Disertacijos objektas yra komercinis Britanijos ir Indijos kinas bei jame konstruojamos tapatybės. Tapatybės konstravimo problematika Indijos ir Britanijos filmuose yra tiriama remiantis trimis tapatybės analizės pokolonijinėje teorijoje pjūviais: kolonijinio diskurso kritika, antikolonijiniu nacionalizmu ir tautinės tapatybės konstravimu bei diasporinės tapatybės problematika. Lyginamasis dviejų, praeityje kolonijiniais saitais susietų valstybių kino filmų tyrimas leido pažvelgti į kompleksines tapatybės artikuliavimo pokolonijiniame laikotarpyje galimybes ir parodė, kad kolonijinė praeitis nėra vien tik istorinis reliktas, bet viena iš tapatybės konstravimo priemonių, nuolat sugrąžinama ir permąstoma šiuolaikinėje populiariojoje kultūroje ir kinematografijoje. Išanalizavus medžiagą disertacijoje prieita prie šių išvadų: tauta konstruoja save per nuolatinį kolonijinės atminties resursų panaudojimą – ir atlieka tai vedina skirtingų tikslų: fantazijos, nostalgijos, baimės ir kt. Nuolatinis kolonijinės atminties eskalavimas dabarties kontekste rodo pokolonializmo procesualumą, bet ne substanciškumą, atverdamas kelius pažvelgti į imperializmą ir jo poziciją ne tik praeityje, bet ir dabartyje. Tokiame kontekste tiek Britanija, tiek Indija į filmų naratyvus įtraukia kultūrinės kitybės kategoriją, kuri yra modeliuojama priklausomai nuo filmo sukūrimo laikmečio ir išreiškia skirtingas ideologines sanklodas. Kalbėjimas apie „Kitą“ tampa susietas su „Savimi“, taip sukuriant reikšmių... [toliau žr. visą tekstą] / The object of the dissertation is British and Indian popular (commercial) cinema and the construction of identity there. The problem of identity construction in Indian and British films was researched employing three approaches found in the postcolonial theory: the critique of colonial discourse, anticolonial nationalism and the construction of national identity and the problematics of diasporic identity. The comparative analysis of the films from the two industries of the countries which were bounded by colonial relationships in the past let us see the complex ways of how identity is articulated in the postcolonial period. It also shows that the colonial memory is not merely a historical relict, but one of the ways to construct identity, which is always brought up and rethought in contemporary popular culture. The comparative analysis of British and Indian films leads us to the following conclusions: Nadion constructs itself through the constant employment of the resources of colonial memory – and does so depending on various goals: fantasy, nostalgia, fear etc. The ever-present use of colonial memory in the context of the present shows that postcoloniality is a process rather than achieved state, thus letting us observe the positions and functions of imperialism not only in the past, but present as well. British as well as Indian cinema includes the cultural “otherness” in the narratives, which is modeled and manipulated according to the historical period when the film was... [to full text]

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This dissertation analyses a number of key themes in the work of postcolonial theorist and literary critic Gayatri Chakravorty Spivak, and uses her ideas to argue for the usefulness of both deconstructive and postmodern thought in a postcolonial context generally, and in South Africa in particular. The early part of the thesis presents a brief overview of Spivak's work (Chapter 1) and discusses its relationship with Derridean deconstruction and what I have called "progressive postmodern thought". Chapter 2 explores in detail Spivak's use of theoretical concepts adapted from, or closely related to, deconstruction. Perhaps the most important of these is catachresis - the idea that all naming is in a sense false, and the words we use to conceptualise the world must be seen as "inadequate, yet necessary". The thesis looks at how Spivak foregrounds the methodological consequences of this insight in her own practice of constantly revisiting and rethinking her own conclusions, and also at the political consequences of recognising specific terms like "nation", "identity" or "woman" as catachrestic. Closely related to this area of Spivak's work are her idea of "strategic essentialism" and her adaptation of Derrida's concept of the pharmakon -- that which is simultaneously poison and medicine. Chapter 3 relates Spivak's work to three key areas of postmodern thought: alterity, and the ethics of the relationship between self and other; Lyotard's notions of the differand and the "unpresentable"; and aporia, or the ethical and political consequences of undecidability. I argue here that all of these emphases are potentially very useful in postcolonial studies, particularly in relation to the predicament - of the gendered subaltern, and that they help to define a progressive postmodern politics. The remainder of the dissertation discusses individual essays at greater length. Chapter 4 focuses in the main on "Can the Subaltern Speak?" (1988) and Spivak's arguments concerning the nature of subalternity and the politics of representation. Chapter 5 examines Spivak's engagement with French Feminism and her feminist critiques of mainstream deconstruction, arguing that Spivak's use of deconstruction undermines the opposition between linguistic and material forms of oppression and hence between theory and practice. Chapter 6 focuses on Spivak's reading of literary texts and raises issues concerning, inter alia, the production of the first world self at the expense of the third world other; the limits of both metropolitan theories and narratives of national liberation, democracy and development in relation to the experience of the gendered subaltern; reading the text of the subaltern body; the (impossible but necessary) ethical relationship between first world feminist and the subaltern in neocolonial space; rights and responsibility; the need to respect subaltern selfhood; and the possibility of what Spivak calls "learning from below". Finally, I look at the relevance of Spivak's thought to three areas of South African political and academic life: conflicts over representation within the local Women's movement; notions of national origin and national identity; and debates over deconstruction and the relationship between the academy and society. / Thesis (Ph.D.)-University of Natal, Pietermaritzburg, 1998.

This dissertation explores postcolonial fiction that reflects the structural situation of a genocidal number of third-world women who are being trafficked for sexual purposes from postcolonial countries into the global north—invariably, gender, class and race play a crucial role in their exploitation. Above all, these women share a systemic disposability and invisibility, as the business relies on the victim’s illegality and criminality to generate maximum revenues. My research suggests that the presence of these abject women is not only recognized by ideological and repressive state apparatuses on every side of the trafficking scheme (in the form of governments, military establishments, juridical systems, transnational corporations, etc.) but is also understood as necessary for the current neoliberal model to thrive undisturbed by ethical imperatives. Beginning with the turn of the twentieth century, then, I analyze sexual slavery transnationally by looking at James Joyce’s “Eveline,” Therese Park’s A Gift of the Emperor, Mahasweta Devi’s “Douloti the Bountiful,” Amma Darko’s Beyond the Horizon, Chris Abani’s Becoming Abigail, and Roberto Bolaño’s 2666, concentrating on the political, economic, and social discourses in which the narratives are immersed through the lens of Marxist, feminist, and postcolonial theory. By interrogating these postcolonial narratives, my project reexamines the sex slave-trafficker-consumer triad in order to determine the effect of each party’s presence or absence from the text and the implications in terms of the discourses their representations may tacitly legitimize. At the same time, this work investigates the type of postcolonial stories the West privileges and the reasons, and the subjective role postcolonial theory plays in overcoming subaltern women’s exploitation within the current neocolonial context. Overall, I interrogate the role postcolonial literature plays as a means of achieving (or not) social change, analyze the purpose of artists in representing exploitative situations, identify the type of engagement readers have with these characters, and seek to understand audiences’ response to such literature. I look at authors who have attempted to discover fruitful avenues of expression for third-world women, who, despite increasingly constituting the bulk of the work force worldwide, continue to be exploited and, in the case of sex trafficking, brutally violated.

Palliative care for non-dominant ethnocultural groups is problematized in the palliative care literature, which often presents essentialist conceptions of cultural beliefs on death and dying. Death is often portrayed as a taboo topic within the Chinese community, and thus, the assumption is that dying at home may not be the preferred option. Beyond these stereotypical representations, little is known about what it is like for Chinese immigrants with terminal cancer to receive palliative home care. Home is a complex site where cultural “difference” becomes contextually salient when home care providers introduce palliative care. More is potentially at stake than the violation of a taboo, as Chinese immigrant care recipients, their family caregivers, and home care providers negotiate changes to the existing routines of the home. The purpose of this study was to examine how meanings of home condition negotiations of care between Chinese immigrants with terminal cancer receiving palliative home care, family caregivers, and home care providers. Postcolonial theory provided a critical lens for this focused ethnographic study of palliative home care for Chinese Canadian immigrants. The analysis drew on postcolonial concepts such as Othering, subjugation, and hybridity. The methods included interviews with 11 key informants, and observational visits and interviews were conducted in 4 cases of Chinese immigrant care recipients, their family caregivers, and home care nurses. Two major findings emerged: 1) colonization and distancing and 2) negotiating hybridity. The meaning of home was deeply altered as palliative home care occupied care recipients’ and family caregivers’ everyday lives and represented a form of micro-colonization - the home was metaphorically invaded. The ambivalent relationship between care recipients and home care providers was characterized by a mutuality of need, but care recipients used distancing as a way to resist colonization. Palliative care presented its own unique cultural influence, which was imbued with meanings, beliefs, and practices. For care recipients, the meaning of dying at home was fluid, situational, and contextually informed. Subsequently, differences were created and highlighted in the confrontation between the meaning of palliative care for home care providers and the meaning of dying at home for care recipients. It was in the meeting, blending, clashing, and grappling of differences where participants had to negotiate and generate new, hybrid meanings and practices so that particularized, personal approaches to dying could be achieved. The findings capture the realities and complexities of palliative home care, and highlight the sophisticated and evolving ways providers come to know and care for care recipients and families in their homes. Although culture was prominently featured in participant narratives, the pragmatics of dying at home were more pressing than was adherence to essentialized cultural beliefs of death and dying. A key implication is the need to move away from simplistic conceptualizations of culture to a critical approach that will enable providers to understand and find comfort in working with the fluid, dynamic, and contextually-driven nature of culture and dying at home.

Palliative care for non-dominant ethnocultural groups is problematized in the palliative care literature, which often presents essentialist conceptions of cultural beliefs on death and dying. Death is often portrayed as a taboo topic within the Chinese community, and thus, the assumption is that dying at home may not be the preferred option. Beyond these stereotypical representations, little is known about what it is like for Chinese immigrants with terminal cancer to receive palliative home care. Home is a complex site where cultural “difference” becomes contextually salient when home care providers introduce palliative care. More is potentially at stake than the violation of a taboo, as Chinese immigrant care recipients, their family caregivers, and home care providers negotiate changes to the existing routines of the home. The purpose of this study was to examine how meanings of home condition negotiations of care between Chinese immigrants with terminal cancer receiving palliative home care, family caregivers, and home care providers. Postcolonial theory provided a critical lens for this focused ethnographic study of palliative home care for Chinese Canadian immigrants. The analysis drew on postcolonial concepts such as Othering, subjugation, and hybridity. The methods included interviews with 11 key informants, and observational visits and interviews were conducted in 4 cases of Chinese immigrant care recipients, their family caregivers, and home care nurses. Two major findings emerged: 1) colonization and distancing and 2) negotiating hybridity. The meaning of home was deeply altered as palliative home care occupied care recipients’ and family caregivers’ everyday lives and represented a form of micro-colonization - the home was metaphorically invaded. The ambivalent relationship between care recipients and home care providers was characterized by a mutuality of need, but care recipients used distancing as a way to resist colonization. Palliative care presented its own unique cultural influence, which was imbued with meanings, beliefs, and practices. For care recipients, the meaning of dying at home was fluid, situational, and contextually informed. Subsequently, differences were created and highlighted in the confrontation between the meaning of palliative care for home care providers and the meaning of dying at home for care recipients. It was in the meeting, blending, clashing, and grappling of differences where participants had to negotiate and generate new, hybrid meanings and practices so that particularized, personal approaches to dying could be achieved. The findings capture the realities and complexities of palliative home care, and highlight the sophisticated and evolving ways providers come to know and care for care recipients and families in their homes. Although culture was prominently featured in participant narratives, the pragmatics of dying at home were more pressing than was adherence to essentialized cultural beliefs of death and dying. A key implication is the need to move away from simplistic conceptualizations of culture to a critical approach that will enable providers to understand and find comfort in working with the fluid, dynamic, and contextually-driven nature of culture and dying at home.

The overarching aim of this study is to trace evidence of resistant behaviour among subordinate groups in the first forty years of Fiji's colonial history (1874-1914). By rereading archival materials "against the grain", listening to oral history, and engaging postcolonial scholarship, the study intends to disturb accepted ways of understanding Fiji's past. This approach reveals the existence of numerous people, voices, and events which until recently have remained largely on the margins of Fiji's process of historical production. As a chronological survey, the study produces a body of evidence which uncovers a rich array of forms of resistance. The points at which these forms of resistance engaged dominant culture are divided into two broad categories. The first examines several forms of organized resistance such as the Colo War of 1876, the Tuka Movement of 1878 to 1891, the Seaqaqa War of 1894, the Movement for Federation with New Zealand from 1901 to 1903, the Viti Kabani Movement of 1913 to 1917, and the various instances of organised labour protest on Fiji's plantations. The second addresses everyday forms of resistance in the villages and plantations such as tax and land boycotts, violence and retributive justice, avoidance protest, petitioning, and various aspects of women's resistance. In their entirety these aspects of resistance reveal a complex web of relationships between powerful and subordinate groups, and among subordinate groups themselves. These conclusions preclude framing resistance as a totality and advocate instead a conceptualization of resistance as a multi-layered and multi-dimensional reality. In contributing to the reconstruction and revision of Fiji's early colonial history, the study seeks to both clarify and complicate future research in the area.

Many scholarly and policy evaluations of governance in Uganda have blamed limited commitment to democracy in the country squarely on the shoulders of state leaders. This dissertation considers a broader range of explanations and raises questions about the limited understanding of democracy expressed in the prevailing literature. It does so by considering historical contexts, international and global structures, and the relationship between local political cultures and the contested concept of democracy. Claims about democracy and good governance, it suggests, are used to justify very narrow procedural prescriptions for the domestic state on the basis of a systematic neglect of Uganda’s specific political history and the structural contexts in which the Ugandan state can act. More specifically, this dissertation engages with one of the key controversies in the literature on the politics of development, that concerning the degree to which accounts of democracy favoured by the most powerful states should guide attempts to create democratic institutions elsewhere. It argues that at least some of the factors that are often used to explain the failure of democracy in Uganda can be better explained in terms of two dynamics that have been downplayed in the relevant literature: competition between different understandings of how democracy should be understood in principle; and the international conditions under which attempts to impose one specific account of democracy - multiparty representation – have marginalized other possibilities. These dynamics have undermined processes that arguably attempt to construct forms of democracy that respond to very specific socio-cultural conditions. Fundamental disputes about how democracy should be understood are already familiar from the history of democracy in Western societies, where struggles to impose some forms of democracy over others have defined much of the character of modern politics. The importance of the international or global dimension of democratic politics has received less attention, even in relation to Western societies, but is especially significant in relation to Africa’s political history and its position in the world. After reviewing the history of struggles over forms of governance in Uganda, this dissertation explores a series of unique open-ended interviews carried out in 2009 with important political actors in Uganda. On this basis, it argues for the ongoing centrality both of the always contested character of democracy and of attempts to impose particular accounts of democracy through internationalised and globalised structures. An appreciation of both dynamics, especially in the historical context that has been downplayed in much of the literature, offers a better scholarly ground on which to evaluate contemporary politics in Uganda than the choice between multiparty systems and dictatorship that remains influential in discussions of the Ugandan case. Such an appreciation is in keeping with important recent attempts to think about the possibilities of democracy in Uganda in postcolonial terms and to resist the forms of neocolonial politics that are examined here as a ‘politics of dispensation.’ / Graduate / 0615 / 0616 / sabina@uvic.ca

This thesis is premised on the notion, drawn mainly from a postcolonial perspective (which is subsumed under the poststructuralist as well as the postmodern), that Conrad's early writing reflects his abiding concern with how people construct their identities vis-a-vis the other/Other in contact zones on the periphery of empire far from the reach of social, racial and national identities that sustain them at home. It sets out to explore the problematic of race, culture, gender and identity in a selection of the writer's early works set mainly, but not exclusively, in the East, using the theoretical perspective of postcoloniality as a point of entry, nuanced by the configurations of spatiality which are factored into discourses about the other/Other. Predicated mainly on the theoretical constructs about culture and identity espoused by Homi Bhabha, Edward Said and Stuart Hall, this study proposes the idea of an in between "third space" for the interrogation of identity in Conrad's work. This postcolonial space, the central contribution of this thesis, frees his writings from the stranglehold of the Manichean paradigm in terms of which alterity or otherness is perceived. Based on the hypothesis that identities are never fixed but constantly in a state of performance, this project underwrites postcoloniality as a viable theoretical mode of intervention in Conrad's early works. The writer's early oeuvre yields richly to the contingency of our times in the early twenty-first century as issues of race, gender and identity remain contested terrain. This study adopts the position that Conrad stood both inside and outside Victorian cultural and ethical space, developing an ambivalent mode of representation which recuperated and simultaneously subverted the entrenched prejudices of his age. Conceived proleptically, the characters of Conrad's early phase, traditionally dismissed as those of an apprentice writer, pose a constant challenge to how we view alterity in our everyday lives. / Thesis (Ph.D. (English))--North-West University, Potchefstroom Campus, 2004.

The transposition of Chekhov's The Cherry Orchard (originally published in Russian in 1904) to contemporary South Africa in Suzman's The Free State (2000) is based on the corresponding social changes within the two contexts. These social changes cause a binary opposition of past and present in the two texts. Within this context memory functions as a space in which the characters recall the past to the present and engenders a dialogue between past and present. Memory is illustrated in the two plays by associations with place as an important aspect of identity formation. Memory and place are fused in the plays by means of Bakhtin's concept of the chronotope which is best observed in the plays in memories of specific places such as the respective orchards, houses and rooms such as the nursery and the ballroom in. The Cherry Orchard and the garden in The Free State. Furthermore, the influence of the past is also evident in the present when ideas of social status, class, race (in the case of The Free State) and behaviour are contrasted and when various characters express their perceptions of personal relationships and ideas about marriage. The influence of the past is also evident when the characters voice their different perceptions and expectations of the past and future. In The Cherry Orchard these cultural differences are evident in the concept of heteroglossia. However, in The Free State, these dialogues are directed by a specific politically liberal view which diminishes the heteroglossia in the text. The juxtaposing of past and present is also illustrated in The Cherry Orchard by various subversive strategies such as comedy of the absurd in order to portray the behaviour of the characters as incongruous. Another subversive strategy is the contrasting of characters and ideas in order to expose pretensions and affectations in speech and actions to parody both the old establishment and the ambitions of former peasants. These conventions are best illustrated by the concept of the carnivalesque that also features as one of Bakhtin's terms to capture incongruous ideas and situations in literature. In The Free State, comedy is unfortunately much diminished and in contrast to Chekhov's ambiguity, only directed against politically conservative characters. The prevalence of these three Bakhtinian concepts in the texts shows how identity formation is to a large extent influenced and defined by occupied space. When social change affects the distribution of land, a character's concept of identity is destabilised. Although Suzman uses this similarity in the two contexts in order to transpose Chekhov's text to contemporary South Africa, she organises the various stances in the text to advocate a specific politically liberal view. Thus, Suzman's transposition leads to an interesting comparison between the Russian and South African contexts as well as between the two texts. However, her text is limited by her political interpretation of Chekhov's text. / Thesis (M.A. (English))--North-West University, Potchefstroom Campus, 2009.