East of Suez and the imaginary tangles of space and self

Drawing on postcolonial studies and the theorization on imperial gothic, this paper centres on three texts: The Hosts of the Lord (1900) by Flora Annie Steel; East of Suez (1901) by Alice Perrin, and The Way of an Eagle (1912)by Ethel Dell. These three texts highlight in different ways the discursive mediation of the Other and its destabilizing effects on the identity of the European-minded colonizer, thus foregrounding the multifarious nature of the British imaginative engagement with India. In this context, it is particularly relevant to examine the political and ideological implications of representing anywhere East of Suez as a locus of primitivism and chaos vis-à-vis the colonizer’s ambivalent reactions. Thus we seek to demonstrate the power of two distinct practices or modes of representation – namely, the power of a metaphorical discourse versus metonymic discourse- within the proces of constructing the East for a vast Western readership.

‘Wooden Man’? : Masculinities in the Work of J. M. Coetzee (Boyhood, Youth and Summertime)

In seeking to advance the possibility of justice, gender and postcolonial studies have argued for the importance of the study of masculinities, through the acknowledgment that a richer understanding of such gendered formations may provide the basis for recognition of the Other and that, left uncriticised, such formations may be continuously delineated by the reproduction of systems of domination. The current study finds as its object the representations of masculinities in J. M. Coetzee’s Boyhood (1997), Youth (2002) and Summertime (2009). As works of transition in terms of Coetzee’s oeuvre - post-apartheid and post-Disgrace - the trilogy provides an account of the development of a man through several stages of life. While portraying the tensions of different geographical and cultural locations, such as apartheid South Africa and the London of the Sixties, the trilogy articulates the various norms that impact in the formation of gender, particularly of masculinities, through a complex system of power relations. The adherence to such norms is never linear, as the trilogy provides imaginative accounts of the contradictions that assist in the formulation of gender, depicting both the allure and the terror that constitute hegemonic masculinity. Located in the intersection of gender and postcolonial studies, the present study is based on the works by Raewyn Connell on masculinities. Animated by such a critical framework, the main research question of the present study is whether the trilogy advances a notion of masculinity that differs from the traditional rigid model, that is, whether there is resistance to hegemonic masculinity and what the spaces inhabited by the subaltern are. It is suggested that the trilogy presents the reader with instances of resistance to normative formulations of masculinity, by contrasting domination with the possibility of justice, and advancing an understanding of the often fatal consequences of gender norms to one’s sense of being in the world.

Ghosts in contemporary African diasporic literature : re-visioning history, memory and identity

Starting from the observation that ghosts are strikingly recurrent and prominent figures in late-twentieth African diasporic literature, this dissertation proposes to account for this presence by exploring its various functions. It argues that, beyond the poetic function the ghost performs as metaphor, it also does cultural, theoretical and political work that is significant to the African diaspora in its dealings with issues of history, memory and identity. Toni Morrison's Beloved (1987) serves as a guide for introducing the many forms, qualities and significations of the ghost, which are then explored and analyzed in four chapters that look at Fred D'Aguiar's Feeding the Ghosts (1998), Gloria Naylor's Mama Day (1988), Paule Marshall's Praisesong for the Widow (1983) and a selection of novels, short stories and poetry by Michelle Cliff. Moving thematically through these texts, the discussion shifts from history through memory to identity as it examines how the ghost trope allows the writers to revisit sites of trauma; revise historical narratives that are constituted and perpetuated by exclusions and invisibilities; creatively and critically repossess a past marked by violence, dislocation and alienation and reclaim the diasporic culture it contributed to shaping; destabilize and deconstruct the hegemonic, normative categories and boundaries that delimit race or sexuality and envision other, less limited and limiting definitions of identity. These diverse and interrelated concerns are identified and theorized as participating in a project of "re-vision," a critical project that constitutes an epistemological as much as a political gesture. The author-based structure allows for a detailed analysis of the texts and highlights the distinctive shapes the ghost takes and the particular concerns it serves to address in each writer's literary and political project. However, using the ghost as a guide into these texts, taken collectively, also throws into relief new connections between them and sheds light on the complex ways in which the interplay of history, memory and identity positions them as products of and contributions to an African diasporic (literary) culture. If it insists on the cultural specificity of African diasporic ghosts, tracing its origins to African cultures and spiritualities, the argument also follows gothic studies' common view that ghosts in literary and cultural productions-like other related figures of the living dead-respond to particular conditions and anxieties. Considering the historical and political context in which the texts under study were produced, the dissertation makes connections between the ghosts in them and African diasporic people's disillusionment with the broken promises of the civil rights movement in the United States and of postcolonial independence in the Caribbean. It reads the texts' theoretical concerns and narrative qualities alongside the contestation of traditional historiography by black and postcolonial studies as well as the broader challenge to conventional notions such as truth, reality, meaning, power or identity by poststructuralism, postcolonialism or queer theory. Drawing on these various theoretical approaches and critical tools to elucidate the ghost's deconstructive power for African diasporic writers' concerns, this work ultimately offers a contribution to "speciality studies," which is currently emerging as a new field of scholarship in cultural theory.

Translating from India and the Moving Space of Translation (Illustrated by the Works of Ajñeya)

The inadequacies and obsolescence of Eurocentric theories based on a binaryand static worldview have become a staple topic of postcolonial studies, and tosome extent also of translation studies. Nonetheless, the literary texts that arecalled upon in order to show the dynamism and hybridity of (post)modern worksbelong for the most part to the languages of the former colonial powers, especiallyEnglish, and remain inserted in a system that construes literatures interms of opposition. As a consequence, there is outside India a doubly misleadingunderstanding of Indian literatures other than those written in English:firstly, that translations of works in Hindi and in the Indian bhāṣā seem to belacking, if not inexistent, and secondly, that these "minor" literatures - as theyare regularly termed - are still often viewed as being highly dependent on theidea of "tradition," in opposition to the "postmodern" hybridity of the literatureswritten in the "dominant" languages, such as English or French. Againstthese views and supported by the analysis of Ajñeya's works in Hindi togetherwith their English translations, this paper aims to show: 1) that translationsfrom Hindi, which are not in fact non-existent, are mainly carried out in India,and 2) that Ajñeya's works, while representing a significant instance of the effectivehybridity present in Indian literatures, help to illustrate the moving spaceof translation. This demonstration effectively invalidates the above-mentionedoppositional standpoint.

Normalisation et dimension culturelle des délocalisations de services : les cas du Maroc et de l'Inde

Cette thèse explore le rôle de la normalisation technique dans les délocalisations de services en Inde et au Maroc. La recherche appréhende le phénomène en opposant explicitement ou implicitement deux modèles. Un modèle serviciel dans lequel les activités de services sont difficilement délocalisables parce que non-mesurables ; un modèle industriel qui articule des activités de services mesurables par les normes techniques et susceptibles d'être délocalisés dans les pays du Sud à bas salaires. Notre thèse s'interroge sur la manière dont les relations Nord-Sud peuvent s'appréhender au sein de cette dichotomie et propose une réflexion épistémologique sur les représentations culturelles induites au sein de ce cadrage. A partir d'une perspective qui combine les apports de l'économie politique culturelle, la sociologie économique et les études postcoloniales au sein de l'économie politique internationale, elle mobilise trois catégories (la normalisation technique, l'imaginaire économique, la qualité). Ces catégories nous permettent de suggérer la centralité des enjeux de pouvoirs dans la définition de ce que sont les activités de services. L'analyse empirique suggère que les délocalisations de services au Maroc et en Inde expriment des réalités plus poreuses et plus dynamiques que la dichotomie entre modèle serviciel et modèle industriel laisse entendre. Elle met en évidence la capacité d'agir des acteurs des pays du Sud et suggère que les normes techniques ont une fonction politique à travers leurs fonctions de mesure. Abstract This thesis explores the role of technical standards in offshore outsourcing in India and Morocco. Current research captures the phenomenon while opposing explicitly or implicitly two models of production. A service-based model in which service activities are difficult to relocate because they are non-measurable; an industrial model that articulates service activities measured with technical standards and that may be outsourced to developing countries with low wages. Our thesis questions how North-South relations can be grasped within this dichotomy and offers an epistemologica! reflection on cultural representations induced within this framework. From a perspective that combines the contributions of cultural political economy, economic sociology and postcolonial studies in international political economy, it mobilizes three categories (technical standardization, the economic imaginary and quality). These categories allow us to suggest the centrality of power issues in the definition of service activities. The empirical analysis suggests that offshoring of services in Morocco and India express more porous and dynamic realities than the dichotomy suggested between a service model and an industrial model. It highlights the ability of the actors to act in the South and suggests that technical standards have a political function through their measurement functions.

Comics carnet : the graphic novelist as global nomad

An interdisciplinary approach is used to identify a new graphic novel genre, 'comics camet', and its key features. The study situates comics camet in a historical context and shows it to be the result of a cross-pollination between the American and French comics traditions. Comics camet incorporates features from other literary genres: journalism, autobiography, ethnography and travel writing. Its creators, primarily European rriales, document their experiences visiting countries that Europe has traditionally defined as belonging to the 'East'. A visual and narrative analysis, using theoretical perspectives derived from cultural and postcolonial studies, examines how comics camet represents the non-European other and identifies the genre's ideological assumptions. Four representative texts are examined: Joe Sacco's Palestine (2001), Craig Thompson's, Camet de Voyage (2004), Guy Delisle's Pyongyang (2005) and Mrujane Satrpi's Persespolis 2 (2004). The study concludes that the comics camet genre simultaneously reinforces and challenges stereotypical assumptions about non-European people and places.

Oxfam-Québec : une Organisation Non Gouvernementale d'aide au développement ou l'expression d'un pouvoir politique transnational

Influencée par la critique postmoderne et les études postcoloniales, cette recherche exploratoire invite à une réflexion sur le rôle et la place des ONG comme acteurs du développement des « pays du Sud », dans un monde de plus en plus globalisé. Les données empiriques, d’une part, récoltées suite à une enquête ethnographique au sein du siège social de l’une des ONG les plus influente de Montréal, Oxfam-Québec, et les données théoriques interdisciplinaires, d’autre part, ont permis une analyse en deux temps. Premièrement, il s’agit de comprendre le fonctionnement interne de ces puissantes ONG ainsi que leurs liens avec l’État et les marchés. La seconde partie sera consacrée à l’analyse de la mission de développement ainsi que la constitution du pouvoir et de la légitimité grandissante sur la scène politique mondiale de ces ONG transnationales.