The central argument of this thesis asserts that in the process of challenging dominant subject positions, such as whiteness, performance creates the possibilities for new or alternative arrangements of desire. It examines how the creative process of desire is forestalled (reified) by habitual representations of whiteness as a privileged position, and proposes that performance can be a valid form of resistance to static conceptions of race and subjectivity. The discussion takes into account how the privilege of whiteness finds representation through forms of neo-liberalism and neo-colonialism in the post apartheid context. The analysis focuses on the work of white South African artists whose work offers a critique from within the privileged “centre” of whiteness. The research is situated within the inter-disciplinary field of performance studies entailing a reading and application of critical texts to the analysis. Alongside this qualitative methodology surfaces a subjective dialogue with the information presented on whiteness. Part Two includes an analysis of Steven Cohen’s The Cradle of Humankind (2011), Brett Bailey’s Exhibit A (2011) and Michael MacGarry’s LHR-JNB (2010). Each section examines the way in which the respective works engage in a questioning of whiteness through performance. Part Three investigates South African rap-rave duo, Die Antwoord and how their appropriation of Zef interrogates desires for an essential authenticity. Part Four focuses on my own performance practice and the proposed value of engaging with a form of practice-led research. This is particularly relevant in relation to critical race studies that require a level of self-reflexivity from the researcher. It presents an analysis of the work entitled Villain (2012) as a disturbance of theatrical desire through a process of ‘becoming’. This notion of meaning and identity as ‘becoming’ is argued as a strategy to challenge prevailing modes of perception which can possibly restore the production of desire to the viewer. The thesis concludes with the notion that performance can offer a mode of immanent ethics which is significant in creating both vulnerable and critical forms of whiteness.

L'objectif de ce mémoire est de présenter les membres et les pratiques de l'escouade de Sir John Fielding, ce que l'on allait plus tard appeler les Bow Street Runners, et de tenter d'en savoir plus sur leur réputation, leur intégrité et leur professionnalisme. Ces individus ont fait partie, dans la deuxième moitié du 18e siècle londonien, de l'escouade sur laquelle le premier corps de police professionnel, les bobbies, fut modelé. De plus, cette recherche s'intéressera aux critiques d'un auteur de l'époque sur l'entreprise de Fielding, ses réalisations et ses hommes. Cette étude veut aussi jeter un regard sur les différentes techniques employées par les hommes de Fielding dans le cadre de leur travail. Cette recherche est principalement basée sur les archives judiciaires du Old Bailey durant les années où Sir John Fielding exerçait la fonction de magistrat à Bow Street. Nous avons également utilisé certains articles de journaux de l'époque, mais surtout une série d'articles parus dans le Oxford Magazine, une publication indépendante, imprimée et distribuée à Londres entre 1768 et 1772. L'étude de ces documents nous permet d'identifier les individus ayant travaillé pour Fielding à titre de runner et de mieux comprendre le fonctionnement de cette escouade spéciale. Nous pouvons ainsi mieux comprendre comment les acteurs de la justice de l'époque jouaient leur rôle pour appréhender les suspects, de quelle façon leurs témoignages sont devenus plus importants en cour et comment ils témoignaient devant celle-ci. Bien que cette recherche ait identifiée de façon formelle plusieurs individus ayant travaillé à Bow Street durant la magistrature de Fielding, elle ne fournit que des réponses partielles et sur un groupe restreint d'individus, quant à la réputation de ceux-ci et le style de vie qu'ils entretenaient avant de se joindre à l'escouade de Bow-Street. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : John Fielding, Old Bailey, Police, Justice, 18e siècle, Oxford Magazine.

This study aims to examin how the production of knowledge is intrinsic to the production of power in the New Materialist Process theology of Catherine Keller. The object of critical examination is the theology of Keller and her essay; ”Tingles of Matter, Tangles of Theology: Bodies of the New(ish) Materialism,” from her book Intercarnations: Exercises in Theological Posibility (2017). Keller’s essay will be analyzed through Linda Alcoffs, Alison Baileys and Sara Ahmeds epistemological critical theory of how power produces knowledge and vice versa.  Keller’s theology will be examined based on the study points of analysis on texts of Alcoff, Bailey and Ahmed: subjectivity, making of knowledge, epistemology, making of ignorance, power and authenticity/purity. The study shows that Keller’s notion of apophatic matter has the effect of producing knowledge practices about the object. When the object is obscured from the subject in Keller’s theology, a theological analysis of power and the subject’s position in producing knowledge through theology, is prohibited. By analyzing Keller's notion of entanglement through Ahmed’s thinking, it is shown that the subject is presupposed as free, white and independent. Entanglement among human beings exists as bodily physicality for Keller. Social and economic factors are, thus, made irrelevant for the existence of knowledge and relations between humans. Life situations that are, for example, violent or in position of dependence are incompatible with the reality constituted in entanglement. The subject’s knowledge as socially situated and possibly part of structural power, is also made irrelevant in entanglement-thinking. Thus, the study shows that through the reading of Alcoff, Bailey and Ahmed, theology has the ability to constitute knowledge making practices, that forms the subject’s production of knowledge and ignorance.

Romanerna som ligger till grund för uppsatsens analys är Thomas Bailey Aldrich The story of a bad boy, Mark Twains Tom Sawyers och Huckleberry Finn samt Richmal Cromptons Just William. Syftet med uppsatsen är att undersöka de litterära gestalter som tar sig skepnad i företeelsen "bad boys" och de frågor som ställs i uppsatsen är: Hur och varför uppkom företeelsen "bad boys"? Hur växte genren "bad boys" fram? Vad karaktäriserar "bad boys" företeelsen? Uppsatsens narratologiska utgångspunkter bygger bland annat på Mieke Bals teori om fabelns och de textanalytiska begrepp som Maria Nikolajeva redogör för: tid och plats, författarens och läsarens föreställning av författaren, samtid och tidsperspektiv. Uppsatsen tar även stöd i R.W. Connell, John Stephens och Kenneth B. Kidds teorier. Uppsatsen visar att "bad boys"-genren har sitt ursprung under en period då bilden av mannen var under förändring och romaner för pojkar blev allt mer robusta."Bad boys" – genren karaktäriseras av driftiga pojkgestalter som delvis formar sin identitet i pojkgänget. "Bad-boys"- genren är även en konsekvens av de ändrade förhållandena för unga pojkar i USA. Dessa pojkar sågs ofta som små vandaler och det är dessa som återspeglas i "bad-boys" genren.

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This thesis examines ways in which identities have been represented in new South African play texts. It begins by exploring various ways in which identity has been described from various philosophical, psychological and anthropological perspectives. In particular, the thesis describes its methodology in terms of Gilles Deleuze's definition of "rhizomatic" structures. The introduction also elaborates ways in which drama is uniquely suited to represent ¨C as well as to effect ¨C transformations of identity. The thesis then moves on to an examination of specific texts in terms of four broad areas of investigation ¨C gender, political affiliation, ethnicity and syncretism. In these chapters a number of play texts are investigated from different points of view. Firstly, in a chapter on gender, the thesis focuses specifically on issues of masculinity and exile in plays by Athol Fugard, Anthony Akerman and Zakes Mda. This chapter explores orientations of the masculine which have become embedded within notions of nationalism and patriotism. In terms of political affiliations, the thesis looks at what Loren Kruger has called "post-anti-apartheid theatre" (2002: 233) and considers the trend away from protest theatre. With reference to the plays of Mike van Graan it also examines new forms of protest theatre. This chapter also explores plays which were inspired by the Truth and Reconciliation Commission (TRC) and looks in more detail at Ubu and the Truth Commission by Jane Taylor. When considering ethnicities, the thesis reflects on how identity in terms of an ethnic collective is most often premised on laws of exclusion, and on the construction of what Benedict Anderson refers to as an "imagined community" (1991: 15). Representations of ethnic identities are then analysed in Happy Natives by Greig Coetzee. Syncretism seems to present a preferable description of how South African identities can be constructed and the thesis then elaborates attempts to forge a new identity in terms of amalgamation and a creative fusion of cultural resources, with particular reference to the plays of Brett Bailey and Reza de Wet. In the conclusion of this thesis, the thorny issue of racial identities is considered, and in particular the trope of the "rainbow nation", which many writers regard as a problematic blanketing description which cancels out difference. Instead, Ashraf Jamal's "radical syncretism", which does not seek to subsume heterogeneous identities, is suggested as a viable means of approaching definitions of identity. The final chapter also briefly touches on the development of physical theatre in South Africa and describes how the body can be used as a tool for transformation, relying principally on the writings of Mark Fleishman and Eugenio Barba in this regard. Finally, again resorting to a Deleuzian vocabulary which describes identity as constructed in terms of lines operating on particular planes, the thesis considers whether it may not be more beneficial in the post-apartheid context to favour paradoxical processes which relinquish identities, instead of those which attempt to consolidate them. @ 2008 Author Please cite as follows: Krueger, AR 2008, Experiments in freedom : representations of identity in new South African drama : an investigation into identity formations in some post-apartheid play-texts published in English by South African writers, from 1994 - 2007, DLitt thesis, University of Pretoria, Pretoria, viewed yymmdd < http://upetd.up.ac.za/thesis/available/etd-10282008-141823/ > D497/gm / Thesis (DLitt)--University of Pretoria, 2008. / English / unrestricted

This by-practice project is the first to provide an extensive investigation of the marginalisation of era appropriate science (EAS) and professional investigators by detective and historical detective fiction authors. The purpose of the thesis is to analyse specific detective fiction authors from the earliest formats of the nineteenth century through to the 1990s and contemporary, selected historical detective fiction authors. Its aim is to examine the creation, development and perpetuation of the marginalisation tradition. This generic trend can be read as the authors privileging their detective’s innate skillset, metonymic connectivity and deductive abilities, while underplaying and belittling EAS and professional investigators. Chapter One establishes the project’s critique of the generic trend by considering parental authors, E. T. A Hoffmann, Edgar Allan Poe, Émile Gaboriau and Wilkie Collins. Reading how these authors instigated and purposed the downplaying demonstrates its founding within detective fiction at the earliest point. By comparing how the authors sidelined and omitted specific EAS and professional investigators, alongside science available at the time, this thesis provides a framework for examining how it continued in detective fiction. In following chapters, the framework established in Chapter One and the theoretical views of Charles Rzepka, Lee Horsley, Stephen Knight and Martin Priestman, are used to discuss how minimising EAS and professional investigators developed into a tradition; and became a generic trend in the recognised detective fiction formula that was used by Sir Arthur Conan Doyle, Freeman Wills Crofts, H. C. Bailey, R. Austin Freeman, Agatha Christie, Ruth Rendell and P. D. James. I then examine how the device transferred to historical detective fiction, using the framework to consider Ellis Peters, Umberto Eco and other selected contemporary authors of historical detective fiction. Throughout, the critical aspect considers how the trivialisation developed and perpetuated through a generic trend. The research concludes that there is a trend embedded within detective and historical detective fiction. One that was created, developed and perpetuated by authors to augment their fictional detective’s innate skillset and to help produce narratives using it is a creative process. It further concludes that the trend can be reimagined to plausibly use EAS and professional investigators in detective and historical detective fiction. The aim of the creative aspect of the project is to employ the research and demonstrate how the tradition can be successfully reinterpreted. To do so, the historical detective fiction novel A Hidden Life uses traditional features of the detective fiction formula to support and strengthen plausible EAS and professional investigators within the narrative. The end result is a historical detective fiction novel. One that proves the thesis conclusion and is fundamentally crafted by the critical research.