Quels sont les facteurs menant à la consommation de services sexuels rémunérés dans un contexte touristique à l’étranger? : le cas du tourisme sexuel au Mexique

Il a été montré que l’Homme a un penchant latent à poser des gestes prohibés qui sont contrôlés par les normes formelles et informelles de sa communauté. Si nous sortons un individu de sa communauté sera-t-il plus enclin à poser ces gestes? C’est cette situation que le présent mémoire cherche à exposer. Nous visons à comprendre le processus menant à la consommation de services sexuels rémunérés dans un contexte touristique à l’étranger par l’étude du tourisme sexuel au Mexique. Nous cherchons à définir les facteurs qui motivent, ou du moins favorisent ce type de consommation dans un tel contexte. Pour rendre compte de ces facteurs, nous utilisons un corpus de données composé de commentaires publiés par des touristes sexuels sur un forum de clavardage, se trouvant sur la Toile, et de données existantes. Nous analysons ce corpus de données par une combinaison théorique de l’intersectionnalité et du contrôle social. Précisément, nous analysons les commentaires seuls afin de rendre compte des motivations des touristes à pratiquer le tourisme sexuel, puis nous analysons les données existantes en établissant des liens avec les commentaires publiés pour connaitre les facteurs qui permettent aux touristes cette pratique.

Faulkner revisited : narrating property, race, gender and history in William Faulkner's Go Down, Moses, Toni Morrison's Song of Solomon and Gloria Naylor's Mama Day

My thesis explores the formation of the subject in the novels of Faulkner’s Go Down, Moses, Toni Morrison’s Song of Solomon, and Gloria Naylor’s Mama Day. I attach the concept of property in terms of how male protagonists are obsessed with materialistic ownership and with the subordination of women who, as properties, consolidate their manhood. The three novelists despite their racial, gendered, and literary differences share the view that identity and truth are mere social and cultural constructs. I incorporate the work of Judith Butler and other poststructuralist figures, who see identity as a matter of performance rather than a natural entity. My thesis explores the theme of freedom, which I attached to the ways characters use their bodies either to confine or to emancipate themselves from the restricting world of race, class, and gender. The three novelists deconstruct any system of belief that promulgates the objectivity of truth in historical documents. History in the three novels, as with the protagonists, perception of identity, remains a social construct laden with distortions to serve particular political or ideological agendas. My thesis gives voice to African American female characters who are associated with love and racial and gender resistance. They become the reservoirs of the African American legacy in terms of their association with the oral and intuitionist mode of knowing, which subverts the male characters’ obsession with property and with the mainstream empiricist world. In this dissertation, I use the concept of hybridity as a literary and theoretical devise that African-American writers employ. In effect, I embark on the postcolonial studies of Henry Louise Gates, Paul Gilroy, W. E. B Du Bois, James Clifford, and Arjun Appadurai in order to reflect upon the fluidity of Morrison’s and Naylor’s works. I show how these two novelists subvert Faulkner’s essentialist perception of truth, and of racial and gendered identity. They associate the myth of the Flying African with the notion of hybridity by making their male protagonists criss-cross Northern and Southern regions. I refer to Mae Gwendolyn Henderson’s article on “Speaking in Tongues” in my analysis of how Naylor subverts the patriarchal text of both Faulkner and Morrison in embarking on a more feminine version of the flying African, which she relates to an ex-slave, Sapphira Wade, a volatile female character who resists fixed claim over her story and identity. In dealing with the concept of hybridity, I show that Naylor rewrites both authors’ South by making Willow Springs a more fluid space, an assumption that unsettles the scores of critics who associate the island with authenticity and exclusive rootedness.