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. / Philosophy, Practical and Systematic Theology / D.Th.(Practical Theology with specialisation in Pastoral Therapy)

The complicated issues surrounding translation studies have seen growing attention in recent years from scholars and academics that want to make it a discipline and not a minor branch of another field, such as linguistics or comparative literature. Writ large with Antigonick, Carson showcases the recent Western push towards translation studies in the American academy. By offering up a text that is chaotic in its presentation, she bypasses the rigid idea of univocality. By giving the text discordant images, she betrays the failed efficacy of sign and signification, and by choosing a text to be performed and mutually participated in, she exceeds ideas of the individual subject as the site of authorship. Ultimately, Carson enacts a theory of translation that critically deconstructs translation itself.

La création artistique autochtone est indissociable des luttes politiques. Dans un contexte colonial, les modes d’être, d’agir et de penser Autochtones sont profondément affectés. L’art est une arme puissante dans cette lutte pour la décolonisation. Cette étude s’intéressera ainsi au potentiel de transformation et de décolonisation de la création artistique autochtone, à travers la pratique artistique de l’artiste Algonquine Nadia Myre. Plusieurs de ses œuvres adressent la mixité identitaire et la violence coloniale subie par les Autochtones. Indian Act (fig.1) dénonce, à l’aide d’une réécriture perlée traditionnelle et participative, un texte de loi colonial qui a conduit à une injustice épistémique profonde. Pour adresser ces problématiques, nous nous ancrerons sur un objet particulier, le wampum. Dans cette recherche, nous le considérerons comme un vecteur de résurgence et de décolonisation profondes. La position socio-politique ancienne et contemporaine essentielle du wampum en fait un support didactique privilégié de résurgence. Grâce à l’utilisation du motif du wampum dans la pratique artistique de Nadia Myre, nous pourrons cheminer à travers ces luttes et comprendre comment les artistes Autochtones les engagent. Le wampum sera présenté comme une rhétorique discursive, matérielle et immatérielle, un hypertexte, un hyperlien (Haas 2007) entre tradition et modernité, oralité et écriture, qui sera supportée par la théorie de l’intermédialité. Jacques Derrida et la Déconstruction seront également convoqués pour examiner le travail de réécriture effectué par Myre dans Indian Act. Il s’agira également de comprendre comment la proposition participative de Nadia Myre pourrait permettre un engagement allochtone vers une justice épistémique décoloniale. / Aboriginal artistic creation is inseparable from political struggles. In a colonial context, Aboriginal ways of being, acting and thinking are deeply affected. Art is a powerful weapon in this struggle for decolonization. This study will therefore focus on the transformative and decolonizing potential of Aboriginal artistic creation through the artistic practice of Algonquin artist Nadia Myre. Several of her works address the mixed identity and colonial violence suffered by Aboriginal people. Indian Act (fig.1) denounces, through a traditional and participatory beaded rewriting, a colonial law that has led to a profound epistemic injustice. To address these issues, we will focus on a specific object, the wampum. In this research, we will consider it as a vector of deep resurgence and decolonization. The essential ancient and contemporary socio-political position of wampum makes it a privileged didactic support of resurgence. Through the use of the wampum motif in Nadia Myre's artistic practice, we will be able to walk through these struggles and understand how Aboriginal artists engage them. Wampum will be presented as a discursive rhetoric, material and immaterial, a hypertext, a hyperlink (Haas 2007) between tradition and modernity, orality and writing, which will be supported by the theory of intermediality. Jacques Derrida and the Deconstruction will also be convened to examine the rewriting work done by Myre in Indian Act. It will also be a question of understanding how Nadia Myre's participatory proposal could enable an allochtonous engagement towards decolonial epistemic justice.

In this thesis, the legal theory of Robert Cover is employed to analyse the procedural turn of the ECtHR. The text studies how Animal Defenders International v. the United Kingdom (ADI) and subsequent case law relate to the margin of appreciation doctrine and how this can be understood from a Coverian point of view. The margin of appreciation is thus seen as a product of an interplay between paideic and imperial forces where the imperial, or world-maintaining, influences on the doctrine are the strongest. ADI and later cases are read as further accentuating the focus on the nomos of the state relative to competing nomoi already at work in the case law of the procedural turn. The thesis is closed with an amalgamation of Cover’s ideas with the democratic theory of Jacques Derrida which results in a discussion on what a Coverian re-evaluation of the approach outlined in ADI could look like.

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.

Archiv bezeichnet eine Einrichtung, in der Schriftstücke, Dokumente, Akten und andere Zeugnisse gesammelt, geordnet, bewahrt und restauriert werden. Archive erfüllen als Verwaltungs- und Erinnerungsorte eine Vielzahl von Funktionen und sind eng mit institutioneller Macht verschränkt. Kulturwissenschaftliche Analysen zeigen, dass analoge und digitale Archive bestimmten Akteur*innen mehr Raum und Sichtbarkeit gewähren als anderen. Dabei strukturieren soziale Kategorien wie gender, race und class den Zugang zum und den Eingang ins Archiv. Eine intersektionale Heterogenisierung des Archivs wird in Teilen der Wissenschaft sowie von privaten Initiativen deshalb angestrebt, löst aber auch Kritik aus.

Indiana University-Purdue University Indianapolis (IUPUI) / Video games are increasingly recognized as powerful tools for learning in classrooms. However, they are widely neglected in the field of English, particularly as objects worthy of literary study. This project argues the place of video games as objects of literary study and criticism, combining the theories of Espen Aarseth, Ian Bogost, Henry Jenkins, and James Paul Gee. The author of this study presents an approach to literary criticism of video games that he names “player-generated narratives.” Through player-generated narratives, players as readers of video games create loci for interpretative strategies that lead to both decoding and critical inspection of game narratives. This project includes a case-study of the video game Undertale taught in multiple college literature classrooms over the course of a year. Results of the study show that a video game introduced as a work of literature to a classroom increases participation, actives disengaged students, and connects literary concepts across media through multimodal learning. The project concludes with a chapter discussing applications of video games as texts in literature classrooms, including addressing the practical concerns of migrating video games into an educational setting.

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