Global ETD Search

551	A pastoral response to some of the challenges of reconciliation in South Africa following on from the Truth and Reconciliation Commission Hess, Shena Bridgid 30 November 2006 (has links) This work is concerned with healing practices that are created within a participatory framework in pastoral theology. It works in post-colonial and postapartheid times in South Africa following on from the Truth and Reconciliation Commission. The thesis looks to forms of participation with both victims and perpetrators of apartheid. It seeks to challenge singular identities of victims and perpetrators, whites and blacks, which are bound up in juridical practices that are embedded within binary forms of identity. It exposes some of the problems associated with the splitting of a subject from an object of enquiry. The research concerns a journey with a group of Mothers who lost their sons and husbands to the violence of the apartheid state. It is also a journey with some of the perpetrators who were responsible for the elimination of these men. It seeks to deconstruct identity in order to find alternate descriptions of people, both the victims and perpetrators that are not constructed within a binary oppositional form. This is worked with ideas from the social construction movement particularly ideas relating to relational responsibility. The research attempts to create a safe enough context for accountability, vulnerability and healing to take place within a participatory frame of pastoral care. It works with post-modern theology and some of the philosophy of Derrida, Foucault and Levinas. / Practical Theology / D.Th.(Practical Theology with specialisation in Pastoral Therapy) Levinas Foucault Derrida Social construction Post-structural philosophy Vulnerability Relational responsibility Binary forms of identity Participatory action research Truth and Reconciliation Commission Post-apartheid South Africa Theology Pastoral care 261.70968 Religion and politics -- South Africa Pastoral care -- South Africa
552	Hong Kong cinema 1982-2002 : the quest for identity during transition Cheung, Wai Yee Ruby January 2008 (has links) This thesis seeks to interpret the cinematic representations of Hong Kongers’ identity quest during a transitional state/stage related to the sovereignty transfer. The Handover transition considered is an ideological one, rather than the overnight polity change on the Handover day. This research approaches contemporary Hong Kong cinema on two fronts and the thesis is structured accordingly: Upon an initial review of the existing Hong Kong film scholarship in the Introduction, and its 1997-related allegorical readings, Part I sees new angles (previously undeveloped or underdeveloped) for researching Hong Kong films made during 1982-2002. Arguments are built along the ideas of Hong Kongers’ situational, diasporic consciousness, and transformed ‘Chineseness’ because Hong Kong has lacked a cultural/national centrality. This part of research is informed by the ideas of Jacques Derrida, Homi Bhabha and Stuart Hall, and the diasporic experiences of Ien Ang, Rey Chow and Ackbar Abbas. With these new research angles and references to the circumstances, Part II reads critically the text of eight Hong Kong films made during the Handover transition. In chronological order, they are Boat People (Hui, 1982), Song of the Exile (Hui, 1990), Days of Being Wild (Wong, 1990), Happy Together (Wong, 1997), Made in Hong Kong (Chan, 1997), Ordinary Heroes (Hui, 1999), Durian Durian (Chan, 2000), and Hollywood Hong Kong (Chan, 2002). They meet several criteria related to the undeveloped / underdeveloped areas in the existing Hong Kong film scholarship. Hamid Naficy’s ‘accented cinema’ paradigm gives the guidelines to the film analysis in Part II. This part shows that Hong Kongers’ self-transformation during transition is alterable, indeterminate, and interminable, due to the people’s situational, diasporic consciousness, and transformed ‘Chineseness’. This thesis thus contributes to Hong Kong cinema scholarship in interpreting films with new research angles, and generating new insights into this cinematic tradition and its wider context.
553	Poststrukturalismus Schwanebeck, Wieland 25 April 2017 (has links) (PDF) Unter dem Begriff des Poststrukturalismus wird eine disparate, auf den Axiomen des Strukturalismus aufbauende und diese zugleich überwindende Strömung verstanden, die sowohl innerhalb der Sozial- und Kulturwissenschaften als auch in interdisziplinär organisierten Feldern wie den Gender Studies von großer Tragweite ist. Geteilt wird die Auffassung, dass kulturelle Phänomene allgemein sprachlich strukturiert sind. Seine Tendenz, unter die Oberfläche vermeintlich stabiler, monolithischer Strukturen zu schauen, qualifiziert den Poststrukturalismus für eine Anwendung auf genderwissenschaftliche Kategorien wie Weiblichkeit und Männlichkeit, deren Bedeutung nicht aus sich selbst erwächst, sondern die als Signifikate innerhalb eines (phallokratischen) Systems zu denken sind. linguistic turn Sprache Dekonstruktion Strukturalismus Jacques Derrida Roland Barthes Michel Foucault Julia Kristeva Jacques Lacan Geschlechterdifferenz Geschlechterverhältnis Literaturwissenschaft Philosophie Psychoanalyse Text Signifikat Signifikant Judith Butler Sinn Methode Iterabilität language deconstruction structuralism gender difference gender relation literature studies philosophy psychoanalysis text significance sense method iterability ddc:301
554	Organet lever! : Kropp, ting och performativitet i Erik Beckmans roman Inlandsbanan (1967) / The liver is alive! : Body, thing and performativity in the novel Inlandsbanan (1967) by Erik Beckman Nyström, Filip January 2017 (has links) The works of Erik Beckman (1935-1995) are quite unique within the Swedish literary scene. His texts convert the experimental language of the concretists of the sixties into a new form of fabulation that undermines our understanding of what literature can be, ranging from novels and poetry to theatre pieces and radio theatre. His literary style has been discussed by critics, but the depths of it are yet to be fully explored. There is a lot to gain from combining contemporary theories of materiality and corporeality with his self-proclaimed materialistic poetics. The novel Inlandsbanan (1967) is a fragmentary account of an inland train going through Sweden, with characters coming and going in a frustrating tempo. The text is filled with word games, narrative constructs and a language that brings forth the material aspects of communication that push the boundaries of literary interpretation. This thesis examines Beckman’s novel through the lens of theoretical concepts of thingliness and corporeality developed by the likes of Judith Butler, Karen Barad, and Andrew Pickering in order to elaborate an analysis that goes beyond the surface of its experimental and materialistic use of literary language. Using bodily themes, I analyze specific passages in the novel in order to find a new understanding of its semantic functions. By doing this through the concept of performativity, not only can I identify a thematized corporeality, but beyond that a literary form and a language that problematizes the very notion of the written text as a body and highlights a material agency in literature. This method enables an interpretation of the novel that can illuminates important aspects at play that previously have not been explored. Erik Beckman Beckman kropp kroppslighet ting tingslighet performativitet språk judith butler donna haraway haraway butler bodies that matter vicki kirby shoshana felman inlandsbanan konkretism materialism språkmaterialism språkmaterialitet språklig materialitet deleuze guattari derrida kristeva roman experimentell barad posthumanism posthumanistisk genusteori material turn materiella svängningen pickering kroppens fenomenologi merleau-ponty cyborg organ organet lever decentrerad romanform korporealitet corporealitet corporeality General Literature Studies Litteraturvetenskap
555	Cinema of the self : a theory of cinematic selfhood & practices of neoliberal portraiture Rosinski, Milosz Paul January 2017 (has links) This thesis examines the philosophical notion of selfhood in visual representation. I introduce the self as a modern and postmodern concept and argue that there is a loss of selfhood in contemporary culture. Via Jacques Derrida, Jean-Luc Nancy, Gerhard Richter and the method of deconstruction of language, I theorise selfhood through the figurative and literal analysis of duration, the frame, and the mirror. In this approach, selfhood is understood as aesthetic-ontological relation and construction based on specific techniques of the self. In the first part of the study, I argue for a presentational rather than representational perspective concerning selfhood by translating the photograph Self in the Mirror (1964), the painting Las Meninas (1656), and the video Cornered (1988), into my conception of a cinematic theory of selfhood. Based on the presentation of selfhood in those works, the viewer establishes a cinematic relation to the visual self that extends and transgresses the boundaries of inside and outside, presence and absence, and here and there. In the second part, I interpret epistemic scenes of cinematic works as durational scenes in which selfhood is exposed with respect to the forces of time and space. My close readings of epistemic scenes of the films The Congress (2013), and Boyhood (2014) propose that cinema is a philosophical mirror collecting loss of selfhood over time for the viewer. Further, the cinematic concert A Trip to Japan, Revisited (2013), and the hyper-film Cool World (1992) disperse a spatial sense of selfhood for the viewer. In the third part, I examine moments of selfhood and the forces of death, survival, and love in the practice of contemporary cinematic portraiture in Joshua Oppenheimer’s, Michael Glawogger’s, and Yorgos Lanthimos’ work. While the force of death is interpreted in the portrait of perpetrators in The Act of Killing (2013), and The Look of Silence (2014), the force of survival in the longing for life is analysed in Megacities (1998), Workingman’s death (2005), and Whores’ Glory (2011). Lastly, Dogtooth (2009), Alps (2011), and The Lobster (2015) present the contemporary human condition as a lost intuition of relationality epitomised in love.
556	Anticipatory realism : constructions of futures and regimes of prediction in contemporary post-cinematic art Dernbach, Rafael Karl January 2019 (has links) This thesis examines strategies of anticipation in contemporary post-cinematic art. In the Introduction and the first chapter, I make the case for anticipation as a cultural technique for the construction of and adjustment to future scenarios. This framing allows analysis of constructions of futures as culturally and media-historically specific operations. Via anticipation, constructions of futures become addressable as embedded in specific performative and material economies: as regimes of prediction. The hypothesis is that cultural techniques of anticipation do not only serve to construct particular future scenarios, but also futurity, the very condition for the construction of futures. Drawing upon the philosophical works of, in particular, Vilem Flusser, Jacques Derrida and Elena Esposito, and the theory of cultural techniques, I conceptualize anticipation through the analysis of post-cinematic strategies. I argue that post-cinematic art is particularly apt for the conceptualization of anticipation. The self-reflexive multi-media interventions of post-cinematic art can expose the realisms that govern regimes of prediction. Three cultural techniques of anticipation and their use as artistic strategies in post-cinematic art are theorized: enactment, soft montage and rendering. Each of these techniques is examined in its construction of futures through performative and material operations in art gallery spaces. The second chapter examines strategies of enactment in post-cinematic installations by Neïl Beloufa. My readings of Kempinski (2007), The Analyst, the Researcher, the Screenwriter, the CGI tech and the Lawyer (2011), World Domination (2012) and Data for Desire (2014) propose that enactment allows for an engagement with futures beyond extrapolation. With Karen Barad's theory of agential realism, the construction of futures becomes graspable as a political process in opposition to a mere prolonging of the present into the future. The third chapter focuses on the strategy of soft montage in works by Harun Farocki. I interpret Farocki's application of soft montage in the exhibition Serious Games I-IV (2009-2010) as a critical engagement with anticipatory forms of organizing power and distributing precarity. His work series Parallel I-IV (2012-2014) is then analyzed as a speculation on the future of image production technologies and their role in constructing futures. The final chapter analyses the self-referential use of computer-generated renderings in works by Hito Steyerl. The installations How Not To Be Seen (2013), Liquidity Inc. (2014), The Tower (2015) and ExtraSpaceCraft (2016) are read as interventions in the performative economies of contemporary image production. I argue that these works allow us to grasp the reality-producing and futurity-producing effects of rendering as anticipatory cultural technique. My thesis aims to contribute to the discussions on a 'turn towards the future' in contemporary philosophy and cultural criticism. My research thus focuses on the following set of questions. What can we learn about the operations of future construction through encounters with post-cinematic art? How are futures and future construction framed in such art? What realisms do future constructions rely on? And how can anticipation as a cultural technique be politicized and democratized?
557	Det odödas analys : En studie av centralproblematiken i Slavoj Zizeks samhällsanalys / Undead-analysis : Observing the Social Theory of Slavoj Zizek Palm, Fredrik January 2007 (has links) <p>This thesis examines the social theory of Lacanian philosopher Slavoj Žižek. It focuses on Žižek’s work between 1989 and 2006, and offers an interpretation based on a reading of three central concepts: the Other, fantasy, and the act. All these concepts occupy the intersection between Lacan’s three orders (Imaginary, Real, Symbolic), which in Žižek’s theory means that they express a tension shared by all social order. The first chapter approaches Žižek’s conception of “the social” through an introduction of the Lacanian concept of "the Other." Attention is paid to how (a) the Other is constitutively split between its role as a Symbolic network of signifiers, and its enigmatic (Real and Imaginary) capacity to support this Symbolic network; (b) a similar split marks several of Žižek’s Lacanian and Hegelian concepts. Moreover, the chapter contrasts Žižekian sociality with those of Giddens, Luhmann and Althusser. The second chapter gives an account of the topological place of fantasy in Žižek’s theory. Relating Žižek’s theory to Critical Theory, deconstruction and Deleuzian philosophy, fantasy is presented as a concept countering new forms of “bad infinity” (Hegel) in modern social theory. The third chapter links Žižek’s theory of the act to the theories of Judith Butler, Ernesto Laclau, and Alain Badiou. Commenting on Rex Butler’s brilliant reading of Žižek, the thesis argues that Butler’s definition of the act is too negative. Instead, the thesis proposes a definition which emphasises the act's productive dimension, insisting on how the act ultimately involves the transformation from masculine to feminine enjoyment. The last chapter critically observes the different treatments Lacan and Derrida receive in Žižek’s text. The argument concludes that the Žižekian text relapses into a "masculine logic of exception", insofar as it leaves Derrida’s phallus untouched, while treating Lacan as the only one lacking phallus.</p> Sociology Rex Butler Judith Butler Anthony Giddens sexual difference castration the symbolic the real the undead the act fantasy den Andre the Other performativity deconstruction psychoanalysis poltical theory Slavoj Žižek Jacques Lacan Jacques Derrida Gilles Deleuze Niklas Luhmann Sociologi det odöda akt fantasi dekonstruktion psykoanalys politisk teori performativitet Ernesto Laclau
558	渥坦貝克《解剖新義》中異鄉人與待客之道的變異 / The Concepts of Strangers and Hospitality Reconsidered in Timberlake Wertenbaker’s New Anatomies 黃新雅, Huang, Hsin Ya Unknown Date (has links) 渥坦貝克的劇作《解剖新義》聚焦於法國殖民北非時期，伊莎貝拉(Isabelle Eberhardt)的旅行經驗。伊莎貝拉女扮男裝以歐洲冒險家身份旅行，設法爭取個人自由，致力於破除父權社會加諸於女性身上的性別刻板印象。本劇涵蓋了空間位移、遊牧旅行以及與他者相遇的概念。大多數的批評家對於此劇的討論，多著眼於角色如何跨越性別、地理疆界，而鮮少碰觸旅行議題本身。本論文試圖細讀《解剖新義》，進而探討其中的旅行議題，以及旅行伴隨而來的外來者問題。本論文的第一章涵蓋《解剖新義》的相關評論，以及論文的主題。第二章說明旅行必要的條件，進而帶出本論文關切的旅行要素。第三章引用茱莉亞·克莉斯蒂娃 (Julia Kristeva)對外來者的見解，點出外來者的問題。本劇呈現旅行者與當地居民彼此間心理的矛盾衝突；同時，也提供不同例子說明個人如何能夠緩和自我與他者間的不合。第四章將以雅克·德希達(Jacques Derrida)的「待客之道」(hospitality)理論延續討論個人將如何面對與他者相遇的問題。第五章為本論文的總結，提供新的解讀《解剖新義》方法。即便「待客之道」的概念在《解剖新義》中的某些場合被曲解誤用，卻也隱含「待客之道」在不同論述中，可能以不同概念呈現。 / Timberlake Wertenbaker’s New Anatomies (1981) is a play that centers on Isabelle Eberhardt’s traveling experience during French colonialism in North Africa. Isabelle, who endeavors to break the gender stereotype that is imposed on women in the patriarchal society, manages to strive for her own freedom by setting out for a journey as a European cross-dressed adventurer. The play deals with the ideas of displacement, nomadic traveling, and the encounter with the other. Critics’ responses to the play often focus on how the characters cross the gender and spatial boundaries; however, few of them seem to touch upon the issue on traveling itself. I intend to grapple with the issue on traveling by having a close reading on New Anatomies, and to deal with the accompanying foreigner question in a voyage. Chapter One of the thesis contains the literature reviews of New Anatomies, and carries out the concern of the thesis. Chapter Two presents the essential element in traveling and further maps out my concern about traveling. Chapter Three brings out the foreigner question by elucidating Julia Kristeva’s notion on strangers. The play reveals the psychological conflicts between a traveler and the locals; meanwhile, it also presents diverse examples on how one is able to reduce the estrangement between one and the other. To proceed with the discussion on how one shall react in response to the encounter with the other, I employ Jacques Derrida’s concept of hospitality in Chapter Four. Chapter Five is the conclusion of the thesis that points out how the thesis can be treated as a new way of study on New Anatomies. Though the meanings of hospitality are in some occasions being deformed in New Anatomies, they imply that there are different concepts of hospitality that is authorized in different discourses including traveling. 渥坦貝克《解剖新義》茱莉亞·克莉斯蒂娃我們的異鄉人雅克‧德希達待客之道/悅納異己 Timberlake Wertenbaker New Anatomies Julia Kristeva Strangers to Ourselves Jacques Derrida Hospitality
559	Det odödas analys : En studie av centralproblematiken i Slavoj Zizeks samhällsanalys / Undead-analysis : Observing the Social Theory of Slavoj Zizek Palm, Fredrik January 2007 (has links) This thesis examines the social theory of Lacanian philosopher Slavoj Žižek. It focuses on Žižek’s work between 1989 and 2006, and offers an interpretation based on a reading of three central concepts: the Other, fantasy, and the act. All these concepts occupy the intersection between Lacan’s three orders (Imaginary, Real, Symbolic), which in Žižek’s theory means that they express a tension shared by all social order. The first chapter approaches Žižek’s conception of “the social” through an introduction of the Lacanian concept of "the Other." Attention is paid to how (a) the Other is constitutively split between its role as a Symbolic network of signifiers, and its enigmatic (Real and Imaginary) capacity to support this Symbolic network; (b) a similar split marks several of Žižek’s Lacanian and Hegelian concepts. Moreover, the chapter contrasts Žižekian sociality with those of Giddens, Luhmann and Althusser. The second chapter gives an account of the topological place of fantasy in Žižek’s theory. Relating Žižek’s theory to Critical Theory, deconstruction and Deleuzian philosophy, fantasy is presented as a concept countering new forms of “bad infinity” (Hegel) in modern social theory. The third chapter links Žižek’s theory of the act to the theories of Judith Butler, Ernesto Laclau, and Alain Badiou. Commenting on Rex Butler’s brilliant reading of Žižek, the thesis argues that Butler’s definition of the act is too negative. Instead, the thesis proposes a definition which emphasises the act's productive dimension, insisting on how the act ultimately involves the transformation from masculine to feminine enjoyment. The last chapter critically observes the different treatments Lacan and Derrida receive in Žižek’s text. The argument concludes that the Žižekian text relapses into a "masculine logic of exception", insofar as it leaves Derrida’s phallus untouched, while treating Lacan as the only one lacking phallus. Sociology Rex Butler Judith Butler Anthony Giddens sexual difference castration the symbolic the real the undead the act fantasy den Andre the Other performativity deconstruction psychoanalysis poltical theory Slavoj Žižek Jacques Lacan Jacques Derrida Gilles Deleuze Niklas Luhmann Sociologi det odöda akt fantasi dekonstruktion psykoanalys politisk teori performativitet Ernesto Laclau
560	The subversion of patriarchy: exploring pastoral care with men in the Church of the Province of South Africa on the East Rand Bannerman, David Hugh 30 November 2007 (has links) This dissertation is concerned with pastoral care with men in the Anglican Church. It is grounded in the rapidly changing post-apartheid years in the East Rand region of South Africa. It seeks to explore through participatory action research the negative effects of patriarchy as a discourse of power and entitlement on the lives of men of differing cultures in South Africa as victims and perpetrators of abuse. It also seeks to explore ways of pastorally caring with men through the creation of participative care groups that enable personal stories of men to be told, invitations to responsibility for abuse made, and the negative effects of patriarchal cultural and theological discourse deconstructed, and alternate understandings of masculinity constructed and performed. The work is done from a contextual theology, pro-feminist perspective, and collaborating with postmodern philosophers Derrida and Foucault, the social anthropologist Bruner and the narrative therapists White, Epston and Jenkins. / Philosophy, Practical and Systematic Theology / M. Th. (Practical Theology, Specialisation in Pastoral Therapy Epston and Jenkins White Bruner Discourse Power Entitlement Abuse Responsibility Masculinity Contextual theology Narrative therapy Pro-feminist Participatory action research Reconstruction Derrida Foucault Patriarchy Anglican Church Post-apartheid South Africa Pastoral care 259.08828368 Narrative therapy -- South Africa

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