Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Thesis advisor: Brian D. Robinette / The proliferation in recent decades of “stewardship model” approaches for developing a theology of creation, which places human beings at the center of the cosmos as caretakers or managers of the divine oikos, is the result of an intentional effort to correct overtly problematic “dominion model” approaches that have contributed both to reifying a sense of human sovereignty and the resulting environmental degradation. However, the first part of this dissertation argues that the stewardship model of creation actually operates under many of the same problematic presuppositions as the dominion model, and therefore does not offer a correction but rather a tacit re-inscription of the very same pitfalls. After close consideration and analysis of the stewardship model, this dissertation identifies scriptural, theological, and philosophical sources to support the adoption of a “kinship” or “community of creation” model. Drawing on postcolonial theorists and theologians as key critical and constructive interlocutors, this project then proposes the concept of “planetarity” as a framework for conceiving of the relationship between human and other-than-human creation, as well as the relationship between the whole of creation and the Creator, in a new way. This theoretical framework invites a theological supplément, which, this dissertation argues, is found best in the writings of the medieval Franciscan tradition. Several distinctive characteristics of the Franciscan theological tradition offer key constructive contributions. Among these themes are the foundational sense of the interrelatedness, mutuality, and intended harmony of creation within the early spiritual texts and later Franciscan theological and philosophical writings; John Duns Scotus’s distinctive principle of individuation; the alternative appropriation of Peter John Olivi’s category of usus pauper for use in navigating the tension between creation’s intrinsic and instrumental value; and the application of a Franciscan understanding of the virtue of pietas as a proposal for environmental praxis. The result is what can be called a postcolonial Franciscan theology of creation imagined in terms of planetarity as reconceived in a theological key. It is a constructive and non-anthropocentric response to the need for a new conceptualization of the doctrine of creation. / Thesis (PhD) — Boston College, 2016. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.

This thesis offers an analysis of workplace emotions by interweaving social constructionist and psychoanalytic theoretical frameworks. The introduction highlights the importance of workplace emotion for organisation studies and discusses the significance of drawing on more than one framework for an understanding of the complexities of workplace emotions. India was chosen as thelocale for the study for a variety of reasons, including its global significance, its history of psychoanalysis, and immense diversity, which offer a vast landscape for exploring emotions from multiple perspectives. Engaging with India provides a cultural corrective to research on organisational emotion focussed upon Western spaces. The literature review discusses the tenets, limitations, and possibilities for cross-fertilisation of social constructionist and psychoanalytic accounts, and explores further the opportunities provided by the choice of India as the site for this work. The methodology informing the research is then introduced, focussing on qualitative interviews, storytelling, and countertransference as key features of the data collection and analysis. Four data chapters follow, which present and analyse empirical data from the field work to highlight the importance of both frameworks for an enriched understanding of emotions. The major themes that emerge from the data include cultural dynamics influencing emotions, emotional labour, workplace traumas, and the legacy of colonialism in work spaces. The thesis concludes with a review of the theoretical contributions and an identification of new possibilities and new stories for exploration opened upon by this research.

This thesis examines the way in which dance work produced by postcolonial dance artists is often misread and exoticised by critics, funders and audiences. Yet the works produced have a disruptive effect and are products and clear indications of the sometimes oppressive processes that create cultural representation and identities. These postcolonial dance artists also have to contend with problematic umbrella terms such as ‘Black’ and ‘South Asian’ which are not fully descriptive of their dance practice and have the effect of stereotyping the work produced. The thesis investigates the artists Mavin Khoo, Shobana Jeyasingh, Akram Khan, Bode Lawal, Robert Hylton and Phoenix Dance Company who have created works that have asserted their individual agency through the use of particular cultural dance practices and have engaged in concepts such as classicism, modernism and postmodernism in order to establish a place within the British dance canon. Choreographic work produced by artists such as Khoo and Hylton have ‘educated’ audiences about the dance traditions that have been ‘passed down’ to them, whilst artists and companies like Phoenix have worked within a primarily Western medium, yet acknowledging that their work is informed by their distinctive African, African-Caribbean and Indian identities also. Although the work produced by these artists is often viewed from a white and Eurocentric perspective and exoticised to fit with conventional notions of ‘Indianness’ and ‘Blackness’, this thesis demonstrates that through the use of methodologies from cultural theory/policy, postcolonial theory and dance studies it is possible to reveal and illuminate meanings in the choreography and performances of postcolonial artists, and open up the dialogue that their works initiate in a multicultural and globalised context.

After World War II East and West Germans alike contributed to the maintenance and dismantling of European colonialism, whether by means of direct participation or state policy. At the same time, Germans in both states fashioned a variety of narratives about Germany's own colonial period, selectively including and interpreting facts in order to support sweeping pronouncements on Germany's past, present, and future. In this regard Germans were not unique, as other Europeans after 1945 likewise struggled to find their way in a rapidly decolonizing world and to make sense of the history that had led them to this point. Yet, unlike other Europeans, Germans had been without a colonial empire of their own since World War I. In West and East Germany colonialism permeated political culture. German politicians, bureaucrats, businessmen, and workers dealt with colonialism, its decline, and its aftermath on a regular basis. Colonies were objects of foreign policy-making; decolonization provided an important context for political and economic developments within, between, and beyond both German states; and Germany's colonial past offered redemption and reproach to those willing to find them there. These and other encounters with colonialism dot the historical record, appearing in government archives, political pamphlets, and popular culture ranging from periodicals to film and television. Colonialism's continued relevance for Germans--and indeed the continued relevance of Germans in Europe's waning overseas empires--naturally invites one to compare and contrast the German experience with that in France, or the United Kingdom. However, it also points to the importance such similarities or differences had for Germans. Colonialism certainly helped forge connections between Germans and non-Germans across Europe, Africa, and elsewhere, but more importantly it provided a language for defining Germans' relationships with the rest of the world, not to mention with each other.

Canada has seen a veritable explosion in the production and popularity of historical fiction in recent decades. Works by women that present a feminist revision of national narratives have played a key part in this phenomenon. This thesis discusses three contemporary Canadian historical novels: Gil Adamson’s The Outlander (2007), Ami McKay’s The Birth House (2006), and Margaret Atwood’s Alias Grace (1996). By examining these novels through a settler colonial lens and with a specific interest in the critique of settler feminism, this thesis offers readings that can reveal how feminism operates within the confines of the settler fantasy. These readings suggest that women’s historical fiction offers an opportunity to consider different aspects of feminism in the settler setting and to consider different aspects of critiques of patriarchy in settler contexts. This thesis suggests that these novels present a settler women’s history that cannot be properly understood through the simplistic logic of male/female or colonizer/colonized oppositions, and that the ways the novels depict women’s interactions with patriarchal settler structures and institutions can contribute to critical understandings of a colonial history with which Canada continues to reckon.

This thesis considers the narratives of eight M ori chook keepers from the Waikato rohe, Aotearoa. The Waikato rohe has been selected due to its significant history of M ori horticultural and agricultural practises, including chook keeping. I build on the growing corpus of m tauranga about indigenous studies. Using a postcolonial, feminist and Kaupapa M ori theoretical framework, I undertook five semi-structured interviews and one focus r p with M ori kaum tua. This thesis does not attempt to represent all M ori. There may be considerable difference between wh nau, hap and iwi practices. However, the rangahau provides insights into the views of eight individuals and their experiences with chooks. I have also utilised Country Calendar (1970; 1977a; 1977b and 1980) episodes and children's pukapuka such as Nanny Mihi's Garden (Drewery 2002) for the purposes of discourse analysis. By listening to these stories, kaupapa including race, class and ethnicity emerge that affect the participants' everyday lives as chook keepers. The participants view chooks in a variety of ways. First, as a means of food production. By integrating chooks into their communities, the participants are able to provide a nutritious and low-cost kai source for themselves and their wh nau. This attempts to at least in part address their poverty problems. Second, as a hybridised P keh and M ori kararehe. Third, as hysterical, comical, silly and helpless. I explore these issues within the broader context of colonial, neocolonial and anticolonial practices.

Through a descriptive and exploratory approach, and by review and deduction of archival and documentary resources, supplemented by empirical evidence from case studies, this thesis traces, analyses and describes the historic trajectory of planning events in Kampala City, Uganda, since the inception of modern town planning in 1903, and runs through the various planning episodes of 1912, 1919, 1930, 1951, 1972 and 1994. The planning ideas at interplay in each planning period and their expression in planning schemes vis-à-vis spatial outcomes form the major focus. The study results show the existence of two distinct landscapes; Mengo for the Native Baganda peoples and Kampala for the Europeans, a dualism that existed for much of the period before 1968. Modern town planning was particularly applied to the colonial city while the native city grew with little attempts to planning. Four main ideas are identified as having informed planning and transformed Kampala – first, the utopian ideals of the century; secondly, “the mosquito theory” and the general health concern and fear of catching „native‟ diseases – malaria and plague; thirdly, racial segregation and fourth, an influx of migrant labour into Kampala City, and attempts to meet an expanding urban need in the immediate post war years and after independence in 1962 saw the transfer and/or the transposition of the modernist and in particular, of the new towns planning ideas – which were particularly expressed in the plans of 1963-1968 by the United Nations Planning Mission. The post-independence era also saw the various ideas articulated under traditional land use and zoning practices especially expressed in the 1972 and 1994 plans. While a great deal of planning work has been done in both the colonial and postcolonial eras, findings on ground show that almost all planning ideas expressed in the colonial planning schemes of Kampala City in 1912, 1919, 1930 and 1951 have had physical impact on the spatial structure of Kampala City compared to any period after independence. The postcolonial era experienced little application and implementation of the planning ideas and plans. This is attributed to several factors including: governance issues, lack of financial resources and manpower, the complicated land tenure systems emerging from 1900 Buganda agreement, lack of political commitment, and importation of foreign models without reorienting them to the local context, and so forth. The study concludes by highlighting some of the reflections and the implications for future planning, considerations which perhaps may be useful for the planners of tomorrow and may influence the development of planning policy and perhaps „new‟ planning approaches. / QC 20111215

This thesis examines the premises postulated by Bill Ashcroft, Gareth Griffiths, Helen Tiffin and Homi K. Bhabha within Postcolonial theory. The theorists suggest that these strategies can be applied to the entire literary production emerging from the erstwhile European colonies in Asia and Latin America; hence the aim of this project is to test the validity of their claim. Given the vastnesss of the theory, the scope of this study has been confined to the analysis of hybridity, Nativism, and mimicry. Critical works by Benita Parry, Walter Mignolo, Neil Lazarus, and others, have been taken into consideration. José María Arguedas (1911-1969), Arundhati Roy (1963-) and Geetanjali Shree (1957-), writing in Spanish, English and Hindi, respectively, were chosen to represent Peru and India. The Hindi novel was included to address the lack of adequate research in the field of vernacular literature within Postcolonial studies, as most of the critics have concentrated on texts written in the former colonizers’ languages. Language and culture have been the cornerstones of this theory hence they form an important part of my analysis. The dissertation foregrounds the relation between Spanish, English and the vernaculars in the text-nations crafted by Arguedas, and Roy. Their narratives indicate that the vernacular melds with the colonizer’s language to form a hybrid tongue, but the manner in which hybridity is constructed depends on the geo-political character of each society. The role of Hindi, its relation to English and Urdu, as well as the invention of its Sanskritized version during the colonial period, is examined in Shree’s narrative and her work is particularly insightful in this regard, as hybridity and Nativism are portrayed very differently in her novel. In this way my thesis demonstrates the difficulty of carrying out a comparative analysis of the entire literary corpus emerging from the erstwhile European colonies based solely on their shared colonial experience.

This thesis examines the premises postulated by Bill Ashcroft, Gareth Griffiths, Helen Tiffin and Homi K. Bhabha within Postcolonial theory. The theorists suggest that these strategies can be applied to the entire literary production emerging from the erstwhile European colonies in Asia and Latin America; hence the aim of this project is to test the validity of their claim. Given the vastnesss of the theory, the scope of this study has been confined to the analysis of hybridity, Nativism, and mimicry. Critical works by Benita Parry, Walter Mignolo, Neil Lazarus, and others, have been taken into consideration. José María Arguedas (1911-1969), Arundhati Roy (1963-) and Geetanjali Shree (1957-), writing in Spanish, English and Hindi, respectively, were chosen to represent Peru and India. The Hindi novel was included to address the lack of adequate research in the field of vernacular literature within Postcolonial studies, as most of the critics have concentrated on texts written in the former colonizers’ languages. Language and culture have been the cornerstones of this theory hence they form an important part of my analysis. The dissertation foregrounds the relation between Spanish, English and the vernaculars in the text-nations crafted by Arguedas, and Roy. Their narratives indicate that the vernacular melds with the colonizer’s language to form a hybrid tongue, but the manner in which hybridity is constructed depends on the geo-political character of each society. The role of Hindi, its relation to English and Urdu, as well as the invention of its Sanskritized version during the colonial period, is examined in Shree’s narrative and her work is particularly insightful in this regard, as hybridity and Nativism are portrayed very differently in her novel. In this way my thesis demonstrates the difficulty of carrying out a comparative analysis of the entire literary corpus emerging from the erstwhile European colonies based solely on their shared colonial experience.