This thesis is an investigation of landscape as boundary: a study of its formation, inhabitation, and symbolic meaning. The study is situated in a valley located south of Jerusalem’s Old City walls; known as both Gei Ben-Hinnom and Wadi al- Rababa, it is an ethnic, cultural, socioeconomical, and mythological boundary. In the ethnically polarized Jerusalem, valleys often act as boundaries between Jewish and Palestinian populations. For nineteen years an official no-man’s-land divided the Hinnom/Rababa Valley, a result of an armistice agreement between Israel and Jordan. Since the 1967 annexation of East Jerusalem to Israel, the valley has transformed into a boundary between the two populations. Responding to this boundary, the thesis addresses an urgent need for a wastewater treatment facility, proposing new infrastructure as a vehicle to explore the ability of architecture to embody multiple narratives. By documenting built form, geology, hydrology, history, and mythology, the thesis illustrates the Hinnom/Rababa Valley as the space of the in-between, neither east nor west, bridging the urban hilltops with the underworld. The boundary partakes in both and neither sides simultaneously. Building on its multiplicity of meanings – of its ‘stories so far’ – the thesis attempts to re-imagine a new relationship to the ground.

The aim of this dissertation is to study postmodern British Female Gothic fiction in terms of its abject representations of female desire which subvert the patriarchal definition of female sexuality as repressed and female identity as the object of desire. The study analyzes texts from postmodern Female Gothic fiction which are feminist rewritings of the traditional Gothic narratives. The conventional Gothic plot is based on the Oedipal development of identity which excludes the (m)other and deprives the female from autonomous subjectivity. The feminist rewritings of the conventional Gothic plot have a subversive aim to recast the Oedipal identity formation and they embrace the (m)other figure in order to blur the strict boundaries between the subject and the object. Besides, these rewritings aim to destroy the image of the victimized heroine within the imprisoning conventional Gothic structures and transgress the cultural, social and sexual definitions of women constructed by patriarchal sexual politics. The study bases its analyses on Jean Rhys&rsquo / s Wide Sargasso Sea, Angela Carter&rsquo / s The Bloody Chamber and Other Stories, and Emma Donoghue&rsquo / s Kissing the Witch: Old Tales in New Skins as examples in which patriarchal definition of the female desire as passive is destroyed and the female desire as active is promoted by the adoption of abject representations, which challenge the strictly constructed hierarchical relationships between men and women. Basing its argument on Julia Kristeva&rsquo / s psychoanalytical theories, which re-vision the traditional psychoanalytical theories, this study puts forward that by the emergence of postmodernism, which has overtly provided a ground for the marginalized discourses to get into dialogue with the oppressive ones, the abject representations of female desire have gained a positive characteristic that can liberate female body from the control and authority of the male-dominated ideology. Thus, one can chronologically follow the positive development of abject representations of female sexuality in Rhys&rsquo / s, Carter&rsquo / s and Donoghue&rsquo / s works which promote a liberation for the Gothic heroines from patriarchal psychoanalytical identity development, which render female desire active and female body expressive, which rehistoricize female sexuality from a feminist lens and which call for a new world order built upon an egalitarian basis that destroys hierarchically constructed gender roles. As a result, postmodern British Female Gothic Fiction is proved to be offering a utopian ideal of an egalitarian society, but although utopian and radical, not an impossible one to be realized.

Thesis (M.A. (Drama)) - Rhodes University, 2009. / A half-thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Drama.

In this thesis, I explore the construction of female erotic desire in Ovid’s work as it is represented in the form of mythical heroines. Phaedra-like figures appear in Ovid’s poetry as dangerous spectres of wildly inappropriate and therefore destructive, bestial, or incestuous sexuality. I consider in particular the catalogue of Phaedra-like figures in Ars Amatoria 1.283-340, Phaedra in Heroides 4, Byblis in Metamorphoses 9.439-665, and Iphis in Metamorphoses 9.666-797. Their tales act as a threat of punishment for any inappropriate desire. They represent for the normative sexual subject a sexual desire which has been excluded, and what could happen, what the normative subject could become, were he or she to transgress taboos and laws governing sexual relations. I apply the idea of the abject, as it has been formulated by Julia Kristeva and Judith Butler, in order to elucidate Ovid’s process of constructing such a subject in his poetry. I also consider Butler’s theories of the performativity of sex, gender, and kinship roles in relation to the continued maintenance of the normative and abject subject positions his poetry creates. The intersection of “performance” and performativity is crucial to the representation of the heroines as paradigms of female desire. Ovid’s engagement with his literary predecessors in the genre of tragedy, in particular Euripides’ and Sophocles’ tragedies featuring Phaedra, highlights the idea of dramatically “performing” a role, e.g., the role of incestuous step-mother. Such a spotlight on “performance” in all of these literary representations reveals the performativity of culturally defined gender and kinship roles. Ovid’s ludic representations, or “citations,” of Phaedra, I argue, both reinvest cultural stereotypes of women’s sexuality with authority through their repetition and introduce new possibilities of feminine subjectivity and sexuality through the variations in each iteration.

This thesis is an investigation of landscape as boundary: a study of its formation, inhabitation, and symbolic meaning. The study is situated in a valley located south of Jerusalem’s Old City walls; known as both Gei Ben-Hinnom and Wadi al- Rababa, it is an ethnic, cultural, socioeconomical, and mythological boundary. In the ethnically polarized Jerusalem, valleys often act as boundaries between Jewish and Palestinian populations. For nineteen years an official no-man’s-land divided the Hinnom/Rababa Valley, a result of an armistice agreement between Israel and Jordan. Since the 1967 annexation of East Jerusalem to Israel, the valley has transformed into a boundary between the two populations. Responding to this boundary, the thesis addresses an urgent need for a wastewater treatment facility, proposing new infrastructure as a vehicle to explore the ability of architecture to embody multiple narratives. By documenting built form, geology, hydrology, history, and mythology, the thesis illustrates the Hinnom/Rababa Valley as the space of the in-between, neither east nor west, bridging the urban hilltops with the underworld. The boundary partakes in both and neither sides simultaneously. Building on its multiplicity of meanings – of its ‘stories so far’ – the thesis attempts to re-imagine a new relationship to the ground.

Ever since the birth of the film medium, stories about drugs and addiction have been produced. There is a fascination with the lifestyle, the effects of drugs and the ways in which it can be portrayed on the screen. The thesis starts off by giving an historical context, ranging from the late 19th Century and up until today, describing how the society and the public have treated the subject and how the narrative mirrors these attitudes. The purpose of the thesis is to take a closer look at this recurrent theme. Eleven fictional films produced between the 1980’s and 2000’s have been chosen and psychoanalytical film theory is used to analyze the ways in which the addict is represented; how filmic disgust and the abject makes the characters tread over physical and social boundaries and how the effect of the drug have the character tread over mental boundaries through dreams and hallucinations.

This paper looks at the concepts of the biomorphic and grotesque in art from the start of the 20th century to the present with a focus on painting and drawing. Included in the discussion of the grotesque throughout history are the works of Dadaist Otto Dix, painter Georg Baselitz, and feminist artists Judy Chicago, Hannah Wilke, and Ana Mendieta. Each used grotesque imagery to comment or react to a larger sociopolitical issue. Biomorphic artworks from the 20th century are mentioned as well, with specific examples of work by Lee Krasner, Willem DeKooning, and Hans Bellmer. These artists together start to illustrate the ways biomorphic and grotesque imagery can be used to explore physical gesture, inspire a visceral reaction in the viewer, and make societal critique. These themes are currently being explored by contemporary artists Jenny Saville, Wangechi Mutu, Inka Essenhigh, Cecliy Brown, Elizabeth Murray, and Maria Lassnig, each of whom is discussed in detail. Their work explores the boundary space between the body and hybridity, impurity, or abstraction, each in their own way. Following this discussion the author’s own paintings and drawings are mentioned, including dialogue detailing the thought process behind each one. Photographs of these works are included.

Esta pesquisa analisa os efeitos subjetivos resultantes das transformações sociais contemporâneas, tais como o impacto da tecnologia e o crescente poder da imagem, que resultam na problematização sobre o lugar do corpo na sociedade. Esta análise é proposta a partir da leitura de obras específicas de artistas contemporâneos identificados à arte abjeta, modalidade da arte vinculada à constituição do ser humano e à apresentação do real. / This research analyzes the subjective effects resulting from the contemporary social changes, such as the impact of technology and the increasing power of image, that lead to the problematization on the place of the body in society. This analysis is proposed anchored in the reading of specific works from contemporary artists of the abject, art style linked to the human being’s constitution and to the presentation of the real.

LIMA, Valéria Cassandra Oliveira de. Alunos abjetos: etnografia da inclusão numa escola Municipal de Fortaleza. 2016. 294f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2016. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-02-02T18:15:17Z No. of bitstreams: 1 2016_tese_vcolima.pdf: 3606399 bytes, checksum: 4a7f066b67e0f324f93991a0f245933d (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2016-02-03T12:28:36Z (GMT) No. of bitstreams: 1 2016_tese_vcolima.pdf: 3606399 bytes, checksum: 4a7f066b67e0f324f93991a0f245933d (MD5) / Made available in DSpace on 2016-02-03T12:28:36Z (GMT). No. of bitstreams: 1 2016_tese_vcolima.pdf: 3606399 bytes, checksum: 4a7f066b67e0f324f93991a0f245933d (MD5) Previous issue date: 2016 / This thesis, part of apprehension category abject student, identified in the public school of Fortaleza, which triggers mechanisms goals in the elimination of school learning conditions of several students. The abject students present the production of corporeality and specific modes of expression, both in the Disabilities Student (DS) as the Troubled Students (TS). It contains forms of social elaborations based on the radicalization of otherness, these types materialize in the exclusion from the school system, and relate to it, either by non-peaceful subjection the production of its abjection, composing forms of resistance, or under stigmatization processes disability . The constitution of this category came from ethnographic effort to understand the school inclusion. Initially this effort comprised the DS figure as a subject of law and the main inclusion agent. The ethnographic exercise of writing the Field Notebooks, however, were made to see the student who for quite some time is eliminated from the school process, both socially and in school métier: learning. It constitutes the category by presenting research partners. In this context, it questions the possibility of political representation category through welfare policies aimed at both get them, how to eliminate them. The central goal of the thesis is to understand the production of social abjections the school, based of the ethnography origin in 2012 – 2013, and discuss the scope of political representation in this category. The concept of abjection of the feminist theories, Judith Butler (2002, 2003, 2007, 2009, 2012, 2013, 2015), Venna Das (1999, 2008) and Debora Polak (2008); the analytical apparatus focuses on the concept of genealogy of Foucault (1995, 2005, 2010, 2011, 2012) and ethnography is based on the model Favret-Saada (2005). The ideation that student is done in interaction with the locus of learning, their peers, the community where they live and the relationship student and faculty. Wanted therefore denote these categories, focusing less on their constitution as problems for the school structure, but understanding them as forms of production of resistance efforts, borderness elasticity and otherness not covered in the regulation standards. The thesis develops understanding of mechanisms for accountability, focused on exercise of citizenship, understood as a dynamic and negotiable process in the body of social interactions. / Esta tese parte da apreensão da categoria aluno abjeto, identificada na escola pública municipal de Fortaleza, que deflagra mecanismos objetivos na eliminação escolar das condições de aprendizagem de alunos diversos. Os alunos abjetos apresentam a produção de corporalidades e modos de expressão específicas, tanto na figura do Aluno com Deficiência (ACD) como do Aluno Problemático (AP). Ele encerra formas de elaborações sociais baseadas na radicalização da alteridade. Estes tipos se materializam na exclusão do sistema escolar, e a ela reagem, seja pela insujeição pacífica à produção de sua abjeção, compondo formas de resistência, ou sob processos de estigmatização de uma deficiência. A constituição desta categoria surgiu do esforço etnográfico de compreender a inclusão escolar. Inicialmente, esse esforço compreendia a figura do ACD como sujeito de direito e principal agente da inclusão. O exercício etnográfico da escrita dos Cadernos de Campo, entretanto, fez enxergar o aluno que já há bastante tempo é eliminado do processo escolar, tanto socialmente, quanto no próprio métier da escola: na aprendizagem. Constitui-se a categoria mediante a apresentação de interlocutores de pesquisa. Neste contexto, questiona-se a possibilidade de representatividade política da categoria por meio de políticas públicas assistenciais que visam tanto a recuperá-los, como a eliminá-los. O objetivo central da tese é, portanto, compreender a produção das abjeções sociais no corpo da escola, em procedência na etnografia realizada de 2012 – 2013, e problematizar o alcance da representatividade política desta categoria. O conceito de abjeção parte das teorias feministas, Judith Butler (2002, 2003, 2007, 2009, 2012, 2013, 2015), Venna Das (1999, 2008) e Debora Polak (2008); o aparato analítico centra-se no conceito de genealogia de Foucault (1995, 2005, 2010, 2011, 2012) e a etnografia baseia-se no modelo de Favret-Saada (2005). A ideação desse aluno se faz na interação com os locus de aprendizagem, seus pares, a comunidade onde vivem e na relação aluno e corpo docente. Procura-se, portanto, denotar essas categorias, menos focando na sua constituição como problemas para a estrutura escolar, mas compreendendo-as como formas de produção das gestões de resistência, elasticidade fronteirística e de alteridades não enquadradas nos padrões de normatização. A tese elabora mecanismos de compreensão para uma responsabilização, centrada no exercício da cidadania, entendida como um procedimento dinâmico e negociável no corpo das interações sociais.

Esta pesquisa analisa os efeitos subjetivos resultantes das transformações sociais contemporâneas, tais como o impacto da tecnologia e o crescente poder da imagem, que resultam na problematização sobre o lugar do corpo na sociedade. Esta análise é proposta a partir da leitura de obras específicas de artistas contemporâneos identificados à arte abjeta, modalidade da arte vinculada à constituição do ser humano e à apresentação do real. / This research analyzes the subjective effects resulting from the contemporary social changes, such as the impact of technology and the increasing power of image, that lead to the problematization on the place of the body in society. This analysis is proposed anchored in the reading of specific works from contemporary artists of the abject, art style linked to the human being’s constitution and to the presentation of the real.