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This dissertation engages with anthropological debates of the representation of Native peoples in performance through a series of comparative case studies that examine Native North American participation in Wild West shows. Using multi-sited ethnographic and ethnohistorical approaches, it investigates the experiences of some Native performers with the top Wild West shows historically (1885-1930), of three Mohawk families who performed in a variety of spectacles (early 1900s ), and of contemporary performers in Wild West show re-creations at EuroDisney (France) and Buffalo Bill Days (Sheridan, Wyoming, U.S.A). This research focuses on Native performers' perspectives and experiences in order to complicate the picture of exploitation and commercialization in this context. In this dissertation, rather than focusing solely on the production of stereotypes, I trace the extent and various forms of Native agency and expressions of identity through a series of encounters that occur in a Wild West show "contact zone." Drawing on the concept of transculturation, I argue that Native performers adopted and used contact zone encounters as a space to express their opinions or to maintain, express, and/or contest Native identity. I thus elucidate the various forms of agency that Native performers have wielded, whether expressive, communicative, performative, or agency of cultural projects. A "cultural projects" approach to agency considers Native performers own goals and social relationships in addition to the socio-political constraints and power relations that structure their lives. Native performers had their own cultural projects; they actively pursued the opportunities and benefits of working in Wild West shows. I argue that narratives of opportunity, success, and pride found in the employment encounter, in oral histories of Mohawk performers' experiences, and in interviews with contemporary performers, represent agency of cultural projects. Oral histories from Mohawk performers' descendants and their interpretations of the archival record were crucial for revealing and substantiating these alternative perspectives of Native experiences in Wild West shows and spectacles. / Thesis / Doctor of Philosophy (PhD)

This dissertation examines representations of Native peoples during the British Imperial Age of the late eighteenth and early nineteenth centuries. It concentrates specifically on diplomatic Go-Between figures, individuals who performed a mediating role between their own indigenous communities and the colonizers. The dissertation examines images and objects within a postcolonial framework, engaging notions of hybridity and mimicry in order to interrogate more traditional readings of colonial power and representation. The images of Native peoples that appeared in ethnographic studies, paintings, and prints, as well as in objects of material culture such as games, books, and toys, reveal a dislocating indigenous agency within their colonial contexts. By offering new considerations of artistic process and the role of late eighteenth- and early nineteenth-century British theatrical culture, the dissertation suggests that these Native figures were mediated by the tropes and conventions of contemporary theater through pose, gesture, and other dramaturgical allusions. In its exploration of the theatrical dimensions of imperial diplomacy and Go-Between representation, including evidence of performative mimicry by Go-Betweens themselves, my dissertation reveals an even more subtle interplay of identities in the context of colonial image-making than art historians have hitherto recognized. In addition to using theater history and performance theory to situate Go-Between images in relation to the contemporary English stage, the study also implicates the creative process and resulting artifacts themselves in the Go-Between status, affording the material object itself a hybridity that can become the site of ideological dislocation. / Art History

In the second half of the nineteenth century and the first decades of the twentieth century the collecting of objects from colonized countries and their subsequent display in western museums was widespread throughout Western Europe. How and why these collections were made, the processes of collection, and by whom, has only recently begun to be addressed. This thesis is an exploration of the ethnographic collection of Gertrude Emily Benham (1867-1938) who made eight voyages independently around the world from 1904 until 1938, during which time she amassed a collection of approximately eight hundred objects, which she donated to Plymouth City Museum and Art Gallery in 1935. It considers how and why she formed her collection and how, as a an amateur and marginalised collector, she can be located within discourses on ethnographic collecting. The thesis is organised by geographical regions in order to address the different contact zones of colonialism as well as to contextualise Benham within the cultural milieu in which she collected and the global collection of objects that she collected. An interdisciplinary perspective was employed to create a dialogue between anthropology, geography, museology, postcolonial and feminist theory to address the complex issues of colonial collecting. Benham is located within a range of intersecting histories: colonialism, travel, collecting, and gender. This study is the first in-depth examination of Benham as a collector and adds to the knowledge and understanding of Benham and her collection in Plymouth City Museum and Art Gallery. It contributes to the discourse on ethnographic collectors and collecting and in doing so it acknowledges the agency and contribution of marginal collectors to resituate them as a central and intrinsic component in the formation of the ethnographic museum. In addition, and central to this, is the agency and role of indigenous people in forming ethnographic collections. The thesis offers a foundation for further research into women ethnographic collectors and a more nuanced and inclusive account of ethnographic collecting.

Cette thèse a pour objectif d’examiner l’œuvre romanesque du Togolais Sami Tchak (de son vrai nom Sadamba Tcha Koura). Parmi les écrivains africains francophones dits de la nouvelle génération, il se distingue par une esthétique qui s’inscrit essentiellement dans une dynamique transgressive et transculturelle. À travers un recours systématique au matériau de la sexualité, Sami Tchak construit une poétique, qui, au-delà de son audace transgressive, de son aspect délibérément choquant et provocateur, s’attache à interroger l’existence humaine, à mettre en évidence les misères et les faiblesses de l’Homme. En outre, cette poétique de la sexualité est porteuse de sens du social : elle sert de prétexte à l’auteur pour dépeindre l’existence de ceux qu’il appelle des « vies sans horizon », des « vies sans relief », mais aussi pour déconstruire la doxa. Mû par le désir de s’imposer comme une voix individuelle, de s’éloigner du dogme enfermant de l’africanité, Sami Tchak choisit de marquer son propre territoire littéraire par le biais d’une démarche transculturelle, en ancrant son œuvre dans la mémoire de la littérature. Cet ancrage se double d’une construction polysémique de l’espace. La présente étude s’appuie sur une triple approche, intertextuelle, sociocritique et transculturelle. Par exemple, elle montrera que, contrairement à une certaine critique qui le soupçonne de tourner le dos à l’Afrique, le projet romanesque de Sami Tchak procède d’une conscience à la fois africaine et universelle : même dans les romans qui se déroulent dans l’espace latino-américain, on remarquera que l’auteur possède l’art d’évoquer l’Afrique, surtout à travers des discours allusifs, implicites. / This thesis aims to examine the novels of the Togolese writer Sami Tchak (whose real name is Sadamba Tcha Koura). Among the so-called New Generation of francophone African writers, he is noted for his fiction that lies within a transgressive and transcultural dynamics. Through a systematic use of sexuality, Sami Tchak creates a poetics that, on the other side of his transgressive boldness and his deliberately shocking and provocative aspect, seeks to examine human existence, to highlight human misery and weaknesses. In addition, this poetics conveys social meaning: sexuality serves as a pretext for the author to depict the lives of those he calls “lives without horizon” or “lives without depth”, and also to deconstruct the doxa. Sami Tchak wants to be heard as an individual voice. He wants to distinguish himself by diverging from the dogma of “Africanity”. Thus, he marks his own literary territory through transcultural features: literary memory assumes a central place in his fiction, which is also characterized by a polysemic configuration of space. The theoretical framework used in this study concerns intertextuality, sociocriticism and transculturality. For instance, the thesis will show that contrary to the literary criticism which suspects him of turning his back on Africa, the fiction of Sami Tchak proceeds from an African and universal consciousness: even in the novels that take place in the Latin American countries, we notice that the author has a talent for talking about Africa, especially through allusive discourse.

Esta tese propõe o estudo dos temas da memória, do nacional e do universal em dois romances brasileiros contemporâneos, O Sol se põe em São Paulo (2007), de Bernardo Carvalho e Diário da queda (2011), de Michel Laub. Estes romances abordam a memória de imigrantes pela narração subjetiva de seus descendentes brasileiros, o que suscita uma discussão em torno de narrativas transculturais. O pós-modernismo é entendido como tendência cultural contraditória, caracterizada pela presença do passado na retomada de estilos e textos da tradição literária em narrativas paródicas. O narrador pós-moderno encerra o paradoxo da exigência de narração, a despeito da deterioração da experiência observada desde a modernidade. A persistência de um realismo formal ou social contribui para a composição de narrativas onde convivem tendências conflitantes, sintetizadas nos conceitos de realismo afetivo e realismo traumático, conforme Schøllhammer (2012; 2013). A ambientação dos dois romances, seus temas e influências, sugerem uma produção de projeção universal, contrabalançada pela permanência do nacional do ponto de vista material, que se constitui pela representação de aspectos relacionados ao subdesenvolvimento brasileiro. Este contexto particular demanda a concepção de um pós-modernismo e de uma pós-modernidade a partir das condições peculiares existentes nas sociedades latino-americanas, cuja coexistência entre atraso e progresso influencia sua produção literária e afeta sua legitimação no interior de um sistema literário mundial. / This dissertation aims to study the themes of memory, nationality and universality in two contemporary brazilian novels, O Sol se põe em São Paulo (2007), by Bernardo Carvalho, and Diário da queda (2011), by Michel Laub. These novels approach the memory of immigrants through the subjective narration of Brazilian descendants, what brings the discussion around transcultural narratives. The post-modernism is understood as a contradictory cultural tendency characterized by the presence of the past, made of the recovery of aesthetics and texts of literary tradition inside parodic narratives. The post-modern narrator enclosures the paradox of the necessity of narrative, even after the deterioration of experience in modernity. The remains of a formal or social realism contributes to the composition of narratives where conflicting tendencies defined in terms of affective realism and traumatic realism coexist, according to Schøllhammer (2012; 2013). Ambiance, themes and influences acknowledged in these two novels suggest a production oriented to a universalist approach, in contrast with the permanence of aspects of nationality, perceived through its material representation related to the brazilian underdevelopment. This particular context demands the conception of a post-modernism and a post-modernity that contemplates the peculiarities of Latin American societies, whose coexistence between backwardness and advancement may affect literary production as well as its legitimation inside a world literary system.

Made available in DSpace on 2015-07-15T13:31:35Z (GMT). No. of bitstreams: 1 TEXTO COMPLETO.pdf: 1360156 bytes, checksum: 539817716e4e39ec654a0ac9f2f5765e (MD5) Previous issue date: 2007-04-27 / After reading Meu querido canibal (My dear Cannibal) by Antonio Torres, this dissertation searches to map the colonial imaginary in the contemporary era by re-revisiting the history with a postcolonial view. The crystallization is broken by the metafictional paradox in order to allow the fitting of one more piece of the mosaic that forms the Brazilian cultural nation/ identity. The myth of nation, as founder of a community, generated a large number of possible and varied researches and inventions. Torres uses myths and shows the narrative of a colorless nation, to recognize in its identity the hybrid generated not only by the process of acculturation, but something more specific related to the process of transculturation. Several people from different territories settled down to the same area, creating a history of cultural diversity. Literature is responsible for recovering past/present, inside/outside in acts of anthropophagy to express the national culture. The mapping of the colonial imaginary enlarges a universe inside the singularities that do not permit boundaries, because they are made by man who resists on recognizing himself in another one. Meu querido canibal represents this conflict in recognizing the other: the Brazilian Indian tribes used to live in war; however, the fight against the invaders joined the Indians of the tribes by to the Great Indian Chef Cunhambebe, in Confedera??o dos Tamoios (Tamoio Confederation). The Tamoio tribe lost its area; they were away from it, trying to reconquer its land. Facing the European settlers, who didn t consider an uncivilized Indian culture with lack of organization, was a tough task. A different way of looking allows an understanding of the hybridism in the formation of a collective and plural identity. Hybridism in all senses: race, language, culture In this sense the subordinate space appears: the interstice , the nowhere. A space formed by the undeniable process of transculturation, that formed the builder Brazilian people creator that has also created the image of the fissures of diversity, located in a space that does not recognize the borders that feature a past load of denial, superiority, and exploration. The contemporary anthropophagy is reanalyzed by Torres through the fiction, repeating from another place and with another view, the history of the cultural dominance. / A partir da leitura de Meu querido canibal, de Ant?nio Torres, esta disserta??o procura mapear o imagin?rio colonial na contemporaneidade, atrav?s de uma revisita??o da hist?ria, com um olhar p?s-colonial. A cristaliza??o quebra-se pelo paradoxo metaficcional, para permitir o encaixe de mais uma pe?a (vers?o) do mosaico que forma a na??o/identidade cultural brasileira. O mito de na??o, o enquanto fundador de comunidade, gerou um sem-fim de pesquisas e inven??es das mais variadas e adversas poss?veis. Torres utiliza-se de mitos e mostra a narrativa de uma na??o desvestida da cor, para reconhecer, em sua identidade, o h?brido gerado n?o s? do processo de acultura??o, mas de algo mais espec?fico, do processo da transcultura??o. V?rios povos de territ?rios distintos se estabelecem num mesmo espa?o, desenhando uma hist?ria de diversidade cultural. ? literatura cabe a fun??o de recuperar passado/presente, fora/dentro em atos antropof?gicos para expressar a cultura nacional. Nesse mapeamento do imagin?rio colonial, amplia-se um universo dentro das singularidades que n?o permitem fronteiras, porque estas fronteiras s?o constru?das pelo homem, que resiste em reconhecer-se no outro. Meu querido canibal representa esse conflito em reconhecer o outro. As tribos ind?genas aqui viviam em guerras; no entanto, a luta contra os invasores uniu os ?ndios dessas tribos, atrav?s do grande chefe Cunhambebe, na Confedera??o dos Tamoios. Os tamoios perderam o seu espa?o, ficaram ? margem num lugar indefinido, vago , mas buscavam reconquistar o seu lugar. Tarefa ?rdua face ? resist?ncia europ?ia em aceitar uma cultura incivilizada e desprovida de um m?nimo de organiza??o . Um redimensionamento do olhar permite uma conscientiza??o da hibridez na forma??o de uma identidade coletiva e plural. Uma hibridiza??o em todos os sentidos: ra?a, linguagem, cultura... Nesse sentido surge o espa?o do subalterno: o interst?cio, o lugar nenhum. Espa?o formado mediante o processo ineg?vel de transcultura??o, formador do povo brasileiro, criador da imagem das fissuras da diversidade, situado num espa?o intervalar desconhecedor de fronteiras que marcaram um passado de nega??o, de superioridade, de explora??o. A antropofagia contempor?nea, retomada por Torres atrav?s da fic??o, repete de um outro lugar e com um outro olhar a hist?ria da domina??o cultural.

La dimension collective des enjeux globaux, telles que la crise écologique, et la satisfaction de certains besoins, nous invite à nous tourner vers d'autres cultures, dans une perspective de l'anthropologie juridique, afin de repenser notre conception des droits de l'Homme, et améliorer leur effectivité. L'analyse des textes et des pratiques juridiques boliviennes relatives aux droits sur les biens, en particulier la terre, rend manifeste l'influence des cultures indigènes dans la formation du Droit. On observe un processus de transculturation du Droit étatique par le Droit indigène. Les peuples indigènes originaires paysans se voient reconnaître, grâce à leur lutte, des droits collectifs qui permettent de protéger leur territoire et exercer sur celui-ci un autogouvernement. La consécration en Droit interne du « Vivir Bien » comme principe recteur des politiques publiques, et de la « Madre Tierra » comme bien collectif et sujet de droit met en évidence l'influence potentielle des cultures indigènes en Droit international de l'Environnement, devenu une catégorie suis generis régit par un Droit hybride, et qui laisse déjà entrevoir une certaine transculturation juridique. / No English summary available. / La dimensión colectiva de los retos globales, como la crisis ecológica, y de la satisfacción de determinadas necesidades, nos invitan a mirar hacia otras culturas, desde la perspectiva de la antropología jurídica, para repensar nuestra concepción de los derechos humanos y mejorar su efectividad. El estudio de los textos y las prácticas jurídicas bolivianas relativos a los derechos sobre los bienes, en especial la tierra, pone de manifiesto la influencia de las culturas indígenas en la fonación del Derecho. Se observa un proceso de transculturación del Derecho estatal por el Derecho indígena. Los pueblos indígena originario campesinos se ven reconocidos, gracias a su lucha, derechos colectivos que permiten proteger su territorio y ejercer en éste un autogobierno. La consagración en Derecho interno del Vivir Bien como principio rector de las políticas públicas y de la Madre Tierra como bien colectivo y sujeto de derecho evidencia la influencia potencial de las culturas indígenas en el Derecho internacional del Medio Ambiente, en la actualidad convertido en una categoría sui generis regida por un Derecho híbrido, y en el que ya se percibe cierta transculturación jurídica.

This thesis uses autoethnographic research of the Mexican American art community in Austin, Texas to demonstrate how edgewalkers, people to move between multiple cultural worlds yet retain their own identity, become informal art educators through the process of transculturation. The work describes this cyclical and on-going process that includes curiosity, knowledge gathering, and awareness of self and others and the summation of these elements, which leads to transculturation. For this research, four informal art educators practicing in Austin were interviewed. Each of the collaborators practices art in different media including visual art, curating of exhibitions, performance, and graphic design. The descriptions and analysis of the researcher’s experiences along with those of the informal art educators reveal a third landscape, or an alternative space and identity, where multiple cultural worlds overlap into bicultural, bilingual and/or biconceptual environments. This thesis demonstrates how informal art education, made possible through transcultural experiences, is an effective tool in art education and culturally responsive instruction. / text

Cette thèse a pour objectif d’examiner l’œuvre romanesque du Togolais Sami Tchak (de son vrai nom Sadamba Tcha Koura). Parmi les écrivains africains francophones dits de la nouvelle génération, il se distingue par une esthétique qui s’inscrit essentiellement dans une dynamique transgressive et transculturelle. À travers un recours systématique au matériau de la sexualité, Sami Tchak construit une poétique, qui, au-delà de son audace transgressive, de son aspect délibérément choquant et provocateur, s’attache à interroger l’existence humaine, à mettre en évidence les misères et les faiblesses de l’Homme. En outre, cette poétique de la sexualité est porteuse de sens du social : elle sert de prétexte à l’auteur pour dépeindre l’existence de ceux qu’il appelle des « vies sans horizon », des « vies sans relief », mais aussi pour déconstruire la doxa. Mû par le désir de s’imposer comme une voix individuelle, de s’éloigner du dogme enfermant de l’africanité, Sami Tchak choisit de marquer son propre territoire littéraire par le biais d’une démarche transculturelle, en ancrant son œuvre dans la mémoire de la littérature. Cet ancrage se double d’une construction polysémique de l’espace. La présente étude s’appuie sur une triple approche, intertextuelle, sociocritique et transculturelle. Par exemple, elle montrera que, contrairement à une certaine critique qui le soupçonne de tourner le dos à l’Afrique, le projet romanesque de Sami Tchak procède d’une conscience à la fois africaine et universelle : même dans les romans qui se déroulent dans l’espace latino-américain, on remarquera que l’auteur possède l’art d’évoquer l’Afrique, surtout à travers des discours allusifs, implicites. / This thesis aims to examine the novels of the Togolese writer Sami Tchak (whose real name is Sadamba Tcha Koura). Among the so-called New Generation of francophone African writers, he is noted for his fiction that lies within a transgressive and transcultural dynamics. Through a systematic use of sexuality, Sami Tchak creates a poetics that, on the other side of his transgressive boldness and his deliberately shocking and provocative aspect, seeks to examine human existence, to highlight human misery and weaknesses. In addition, this poetics conveys social meaning: sexuality serves as a pretext for the author to depict the lives of those he calls “lives without horizon” or “lives without depth”, and also to deconstruct the doxa. Sami Tchak wants to be heard as an individual voice. He wants to distinguish himself by diverging from the dogma of “Africanity”. Thus, he marks his own literary territory through transcultural features: literary memory assumes a central place in his fiction, which is also characterized by a polysemic configuration of space. The theoretical framework used in this study concerns intertextuality, sociocriticism and transculturality. For instance, the thesis will show that contrary to the literary criticism which suspects him of turning his back on Africa, the fiction of Sami Tchak proceeds from an African and universal consciousness: even in the novels that take place in the Latin American countries, we notice that the author has a talent for talking about Africa, especially through allusive discourse.