This thesis considers and critically analyses literary representations of what I have called “alternative masculinities” within a selection of texts by male writers from the turn of the millennium. The novels chosen for this analysis are Last Drinks by Andrew McGahan (2000), World of Chickens (2001) by Nick Earls and Sushi Central by Alasdair Duncan (2003). The work of R.W. Connell, Doreen Massey and Bruce Bennett will inform a framework blending theories of masculinities, spatiality theories and critical regionalism, providing the tools to conduct a reading of the spaces fictional representations of alternative masculinities engage with. Applying Connell’s hierarchy of masculinities (1995) I examine the emerging textual constructions of alternative masculinities that correspond with the changing cityscape of Brisbane. Within the above texts I argue there is a strong emphasis on the connections between identity and place. This is expressed through references to Brisbane’s social and historical identity and the gendered alignment of Brisbane spaces with particular masculinities.

Thesis (MA (English))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: This thesis proposes a detailed study of the novel Agaat by South African author Marlene van Niekerk (first published 2004). A particular focus throughout is on constructions of identity and subjectivity, and the novel is considered as writing within and against both the Realist tradition as well as the South African genre of the plaasroman and/or farm novel. The translation of the novel into English by Michiel Heyns (published 2006) is used as primary text, which furthermore raises questions of language and interpretation already implicit in the narrative, questions which provide a compelling filter for reading the novel in its entirety. In the Introduction, I briefly delineate the novel’s storyline. This serves to introduce the novel’s thematic concerns and outlines the linguistic complexities which emerge as a result of the novel’s structure. An exposition on Realism in the novel follows, where I suggest how a consideration of the Realist tradition might be useful in exploring the mimetic effect in Agaat. Next the appearance and history of the plaasroman and farm novel in South African literature is considered. In Chapter One, the novel’s structural elements are examined in greater detail, through a close analysis of the five different narrative voices of the novel. I suggest that the novel is an elaborate study of identity and subjectivity which simultaneously uproots questions of voice and authorship. While the subject matter of the novel and the attention to details of farming and the physical environment makes it seem a near-historical record and places Agaat within the genre of the plaasroman, the effect of the different voices of the novel is to undercut fundamentally any stable narrative authority. Agaat is nevertheless an incredible compendium of the nitty-gritty of life. In Chapter Two I explore the manner in which the body and the self are located within a very particular landscape and setting. How and for what purpose is subjectivity and identity refracted and articulated through metaphors of space and the experiences of place? In the course of a close reading of the novel, I draw on broadly post-structuralist conceptions of language, as well as South African critics’ writing on the genre of the plaasroman. The third and final chapter examines the novel Agaat in translation. Agaat is a deeply literary novel, drawing on a remarkably wide lexicon of cultural references, suffused with questions of interpretation and a compelling and complex inquiry of language. The English translation by Michiel Heyns remains a novel of and about Afrikaans. Quite how this is achieved raises questions of translation pertaining both to the ‘postcolonial’, if one reads South Africa as such, and to the specifically local. To this end, a brief context to translation and language politics within the ‘postcolonial’ and South Africa is considered, before engaging in a closer examination of the techniques by which Agaat was translated from Afrikaans into English. I conclude with remarks regarding the success of the translation into English and suggest that the translation is masterful but that its most striking characteristics depend on a local South African reader. / AFRIKAANSE OPSOMMING: Hierdie tesis behels ‘n noukeurige studie van die roman Agaat (2004) deur die Suid- Afrikaanse skrywer Marlene van Niekerk. Die klem val deurgaans op die konstruksie van identiteit en subjektwiteit, en die roman word beskou as ‘n reaksie teen, maar ook ‘n uitbouing van die tradisies van Realisme en die Suid-Afrikaanse plaasroman/“farm novel”. Die primêre teks vir hierdie ondersoek is Michiel Heyns se Engelse vertaling van die roman (2006), wat verdere vrae rondom taal en interpretasie laat ontstaan. Sodanige vrae is alreeds implisiet in die narratief gesetel en verskaf ‘n indringende lens waardeur die roman in sy geheel gelees kan word. In die Inleiding gee ek ‘n kort oorsig van die verhaalloop, wat ook dien as ‘n bekendstelling van die roman se temas en die linguistieke kompleksiteite wat ontstaan as ‘n gevolg van die roman se struktuur. ‘n Beskrywing van Realisme in die roman volg, waarin ek suggereer dat ‘n beskouing van die tradisie van Realisme nuttig kan wees vir ‘n verkenning van die mimetiese effek in Agaat. Volgende word die verskyning en geskiedenis van die plaasroman en “farm novel” in Suid-Afrikaanse literatuur bekyk. In Hoofstuk Een word die strukturele elemente van die roman in groter detail beskou deur middel van ‘n noukeurige analise van die vyf verskillende narratiewe stemme in die roman. Ek stel voor dat die roman ‘n verwikkelde studie van identiteit en subjektwiteit is, wat terselfdetyd ook sekere vrae rondom stem en outeurskap ontbloot. Die onderwerp van die roman en die aandag wat dit skenk aan noukeurige beskrywings van boerdery en die landelike omgewing skep die indruk van ‘n historiese rekord en situeer Agaat in die genre van die plaasroman, maar die effek van die verskillende stemme is dat enige stabiele narratiewe outoriteit op deurslaggewende wyse ondermyn word. Desondanks bly Agaat ‘n indrukwekkende kompendium van die materiële aspekte van die lewe. In Hoofstuk Twee verken ek die manier waarop die liggaam en die self gesetel is binne ‘n baie spesifieke landskap en ligging. Hoe en om watter rede word subjektiwiteit en identiteit versplinter en geartikuleer deur middel van metafore van spasie en die ervaring van plek? Deur die loop van ‘n noukeurige lees van die roman betrek ek breedvoerig sekere post-strukturele gedagtes oor taal, asook Suid-Afrikaanse kritici se beskouings oor die genre van die plaasroman. Die derde en laaste hoofstuk ondersoek die roman Agaat in vertaling. Agaat is ‘n diep literêre roman. Dit betrek ‘n merkwaardige verskeidenheid kulturele verwysings en is deurspek met vrae rondom interpretasie en ‘n indringende en komplekse ondersoek na die aard van taal. Michiel Heyns se Engelse vertaling bly ‘n roman oor Afrikaans. Presies hoe dít bewerkstellig word opper sekere vrae oor vertaling wat verwys na die “postkoloniale”, as mens Suid-Afrika in hierdie lig sou beskou, en ook na die spesifiek plaaslike. Daarom word ‘n opsommende konteks van vertaling en taalpolitiek in die “postkoloniale” en in Suid-Afrika belig, voordat die tegniek waardeur Agaat van Afrikaans na Engels vertaal is, van naderby bekyk word. Ek sluit af met opmerkings oor die sukses van die vertaling na Engels en stel voor dat die vertaling meesterlik is, maar dat die mees treffende aspekte daarvan ‘n plaaslike, Suid-Afrikaanse leser vereis.

Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-08-20T18:12:22Z No. of bitstreams: 1 451412.pdf: 9245919 bytes, checksum: 516d58e32cba3d59b39f9e2ac238ff38 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-08-20T20:27:49Z (GMT) No. of bitstreams: 1 451412.pdf: 9245919 bytes, checksum: 516d58e32cba3d59b39f9e2ac238ff38 (MD5) / Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-08-21T13:46:05Z (GMT) No. of bitstreams: 1 451412.pdf: 9245919 bytes, checksum: 516d58e32cba3d59b39f9e2ac238ff38 (MD5) / Made available in DSpace on 2018-08-21T13:46:21Z (GMT). No. of bitstreams: 1 451412.pdf: 9245919 bytes, checksum: 516d58e32cba3d59b39f9e2ac238ff38 (MD5) Previous issue date: 2017-08-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The school environment forms a system of values and speeches, in which its users are stimulated to learn. In this context, the present dissertation aims to investigate the relationship between the design of the classroom and the possi- ble interactions and experiences of its users, through the analysis of the spatial arrangements and their potentialities. The research involves bibliographical re- view, articulation of theoretical concepts, contextualization of space and place and an understanding of the classroom as an adaptive complex system. In this approach, three spatial arrangements of classrooms, identified by Scott-Webber (2009) as recurrent in educational institutions, are set up in rigid and fluid en- vironments, analyzed through personal space (SOMMER, 1973) and proxemic zones (HALL, 2006) theories. Therefore, it is possible to trace an activity profile and intention by using each arrangement, in order to promote the desired inte- ractions. It is discussed the rigidity of the projected space and its possibilities of adaptability to the needs of the users. In conclusion, the need to design spaces is more flexible and adaptable to contemporary demands. / O ambiente escolar formata um sistema de valores e discursos, no qual seus usuários são estimulados à aprendizagem. Neste sentido, esta dissertação tem como objetivo investigar a relação entre o design da sala de aula e as possíveis interações e experiências dos usuários, a partir da análise dos arranjos espaciais e suas potencialidades. A pesquisa envolve revisão bibliográfica, articulação dos conceitos teóricos, contextualização acerca de espaço e lugar e compreensão da sala de aula como sistema complexo adaptativo. Nesta abordagem, observa- se três arranjos espaciais de salas de aula, apontadas por Scott-Webber (2009) como recorrentes em instituições de ensino, que configuram ambientes rígidos e fluídos, analisados a partir das teorias de espaço pessoal (SOMMER, 1973) e zonas proxêmicas (HALL, 2006). Assim, é possível traçar um perfil de atividade e intenção com o uso de cada um dos arranjos, a fim de promover as interações desejadas. Discute-se a rigidez do espaço projetado e suas possibilidades de adaptabilidade às necessidades dos usuários. Conclui-se a necessidade de projetar espaços mais flexíveis e adaptáveis às demandas contemporâneas.

abstract: Human experience exists within space; it is the studio for the stories of our lives. Bounded by time, location and personal experience we assign our own meanings and feelings to them, and they become personal, symbolic places: some are unique to us, imagined places where we act out stories or dreams; most are part of the natural world. Most spaces, though, are built or controlled by others; these constructed environments can become places where we may, or may not, like to be. This research examined spaces and places of children's lives through the material worlds of their neighborhoods and schools, focusing on the visible environment outside of the school building. The intersection of school and community, it is a material embodiment of, and evidence toward, how a community's resources are apportioned to important aspects of children's developmental years. These visible representations speak of that society's values and goals for the children for whom they (we) are responsible. This examination used multiple research tools, primarily using visual approaches such as current photographs, archival images and data, descriptive census materials and maps. Historical documents, (many of which are now digitized), as well as other academic literature, local journalistic efforts and school district publications added important materials for analysis. Findings lead to deeper understanding of ways that visible, material worlds of schools and neighborhoods -- past and present - can reflect, and direct the experiences of childhood today, and often mirror those of children past. These visual and narrative approaches contributed to understanding the importance of material evidence in revealing inequity and class differences in ways that children, then, must &ldquodo school &rdquo / Dissertation/Thesis / Doctoral Dissertation Educational Psychology 2014

o objetivo da pesquisa foi realizar uma reflexão crítica sobre o espaço teatral na cidade de São Paulo, pelo viés da Geografia, no período de 1999 a 2004, utilizando como referenciais teóricos Anne Ubersfeld e Milton Santos. O tema foi investigado a partir da hipótese de que a natureza do lugar teatral é ser um agente, uma espécie de mídia definidora do processo teatral, em sua relação com as políticas culturais do período (Lei de Incentivo à Cultura, Lei do Fomento ao Teatro e implantação de salas de teatro nos CEUs), e com os Guias de Teatro da cidade (jornais Folha de São Paulo e o Estado de São Paulo). Foi elaborado um banco de dados com informações acerca desses lugares e da sua relação com os respectivos Guias de Teatro, na cidade de São Paulo, no período de 1999 a 2004. O lugar teatral revelado na cartografia que surgiu das informações desse banco de dados caracterizou-se como múltiplo; fortemente ligado ao distrito central da cidade; com tendência à polarização entre as salas pequenas e grandes; forte ação do teatro de grupo na criação de novos espaços; e propriedade, na sua maioria, privada. A partir destes dados, discutiu-se a ?crise? do edifício teatral e a importância da atividade Teatro se vincular social e culturalmente ao lugar geográfico. Definiu-se, o lugar teatral pela noção de uso - na forma de um território vivido - e não pela arquitetura do edifício que ocupa. / The purpose of this research was to achieve a critical reflection about the theatrical space in São Paulo city by the slant of Geography in the period from 1999 to 2004. This was done using Anne Ubersfeld and Milton Santos as theoretical references. The subject was investigating to start from the hypothesis that the type of theatrical place is to be a agent, a specie of media that does the definition of theatrical process with their regarding to the cultural politics in this period (Cultural Incentive Law, Promotion to the Theatre Law and the theatrical rooms introduction in CEUs) and also with the regarding to the city theatrical guides (Folha de São Paulo and Estado de São Paulo newspapers). A database was preparing with the information concerning those theatrical places and with their regarding to the respective theatrical guides in São Paulo during the period from 1999 to 2004. The showing theatrical place in the cartography and that came up those records made up as multiple, it was strongly connected to the downtown district and it had a polarize tendency between small and big rooms. Those information showed also the strongly action of the theatrical groups in the new spaces raising and the private ownership in the most of those places. Arise from those records we talked about the theatrical building ?crisis? and the importance of the theatrical activities to be linked cultural and socially with the geographic place. We defined the theatrical place by the using basics- such way that a territory experienced in life- and not by it occupy in the building architecture.

o objetivo da pesquisa foi realizar uma reflexão crítica sobre o espaço teatral na cidade de São Paulo, pelo viés da Geografia, no período de 1999 a 2004, utilizando como referenciais teóricos Anne Ubersfeld e Milton Santos. O tema foi investigado a partir da hipótese de que a natureza do lugar teatral é ser um agente, uma espécie de mídia definidora do processo teatral, em sua relação com as políticas culturais do período (Lei de Incentivo à Cultura, Lei do Fomento ao Teatro e implantação de salas de teatro nos CEUs), e com os Guias de Teatro da cidade (jornais Folha de São Paulo e o Estado de São Paulo). Foi elaborado um banco de dados com informações acerca desses lugares e da sua relação com os respectivos Guias de Teatro, na cidade de São Paulo, no período de 1999 a 2004. O lugar teatral revelado na cartografia que surgiu das informações desse banco de dados caracterizou-se como múltiplo; fortemente ligado ao distrito central da cidade; com tendência à polarização entre as salas pequenas e grandes; forte ação do teatro de grupo na criação de novos espaços; e propriedade, na sua maioria, privada. A partir destes dados, discutiu-se a ?crise? do edifício teatral e a importância da atividade Teatro se vincular social e culturalmente ao lugar geográfico. Definiu-se, o lugar teatral pela noção de uso - na forma de um território vivido - e não pela arquitetura do edifício que ocupa. / The purpose of this research was to achieve a critical reflection about the theatrical space in São Paulo city by the slant of Geography in the period from 1999 to 2004. This was done using Anne Ubersfeld and Milton Santos as theoretical references. The subject was investigating to start from the hypothesis that the type of theatrical place is to be a agent, a specie of media that does the definition of theatrical process with their regarding to the cultural politics in this period (Cultural Incentive Law, Promotion to the Theatre Law and the theatrical rooms introduction in CEUs) and also with the regarding to the city theatrical guides (Folha de São Paulo and Estado de São Paulo newspapers). A database was preparing with the information concerning those theatrical places and with their regarding to the respective theatrical guides in São Paulo during the period from 1999 to 2004. The showing theatrical place in the cartography and that came up those records made up as multiple, it was strongly connected to the downtown district and it had a polarize tendency between small and big rooms. Those information showed also the strongly action of the theatrical groups in the new spaces raising and the private ownership in the most of those places. Arise from those records we talked about the theatrical building ?crisis? and the importance of the theatrical activities to be linked cultural and socially with the geographic place. We defined the theatrical place by the using basics- such way that a territory experienced in life- and not by it occupy in the building architecture.

No description available.

"Authenticity, Citizenship and Accommodation: LGBT Rights in a Red State" examines the discourse around volunteerism, exceptionalism, and queer citizenship that emerged within the context of a statewide (anti-gay) ballot initiative campaign in the American Southwest. I argue that the ways in which local volunteers and activists define themselves and their attempts to defeat the ballot initiative is tied to the struggle over the authority to represent local LGBT organizational culture and an emergent New West identity. In such a way, local debates over authentic western lifestyles that divide regional communities intertwine with intergenerational debates over gay liberation and rights frameworks, and the polarized discourse on blue and red states which have dominated the U.S. political climate of the past decade. While statewide campaign leaders with a base in Phoenix (the state capital) focused on polling data and messaging in order to stop the passage of the amendment, many Tucson activists and organizational leaders tied to the LGBT community center sought to strategize a long-term grassroots approach to change hearts and minds. Within this debate over campaign strategy and internal decision-making, both groups drew attention to the differences between the metropolitan areas. This regional example speaks to the ways in which established theoretical frameworks anthropologists utilize to understand social movements may prove insufficient for understanding the diversity that exists within the everyday processes of collective action. The internal messaging war that spilled outside of the confines of the campaign steering committee meetings into the pages of the statewide gossip and newspaper editorial sections also speaks to the ways in which official declarations of ideological stance should not be taken as the actual intent of those seeking change. One may shape one's personal story to be on message, choose to defy those constraints, or use the rhetorical strategy of the message without actually committing to the underlying premise. The broader national concerns are localized symbolically in the notion of blue and red counties, but also take on a regional flavor in the satirical call to statehood for the Southern Arizona. Here issues of authenticity emerge not only within the context of the campaign disputes around messaging, and by extension, who has the right to speak for and about the LGBT organizational community, but also in the realm of derisive banter that travels back and forth between the two major metropolitan areas over what it means to live an authentic western lifestyle. Within the southern metropolis, this discourse is framed by the notion that the western desert is a different sort of place, with a different sort of people and way of life that is threatened by snowbirds, retirees, Midwestern lifestyles and corporate interests. Often Phoenix to the north is seen as a representation of all these negative influences. In addition, Center-based activists and volunteers, describe their southern city in idealistic terms as an oasis for LGBT community, artists, activists, migrants, refugees, and all manner of progressive politics. Memory enacted through the telling of one's story at a Coming Out Day testimonial, political rallies and in dialogue with an anthropologist are shaped by these notions of difference. These notions of difference also emerge as a pattern in the narrative construction of space, violence and memory within activist life histories. These life histories in turn reveal a fragment of local LGBT organizational culture, in which the process of professionalization transforms the meaning of community, and the act of representation transforms the role of activist into that of the citizen volunteer. The community center in this sense is a memorialization of community and movement culture, and by idealizing what came before it masks material conditions at the same time that it offers up the potential of a more radical present/future. While the community center, Tucson and Pima County are coded as oases of safety, this image is continually disrupted by counter narratives, including the state-wide campaign to stop the marriage amendment; local support for the Protect Marriage and anti-immigrant amendments; and evidence of on-going violence directed against racial, ethnic and religious minorities and those who transgress hetero and gender normative expectations. These disruptions however appear to be cyclical in that they allow both professionals and concerned community members (citizen volunteers) to rally together in a show of strength and solidarity and in so doing represent the authentic, legitimate community. However, these disruptions may also allow for counter narratives to enter into public discourse, thereby offering up a more radical envisioning of community beyond the limits of LGBT organizational culture. / Anthropology

This study aims to evaluate the original white colonisers‟ or settlers‟ position and experience in Africa and South Africa during the transitional period between 1998 and 2011, as represented by English white male protagonists who feature in The Lostness of Alice (1998) by John Conyngham, The Good Doctor (2003) by Damon Galgut, and Lost Ground (2011) by Michiel Heyns. The analysis of the selected novels illustrates that the legacy of colonisation and apartheid still influences the settler descendants‟ perception of self and the other. The analysis focuses specifically on the males‟ experience of space and place in the construction of identity, and the awareness that the expansion of space and place through the transgression of physical and psychological boundaries contributes towards a more balanced personality. After the dissolution of apartheid, contemporary white South African men, as exemplified by the three protagonists, have become aware of their minority status and tend to dissociate themselves from the country as home. As borderline figures, they contend with feelings of marginalisation and isolation. Increasingly conscious of their contradictory non-African identity, the protagonists undertake journeys during which they acquire insight into themselves as well as an altered perception of the other. Although the former settlers‟ experience of alienation and ambivalence about colonisation and apartheid has been depicted in various novels, the significance of this experience relating to white South African male identity has not yet been fully explored in a comparative study of Conyngham‟s, Galgut‟s and Heyns‟s works with reference to the authors‟ place within a postcolonial paradigm, their implementation of the detective narrative frame and the role of intertextuality and irony that can be seen to define the novels and suggest other interpretative possibilities. The novels are critically analysed in terms of the concepts of space and place, the presence, transgression and transcendence of boundaries, and the influence of these paradigms on the characters‟ sense of self and their relationship with others and society at large. The novels‟ narrative frame and strategies in relation to the myths of Africa are also investigated. The thesis argues that the apprehension articulated by representatives of European settlers regarding the consequences of colonisation and apartheid has become more prominent during the post-liberation dispensation. The acceptance of responsibility for the past and for others, as well as intense self-appraisal, should enable the three protagonists to achieve a more expansive sense of self and a meaningful existence. / PhD (English), North-West University, Potchefstroom Campus, 2015

This study aims to evaluate the original white colonisers‟ or settlers‟ position and experience in Africa and South Africa during the transitional period between 1998 and 2011, as represented by English white male protagonists who feature in The Lostness of Alice (1998) by John Conyngham, The Good Doctor (2003) by Damon Galgut, and Lost Ground (2011) by Michiel Heyns. The analysis of the selected novels illustrates that the legacy of colonisation and apartheid still influences the settler descendants‟ perception of self and the other. The analysis focuses specifically on the males‟ experience of space and place in the construction of identity, and the awareness that the expansion of space and place through the transgression of physical and psychological boundaries contributes towards a more balanced personality. After the dissolution of apartheid, contemporary white South African men, as exemplified by the three protagonists, have become aware of their minority status and tend to dissociate themselves from the country as home. As borderline figures, they contend with feelings of marginalisation and isolation. Increasingly conscious of their contradictory non-African identity, the protagonists undertake journeys during which they acquire insight into themselves as well as an altered perception of the other. Although the former settlers‟ experience of alienation and ambivalence about colonisation and apartheid has been depicted in various novels, the significance of this experience relating to white South African male identity has not yet been fully explored in a comparative study of Conyngham‟s, Galgut‟s and Heyns‟s works with reference to the authors‟ place within a postcolonial paradigm, their implementation of the detective narrative frame and the role of intertextuality and irony that can be seen to define the novels and suggest other interpretative possibilities. The novels are critically analysed in terms of the concepts of space and place, the presence, transgression and transcendence of boundaries, and the influence of these paradigms on the characters‟ sense of self and their relationship with others and society at large. The novels‟ narrative frame and strategies in relation to the myths of Africa are also investigated. The thesis argues that the apprehension articulated by representatives of European settlers regarding the consequences of colonisation and apartheid has become more prominent during the post-liberation dispensation. The acceptance of responsibility for the past and for others, as well as intense self-appraisal, should enable the three protagonists to achieve a more expansive sense of self and a meaningful existence. / PhD (English), North-West University, Potchefstroom Campus, 2015