This thesis explores the affect of the emperor-centred visual culture on Sōseki’s use of visual methodologies in his travel writing in London and Manchuria, as well as his novel Sanshirō. In Part I of this thesis, I argue that Sōseki’s anxiety and ambivalence was in part due to the visual culture created around an imperial image infused with symbolic power. Part II of this thesis is almost a reversal of the first, as it discusses Sōseki’s use of deliberately visual methodologies to express his anxiety and ambivalence towards modernity. In light of my discussion of these complex visual techniques, I conclude by briefly addressing the allegations of Sōseki’s complicity in Japanese imperialism and the (non-)politicization of his work. While Sōseki’s anxiety and ambivalence may have been caused by the extremely visual culture centred on the emperor, it also provided him with a means and methodology for expressing his pessimism.

This thesis explores the affect of the emperor-centred visual culture on Sōseki’s use of visual methodologies in his travel writing in London and Manchuria, as well as his novel Sanshirō. In Part I of this thesis, I argue that Sōseki’s anxiety and ambivalence was in part due to the visual culture created around an imperial image infused with symbolic power. Part II of this thesis is almost a reversal of the first, as it discusses Sōseki’s use of deliberately visual methodologies to express his anxiety and ambivalence towards modernity. In light of my discussion of these complex visual techniques, I conclude by briefly addressing the allegations of Sōseki’s complicity in Japanese imperialism and the (non-)politicization of his work. While Sōseki’s anxiety and ambivalence may have been caused by the extremely visual culture centred on the emperor, it also provided him with a means and methodology for expressing his pessimism.

<p>This dissertation investigates the relation between the formation of "Blackness" and the Western tradition of sovereignty through the works of late twentieth century Black Radical theorists. I most specifically examine the work of Stokely Carmichael, Amiri Baraka, Frantz Fanon, and Huey P. Newton in order to delineate a shift within Black Radicalism which, due to an intense de-linking of Black nationalism from the concept of territorial sovereignty throughout the 1960s and early 1970s led to the formation of a new subjectivity ("Blackness") oriented against and beyond the Western tradition of political sovereignty as a whole. </p><p> This dissertation begins by outlining the parameters of the concept of sovereignty as well as its relation to conquest, coloniality, and racialization more generally. I then examine the formation of Black Power as an expression of anti-colonial sentiments present within the United States and uncover there the influence of W.E.B. DuBois' concept of double-consciousness. I then further examine the concept of Black Power through the work of Amiri Baraka and his notion of "Blackness" as the proximity to "home." Each of these expositions of Black Power are undertaken in order to better understand the era of Black Power and its relation to both Black nationalism and the Western tradition of sovereignty. </p><p> Next, I turn to the work of Frantz Fanon, whom I claim prepares the way for the idea of "Blackness" as an ontological resistance beyond, not only the territorial imperative, but also the logic of sovereignty more generally. This notion of "Blackness" as an antidote to sovereign logic present within the work of Fanon allows me to turn to the work of Huey P. Newton in order to demonstrate his conceptualization of "Blackness" as an antagonistic subjectivity within a fully globalized society whose onset he had theorized and which he termed "empire." I conclude by drawing on each of the above theorists as well as the work of Angela Davis in order to build a retrospective summary of this alternative lineage of the Black Radical Tradition and its importance for the conceptualization of resistances to and life beyond our contemporary society.</p> / Dissertation

Thesis (Ph. D.)--University of Oregon, 2001. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 151-161). Also available for download via the World Wide Web; free to University of Oregon users.

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Uppsatsen är en postkolonial-feministisk läsning av Sofi Oksanens debutroman Stalins kossor. Med utgångspunkt i Frantz Fanons teori, och med en specifikation av den baltiska postkolonialismen såsom Violeta Kelertas beskriver den, undersöks hur Oksanen gestaltar det koloniala och patriarkala förtryckets konsekvenser för karaktären Anna. Dessutom visar uppsatsen hur dessa förtryck är intersektionellt integrerade.

Bien que l’esclavage ait été aboli en France il y a maintenant plus de 150 ans, la domination de l’Empire français subie par les diverses colonies, a laissé des traces visibles sur les populations de ces dernières. Par son oppression, sa violence physique et psychologique, et l’imposition d’un modèle occidental à suivre, la colonisation a laissé derrière elle des peuples vidés de leur culture, de leur langue et de leur identité. En 2017, un film d’Emmanuel Parraud, intitulé Sac la mort, sera la parfaite illustration cinématographique de cette situation postcoloniale sur l'Île de la Réunion. S’appuyant sur les théories de la pensée postcoloniale, le réalisateur parvient à mettre en images cette “aliénation du Noir colonisé”, théorie développée par Frantz Fanon dans son œuvre Peau noire, masques blancs, selon laquelle l’ancien colonisé est devenu un être étranger à lui-même, ayant adopté la culture et la langue du colonisateur. Mais, au-delà de cette aliénation, se cache surtout une véritable souffrance psychologique; une souffrance qui ronge de l'intérieur ces anciens colonisés, qui les empêche d’avancer, les ancre à leur passé d’esclaves, et qui, surtout, les détruit à petit feu. Malgré cette triste réalité, parfaitement dépeinte dans Sac la mort, l’auteur parvient à nous offrir la vision d’espoir, par les réunionnais, d’un avenir meilleur. Les réunionnais, tout comme tous ces anciens colonisés de Guadeloupe, de Martinique ou d’Afrique, prennent conscience de leur valeur et veulent se réapproprier et défendre leur culture, leur langue et leur identité qui leur ont été jadis volées.

Submitted by Alison Vanceto (alison-vanceto@hotmail.com) on 2016-09-13T13:45:47Z No. of bitstreams: 1 TeseDMF.pdf: 10665716 bytes, checksum: d144d15c2f61e6d64bacc51ae4b60a27 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-09-13T19:23:13Z (GMT) No. of bitstreams: 1 TeseDMF.pdf: 10665716 bytes, checksum: d144d15c2f61e6d64bacc51ae4b60a27 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-09-13T19:23:25Z (GMT) No. of bitstreams: 1 TeseDMF.pdf: 10665716 bytes, checksum: d144d15c2f61e6d64bacc51ae4b60a27 (MD5) / Made available in DSpace on 2016-09-13T19:23:43Z (GMT). No. of bitstreams: 1 TeseDMF.pdf: 10665716 bytes, checksum: d144d15c2f61e6d64bacc51ae4b60a27 (MD5) Previous issue date: 2015-09-03 / Não recebi financiamento / This paper discusses the different ways, uses and appropriations of the thought of Frantz Fanon in Brazil between the 1950s and the present day. The study approaches Wynter (1999) and Gordon (2015) to identify the perspective of sociogenesis the structural axis of fanoniano theoretical status, and Hall (1996) and Sekyi-Otu (1996) to recognize the author's thought the open joint and not completed theoretical and various political elements. From this evidence, it argues that the legacy of Fanon is claimed differently by different theoretical aspects, and sometimes conflicting. In Brazil, the reception of Fanon occurred under the influence of the third Worldism revolutionary and its focus on Les Damnés de la terre. Providing both the players connected to the left as readers more attuned to the black movement, a guided appropriation the polarization between colonizer and colonized and affirmation of identity (national or black) as opposed to colonization. But the contemporary period, marked by a growing interest in the reflections of Fanon, is structured by a greater diversity of approaches and theoretical focus, setting six sub-fields: 1.Estudos Postcolonial and the Diaspora; 2. Negritude; 3. Decolonial; 4. Whiteness; 5. Psychology; 6. National Ethos. / Este trabalho discute os diferentes caminhos, usos e apropriações do pensamento de Frantz Fanon no Brasil a partir da década de 1950. O estudo se aproxima das proposições de Wynter (1999) e Gordon (2015) ao identificar na perspectiva da sociogênese o eixo estruturante do estatuto teórico fanoniano, e de Hall (1996) e Sekyi-Otu (1996) ao reconhecer no pensamento do autor a articulação aberta e não concluída de elementos teóricos e políticos diversos. A partir dessa constatação, argumenta que o legado de Fanon será reivindicado de maneira diversa por vertentes teóricas distintas e, por vezes, conflitantes. No Brasil, a recepção de Fanon ocorreu sob a influência do terceiro-mundismo revolucionário, com o foco em Les Damnés de la terre., propiciando, tanto aos leitores ligados à esquerda quanto aos leitores mais afinados com o movimento negro, uma apropriação pautada pela polarização entre colonizador e colonizado e pela afirmação de uma identidade (nacional ou negra) em contraponto à colonização. Já o período contemporâneo, marcado por um crescente interesse nas reflexões de Fanon, estrutura-se por uma maior diversidade de abordagens e focos teóricos, configurando seis sub-campos: 1. Estudos Pós-coloniais e da Diáspora; 2 Negritude; 3. Decoloniais; 4. Branquitude; 5. Psicologia; 6. Ethos Nacional.

Tesis para optar al grado de Magíster en Estudios Latinoamericanos

This essay explores early twentieth century African American literature to investigate issues related to identity formation. It uses W.E.B. Du Bois’s The Souls of Black Folk and Frantz Fanon’s Black Skin, White Masks to introduce and define the socio-psychological concept of the moment of knowing, an original component of this work. The concept is composed of two occurrences: alienation and self-alienation, which can be observed and examined in nonictional and fictional texts. Within the framework of multicultural theory, the moment of knowing along with double-consciousness are explored in a close reading of Nella Larsen’s 1929 novel Passing. In conclusion, the moment of knowing is shown to be a significant part of African American identity formation, and the central characters in Larsen’s work are revealed as psychologically and socially scarred as a result of their inability to cope with their African American identity.