台灣自1990年代爆發龍發堂違法收容精神障礙者事件後，逐漸走向以西方現代精神醫療專業權威模式為主流的時代；但不同於醫療觀點的另類模式，卻也持續的以另一股力量多元化的發展著。不同的組織社群以自身不同的社會處境脈絡，嘗試著各種另類的可能性，追尋著對待精神障礙者處遇上不同的價值理念。本研究試圖更細緻的探究台灣這幾十年來，一些跳脫病理觀點的另類模式究竟走出了什麼樣的豐富性。研究者透過Burawoy所提出利用參與觀察的方法選取特殊情境的個案，進行巨觀分析的延伸個案法，選取三個跳脫病理觀的異例場域，分別為不具專業背景，自行發展本土化模式的家屬自助團體；以美國活泉之家所發展出的會所模式做為參照的社福機構；以及資深社工自行開業的社區復健中心。研究者在研究過程中利用實習生的身分，實際進入三個研究田野，深入了解各機構最真實第一現場的工作模式與實踐路徑。分析上針對三間機構各自主要推動者的背景脈絡；在此背景脈絡下對於精神障礙者的理解視角、所創造出新的社區復健論述與工作模式的設計與具體操作；以及在發展出另類的工作模式之下，究竟創造了精神障礙者病人之外什麼樣的新主體，而這樣的新主體又是鑲嵌在什麼樣新的助人互動關係之中，藉此分析比較不同場域的實踐路徑。研究發現，由家屬自組的自助團體，依據創會會長自身的經驗發展了十分具有本土文化特色的工作模式，嘗試在都會生活中複製台灣五、六0年代閩南農村宗族聚落的社群文化。精神障礙者在家屬為主體的努力與庇護下，成功以這種十分具有華人特色的類宗親親友的互動關係，以一種「攀親帶故的自己人」之姿，成功在主流社會中卡位。相較於完全來自本土經驗所發展出來的工作模式，一群新生代的助人工作者，各自帶著自己對於精神醫療的懷疑與批判，嘗試操作一個源自國外的會所模式。過程中，打破了專業人員與精神病患間舊有的權威互動模式，與精神障礙者發展出一種類似同事的平權夥伴關係，共同肩負機構組織的運作，一起與精神障礙者學習對於公共事務發表自己的看法，長出對於體制的批判性；學習如何做一個公民，發揮公民精神，展開從社群內擴展到外部社會的對話。然而，實際在台操作會所模式，過程中面臨的是台灣體制的框限、與個案互動關係的失衡，檢討與調整之下，第一代操作會所模式的資深工作者，決心出走，另闢道路，自行開辦社區復健中心，選擇有限度的倚賴政府資源，期待換來更多的自主性。與個案的關係也從平權夥伴的營造，轉向發展更為真實的貼身搏鬥互動，期待帶領精神障礙者不只是身分主體的轉換，更進一步的對於個人與體制產生根本性的變革。三間機構依著對於精神障礙者不同的處遇信念，發展出不同的處遇模式，承接了不同階層、不同狀態的精神障礙者與其家庭，影響了社會不同的層面，也對當前的體制反映了不同的批判性。三間機構在實踐道路上都不斷的在進行思辯與革命，思辯與革命著身為一個助人工作者最終的使命─「如何善待生命；生命應長的什麼樣？」，使得三間機構在行動過程中更趨本土化與貼近個案的發展。有趣的是，三個機構位處不同的社會處境，受到不同主流體制的壓迫，為求認同與解放，在實踐的路徑上卻朝彼端前進與發展，形成一種具有相互辯證性的關係，也讓我們得以以更多元立體的視角去看待現今精神障礙社區復健服務的整體樣貌。 / Since Long Far Temple's illegal admission of patients with psychiatric disability broke out during the 1990's, the professional authority model of modern Western psychiatric has gradually become the mainstream in Taiwan. While different from the alternative model from medical perspective, it still continues to develop diversely as another force. Basing on their own different social situated contexts, different communities are testing various alternative possibilities as well as pursuing different values and beliefs in terms of treatments of persons with psychiatric disability. This study attempts to explore about the diversity of alternative models that are outside of the pathological point of view developed in Taiwan during the past decades. Selecting cases of particular circumstances using the participant observation method proposed by Burawoy, this study proceeded with the extended case method using macro analysis, picking three anomaly fields outside of pathological point of view: a self-developed self-help group, formed by family members of patients, with no professional background; a social welfare organization that adopted the Clubhouse Model developed by Fountain House of USA, and a community rehabilitation center opened by senior social workers, respectively. During the process, the researchers of this study used their identity of interns to actually enter into the three research fields and thereby understand the truest front line work models and practice approach in-depth. This study analyzed the background contexts of main promoters for the three aforementioned institutions, the angle for understanding for persons with psychiatric disability under these background contexts, the new community rehabilitation discourses they created, and the designs of these work models as well as the concrete operation. This study also analyzed what kind of new subjects were created outside of the persons with psychiatric disability under these developed alternative work models, and what kind of new helping relationship these new subjects were embedded in, so as to compare the different practice approaches of different fields. This study found that self-help group formed by the family members, basing on the experience of the founder himself, developed a work model that is highly local cultural characteristic, trying to copy the community cultural of Hokkien rural clans and tribes in the 1950's and 1960's into the city life. Under the efforts and shelter mainly from their family members, and in a relatives-friends type of interaction that was full of Chinese characteristics, persons with psychiatric disability, acting as a buddy by relation, successfully claimed a place in the mainstream society. Different from the above mentioned work model entirely developed from the local experiences, a group of new generation helpers, each with their own suspicions and criticisms of psychiatric, attempted to operate a Clubhouse Model derived from overseas. In the process, they broke the old authority interaction model between the healthcare professionals and the patients with psychiatric disability, but instead formed an equal partnership similar to that of the colleagues with the patients and jointly operated the organizational operation of the institution. They learned together with the persons with psychiatric disability to express their views on public affairs and develop their critical thinking toward the system. They learned how to be a citizen, act with a civic spirit, and expanding their dialogues from the internal community to an external society. However, during their actual practices of Clubhouse Model in Taiwan, they faced with the frames and limits of Taiwan's system as well as the imbalance of interactive relationship with the patients. After some reviews and adjustments, the first generation of senior social workers who operated the Clubhouse Model decided to leave and went for a new path. They opened a community rehabilitation center by themselves, choosing to depend on government resources limitedly in hope of obtaining more autonomy. Their relationship with the patients also turned from equal partners to a more realistic close-fighting interaction, hoping not only to lead the persons with psychiatric disability to transform their identities and subjects, but further produce fundamental changes for the individuals and the system. The three institutions developed different models of treatment basing on their different treatment belief toward persons with psychiatric disability. They took on persons with psychiatric disability and their families of different social strata and conditions, making an impact on different levels of the society and reflecting different critical thinking toward the current system. On the road of their practices, they kept on thinking and evolving, trying to figure out the ultimate missions as a professional helper - "How to treat life with kindness, and how life is supposed to be like?" That made the action processes of the three institutions more localized and closer to the development of the cases. Interestingly, the three institutions were under different society situations and subjected to different oppressions from the mainstream system. To obtain recognition and emancipation, however, they moved and developed toward the each other in their path of practice, forming an inter-dialectical relationship between them. That also allows us to look at the overall situation of community rehabilitation for psychiatric disability with a multi- dimensional perspective.

Metamorphoses of Narrator in Novels of Jaromír John This diploma paper focuses on the function of the narrator and his various forms in John's prosaic work. It deals with the issue of the construction of the fictional world and how the narrator influences the reader's understanding of the described events. Primarily, we try to compare the narrative categories of the main contemporary concepts as influenced by Shlomith Rimmon-Kenan, Franz Stanzel and Lubomír Doležel. It is our terminology base. Theoretical understanding of the narrator is the basis for the analysis of John's fiction from the aspect of narrative types applied to a selected sample of author's works: the anthology of the tales with war theme Večery na slamníku, novels Moudrý Engelbert, Výbušný zlotvor, Pampovánek, Honda Cibulků; marginally Estét and other works. Concurrently this work aims to describe construction methods that are typical for John's creative style - it is mainly the use of irony, the principle of collage and documentary elements. It shows that the author's work at that time belonged to the experimental stream of Czech prose. Also, we observe the relationship between author's prose work and his aesthetic concept. We hope that we were able to, at least partially, explain the literary style of Jaromir John. His importance and...

Quel type d’expérience faisons-nous quand nous « regardons un film » ? Si cette formulation se montre impropre du fait de la double implication sensorielle d’un voir/entendre qu’engage l’expérience spectatorielle, elle signale d’emblée une forme d’équivocité à propos de ce qu’on « regarde » comme de ce qu’engage le rapport que nous établissons avec ce que nous percevons d’un film. Il s’offre en effet comme une expérience de mimèsis singulière, dont l’examen est l’enjeu du présent travail. La méthode retenue a consisté à mener notre réflexion à partir de l’étude attentive d’un corpus de six films : Valse avec Bachir, d’Ari Folman, Caché, de Michael Haneke, le diptyque Mulholland drive/Lost highway, de David Lynch, Le mystère Picasso, de Henri-Georges Clouzot, et Eût-elle été criminelle…, de Jean-Gabriel Périot. Cette méthode nous a permis de nous interroger sur le type d’opérations que le visionnage d’un film requiert chez le spectateur, comme de nous demander quelle est la nature des objets perçus par le biais du dispositif cinématographique. Nous avons mis à jour le statut équivoque de ce que le spectateur perçoit, en distinguant trois aspects de l’image filmique : profigurant, figuratif, figural. Cette distinction met en évidence l’ambiguïté de l’image filmique quant à ce qu’elle image : monde représenté, complexe d’images et de sons, ensemble d’événements issus du monde réel. Ceci dans un second temps nous a conduit à étudier en quoi la réalisation engage des opérations productives de sens et de prescriptions pour le spectateur. A quelles conditions peut-on la penser comme écriture ? Et qu’est-ce qui est ainsi « réalisé » par ces opérations ? Enfin il s’agissait de s’interroger sur le rôle singulier que le cinéma réserve au spectateur : cette expérience particulière engage des activités tant perceptives, que cognitives et affectives, des immersions dans des temporalités hétérogènes, et un mode de croyance qui n’exclut pas le savoir de ce qui s’y joue. / What exactly do we experience when we “watch a movie” ? This phrase may seem ill-chosen since, in this “spectatorial experience” the viewer not only watches but he also listens. However it announces straightaway a form of equivocity between what we watch and what we connect with, while watching a movie. It appears as a unique experience of mimesis whose analysis is the aim of this study.The chosen method consisted in carrying out our reflection starting from the attentive study of a corpus of six films: Waltz with Bachir, by Ari Folman, Hidden, by Michael Haneke, the diptych Mulholland drive/Lost highway, by David Lynch, the Mystery Picasso, by Henri-Georges Clouzot, and Even if she had been a criminal…, by Jean-Gabriel Périot. This method enabled us to study the type of operations which the watching of a film requires from the spectator, and led us to ask ourselves which is the nature of the objects perceived by the means of the cinematographic device. We’ve highlighted the equivocity of what the spectator perceives, by distinguishing three aspects of the filmic image : profigurant, figurative, figural. This distinction underlines the ambiguity of the filmic image in what it actually shows : a representation of the world, a mixing of images and sounds, a set of events resulting from the real world. This, in a second time, led us to study to what extent the director’s choices engages productive operations of direction and regulations for the spectator. On which conditions can we consider it as writing? And what is thus « realized » by these operations? At last, we have tried to analyse the singular role that the cinema offers to the spectator : this particular experience involves perceptive, cognitive and emotional activities, immersions in heterogeneous temporalities, and a mode of belief in which the viewer is aware of what is at stake.

Analisamos, neste trabalho, o filme Anticristo (2009), do cineasta Lars von Trier, tomando como base um viés crítico que contemplasse a relação entre sua construção formal e seus conteúdos implícitos e explícitos. Assim como outras obras do artista, igualmente questionadoras, perturbadoras e políticas, Anticristo mostra-se capaz de apontar dinâmicas histórico-sociais relevantes para a compreensão de seu tempo, além de desnudar diversas características substanciais do pensamento hegemônico, espantosamente naturalizadas. Nesses termos, a tese proposta é a de que o filme reapropria-se de um método estéticopolítico brechtiano com o fim de criar uma contraposição ao modelo dramático que orienta grande parte das produções cinematográficas mainstream. Sendo responsável por sua estruturação mais ampla, essa reapropriação vincula-se à formatação do foco narrativo do filme, associado à personagem masculina e plasmado com várias nuances de obras de Strindberg e de Freud, bem como do Expressionismo. Configura-se, portanto, essencial o exame da inter-relação que Anticristo apresenta entre os planos histórico e social, e os planos do indivíduo e de sua subjetividade, inclusive de sua construção psíquica. A partir dessa análise revelam-se contradições fundamentais da sociedade ocidental, sobretudo no que se refere às questões de gênero, guarnecidas pela inquietante alusão que o filme faz à caça às bruxas. / In this thesis, we analyze the film Antichrist (2009), by Lars von Trier, from a critical perspective that contemplates the relationship between its formal construction and its implicit and explicit content. As with other works by the artist, equally questioning, disturbing and political, Antichrist has shown itself capable of pointing out historical and social dynamics that are relevant to the comprehension of its time; it also lays bare several substantial characteristics of the hegemonic thinking, which are naturalized in an unsettling way. Accordingly, the proposed thesis is that a Brechtian aesthetic-political method is reappropriated by the film, in order to counterpoint the dramatic model that guides much of the mainstream film productions. Being responsible for the broader structuring of Antichrist, this re-appropriation is linked to the design of the films narrative perspective, which is associated to the male character and shaped by various nuances of works by Strindberg and Freud, and also of Expressionism. The examination of the interrelationship between the historical and social level, and the level of the individual and of his subjectivity, including his mental construction, becomes thus essential in Antichrist. From such analysis, fundamental contradictions of Western society can be unveiled, especially the ones regarding gender issues, which are furnished by the uncanny allusion to the Witch Hunt brought up by the film.

Esta dissertação tem como objetivo principal o estudo das crônicas de memória de Helena Silveira contidas em sua obra Sombra Azul e Carneiro Branco. Publicada em 1960, trata-se de uma seleção de crônicas escolhidas em vida pela autora, que, inicialmente, foram publicadas na seção Paisagem e memória do jornal Folha da Manhã. A caracterização das crônicas tem como principal objetivo o reconhecimento de suas técnicas de composição, partindo da temática referente à morte. Esta análise permitirá discutir a relação entre os gêneros cronístico e memorialístico, resgatar a importância da produção literária de Helena Silveira e traçar um perfil de sua relação com a temática. Para isso, constará neste estudo um resgate histórico e conceitual sobre os gêneros cronístico e memorialístico, uma análise minuciosa de tais crônicas no tocante às técnicas de composição da autora, ao ponto de vista, à temática e à presença das crônicas no gênero memorialístico brasileiro. / This paper aims to present the study about Helena Silveiras memory chronicles in her book Sombra Azul e Carneiro Branco. Released in 1960, the book is an authors selection of chronicles, which was previously published in the Folha da Manhã newspaper, inside the section Paisagem da memória (Memorys landscape, in verbal translation). The chronicles characterization has, as main purpose, the recognition of composing techniques starting from the death theme. This analysis allows the discuss about and between the chronicle and the memory text styles, as a rescue of the influence of Helena Silveiras literary work; and also allows a profile trace of her relation with the mentioned theme. This paper is a study about the historical and conceptual redemption of chronicle and memory text styles; it is a particular analysis of the chronicles of Sombra Azul e Carneiro Branco book concerning the authors composition techniques, her point of view, the selected theme, and the Brazilian chronicles written with the memorial text style.

Esta dissertação tem como objetivo principal o estudo das crônicas de memória de Helena Silveira contidas em sua obra Sombra Azul e Carneiro Branco. Publicada em 1960, trata-se de uma seleção de crônicas escolhidas em vida pela autora, que, inicialmente, foram publicadas na seção Paisagem e memória do jornal Folha da Manhã. A caracterização das crônicas tem como principal objetivo o reconhecimento de suas técnicas de composição, partindo da temática referente à morte. Esta análise permitirá discutir a relação entre os gêneros cronístico e memorialístico, resgatar a importância da produção literária de Helena Silveira e traçar um perfil de sua relação com a temática. Para isso, constará neste estudo um resgate histórico e conceitual sobre os gêneros cronístico e memorialístico, uma análise minuciosa de tais crônicas no tocante às técnicas de composição da autora, ao ponto de vista, à temática e à presença das crônicas no gênero memorialístico brasileiro. / This paper aims to present the study about Helena Silveiras memory chronicles in her book Sombra Azul e Carneiro Branco. Released in 1960, the book is an authors selection of chronicles, which was previously published in the Folha da Manhã newspaper, inside the section Paisagem da memória (Memorys landscape, in verbal translation). The chronicles characterization has, as main purpose, the recognition of composing techniques starting from the death theme. This analysis allows the discuss about and between the chronicle and the memory text styles, as a rescue of the influence of Helena Silveiras literary work; and also allows a profile trace of her relation with the mentioned theme. This paper is a study about the historical and conceptual redemption of chronicle and memory text styles; it is a particular analysis of the chronicles of Sombra Azul e Carneiro Branco book concerning the authors composition techniques, her point of view, the selected theme, and the Brazilian chronicles written with the memorial text style.

The diploma thesis deals with approaches which can be used by a class teacher in relation to a dyslexic student. The aim of the diploma thesis is to analyze recommended approaches in relation to such students and their subsequent comparison with practical experience of teachers with whom I had a chance to talk about on this topic. At first, the main issue and the key terms which relate to this problem are clarified in the theoretical part. There is also mentioned how the teacher should behave correctly and what methods should he apply in relation to this student. The practical part is realized by a qualitative research method. On the grounds of accomplished interviews, the approaches of individual teachers are introduced in this part. The key factors which influence work with dyslexic children according to interviewed teachers are also emphasized there. Furthermore, an opinion of an expert on this topic is stated. She gives many useful pieces of advice and recommendations to teachers. Within the interviews, seven key factors which influence work with such students were analyzed. Those factors are: cooperation with student's parents, supportive tools, help, assessment, adaption of teaching to the student with dyslexia, student's personality needs and finally obstacles which make the individual...

A pretensão do positivismo jurídico é o esclarecimento teórico para se realizar uma descrição correta do direito. A presente dissertação busca verificar qual a abordagem mais adequada para se alcançar a concretização da separação do direito da moral, sendo que o fio condutor é a obra de H.L.A. Hart, na qual se destaca o livro The Concept of Law. Dessa maneira, o problema a que se propõe o trabalho é evidenciar a complexidade da separação do direito da moral. Pretende-se demonstrar, principalmente através da teoria e obra de Herbert Hart, que Oliver Holmes e Hans Kelsen ao apresentarem seus projetos para separação do direito da moralidade, trataram o direito do ponto de vista descritivo, perdendo a caracterização do próprio direito. O primeiro capítulo é dedicado a apresentar e explicar o projeto positivista, já que condutas exigíveis por regras jurídicas não se confundem com as condutas exigidas por regras morais, ainda que conjuntamente possam existir. Ainda nesse capítulo apresentam-se algumas noções importantes para a compreensão e desenvolvimento do trabalho em relação à teoria de Hart, em especial no que tange ao ponto de vista interno e externo. No segundo capítulo é abordada a obra de Holmes, The Path of the Law, e as principais críticas construídas por Hart e discutidas por Stephen Perry e Scott Shapiro. Partindo-se da perspectiva do homem mau presente na teoria, pretende-se demonstrar que esta é insuficiente para compreender a teoria do direito, em especial nas razões pelas quais um cidadão segue o direito, já que nem todos estariam preocupados em qual é a sanção que receberão do Estado caso desobedeçam à regra. No terceiro e último capítulo demonstra-se quais os problemas da teoria de Kelsen apontadas por Hart. Especialmente no que se refere à ideia de Kelsen de que o direito é só forma, podendo ter qualquer conteúdo, enquanto que Hart acredita que o direito deve possuir conteúdo mínimo. Segundo Kelsen, a estrutura normativa é pressuposta, sendo que a regra funciona como esquema de interpretação e a principal função desta é a sanção. O objetivo final do trabalho é demonstrar que neste projeto de tentar salvar a autonomia do direito, Holmes e Kelsen descaracterizaram o fenômeno jurídico como uma prática social. / The claim of legal positivism is the theoretical clarification to perform a correct description of the law. This work aims to verify the most appropriate approach to achieving the implementation of the separation of law from morality, and the common thread is the work of H.L.A. Hart, which stresses the book The Concept of Law. Thus, the problem that is proposed work is to show the complexity of separating law from morals. We intend to show, especially through the theory and work of Herbert Hart, that Oliver Holmes and Hans Kelsen when presented their projects for separating the right of morality, they treated law of the descriptive point of view, losing the characterization of the law itself. The first chapter is dedicated to present and explain the positivist project, as required by legal conduct rules are not confused with the conduct required by moral rules, albeit jointly may exist. Although this chapter presents some important concepts for understanding and development work in relation to Hart's theory, especially with regard to internal and external point of view. The second chapter discussed the work of Holmes, The Path of the Law, and the main criticisms built by Hart and discussed by Stephen Perry and Scott Shapiro. Starting from the bad man present perspective in theory, intended to demonstrate that this is insufficient to understand the theory of law, in particular the reasons why a citizen follows the law, since not everyone would be worried about what is the sanction which receive if they disobey the rule. In the third and last chapter shows is that the problems of Kelsen's theory pointed out by Hart. Especially with regard to the idea of Kelsen that law is shaped and can have any content, while Hart believes that law should have a minimum content. According to Kelsen, the regulatory framework is presupposed, and the rule works as interpretation scheme and the main function of this is the sanction. The ultimate goal of the work is to demonstrate that this project of trying to save the autonomy of law, Holmes and Kelsen misrepresent the legal phenomenon as a social practice.

Bakalauro darbe analizuojamos neįgaliųjų įsidarbinimo galimybės socialinių pedagogų ir neįgaliųjų požiūriu. Darbas žmogui yra viena svarbiausių ir prasmingiausių veiklų, kuri suteikia ne tik finansinį saugumą, bet ir padeda užmegzti kontaktus su kitais žmonėmis, palaikyti santykius, taip pat didina savigarbą. Socialiniai pedagogai ir patys neįgalieji yra tie asmenys, kurie mato neįgaliųjų integracijos situaciją iš arti ir jų požiūris gana plačiai parodo esamą situaciją. Pagrindinis šio darbo tikslas – atskleisti neįgaliųjų įsidarbinimo galimybes socialinių pedagogų ir neįgaliųjų požiūriu. Siekiant įgyvendinti šį tikslą buvo pasitelktas kokybinis tyrimas, taikant turinio (content) analizės metodą. Tyrime dalyvavo dvi informantų grupės. Pirmąją grupę sudarė 6 socialiniai pedagogai dirbantys su neįgaliaisiais ir padedantys jiems profesijos įgijimo situacijoje. Antrąją grupę sudarė 6 asmenys turintys negalią. Informantai pasirinkti naudojant patogiąją tikslinę atranką. / Employment opportunities for people with disabilities from the point of view of social educators and people with disabilities are analysed in the present Bachelor’s Thesis. Employment is one the most important and meaningful activities for a human being providing with not only financial security but serving as means for making contacts with other people, establishment of relations, and increasing self-esteem as well. Social educators and people with disabilities themselves are the people who see the situation in respect of the situation in the field of integration of people with disabilities from a close range and their point of view reflects the current situation quite extensively. The key aim of this Paper is to reveal employment opportunities for people with disabilities from the point of view of social educators and people with disabilities. A qualitative study was used by applying a content analysis method in order to achieve this aim. Two groups of informants have participated in the study. The first group consisted of 6 social educators working with the disabled people and providing assistance to them in situations related to acquisition of an occupation. The second group consisted of 6 people with disabilities. The informants have been chosen using a convenient target selection method.

An interpretative methodology for understanding meaning in cinema since the 1950s, auteur analysis is an approach to film studies in which an individual, usually the director, is studied as the author of her or his films. The principal argument of this thesis is that proponents of auteurism have privileged examination of the visual components in a film-maker’s body of work, neglecting the potentially significant role played by sound. The thesis seeks to address this problematic imbalance by interrogating the creative use of sound in the films written and directed by Rolf de Heer, asking the question, “Does his use of sound make Rolf de Heer an aural auteur?” In so far as the term ‘aural’ encompasses everything in the film that is heard by the audience, the analysis seeks to discover if de Heer has, as Peter Wollen suggests of the auteur and her or his directing of the visual components (1968, 1972 and 1998), unconsciously left a detectable aural signature on his films. The thesis delivers an innovative outcome by demonstrating that auteur analysis that goes beyond the mise-en-scène (i.e. visuals) is productive and worthwhile as an interpretive response to film. De Heer’s use of the aural point of view and binaural sound recording, his interest in providing a ‘voice’ for marginalised people, his self-penned song lyrics, his close and early collaboration with composer Graham Tardif and sound designer Jim Currie, his ‘hands-on’ approach to sound recording and sound editing and his predilection for making films about sound are all shown to be examples of de Heer’s aural auteurism. As well as the three published (or accepted for publication) interviews with de Heer, Tardif and Currie, the dissertation consists of seven papers refereed and published (or accepted for publication) in journals and international conference proceedings, a literature review and a unifying essay. The papers presented are close textual analyses of de Heer’s films which, when considered as a whole, support the thesis’ overall argument and serve as a comprehensive auteur analysis, the first such sustained study of his work, and the first with an emphasis on the aural.