Au cœur des métamorphoses esthétiques de la littérature africaine d’expression française, il apparaît une forme particulière d’écriture qui rompt avec le récit terne et linéaire des écrivains de la période post-coloniale. Aussi, cette nouvelle manière d’écrire donne naissance à une nouvelle génération d’écrivains francophones qui proposent aux lecteurs une littérature plus crue, plus sensuelle voire plus sexuelle. Celle-ci se donne désormais pour objectif de critiquer les mœurs sociales à travers la description de divers personnages de romans en proie à la complexité de leur monde intime. Cette nouvelle conception romanesque nous inscrit dans une tendance littéraire actuelle visant à lire l’universel dans l’intimité. De fait, la particularité de notre thèse réside dans sa capacité à amener le lecteur à voir le lien qui pourrait exister entre l’écriture du corps et la quête de l’identité dans la littérature contemporaine d’Afrique francophone. Ceci serait en effet possible à travers l'analyse psychocritique de certaines œuvres des auteurs qui la compose, comme celles de l'écrivain franco-togolais Sami TCHAK. Ces investigations conduisent ainsi le lecteur à se demander de quelle manière l'écriture du corps, à travers celle de la sexualité, peut véhiculer un discours capable de permettre au sujet écrivant de se révéler à lui-même. Ce choix esthétique de la transgression, aussi bien sur le fond que sur la forme, semble être en réalité un prétexte à la reconfiguration stylistique de la littérature africaine contemporaine par cette nouvelle génération d'écrivains. / In the heart of the aesthetic transformations of African literature of French expression, a special form of writing that breaks with the dull and linear narrative of the writers of the post-colonial period appears. Also, this new way of writing gives way to a new generation of francophone writers who offers readers a more raw, more sensual, more sexual literature. It is now intended to criticize social mores through the description of various characters from novels which are prey to the complexity of their intimate world. This new form of writing has enrolled us in a current literary trend that allows to introduce the universal character in the intimacy. In fact, the peculiarity of our thesis lies in its ability to lead the reader to perceive the link that may exist between the writing of the body and the quest for identity in contemporary literature of francophone Africa. This would be possible through the analysis of psychological critics of some literary works such as those of the Franco-Togolese writer Sami TCHAK. This research leads the reader to wonder how the writing of the body, through that of sexuality, can convey a literary discourse capable of allowing the writer to have a better understanding of himself. This aesthetic choice of transgression seems to actually be a pretext for the stylistic reconfiguration of contemporary African literature thanks to this new generation of writers.

In the context of globalization, commercialization, and the increasing presence of Western and Japanese male images in Chinese society, this study is an attempt to examine how local and global force interact and how masculinities are constructed in men's magazines in Taiwan. Methodologically, this study sees in-depth interviews, content analysis, and semiotic analysis as complementary methods in the study of construction of masculinity in Taiwan. Results of the interviews showed that multiple types of masculinity exist in Taiwan and traditional Chinese masculinity has evolved and changed in the contemporary Taiwanese society. Based on the male images (N=1,284) from a stratified sample of four months in 2009 in four men's magazines, results of the study showed that editorials and male images in Western and hybrid men's magazines were also different from those in the local men's magazine. Close examination of individual advertisements form semiotic analysis showed that advertisers try to relate muscle building to Wu masculinity; athleticism, male bonding, feminine masculinity are promoted by advertisers; metrosexuality seems the ideal masculinity in Taiwanese society. In conclusion, the study suggested that (1) international men's magazines, either from the West or Japan, can be seen as culture hybrid to construct masculinity in their contents. Although international men's magazines are all hybrid, hybridity in men's magazines that are from countries that are geographically close are much influential than hybrid magazines from geographically far away; (2) the Chinese masculinity should not be labeled as feminine masculinity because it is ordinary manhood from the Chinese Wen tradition.

Dans l’histoire des Juifs d’Europe rien n’illumine autant que le mouvement des Lumières (XVIIIe siècle), rien n’est plus troublant que la comparaison entre le sujet national et l'étranger (fin du XIXe siècle), rien n’est plus sinistre que la dévastation de ce qui semblait immuable, en vue d’un but déterminé : pureté raciale. Le nazisme triomphant (début du XXe siècle) a tout fait pour anéantir la diaspora juive. En dehors même de la destruction physique, la résolution de la question juive se présente comme démolition à la fois du patrimoine et de l’identité juifs. Ce qui change dès lors, c’est l’ensemble des rapports sociaux. Le sentiment d’insécurité devient une obsession, qui longtemps après la guerre continue à hanter les survivants. Ce que nous voyons dans Une histoire familiale de la peur, c’est l’impact qu’a l’Holocauste sur le devenir des Juifs polonais. Agata Tuszyńska (deuxième génération des survivants) a eu une période de déni et une période de révolte, puis est venu l’âge de l’acceptation, avec une volonté de restaurer des liens socioculturels entre le monde disparu et le monde contemporain. Le refus de jugement sur la fièvre antisémite, rend caduque la saisie du sens exacte de l’extermination au lendemain de la guerre. Le silence des rescapés couvre d’ombre des siècles d’existence des Juifs polonais. Il enferme les victimes dans un monde de souffrance incommunicable. Dans ces circonstances le deuil du génocide ne réussit pas. Ce qui les empêche de faire ce travail ce sont les défenses psychiques, l’incompréhension sociale et l’oubli de soi. La Shoah devient alors un jeu de confessions et de concepts imprécis, où s’introduisent le vide et le non-sens. / A period of triumphant Nazism (in the beginning of XXth century) imposed in all Europe an abrupt stop: it made everything to annihilate the Jewish Diaspora. Outside even of physical destruction, this resolution of the “Jewish issue” is present as demolition at the same time of the heritage and of the Jewish identity. A lack of apogee is cause by a long way of tolerance and a hard work of integration. What changes from then on, is all the social relationships. The feeling of insecurity becomes an obsession and continues to haunt the survivors long after the end of the War. We can see that in the example of “Rodzinna historia leku” (A family history of the fear) it is the impact which has the Holocaust on the future of Polish Jews. Agata Tuszynska, professor, journalist (the second generation of the survivors) had a period of denial and a period of revolt, then came the age of the acceptance, with a desire to restore socio-cultural links between the disappeared and the contemporary world. The refusal of judgment on a kind of anti-Semitic fever, according to the criterion of the good and the bad, makes null the seizure of the correct meaning of the extermination after the War. The silence of the survivors overshadows the centuries of existence of the Polish Jews. It locks the victims into a world of incommunicable suffering. It is thus obvious that, in these circumstances to mourn and come to terms with the genocide can’t be succeeded. What prevents them from making this work of memory, except the psychic defenses, the social incomprehension and the self-forgetfulness. Shoah becomes then a mix of confessions and concepts, where get the space and the nonsense.

Esta dissertação busca desenvolver uma etnogeografia sobre a presença dos Galpões no cotidiano de alguns grupos sociais no Vale do Rio Três Forquilhas (Litoral Norte do Rio Grande do Sul), para tanto se aporta em Bonnemaison (2002), como referencial para o entendimento dos acontecimentos na área delimitada, para analisar não somente a arquitetura contemporânea de algumas casas, mas também ressaltar a importância da etnicidade e período das ocupações “não nativas” como vetores dos processos de hibridismo. Para este conceito (hibridismo) serão utilizados textos de Canclini (2006) e Burke (2008). O “Galpão” investigado não é somente o “Galpão gaúcho”, mas também os espaços do habitar, trabalho e lazer de vários grupos étnicos e sociais presentes nesta região (Japoneses, alemães, açorianos, quilombolas e pescadores). Amalgamando-se culturalmente, estes grupos constituem seus territórios domésticos e representações sociais dentro do hibridismo. Os acontecimentos que motivam a ascensão dos diferentes espaços domésticos de representação social, em análise, constroem esta pesquisa; seus vetores, razões e as diversas composições da paisagem cultural (CLAVAL, 2007), como feição praticada do processo geográfico de (re) construção do espaço. / This dissertation aims to develop an ethnogeography about the presence of Galpões on the daily life of some social groups in Três Forquilhas River Valley (North Coast of Rio Grande do Sul). To do so, it is contributed in the formulation of ideas of Bonnemaison (2002) as referential to the understanding of the events in that delimited area in order to analyse not only the contemporary architecture of some houses, but also to highlight the importance of ethnicity and “non native” occupation periods as values of the hybridity process. For the concept of hibridity, Canclini’s (2006) and Burke’s (2008) conception will be used. The investigated “Galpão” is not only the “Galpão Gaúcho”, but also places of habitation, work and leisure of many ethnic and social groups that inhabit that region (japanese, german, azoreans, quilombolas and fishermen). Culturally amalgamating, these groups constitute their domestic territory and social representations inside the hybridity. The events that motivate the rise of distinct domestic spaces of social representation, in analysis, constitute this research; their vectors, reasons and the various compositions of the cultural landscape (CLAVAL, 2007), as practiced feature of the geographical process of (re)construction of spaces.

Esta dissertação busca desenvolver uma etnogeografia sobre a presença dos Galpões no cotidiano de alguns grupos sociais no Vale do Rio Três Forquilhas (Litoral Norte do Rio Grande do Sul), para tanto se aporta em Bonnemaison (2002), como referencial para o entendimento dos acontecimentos na área delimitada, para analisar não somente a arquitetura contemporânea de algumas casas, mas também ressaltar a importância da etnicidade e período das ocupações “não nativas” como vetores dos processos de hibridismo. Para este conceito (hibridismo) serão utilizados textos de Canclini (2006) e Burke (2008). O “Galpão” investigado não é somente o “Galpão gaúcho”, mas também os espaços do habitar, trabalho e lazer de vários grupos étnicos e sociais presentes nesta região (Japoneses, alemães, açorianos, quilombolas e pescadores). Amalgamando-se culturalmente, estes grupos constituem seus territórios domésticos e representações sociais dentro do hibridismo. Os acontecimentos que motivam a ascensão dos diferentes espaços domésticos de representação social, em análise, constroem esta pesquisa; seus vetores, razões e as diversas composições da paisagem cultural (CLAVAL, 2007), como feição praticada do processo geográfico de (re) construção do espaço. / This dissertation aims to develop an ethnogeography about the presence of Galpões on the daily life of some social groups in Três Forquilhas River Valley (North Coast of Rio Grande do Sul). To do so, it is contributed in the formulation of ideas of Bonnemaison (2002) as referential to the understanding of the events in that delimited area in order to analyse not only the contemporary architecture of some houses, but also to highlight the importance of ethnicity and “non native” occupation periods as values of the hybridity process. For the concept of hibridity, Canclini’s (2006) and Burke’s (2008) conception will be used. The investigated “Galpão” is not only the “Galpão Gaúcho”, but also places of habitation, work and leisure of many ethnic and social groups that inhabit that region (japanese, german, azoreans, quilombolas and fishermen). Culturally amalgamating, these groups constitute their domestic territory and social representations inside the hybridity. The events that motivate the rise of distinct domestic spaces of social representation, in analysis, constitute this research; their vectors, reasons and the various compositions of the cultural landscape (CLAVAL, 2007), as practiced feature of the geographical process of (re)construction of spaces.

In this study, I examine pre-Hispanic and European beads from a variety of early Spanish colonial archaeological sites throughout the Peruvian Andes. I situate these materials and interactions within the history of Andean and European social networks. I demonstrate that the presence of European beads at specific archaeological sites —or contexts within sites— does not indicate that they directly belonged to European people, but were often incorporated into traditional Andean practices. Moreover, by engaging with theories of value and colonial hybridity, I argue that pre-Hispanic Spondylus shell and European glass beads were similarly valued due to the action invested in their acquisition from distant and unique places of origin. I further illustrate how the contemporaneous use of European and pre-Hispanic beads in forms of exchange, dress, and burial practices contributed to Andean and European beliefs and practices acquiring distinct meanings. These activities, with their changing significances, influenced the formation of new cultural identities and shaped Andean and European social values. / En este estudio, examino las cuentas prehispánicas y europeas recuperadas de varios sitios arqueológicos ocupados durante el colonialismo español temprano a lo largo los Andes peruanos. Al hacer esto, sitúo tales materiales e interacciones en la historia extensiva de las redes sociales andinas y europeas. Demuestro que la presencia de las cuentas europeas en sitios arqueológicos o en contextos dentro de dichos sitios no indica que directamente estas les pertenecieran a los europeos. Además, a partir de las varias teorías sobre valor por David Graeber, Mary Helms y Karl Marx, junto con ideas acerca del carácter híbrido de lo colonial, argumento que las cuentas prehispánicas de la concha de Spondylus y cuentas europeas eran similarmente valuadas debido a la acción invertida en su adquisición de tierras lejanas y orígenes únicos. Además, sostengo que el uso contemporáneo de las cuentas prehispánicas y europeas en las formas de intercambio, vestimenta y prácticas funerarias contribuyeron con las creencias y prácticas andinas y europeas al adquirir significados distintos. Estas actividades, con sus significados cambiantes, influían en la formación de nuevas identidades culturales, y conformaba los valores sociales de los andinos y europeos en un entorno español colonial emergente en los Andes.

O objetivo deste trabalho é investigar a relevância do conceito de hibridismo cultural para a compreensão dos fenômenos de mudança social e cultural. Pretendo me concentrar nos autores que questionam a homogeneidade das culturas e das identidades, e que em vez disso acreditam que todas as culturas são inerentementes híbridas, sendo a interação entre elas capaz de intensificar essa mistura de formas imprevisíveis. Ao mesmo tempo, analiso o modo como o filme Minha Adorável Lavanderia trata do hibridismo, procurando relacioná-lo com os autores investigados. / The aim of this dissertation is to investigate the relevance of the concept of cultural hydbridity to an understanding of the phenomena of social and cultural change. It is my intention to focus on those theorists who question the purity and homogeneity of cultures, and believe instead that all cultures are inherently hybrid, and that intercultural exchange helps to intensify the mixture in unpredictable ways. At the same time, I examine the concept of hybridity underlying My Beautiful Laundrette, trying to relate it to the theories above

Malgré l’inversion de la signification du cynisme, ses deux acceptions principalesconservent de troublantes similitudes. Tout cynisme se montre : il s’exhibe par le dénuementexemplaire des ascètes comme par les possessions des parvenus. Le cynisme est doncontologiquement théâtral. Par son association à la dérision des valeurs ou à celle de leurabsence, il se rapproche plus spécifiquement de la comédie. Cynisme et comédie ont unemême ambivalence en partage.La relation des dramaturges à l’utile dulci s’est rarement révélée aussi complexe etévolutive qu’entre 1685 et 1750. Leurs postures par rapport à la place du rire et de la moraleau théâtre influent sur leurs manières de représenter le cynisme et l’amoralité. Mais leurappréciation des arcanes des subversions morale et amorale détermine réciproquement lapoétique de leurs comédies.Dancourt, Lesage, Regnard et autres joyeux drilles couvrent de leurs sarcasmes uneamoralité collective qu’ils dédaignent de corriger. En réaction à leurs provocations, leurscenseurs ligués dénoncèrent la corruption du théâtre et entreprirent sa réforme. La comédie setransforme notamment en chaire publique, grâce à l’action de Destouches qui substitue lamoralisation au rire. C’est en moralistes que Dufresny et Marivaux envisagent, en revanche,la genèse, les causes et les implications des travers moraux. Ils découvrent que, au siècle desLumières, les ténèbres prévalent : le Mal gangrène société, individus et langage. Sublimantleur pessimisme, leur désir d’y remédier les incite alors à évaluer, avec Delisle, la possibilitéde restaurer le cynisme antique pour réenchanter leur monde / Inspite of the inversion of the meaning of cynicism, its two variants do preserve somedisquieting affinities. All cynicism must make itself visible: it exhibits itself in the ascetic’soustanding privation as much as in the parvenu’s gallery of possessions. Cynicism is thenontologically theatrical. Through its association with the mocking of values or with theirabsence, it shares closer ties with comedy. Both partake of the same ambivalence.The dramatists’ relationship to the utile dulci has rarely shown itself to be a complex andevolving as in the period between 1685 and 1750. Their stances in connection with the placeof laughter and morality in theatre bears strongly on the way cynicism and amorality arerepresented. Yet, their appreciation of the well-guarded secrets of subversions, wether moralor amoral, determines in turn their own comic poetics.Dancourt, Lesage, Regnard and other wanton libertines screen with their sarcasm acollective amorality they are loath to redress. In response to their provocations, their consorsunited to denounce the theatre’s corruption and brace up for reform. Comedy, steps then intothe pulpit owing to Destouche’s contribution substituting moralization for laughter. It is asmoralists, however, that Dufresny and Marivaux conceive the genesis, causes, andimplications of moral defects. They came to realize that in the Age of Enlightenment,darkness still prevailed: Evil corrupt society, the individual and language. The call forredemption, with the sublimation of pessimism it breeds steers them forth to evaluate, alongwith Delisle, the possibility of restoring classical cynicism in the aim of bringing enchantmentback to their worlds

For some time now, social scientists, literary critics and others who have examined socio-political developments characterised by intercultural interaction (e.g. colonialism or globalisation), have emphasised the creative, transformative and hybrid character of the space 'in-between' (e.g. Bhabha 1994; Young 1995). Even though 'hybridity discourses' have principally explored spheres of intercultural interaction in order to dismantle traditional binary oppositions used in colonial studies, or to describe the subtleties of our contemporary globalised environment, they have also raised awareness of the need to integrate such insights into accounts that explore and theorise a range of social phenomena (e.g. Nederveen Pieterse 2009). Whilst this integration has taken place in the wider context of the social sciences, scant attention has been given within the reflective arena of post-processualism to devising theoretical approaches which allow for analyses either of the space 'in-between' or the 'multivoicedness' (Bakhtin 1981) of material culture (for an exception see Fahlander 2007). This thesis seeks to define the theoretical as well as methodological strategies needed to incorporate the notion of 'hybridity' into the post-processual discourse. Although the effects of hybridity can take various forms (e.g. linguistics, culture, politics, religion) (Ashcroft et al. 1998), our possibilities for exploring this concept in archaeology amount to identifying the effects of hybridity on the realm of material culture. This research focuses on developing a theoretical and methodological approach that allows intercultural interaction to be examined through the identification of material patterning. To do so, the notion of 'diffusion' is reconsidered as an analytical concept in archaeology. This thesis then draws upon this approach to explore developments within the Orcadian Neolithic during the later fourth millennium BC. As a period of structural change in the islands, it has been the breeding ground for the development of various differing approaches to interpretation (e.g. Renfrew 1979b, Hodder 1982a; Sharples 1985). On this occasion, I will argue that this period represented a classic example of the formation of hybrid identities. Whilst a self-unified image of society was sought in these islands during this period, it is suggested that the cultural expressions used to depict identity reflected intercultural interaction with the Boyne Valley (Ireland).

This thesis “Inherently Hybrid: Contestations and Renegotiations of Prescribed Identities in Contemporary Sri Lankan English Writing” examines work by Nihal de Silva, David Blacker and Vivimarie VanderPoorten to analyse their negotiation of identity, belonging and citizenship within contemporary Sri Lankan English Writing. This negotiation of identity is then placed in relation to the Eelam Wars as well as hybridity and cosmopolitanism, which have become a part of Sri Lankan identity because of the nation’s postcolonial past. Genre and form are employed as ways into exploring the tensions within Sri Lankan English writing, especially because they prescribe on the texts selected a specific way of approaching and presenting the ethnic conflict that is a widespread theme in much of contemporary Sri Lankan writing. The first chapter looks at De Silva’s adventure romance The Road From Elephant Pass. It examines how the novel engenders a renegotiation of identities through the effects of the ethnic conflict upon the attitudes, behaviours and ideologies of the island’s populations, symbolically represented through the narrator, who is a Sinhalese Buddhist officer in the Sri Lankan Army and his eventual lover, who is a rebel fighting for the Liberation Tigers of Tamil Eelam. I analyse the arguments presented in the text around identity, belonging and patriotism and focus on the representations of ethnic and racial identity that ultimately expose the constructedness of these various positions, revealing the unacknowledged but real hybridity of the Sri Lankan peoples. I look at markers of cultural capital and tease out how class identities rely on cosmopolitanism, characterised by a knowledge of English, and how that further reveals the performativity of identity. The second chapter examines Blacker’s political thriller A Cause Untrue. Here I explore how the use of detail and description provides an appearance of imparting a complete and realistic perspective on the war. I demonstrate how the novel, through the calculated use of what I will characterise as a ‘reality effect’, takes on the manifestation of being an authority on the war. Blacker’s use of recognisable historical events allows him to create an alternative narrative of history, one that has all the hallmarks of being a true retelling even as it is apparent that his text utilises the ‘reality effect’ to imagine Sri Lanka creatively. This demonstrates how the selection of the thriller genre provides Blacker with a specific way of representing the nation and its diasporas’ in relation to the Eelam Wars. The third chapter focuses on VanderPoorten’s collection of poetry nothing prepares you. Here I investigate how the concepts of hybridity and cosmopolitanism are located within the language used to construct her poetry. I explore how this hybridity and cosmopolitanism of language works together with the form and content of her poems to provide a disquieting of fixed notions of identity, citizenship and belonging. The conclusion to the study revisits the issues that my three chapters deal with, bringing together an overall account of hybridity, cosmopolitanism and identity. I look at the constructedness and performance of identity with the aim of providing a nuanced reading of the renegotiations of identity and citizenship that are taking place because of the ethnic conflict. By summing up the different manifestations of the various gendered, ethnic and class identities represented and presented in the texts that I explore, I illustrate the wider implications of the points of connection between identity and power on the one hand and nationalism, dogma and political rhetoric on the other. Identities within the Sri Lankan nation blur the distinctions between alien and citizen, between one who belongs and subscribes to set expectations, norms and practices and one who challenges these markers of identity.