Master of Visual Arts / The title Normal What refers to a group of paintings that emerged from my Masters of Visual Arts 2004/05 studio project. Individual paintings are chronological self portrait reflecting upon my own experiences and those in the wider community who at some point in their lives have had to endure the struggles, and negative stigma that is so often attached to those who have become marginalised and detached from mainstream society. People found in this category include the disabled, homeless, unemployed, and those with addiction problems. Each painting bears a close connection with techniques associated with abstract expressionist painting. This radiates through the vast expanse of drips, stains and explosions which appear to suffocate the paintings delicate monochrome surface. Strong references to Kristeva’s theory on Abjection arrive through the aggressive and violent outbursts of paint that evoke an atmosphere of symbolic horror, personal dysfunction and social oppression. This emerges out of the shadows and private spaces of the painting’s domestic interior. Deep emotional, psychological, sociological sensitivities are raised throughout my studio practice. Combined with a series of unresolved tensions, and questions surrounding normality run deep a consequence of society’s push for normality are being felt most acutely by those effected by this form of sociology. The ideas raised through my studio project had a profound influence on the research being conducted for the dissertation. Kristeva’s theory on Abjection, along side the practices of Eva Hesse, Barnett Newman, Agnes Martin emerged from a group of highly emotional abstract paintings. This strengthened the connection between the studio project and the dissertation. Aimed at deepening a personal understanding an commitment to researching the subject of normality and how it could be successfully articulated through a visual narrative.

I fokus för denna uppsats står barndomens metaforik i två litterära verk, nämligen Agnes von Krusenstjernas Tony växer upp (1922) och Inger Edelfeldts Breven till Nattens Drottning (1985). Syftet men uppsatsen är att undersöka hur uppfattningen om barndomen konstrueras och förändras i litterära verk från skilda tider. Metoden bygger på att den jämförande analysen lyfter fram likheter och skillnader i gestaltningen av Krusenstjernas respektive Edelfeldts huvudpersoners själsliv och deras mognadsprocess – ett begrepp som hänger ihop med barndomens skiftande betydelse. Genom att relatera romanerna till 1900-talets psykoanalytiska teorier av Jung, Freud, Fromm och Berne visar textanalysen att Tony från Krusenstjernas berättelse och Edelfeldts romanfigur George Daniel går igenom likadana utvecklingsfaser innan de upplever en slags försoning med livet och övervinner det inre främlingskapet: mötet med Skuggan (personlighetens mörka sida), fascination av döden som smälter samman med kärlek till mänskligheten, det religiösa tvivlet, kroppsliga plågor och saknad efter ömhet. Barndomen skildras som en dramatisk process vars syfte är att uppnå den nya livsfasen då människan känner sig mer mogen och säker. Ur texterna framträder dock en annan uppfattning av barndomen som ett psykiskt ursprungligt jagtillstånd som alltid finns kvar i människans psyke i form av det kärleksfulla och lekfulla barnet. Hos Krusenstjerna konstrueras den unga Tonys intuitiva världsbild. Huvudpersonens barndom gestaltas som en såväl psykisk som fysiologisk process som även präglar den blivande vuxnes varseblivning. Barndomens metaforiska betydelse innebär det verkliga konkreta barnets förlorade oskuld, det lyckliga omedvetna och spontana tillståndet som visar sig i Tonys fantasier och kärleksdramer. Edelfeldts sätt att skildra tonåringens mognadsprocess är däremot analytiskt. I Georges psyke är det levande inre barnet förträngt till förmån för en intellektuell medvetenhet och rationella lekar vilket resulterar i en bild av någon universell schematisk karaktär som saknar åldersgräns och det verkliga ansiktet. I Edelfeldts roman blir barndomen en slags litterär modell av de psykologiska processer som pågår i den moderna människans själsliv. Barndomens metaforik tar sig uttryck i det förlorade arketypiska barnets förbrukade symbol som i olika former förekommer i Georges drömmar och fantasier. Uppsatsen tangerar också skillnaden inom det narrativa perspektivet i berättelserna. Den tragiska intonation som ligger i Krusenstjernas roman förvandlas till ett intertextuellt spel i Edelfeldts roman. Krusenstjernas verk saknar den ironiska intonation som genomsyrar Edelfeldts skildring. Tony anses som författarinnans alter ego, bäraren av Krusenstjernas verkliga rädslor och komplex. George D. Bratt i Edelfeldts roman blir däremot upphovsmannens marionett; hans dagbok kan uppfattas som skärningspunkt för psykoanalytiska, filosofiska och bibliska diskurser.

Zugl.: Potsdam, Universiẗat, Diss., 2009.

In this thesis I combine data from regional archaeological surveys and the excavation of eight stratified sites to examine aspects of continuity and change in the late Holocene archaeological record of the southern Curtis Coast, southeast Queensland, Australia. I focus on theoretical and methodological problems emerging out of studies in southeast Queensland, particularly the issues of chronology-building and assessment of site integrity. Results of surveys and excavations are presented. Excavations were conducted at the Seven Mile Creek Mound, Mort Creek Site Complex, Pancake Creek Site Complex, Ironbark Site Complex, Eurimbula Creek 1, Eurimbula Creek 2, Eurimbula Site 1 and Tom's Creek Site Complex. Differences in site structure, content and chronology are used to establish a framework to describe variability in the regional archaeological record through space and time. Radiocarbon dates and items of European material culture indicate that occupation of these sites spans from around 4,000 years ago into the post-contact period. Dates were also obtained from several eroding archaeological deposits which were not subject to excavation. In total, 66 radiocarbon dates are presented from 12 archaeological sites. Radiocarbon determinations are critically assessed to provide a reliable basis for calibrating radiocarbon dates into an absolute regional chronology. Local marine and estuarine reservoir effects are characterised through a study of known-age marine shell specimens and archaeological shell/charcoal paired samples. The object of the study was to assess the potential influence of localised variation in marine reservoir effect on accurately dating marine and estuarine shell from archaeological deposits in the area. Results indicate that the routinely-applied Delta R value of -5 +/- 35 for northeast Australia is wrong. The determined values suggest a minor revision to Reimer and Reimer's (2000) recommended value for near-shore open marine environments in northeast Australia from Delta R= +11 + 5 to +12 +/- 7, and specifically for central Queensland to Delta R= +10 +/- 7. In contrast, data obtained from estuarine shell/charcoal pairs demonstrate a general lack of consistency, suggesting estuary-specific patterns of variation in terrestrial carbon input and exchange with the open ocean. Preliminary data indicate that in some estuaries, at some time periods, a Delta R value of more than -155 +/- 55 may be appropriate. Radiocarbon determinations, stratigraphy and bivalve conjoin analyses are used to evaluate the integrity of the open shell midden deposits investigated for the project. Methods for identifying and interpreting bivalve conjoins in archaeological shell assemblages are developed and tested. Results indicate that contrary to the cautions of Lourandos (1996, 1997), the open sites studied exhibit a high degree of vertical and horizontal integrity. Results suggest continuous restructuring of settlement-subsistence systems in the region throughout the late Holocene. A regional trajectory towards increased site occupation, intensity of site use, and localisation of resource use is identified. A three-phase cultural chronology is developed for the region which proposes initial occupation before 4,000 years ago and significant changes in resource use after 1,500 BP, including the widespread appearance of shellfishing and changes in stone raw material sources. Phase I (pre-4,000 BP-c.1,500 BP) saw ephemeral coastal occupation by groups which occasionally used coastal resources as part of a diffuse and highly-mobile settlement strategy covering a broad area. Land-using groups may have been primarily based around the predictable resources of major rivers such as the Boyne. Phase II (c.1,500 BP-c.AD 1850s) is characterised by intensive permanent and structured low mobility strategies throughout the coastal zone. This phase is defined by a localisation in the use of resources. Extremely large, low density archaeological sites are established throughout the region on the lower margins of major estuaries and smaller resources extraction sites are also established. Phase III (c.AD 1850s-c.AD 1920s) saw the emergence of post-European mobility systems. Despite disappearing from the European historical record for the area, Aboriginal people continued to use traditional camping places well into the period of European settlement. Results are discussed in the wider context of key themes in archaeological cultural chronologies proposed for southeast Queensland and adjacent regions which emphasise recent changes in settlement and subsistence strategies linked to intensifying patterns of regional land-use. Patterns identified on the southern Curtis Coast generally concur with other findings from southeast Queensland, suggesting major restructuring of coastal occupation strategies in the late Holocene and especially the last 1,000 years.

Master of Visual Arts / The title Normal What refers to a group of paintings that emerged from my Masters of Visual Arts 2004/05 studio project. Individual paintings are chronological self portrait reflecting upon my own experiences and those in the wider community who at some point in their lives have had to endure the struggles, and negative stigma that is so often attached to those who have become marginalised and detached from mainstream society. People found in this category include the disabled, homeless, unemployed, and those with addiction problems. Each painting bears a close connection with techniques associated with abstract expressionist painting. This radiates through the vast expanse of drips, stains and explosions which appear to suffocate the paintings delicate monochrome surface. Strong references to Kristeva’s theory on Abjection arrive through the aggressive and violent outbursts of paint that evoke an atmosphere of symbolic horror, personal dysfunction and social oppression. This emerges out of the shadows and private spaces of the painting’s domestic interior. Deep emotional, psychological, sociological sensitivities are raised throughout my studio practice. Combined with a series of unresolved tensions, and questions surrounding normality run deep a consequence of society’s push for normality are being felt most acutely by those effected by this form of sociology. The ideas raised through my studio project had a profound influence on the research being conducted for the dissertation. Kristeva’s theory on Abjection, along side the practices of Eva Hesse, Barnett Newman, Agnes Martin emerged from a group of highly emotional abstract paintings. This strengthened the connection between the studio project and the dissertation. Aimed at deepening a personal understanding an commitment to researching the subject of normality and how it could be successfully articulated through a visual narrative.

Thesis (M.A.) - Carleton University, 2006. / Includes bibliographical references (p. 91-97). Also available in electronic format on the Internet.

Thesis (Ph. D.)--Georgia State University, 1985. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 475-526).

Texte remanié de: Diss.--Philosophische Fakutät--Universität Münster, 1990. / Notes bibliogr. Bibliogr. p. 477-509. Index.

No description available.

While Constantine worked diligently to unite the Roman Empire under the banner of Christianity in the early fourth century after the Edict of Milan and Council of Nicaea, it was the Edict of Thessalonica in 380 under Theodosius I that made Christianity the Roman state religion. During this time of conversion and great change within the empire, as well as earlier in the fourth century, new adherents to the religion were unsure about what it meant to be a Christian as well as how one should act in order to present themselves as a true believer. Many were still very familiar with their ancestral and polytheistic traditions, but were unsure of the character of this new, singular God. They had questions concerning their identity within this new framework. Was everything different now that they had accepted Christianity? Were their actions supposed to be entirely different than what their ancestors had taught them? To address the issue of Christian identity during this period, Prudentius, a Spanish Christian, composed many works in the late fourth and early fifth centuries, including his Peristephanon Liber, a compilation of fourteen Christian martyr texts. In these texts, Prudentius used gendered language to show the superiority of the Christian martyrs. The Christians were depicted as having self-control, active, and having a willingness to die while the pagan persecutors and judges were seen as being filled with wrath, unjust, and unable to properly govern. By using gendered language that was familiar to the new converts of the Roman Empire with respect to sexuality and masculinity, Prudentius sought to help create a masculine Christian identity that was both recognizable and superior to the masculinity of the previous regime. In order to prove this, an analysis on gender in the ancient world and its scholarship will be summarized. I will then describe the two martyr texts that portray women as the protagonist: Eulalia and Agnes. By analyzing the gendered language of these texts, I hope to show how Prudentius used gender, something that the Romans already understood, to invert traditional gender roles and present the Christians as the more masculine and the pagans as more feminine. By bending gender, Prudentius sought to teach these new Christians that being a Christian made a person not only masculine, but also a superior masculine figure than if they still believed in paganism. By focusing on the language of these texts and using secondary sources, I show that Prudentius, like previous Christian authors, used gendered language and female protagonists in order to show these new Christians what it meant to be a true believer, thus attempting to create a superior Christian identity in a newly Christianized society.