In this essay, the Harry Potter series will be analyzed in three different sections. I will use African American criticism and Critical Race Theory (CRT) in the discussion of ‘race’ and segregation that occurs between three different groups. This section will explain along what lines the world of Harry Potter is segregated and to what extent. Further, it will contain a case-study of house-elves through the lens of postcolonial criticism, that shows how certain groups are relegated to the status of “subaltern”, what form their oppression take and how they respond to it. I have chosen the elves, who are at the very bottom of the social ladder, because the extent of their oppression has been cut out from movie adaptions, and Rowling herself has liquidated the house-elf plot from the last novels. They provide the clearest example of differentiation between the groups of magical creatures, even though as a group they do not play an important part the series. The main concepts that will be used in this section are the issues of subaltern, mimicry and anticolonialist resistance. Finally, I will look at the novels through a multicultural perspective to see how Rowling has portrayed contemporary multicultural England and how it connects to the racial divisions in the magical world.

<p>Uppsatsens syfte är att visa hur Jean Rhys i sin roman <em>Sargassohavet</em> ifrågasätter de narrativa strategier och diskurser som avgör vilka romanpersoner och perspektiv som får komma till uttryck. Rhys gör detta bland annat genom att placera en icke-västerländsk kvinna, som dessutom påstås vara galen, i protagonistens position. På så vis legitimeras romanpersonens perspektiv och detta är ett sätt att låta den Andras röst få komma till uttryck, från det fria subjektets position.</p><p>Rhys lyfter också fram att det alltid finns fler än en sida av en berättelse. Den mångstämmighet som kännetecknar romanen visar att en berättelse kan framföras från flera olika perspektiv; genom att utrymme ges åt flera röster försvåras en reducerande läsart av romanpersonerna. Romanens polyfoni är också ett sätt att belysa de olika positionerna i de konflikter som strukturerar romanen, exempelvis konflikten mellan det västerländska och det icke-västerländska, mellan kvinnor och män och mellan rationalitet och fantasi.</p> / <p>The aim of this thesis is to show how Jean Rhys in her novel <em>Wide Sargasso Sea</em> questions the narrative strategies and the discourses that decide which characters are allowed to speak. Rhys does this by placing a non-western woman, who is also allegedly insane, in the position of the protagonist. By doing so, this perspective is legitimized and it is a strategy that lets the voice of the Other be expressed.</p><p>Rhys also emphasizes the existence of multiple versions of a story. The polyphony that characterizes the novel shows that a story can be told from different points of view. By letting several voices be heard, a reductive reading of the characters is prevented. The polyphony in the novel is also a way of bringing out the different positions in the conflicts that structure the novel, for example the conflict between the western and the non-western, between women and men and between rationality and fantasy.</p>

Uppsatsens syfte är att visa hur Jean Rhys i sin roman Sargassohavet ifrågasätter de narrativa strategier och diskurser som avgör vilka romanpersoner och perspektiv som får komma till uttryck. Rhys gör detta bland annat genom att placera en icke-västerländsk kvinna, som dessutom påstås vara galen, i protagonistens position. På så vis legitimeras romanpersonens perspektiv och detta är ett sätt att låta den Andras röst få komma till uttryck, från det fria subjektets position. Rhys lyfter också fram att det alltid finns fler än en sida av en berättelse. Den mångstämmighet som kännetecknar romanen visar att en berättelse kan framföras från flera olika perspektiv; genom att utrymme ges åt flera röster försvåras en reducerande läsart av romanpersonerna. Romanens polyfoni är också ett sätt att belysa de olika positionerna i de konflikter som strukturerar romanen, exempelvis konflikten mellan det västerländska och det icke-västerländska, mellan kvinnor och män och mellan rationalitet och fantasi. / The aim of this thesis is to show how Jean Rhys in her novel Wide Sargasso Sea questions the narrative strategies and the discourses that decide which characters are allowed to speak. Rhys does this by placing a non-western woman, who is also allegedly insane, in the position of the protagonist. By doing so, this perspective is legitimized and it is a strategy that lets the voice of the Other be expressed. Rhys also emphasizes the existence of multiple versions of a story. The polyphony that characterizes the novel shows that a story can be told from different points of view. By letting several voices be heard, a reductive reading of the characters is prevented. The polyphony in the novel is also a way of bringing out the different positions in the conflicts that structure the novel, for example the conflict between the western and the non-western, between women and men and between rationality and fantasy.

For those who have the courage to doubt, it can be said that the Bible which is highly regarded in Africa is not only an innocent book but also a guilty one because of the many social, political and religious evils that have bedevilled Africa from time to time and which it has condoned and has been used to sanction. Using postcolonial biblical criticism, and as a way of demonstrating that the entire Bible is another text of the empire, this thesis argues that imperial ideology promoted in Luke's socio-economic parables has contributed to another social evil i.e. the gap between the rich and the poor in Kenya. / Thesis (M.Th.)-University of KwaZulu-Natal, Pietermaritzburg, 2008.

The present research has been aimed at investigating how imperialism and colonialism are located both in the biblical text (cf. Joshua 1-12) and in present day interpretive postcolonial contexts such as that of the Democratic Republic of the Congo. An investigation was made of the unequal power dynamics at play between the Israelites who are depicted as mercilessly conquering the indigenous peoples of Canaan in the name of the deity, and the Canaanites. How were/ are such power dynamics played out in the Katangese, Democratic Republic of the Congo’s context in the relations between the then colonizers, that is, the Belgians as well as the neo-colonial African rulers and the Congolese peoples? It is argued that the Belgians assumed the role akin to that of the Israelite invaders as they mercilessly invaded the “promised land”, that is, the Democratic Republic of the Congo, ending with the brutal extermination of African peoples justified on biblical precedents. A conclusion is made that within the context of postcolonial biblical interpretation, the conquest narrative of Joshua 1-12 is one of the most traumatic stories in which violence is committed by one nation on another in the name of the deity. Postcolonial biblical criticism was found to be an appropriate approach in assisting the researcher to navigate through violent biblical texts with a view to coming up with a transformative reading of the texts in the (Katangese) context of the Democratic Republic of the Congo. / Old Testament and Ancient Near Eastern Studies / D. Litt. et Phil. (Biblical Studies)

The present research has been aimed at investigating how imperialism and colonialism are located both in the biblical text (cf. Joshua 1-12) and in present day interpretive postcolonial contexts such as that of the Democratic Republic of the Congo. An investigation was made of the unequal power dynamics at play between the Israelites who are depicted as mercilessly conquering the indigenous peoples of Canaan in the name of the deity, and the Canaanites. How were/ are such power dynamics played out in the Katangese, Democratic Republic of the Congo’s context in the relations between the then colonizers, that is, the Belgians as well as the neo-colonial African rulers and the Congolese peoples? It is argued that the Belgians assumed the role akin to that of the Israelite invaders as they mercilessly invaded the “promised land”, that is, the Democratic Republic of the Congo, ending with the brutal extermination of African peoples justified on biblical precedents. A conclusion is made that within the context of postcolonial biblical interpretation, the conquest narrative of Joshua 1-12 is one of the most traumatic stories in which violence is committed by one nation on another in the name of the deity. Postcolonial biblical criticism was found to be an appropriate approach in assisting the researcher to navigate through violent biblical texts with a view to coming up with a transformative reading of the texts in the (Katangese) context of the Democratic Republic of the Congo. / Old Testament and Ancient Near Eastern Studies / D. Litt. et Phil. (Biblical Studies)