Your Unpublished Thesis, Submitted for a Degree at Williams College and Administered by the Williams College Libraries, Will Be Made Available for Research Use

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Your Unpublished Thesis, Submitted for a Degree at Williams College and Administered by the Williams College Libraries, Will Be Made Available for Research Use WILLIAMS COLLEGE LIBRARIES COPYRIGHT ASSIGNMENT AND INSTRUCTIONS FOR A STIJDENT TiffiSIS Your unpublished thesis, submitted for a degree at Williams College and administered by the Williams College Libraries, will be made available for research use. You may, through this form, provide instructions regarding copyright, access, dissemination and reproduction of your thesis. The College has the right in all cases to maintain and preserve theses both in hardcopy and electronic format, and to make such copies as the Libraries require for their research and archival functions. _ The faculty advisor/s to the student writing the thesis claims joint authorship in this work. _ Uwe have included in this thesis copyrighted material for which Uwe have not received permission from the copyright holder/s. If you do not secure copyright pennissions by the time your thesis is submitted, you will still be allowed to submit. However, if the necessary copyright pennissions are not received, e-posting of your thesis may be affected. Copyrighted material may include images (tables, drawings, photographs, figures, maps, graphs, etc.), sound files, video material, data sets, and large portions of text. I. COPYRIGm An author by law owns the copyright to his/her work, whether or not a copyright symbol and date are placed on the piece. Please choose one of the options below with respect to the copyright in your thesis. _ Uwe choose not to retain the copyright to the thesis, and hereby assign the copyright to Williams College. Selecting this option will assign copyright to the College. If the author/swishes later to publish the work, he/she/they will need to obtain pennission to do so from the Libraries, which will be granted except in unusual circumstances. The Libraries will be free in this case to also grant pennission to another researcher to publish some or all of the thesis. If you have chosen this option, you do not need to complete the next section and can proceed to the signature line. ~/we choose to retain the copyright to the thesis for a period of '7!7 years, or until my/our death/s, whichever is the earlier, at which time the copyright shall be assigned to Williams College without need of further action by me/us or by my/our heirs, successors, or representatives of my/our estate/s. Selecting this option allows the author/s the flexibility of retaining his/her/their copyright for a period of years or for life. II. ACCESS AND COPYING If you have chosen in section I, above, to retain the copyright in your thesis for some period of time, please choose one of the following options with respect to access to, and copying of, the thesis. ~we grant permission to Williams College to provide access to (and therefore copying of) the thesis in electronic format via the Internet or other means of electronic transmission, in addition to permitting access to and copying of the thesis in hardcopy format. Selecting this option allows the Libraries to transmit the thesis in electronic format via the Internet. This option will therefore permit worldwide access to the thesis and, because the Libraries cannot control the uses of an electronic version once it has been transmitted, this option also permits copying of the electronic version. __ 1/we grant permission to Williams College to maintain and provide access to the thesis in hardcopy fonnat. In addition, Ilwe grant permission to Williams College to provide access to (and therefore copying of) the thesis in electronic format via the Internet or other means of electronic transmission after a period of ___ years. Selecting this option allows the Libraries to transmit the thesis in electronic format via the Internet after a period of years. Once the restriction period has ended, this option permits worldwide access to the thesis, and copying of the electronic and hardcopy versions. _ I/we grant permission to Williams College to maintain, provide access to, and provide copies of the thesis in hardcopy fonnat only, for as long as llwe retain copyright. Selecting this option allows access to your work only from the hardcopy you submit for as long as you retain copyright in the work. Such access pertains to the entirety of your work, including any media that it incorporates. Selecting this option allows the Libraries to provide copies of the thesis to researchers in hardcopy form only, not in electronic Jbrmat. __ l/we grant permission to Williams College to maintain and to provide access to the thesis in hardcopy format only, for as long as Ilwe retain copyright. Selecting this option allows access to your work only from the hardcopy you submit for as long as you retain copyright in the work. Such access pe1tains to the entiret-y of your work, including any media that it incorporates. This option does NOT permit the Libraries to provide copies of the thesis to researchers. Signed (student author) Signed (faculty advisor) Library Use Accepted By: Date: ) /) ~ r :.3 rev. March 2010 Comme Victoire: Approaching a Holy Woman in Postcolonial Madagascar by Jimmy Grzelak Denise Kimber Buell, Advisor A thesis submitted in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Honors in Religion WILLIAMS COLLEGE Williamstown, Massachusetts March 15, 2013 Grzelak 2 Mes sincères et vifs remerciements à tous ceux qui m’ont béni (explicitement et implicitement) pendant mon séjour à Madagascar. And also my thanks to Prof. Buell, who for all her patience and insight, I would say should be canonized – if this document did not, in part, explore the dangers of that exact gesture. Grzelak 3 Table of Contents Foreword 4 Chapter One: Pierre 8 Chapter Two: The Comic Book 37 Chapter Three: Rosette 68 Epilogue 92 Bibliography 95 Grzelak 4 Foreword This project began accidentally. I happened into walk into the chapel across from the Catholic cathedral in Antananarivo dedicated to Victoire Rasoamanarivo (1848- 1894), a popular Malagasy holy woman and Blessed in the Catholic Church.1 A cluster of water bottles standing on top of a casket caught my eye. People would occasionally approach the casket – either to retrieve or set up new bottles, or to simply cap or un-cap them. I was intrigued because, with these micro-rituals, I saw Malagasy laypeople actively and creatively managing the chapel space. I sat in the chapel for hours on end. This was not entirely bizarre; plenty of others would pass whole mornings, afternoons and days on the pews beside me. In part, I chose the chapel as my study site because I, having grown up Catholic, felt that I had some understanding of the grammar of behavior within. I certainly hoped, and hope, that one day soon Malagasy researchers – from all the island’s ethnic groups, from all the castes of Merina society – will have a more prominent voice in the academic world which still often views them as a object of inquiry. But, in the meanwhile, I aimed to find the best way I could contribute to the conversation about Malagasy religion, as a student with the sixth sensus catholicus2 of someone whose family history contains its own ancestor/saint, who would soon return to a university with access to experts on Christian history and phenomenal library resources. I could sit in the chapel and catalog lay ritual with some basis of understanding. I felt that 1 A ‘Blessed’ has been officially beatified by the Pope; this is the final step before the canonization that confers sainthood. The declaration asserts certainty that the deceased is in heaven and can intercede on behalf of the living, just like any saint – but, significantly in this case, s/he is accorded a feast day only in certain bounded geographic regions, and not in the whole church. 2 Like any sixth sense, this is awareness is sometimes unwanted, sometimes valuable. Grzelak 5 the Catholic Church’s claim to universality both authorized my presence and gave me a metric against which to measure what I saw. I was eventually asked who I was. This made sense – the chapel was a meditative, but not anonymous, space; people greeted acquaintances even while praying. I was also noticeably white. I must recognize that my race (white), gender (male), and national identity (American) were, in some sense, assets in conducting this fieldwork. My informants saw my project as an important one, felt that I deserved the privilege of access to any available information, and assumed that I was completely ignorant. Though insider ethnography certainly has its benefits, in this case, I believe that some of my informants were also more explicit about their feelings than they might have been if I were more easily locatable in Antananarivo society. I do not deny that my ability to conduct this research in the first place somehow carries with it the legacy of colonialism, but I can, at least, say that conversations about ethnicity especially would have unfolded differently had I been French, had I been Merina (with aristocratic, ‘common,’ or slave heritage), had I been of any other ethnic group, had I been Sino-Malagasy, or had I been “African.”3 Being American also meant that I was often confused; with this project, I am attempting to make use of that orientation. It is precisely the ethnographic moments that were initially hardest for me to understand, and easiest to dismiss, that I will be returning to here. I pay the closest attention to the moments where my interlocutors made the least sense to me. These moments have become tools for me in thinking through issues that I also find hard to understand and easy to dismiss, in both the Malagasy context and the 3 Malagasy people generally do not consider themselves African.
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