With a focus on multiracial perspectives on race, region, and sexuality, Quest for Blackness interrogates the efforts of diverse black subjects to transcend the objectifying limits of the white gaze and the effects of internalized hatred and destructiveness. To clarify the tenuous shift from object to subject, the first two chapters of this dissertation examine the formation of African American subjectivity within the prism of the white gaze, as it takes shape in novels by Eudora Welty, Lewis Nordan, Toni Morrison, and Bebe Moore Campbell. The following chapters probe the pernicious effects on black psyches that develop when African Americans unwittingly internalize any part of the white gaze. Tackling the controversial discourse that comedian Bill Cosby re-ignited with his comments in 2004 on the responsibilities of the black poor in improving their own lives, Quest for Blackness engages fully in the debate that erupted after Cosby's speech. Taking a stand, alongside other African American voices in literature, politics, and social activism, this study not only recognizes the interrelated issue of white racism and economic inequality but also calls for greater black accountability in addressing the pathologies that affect black communities. In airing dirty laundry, African Americans only strengthen their pursuit of equality and lasting, meaningful agency, a point that Z Z Packer, Alice Walker, and others powerfully demonstrate in their fiction. / acase@tulane.edu

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History of African American underclass community in northwestern DeKalb County, Georgia, from its settling in the late-1920s to its present displacement through gentrification. Thesis is that black underclass communities are the result of America's historic racism and subordination of blacks, whose members are left little choice but to engage in illegality as survival strategies. The work reveals the hard-work routines of people relegated to the bottom of American society, as well as their fun-loving leisure activities and embracing of vice as pleasurable. Established during Jim Crow segregation, Lynwood Park cultivated a reputation for danger and toughness to keep out outsiders, so that its children could have some semblance of a "normal" upbringing. The community's color line was then patrolled by dangerous men who created somebodiness for themselves as tough protectors, which ensured that they would be emulated as heroes. The work records the social and cultural history of the community as recalled and interpreted by residents in an oral interview project. Covers community organizations and institutions, such as churches and schools, as well as tensions within the community and tensions against both the white and black outside. Records social life of partying, hog killings, barbecues, baseball, drag racing. Includes culture of illegality and vice, school desegregation, racism, and the community's relationship to DeKalb County, its affluent white neighbors, and the various dynamics that eventually led to the displacement of the traditional black residents. The work challenges the golden-age-of-the-ghetto argument and demonstrates that Lynwood Park suffered from intragroup tensions and was not a safe cocoon for all its residents. The interviews also reveal that many children were left behind in the community's school during segregation because institutional caring generally rallied around only those children who demonstrated academic potential and a desire to eschew the negative dynamics of the enclave's street life. The work also demonstrates the ways in which whites were implicated in promoting, and profiting from, the community's illegality, which led to the eventual displacement of the traditional black residents.

Cette thèse s’intéresse à la question : en quoi l’apprentissage de la danse contemporaine héritière des sources africaines contribue-t-il à la déconstruction de l’occidentalocentrisme au sein de la communauté franco-québécoise blanche à Montréal ? Il sera démontré que cet apprentissage vient à offrir la possibilité à la communauté franco-québécoise blanche de retourner le regard critique vers elle-même afin d’observer sa propre acculturation occidentalocentrique et afin d’observer comment elle perpétue la violence de la blanchité. Ancré dans un cadre critique de justice postcoloniale, l'apprentissage de la danse contemporaine héritière des sources africaines peut contribuer à délier la hiérarchisation entre un occident associé à « l'humanité » et « l'Autre » associé à une humanité en fonction de sa proximité avec l'occident. L'apprentissage de la danse contemporaine héritière des sources africaines invoque une déhiérarchisation des catégories de « modernité/primitivité » et cultive une restitution des pluralités face à une colonialité qui continue à hégémoniser les épistémologies, les ontologies et les esthétiques. Ce faisant, l’enseignement de la danse contemporaine héritière des sources africaines au Québec est un exemple de cas qui déstabilise les paradigmes néo-coloniaux du ‘développement’ dans lesquels le ‘Nord’, associé à la ‘modernité’, est agent de développement, alors que le ‘Sud’ est récipiendaire du développement. Les implications plus larges de cette étude ont trait aux questions d’engagement dans une solidarité réhumanisante qui déconstruit la colonialité; aux questions de coexistence sociale dans la pluralité culturelle; ainsi qu'à l'éthique orientant les relations qu'on entretient avec « l'Autre ».

Since summer 2016 France has experienced several episodes of “moral panic” about a three-pieces swimsuit worn by Muslim women, the “burkini”, whether on the occasion of attempts to ban it from beaches, or on the opposite to allow it in the swimming pools. These Islamophobic expressions are part of a French history of shaping the figure of “Muslim women”, controlling their bodies through their clothing, from “veil” to “burkini”, and silencing them. The present qualitative case study is grounded on the critical discourse analysis of external communication (website and social media) of 2 organizations that give voice to people identifying as both women and Muslims, adopting an intersectional approach. I was interested in the expression of their lived experiences on behalf of the group of “Muslim women”. I tried to answer the following research question: how these organizations that address intersectionality resist both the racial assignment of Muslim women, and the dominant discourse on the “burkini”? The analysis allowed me to explore two contributions of these organizations: the way in which they express resistance to the “white gaze”, which assigns them racially and gender-wise, and the way in which they express an alternative truth to this assignment, revealing who they are independently of this “white gaze”.