculturation, mestizaje, and Latin American modernity. The Neobaroque's relevancy with Cuba is stipulated in twentieth-century writings of three Cuban authors known as the Cuban triumvirate: José Lezama Lima, Alejo Carpentier, and Severo Sarduy. Similar themes of these writers concerning the Neobaroque's connection with the urban environment of Havana as well as connections to José Martí's writing Nuestra América are highlighted as key components connecting the Neobaroque with Cuban culture. / Graduate / 0336 / 0626 / scruiksh@uvic.ca

have altered the context and practices of the First Nations culture and by so doing, compromised their will and capacity to implement traditional education policies, a situation that must be linked to realization of the Education Action Plan’s goals. The goal of the study was to assist policy makers, community leaders, and educators in recognizing the attitudes, social norms, and practices that are interwoven with post-colonial trust issues at the community level and to focus on the viability of preservation of First Nations heritage and culture. The inquiry documented and analyzed, in a case study approach, the dynamics of colonialism on two First Nations communities. Interviews and questionnaires, utilized in communities, were based on a matrix that directed comments to areas associated with traditional knowledge, remnants of colonialism and areas of will and capacity. The focus of the inquires referred to curriculum content, funding, school and community structure, as well as traditional knowledge, communication, participation, and the role of members in shaping the community values and school curricula. In all, 32 people were formally interviewed including teachers, Elders, education council members, principals, and community leaders. The study comprised 14 interviews and 17 questionnaires in Two Rivers, and 18 interviews and 8 questionnaires in Round Rock. The study intended to establish whether colonialism would play out in the implementation of the traditional knowledge aspect of the Education Action Plan and if so, in what areas and in what manner. Through research, it was

Visual records of place remain to a large degree inadequate when attempting to make visible the ephemeral states of consciousness that underlie the damage wrought by brutal regimes, let alone make visible the extraordinary histories and power structures encoded in images and views. This practice-led dissertation examines an emerging critical landscape genre in post-apartheid South Africa and Namibia, and its relationship to specific themes such as identity, belonging, trauma and memory. The landscape genre was traditionally considered inadequate to use in expressions of resistance under apartheid, particularly in the socially conscious and reformist discourse of South African documentary photography. I argue that, as a result of historical and cultural shifts after the demise of apartheid in 1994, a shift in aesthetic and subject matter has occurred, one that has led to a more rigorous and interventionist engagement with the landscape genre. I demonstrate how, after 1994, photographers of the long-established documentary tradition, which was meant to record 'what is there' in a sharp, clear, legible and impartial manner, would continue to draw on devices of the documentary aesthetic, but in a more idiosyncratic way. I show how these post-apartheid, documentary landscapes both disrupt and complicate the conventional expectations involved in converting visual fields into knowledge. I further investigate, through my own experimental documentary work, the ideologically fraught aspects of landscape representation with their links to Calvinist and German Romantic aesthetics. I appropriate and disrupt certain tropes still prevalent in popular landscape depictions. I do this in an effort to reveal the complex and troubled relationship that these traditions share with issues of willed historical amnesia and recognition in contemporary Namibia. Through my practice and the examination of other photographers' and artists' work, this project aims to further a self-reflective and critical approach to the genre of landscape and issues of identity in post-apartheid South Africa and Namibia.

Burundi became a German protectorate in August 1884. Prior to the establishment of a protectorate, the territory was ruled by Mwamis (kings) who exercised a kind of quasi-divine system of administration. Conflictual relations were quickly dealt with within this complex structure. During the German and later Belgian colonial administrations, these political structures were redefined and a social class structure based on wealth was created. Forced class division became entrenched in the social fabric of Burundian society and the hierarchical system became even more prominent at independence in July 1962. Successive post-colonial regimes have failed to bridge the social gap. The International Community, through initiatives by the United Nations, the Africa Union, Jimmy Carter, Julius Nyerere and Nelson Mandela have attempted to resolve the political impasse. The dissertation is an attempt to reconstruct the causes of the various crises since 1962 and to reassess whether the various facilitators has succeeded in their tasks. / History / M.A.

The thesis has investigated the place of Zimbabwean indigenous intangible heritage in a globalising environment. It used the Shona language and intangible heritage situation as a case study. It argued that Zimbabwean intangible heritage is continually being eroded by the agents of globalisation and that the only way of safeguarding it from extinction is through the preservation of Zimbabwean indigenous languages. The thesis has come to this conclusion after having established that there is an intimate and inseparable bond between language and its intangible values so much that it is not possible to talk of one devoid of the other. The relationship has been seen to be symbiotic. The Shona language has been established to embody, express and to be a carrier of all the intangible heritage of its speakers into the future by re-living them in the people’s daily life while these intangible values have been seen to conserve the language through their continued practice by the people. The research has also established that Zimbabwean intangible heritage marginalisation has roots in colonialism, dating as far back as the early Christian missionary days. The Shona intangible heritage has also been seen to be still of value despite the global threats as evidenced by the people’s continued re-living of it through language. The thesis has also noted that the Zimbabwean Ministry of Education, Sport and Culture is still using out-dated colonial language policies that still further the ascendancy of English and the intangible values it stands for while indigenous languages and values are marginalised in the education system, in government and in industry thereby worsening their predicament in the global environment. The current socio-economic and political developments in the country and some Shona novelists in Shona and in English are also culprits in this whole process as they continue to demonise and infantilise Zimbabwean intangible heritage. The thesis has therefore asserted that Zimbabwean intangible heritage is most likely to be eroded from the face of the earth if no measures are taken to safeguard it from extinction. It has therefore wound up by arguing that the survival of Zimbabwean intangible heritage lies in the survival of Zimbabwean indigenous languages through which it continues to be practised and felt by its people. The thesis has therefore recommended that the Zimbabwean government adopt sound language policies that safeguard the survival of Zimbabwean indigenous languages to enable the indigenous intangible heritage of the people to survive as well as the two are intricately related. / African Languages / D. Litt. et. Phil.(African Languages)

No description available.

In this thesis the making and experiencing of the exhibition “Sundi Mongo – A village in Congo” is examined through ethnographical interviews with former and present employees at the Museum of Ethnography in Stockholm. The interviews, together with archive material concerning the exhibition, are analyzed with discourse theory in order to examine how discourses of defining Africa construct application and interpretation of the exhibition pieces. A significant element is dislocation, where the exhibition has been standing since 1983 and the meaning of the exhibition is now expressed as changed. This change of meaning is connected to the change of exhibition ideals and changes in the perception of the exhibition model; a real village called Sundi Mongo, located in southwestern Congo. Change and continuity also concerns interpretations of the museum’s cooperation with the Swedish Missionary Association and affective practices surrounding the exhibition pieces and objects in the museum’s collections. The construction of interpretations of the exhibition pieces and objects are also analyzed with the concept of fantasy.

This thesis interrogates García Márquez’s representations of sexualities in the following selected novels: Chronicle of a Death Foretold (1981); The Autumn of the Patriarch (1975); One Hundred Years of Solitude (1967); The Sad and Incredible Tale of Innocent Erendira and her Heartless Grandmother (1972); and Memories of My Melancholy Whores (2004). It is argued here that García Márquez’s employment of the sexuality motif enables him to delve into many worldwide current concerns such as the irrelevance of some socio-cultural sexual practices; commercial sexual exploitation of children; the different manifestations of prostitution; and female powerlessness under autocratic rule. Earlier literary critics have tended to narrowly interpret García Márquez’s employment of the sexuality motif as just a metaphor for colonial exploitation of the colonised. The study also explores the writer’s artistic role and concludes that García Márquez speaks against commercial sexual exploitation of children as he concurrently speaks on behalf of children so exploited. Similarly, the writer speaks on behalf of prostituted womanhood by showing how prostitutional gains do not seem to cascade down to the prostitutes themselves. García Márquez also invests female sexual passivity as a coping mechanism against a dictator’s limitless power over the life and death of his citizens. However, the writer also constructs female agency that grows from the rejection of an initial victimhood to develop into an extremely flawed and corrupt flesh trade that co-opts and indentures children into sex work with impunity. Thus the study breaks new ground to show that García Márquez’s representations of different sexualities are not merely soft porn masquerading as art. His is a voice added to the worldwide concerns over commercial sexual exploitation of children in the main and also the recovery of a self-reliant female self-hood that was previously inextricably bound to male sexual norms. Quite clearly, García Márquez demonstrates that female prostitution is driven by a lack of social safety nets, a lack of other economically viable options and also a distinct lack of educational opportunities for female economic independence, hence the flawed female agency. / English Studies / African Languages

This thesis problematizes the recent transdisciplinary turn to melancholia by grounding the concept within the literature of three contemporary Algerian authors: Assia Djebar, Yasmina Khadra, and Boualem Sansal. If Freud figured melancholia as a pathological response to loss, much recent scholarship has reconceptualized it as an ethico-political model of remembrance that safeguards the memory of the lost or marginalized other. Yet the recent and ubiquitous depathologization of melancholia is only possible insofar as theorists overlook its more insidious elements. By analyzing how melancholia emerges within the postcolonial novels of Djebar, Khadra, and Sansal, this thesis reveals how melancholia in fact undermines an ethico-politics of remembrance, further displacing those lost others that theorists of melancholia would recuperate. Divided into two sections, the first part of the thesis thus challenges the ethico-political viability of melancholia as a mnemonic model. Through close readings of the texts, the first four chapters reveal postcolonial melancholia in Algeria to be imbricated in amnesia, immobility, repetition, victimhood, apolitical retrospection, and the unethical appropriation of the lost object. Part II investigates how the authors imagine different models of remembrance that move beyond the limits of the mourning and melancholia dyad. If melancholia has been depathologized, it nonetheless remains ensnared within a binary system in which the subject either forgets (mourns) or engages in a putative act of hyper-remembrance (melancholia). Building upon the recent theory of Dominick LaCapra, Mireille Rosello, and Judith Butler, the final two chapters explore the critical potential of ‘working upon’ the past. As an on-going and conscious model of remembrance, ‘working upon’ actively resists the closure inherent to mourning but it also circumvents the melancholic (re)appropriation of the past and its lost others. Ultimately, then, this thesis signals the need for emergent models of memorialization that move beyond the restrictions of the Freudian binary of mourning and melancholia.