Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Cette analyse a pour but de dénoncer les mythes créateurs du féminin et du masculin hérités des politiques culturelles sexuelles érigées au creuset de la rencontre coloniale. L’étude de A Married Woman (Manju Kapur), Babyji (Abha Dawesar), Indian Tango (Ananda Devi), trois romans présentant le lesbianisme comme une stratégie féministe d’émancipation, permet de mettre au jour diverses dynamiques discursives, d’exploiter le concept de représentation, et d’interroger les catégories préexistantes. Ces trois romans sont en effet écrits par des femmes participant à la culture indo-hindoue, et proposent des héroïnes à la similarité troublante : brahmines, habitant Delhi et insatisfaites de l’immobilisme liberticide de leur genre. Le préjudice hétéropatriarcal gaine les individus plaqués à l’intersection de leurs appartenances identitaires diverses et superposées : le genre, la culture, la sexualité… Le chemin de ces héroïnes suit ainsi une évolution interrogeant les inventions patriarcales de l’identité de la femme indo-hindoue. Au-delà de la dénonciation des dérives de son essentialisation, c’est sa transgression qui est éblouissante, parce qu’elle est sexuelle et lesbienne, engageant ainsi les possibilités d’une altérité, d’une alternative, d’un devenir différent. Ces textes questionnent alors la poésie et l’efficacité d’une esthétique lesbienne, la validité démiurge d’une utopie lesbienne, et le symbolisme d’un motif qui unit femmes de papier et autrices de chair au sein d’un positionnement récusant la subalternité implicite de catégories oppressives et obsolètes. En s’emparant de l’ipséité, ces narrations introduisent une poétique queer défiant déterminismes, cristallisations, normes et hiérarchies. Elles ouvrent à des possibilités radicales et multiples d’existences, de créations, signalant la matérialité de marginalités subversives qui problématisent la notion même d’individu, envisagée dans sa perspective hypermoderne. / This analysis aims at denouncing the original myths of the feminine and the masculine, inherited of the sexual cultural politics uprighted in the crucible of the colonial encounter. The study of A Married Woman (Manju Kapur), Babyji (Abha Dawesar), Indian Tango (Ananda Devi), three novels presenting lesbianism as a feminist strategy of emancipation, allows to excavate various discursive dynamics, to exploit the concept of representation, and to interrogate the preexisting categories. These three novels are indeed written by women belonging to the Indo-Hindu culture, and offer heroines with troubling similarities: Brahmines, Delhiites and dissatisfied with the repressions and inertia of their gender. The heteropatriarcal prejudice suffocates the individuals tackled at the intersection of their several and overlapping identity belongings: gender, culture, sexuality… These heroines’ paths hence follow an evolution interrogating the patriarchal inventions of the Indo-Hindu woman’s identity. Beyond the exposition and accusation of its essentialization’s deviations, it is its transgression which is dazzling, because it is sexual and lesbian, introducing the possibilities of an alterity, an alternative, a different becoming. These texts thus question the poetry and efficiency of a lesbian aesthetic, the demiurge validity of a lesbian utopia, and the symbolism of a pattern unifying the paper women and the women writers in a positioning rejecting the implicit subalternity of oppressive and obsolete categories. By getting a hold of ipseity, these narrations introduce a queer poetic defying determinisms, crystallizations, norms and hierarchies. They open to radical and multiple possibilities of living and creating, indicating the materiality of subversive marginalities which problematize the very notion of individual, envisioned in its hypermodern perspective.

This master’s thesis suggests that Oi! - lyrically – gives voice to a youth community whose identity lies in everyday working class life. The identity in question is based upon class, gender, sexuality, nationality, and community awareness. As these are intertwined, the thesis shows a more complex genre than that of Matthew Worley’s “Oi! Oi! Oi!: Class, Locality, and British punk”.   On the other hand, using the above categories - derived from the studies of Kathryn Woodward – allows this essay to detect a genre identity made from a distinct “the Same” and “the Other” – us and them, as described by Stuart Hall. The latter consists of members of the middle and upper classes along with all kinds of intellectuals. “The Same” is based upon a common belonging to the working class and its local communities, but also on nationhood. On the contrary, the male gender in general and the male sexuality in particular adds to the idea of Oi!´s “the Same”. In contrast to the idea of “the Same”, Stephen Greenblatt’s idea of dissonance works to explain cracks in the façade of Oi! as explained in the spatiotemporal discourse.  Moreover, Oi!’s “the Same” is quite alike the subaltern of Antonio Gramsci. This concept suggests that the members of the proletariat are too unaware to be ideologically enlightened and therefore their culture expresses the way of working class life as it is, complete with eventual moral flaws. Whereas Gramsci uses the subaltern as a description of the rural proletariat of southern Italy and suggests folklore as the cultural outcome of that particular discourse, this essay aims to use it similarly but with Britain of the 1980’s and Oi! at its focal point.  Furthermore, this essay describes the “Circuit of Culture” - as explained by Woodward - and puts Oi! into that model, which enables an understanding of the genre as an expression of produced, consumed, regulated, and represented identity.  In conclusion, this master’s thesis do not refute Worley´s description of Oi! as a socioeconomic product, but rather adds to that by intertwining Woodward´s categories. The intersectional understanding of Oi! states that class, gender, community, sex, and nationality work together to create a genre, which represents a Gramscian subalternative proletariat. However, Hall’s “the Other” makes it perfectly clear that there is a distinct gap between Oi! and white power-music, which is also proved - throughout the essay -  by the two genres regard to whiteness studies.

Les romans coloniaux tendaient à représenter les Autres de couleur de manière plus précise et réaliste que la littérature exotique. Comme dans un musée colonial, Ulysse cafre ou l'histoire dorée d'un Noir de Marius-Ary Leblond, Ameenah de Clément Charoux exposent la colonie, son fonctionnement et ses habitants. Les romanciers coloniaux mauriciens et réunionnais décrivent dans le détail, grâce au naturalisme l'intimité des races, autrement dit le génie de chaque race. Marius-Ary Leblond affirment qu'ils seraient plus aptes à décrire le réel insulaire. La représentation de l'Autre de couleur génère un conflit de légitimité. Les femmes de couleur, indiennes, noires, cafrines et métisses sont perçues dans les romans coloniaux comme des Autres à la fois racialisés et genrés. Elles sont subalternes des narrateurs et héros blancs qui parlent pour elles et les représentent. A contrario, dans les romans et les récits mémoriels postcoloniaux féminins, À l'autre bout de moi de Marie-Thérèse Humbert, Rouge Cafrine de Véronique Bourkoff et Femme sept peaux de Monique Séverin, les narratrices et les héroïnes critiquent la persistance de l'idéologie coloniale dans les sociétés anciennement colonisées. Elles donnent de nouvelles visions des femmes de couleur, capables de se représenter, de s'analyser et d'observer la société postcoloniale, car elles sont encore marquées par les stéréotypes et les discours colonialistes, orientalistes et phallocrate qui les détruisent. Paradoxalement, les identités complexes, hétérogènes et multiples des narratrices sont davantage présentes dans les fictions romanesques que dans les types autobiographiques, censés rendre compte de vérité identitaire. Ainsi, les autobiographies à Maurice et à La Réunion sont déconstruites dans les textes de notre corpus : Miettes et Morceaux d'Eileen Lohka, Letan lontan de Rada Gungaloo, Tête Haute de Mémona Hintermann et La Magie de Siva Desiles, une comédie musicale autobiograohique de Jasmine Desiles. / Colonial novels try to represant more precisely the Colored people than exotic literature. As colonial museum, Ulysse cafre ou l’histoire dorée d’un Noir written by Marius-Ary Leblond and Ameenah written by Clément Charoux expose colony, its functioning and natives. These colonials mauritians and reunioneses novelists use naturalism style to describe the intimate of races, genius of races. Marius-Ary Leblond say that they are better able to teach insular world than exotic literature. Colored people representations provoke legitimate conflict. In colonial novels, colored women, (Indians, black, “cafrine” , metis) are regarded as racial Other and gendered Other. They are subaltern of white narrators and heros. Conversely, in postcolonial women mauritian and reunionese novels, (Á l’autre bout de moi written by Marie-Thérèse Humbert, Rouge Cafrine written by Véronique Bourkoff and Femme sept peaux written by Monique Séverin) female narrators and heroines criticize continued colonial ideology, which still goes on in societies that were colonized. They give different visions of colored women, enough to represent themselves, to analyze themselves and observe postcolonial society. They still filled with stereotypes and colonialist, phallocrate, orientalist discourses. These rhetorics destroy their identity. Paradoxaly, complex, heterogeneous and multiple identities of female narrators figure into more novelistic fiction than autobiography. However, autobiography is supposed to account for true female narrator’s identity. This way, mauritian autobiography and reunionese autobiography are deconstructed in the texts of our corpus: Miettes et Morceaux written by Eileen Lohka, Letan lontan written by Rada Gungaloo, Tête Haute written by Mémona Hintermann and La Magie de Siva Desiles an autobiographic music hall written by Jasmine Desiles

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