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This submission comprises the main bulk of the critical and textual work I have researched and developed over the last five years. Throughout this period, I have been particularly interested in exploring issues of interdisciplinarity for writers and text-practitioners, at both a critical and a methodological level. An interest in cross-media and site-related approaches to writing plays an important role in this. This is reflected in the thematics of the various critical texts, as well as in the fairly broad range of textual modes submitted. As a whole, this work can be seen in close continuity with my pedagogical involvement in developing, from its inception, the course of Performance Writing at Dartington College of Arts. Research support and leave regularly granted by Dartington has been a major factor in ensuring the continuity of my own work throughout this period. Some of the findings and investigations undertaken during my research have in turn also been instrumental in assisting the continued development of our curriculum. All of the critical texts presented here have come from invitations by other specialist institutions, both in England and abroad, to contribute to conferences and/or journals. Many have responded positively to my joint artistic and pedagogical takes and have sometimes also wished me to actively demonstrate these. This is reflected in the discussions and allusions to Performance Writing present in a number of these published texts. Commissions from festivals, galleries, magazines, small publishing presses have encouraged and ensured the public exposure of my textwork in its many forms. Because textual placing and typographical games are important to the arguments of my work, some of these pieces can only be submitted in original format or by providing reference to their active location or as visual documentation. The entire second part of my submission (as well as the second appendix) falls into this category. It represents an indissociable aspect of my submission.

This dissertation responds to the question, "What would it be like, what would it mean, to approach texts lovingly?" in terms of the work of 20th-century theorists, writers, and thinkers such as Jacques Derrida, Roland Barthes, Luce Irigaray, Helene Cixous, Gilles Deleuze and Felix Guattari, Brian Massumi, Jean-Luc Marion, E. E. Cummings, Rainer Maria Rilke, Teresa Brennan, and W. J. T. Mitchell. In order to demonstrate the appropriateness and place of love in the philosophical canon, the dissertation combines a consideration of affect with these writers' work. Beginning with an exemplary reading of Cy Twombly's painting The Ceiling, the then dissertation adapts Mitchell's question "What do pictures want" to an approach to texts, as defined with reference to Barthes. An introduction and literature review trace the places love in texts by Plato, Freud, Lacan, Cixous, and a host of writers who fall under the rubric of 'affect theorists'. Because an approach to texts is the dissertation's focus, a chapter is spent discussing the possibilities for deconstruction to be part of such an approach. Derrida's work is constellated with that of Cixous, Irigaray, Marion, and Brennan in order to emphasise the integrity of sensory and affective information to such an approach. The writing of Rilke and Cummings provides examples of an authorial approach to texts that can inform a readerly one, and serves to further expand the canon of texts that suggest the possibility of this approach. The final chapter is a second exemplary reading of the story of Moses and the burning bush. Deliberately aiming to stretch the expectations of scholarly work, I combine the anecdotal, the affective, and the textual as modes of engaging with and ways of knowing about love.

Le présent travail porte sur les transformations inhérentes au passage du médium littéraire au médium cinématographique. Pour étudier cette question, un corpus double a été analysé, consituté d’un côté, de trois textes tirés de La Recherche de Marcel Proust et de l’autre de leurs adaptations filmiques respectives à savoir Un Amour de Swann de Volker Schlöndorff, Le Temps retrouvé de Raoul Ruiz et La Captive de Chantal Akerman pour La Prisonnière. Grâce à ce corpus, il nous a été possible de déterminer les types des transformations en jeu ainsi que les stratégies mises en œuvre et les mécanismes sous-jacents à celles-ci. De ce point de vue, la pratique de la transposition n’est plus affaire de fidélité ou d’infidélité mais la traduction d’une dynamique transtextuelle qui donne lieu à trois rapports intersémiotiques que sont la résistance, le détour et l’extension. De là, transposition filmique devient un langage et l’adaptation un genre de discours / This work relates to the inherent transformations to the transition from literary medium to cinematografic one.To study this issue, a double corpus was analysed, formed on one side of three textes taken from remembrance of the things past, on another side their respective film adaptations namely Swann in love of Volker Schlöndorff, The Time regained of Raoul Ruiz and The Captive of Chantal Akerman. Using this corpus, we were able determine the types of processing involved as well as the implemented strategies and the mecanisms underlying those latter. From this point of view, the practice of transposition is no longer matter of fidelity but a transtextuel dynamics that results in three inter semiotic links wich are resistance, deviation and extension. Thus filmic transposition becomes a language and the adaptation a kind of speech

This study investigates the representation of post-apartheid discourses and decolonial messages of The Thinker magazine. It further examines how the magazine in question confronts and negotiates the aftermath of apartheid and coloniality. Particularly, the nature of these discourses and narratives in the context of a new dispensation in South Africa. South Africa experienced the brunt of apartheid and it is currently still grappling with the condition of coloniality. The latter manifests itself into the dimensions of power, knowledge and being. For this reason, a de-linking option from coloniality and apartheid becomes imperative if a new consciousness, liberatory trajectory and social justice are to be attained. Accordingly, the study sought to determine whether African Renaissance could be used as a de-linking tool/option. Taking into account The Thinker‘s messages from the year 2010 to 2016, the study examines whether the magazine promotes a decolonisation narrative. The study sought to provide a contribution to knowledge insofar as discourses of decoloniality and social justice in South Africa are concerned. The study employs a cultural studies lens, in particular, the principle of radical contextualism and Steward Hall’s model of articulation. Cultural studies was used because of its transdisciplinary/interdisciplinary and flexible approach to social phenomenon under study. A mixed-methods approach in the form of a sequential transformative design was employed, however, the qualitative aspect (thematic analysis) was prioritised as dictated by the research question and objectives. It was proven in this study that quantitative elements can be applied successfully within a decolonial inquiry. Hence, the methodological contribution of the study in that regard. The study found that The Thinker highlights the continuation of the atrocities of coloniality and apartheid in post-apartheid South Africa. It is thus suggested by the text that a decolonial trajectory and thinking is needed given the aftermath of apartheid and the condition of coloniality. Furthermore, African Renaissance can be used to reaffirm and repudiate the dominant discourses of coloniality and apartheid if employed authentically by its proponents. However, the text points out the challenges that may hinder the processes of decolonization and liberation such as the self-serving and corrupt leadership that perpetuate the status quo at the expense of the interests of the people. / Communication Science / M.A. (Communication)