The aims of modern education are largely Enlightenment-inspired - thus postmodernism finds an uneasy foothold within educational theory. But the needs of the present are not so much for universal reason and truth as for respect and non-violence (which it is argued are the "spirit" of postmodernity). This research report suggests that the usefulness of postmodern thought (and particularly of deconstruction) to education is not so much political as ethical. Drawing upon recent work of Jacques Derrida and commentaries upon his work by Simon Critchley and Johan Degenaar, it is argued that deconstruction is inherently a discourse of moral advocacy and that although it undermines the ultimate validity of any particular thought system this does not render it nihilistic; rather it involves responsiveness and openness towards the Other (person or system). While a reading of postmodern pedagogy acknowledges this, the intention is more often linked to particular political agendas, especially radical and feminist , than to wider ethical issues. Within educational theory a deconstructive "ethic of ethics" has implications for the kinds of knowledge which will be taught, the social relations which will be promoted, and the kinds of educational provision which will be made - but without prescription and within wide bounds of possibility. / Thesis (M.Ed.) - University of Natal, Durban, 1995.

Derrida’s deconstruction of the philosophic tradition shows us not only the importance of pursuit of knowledge, but also the importance of questioning the assumptions on which such a pursuit is based. He argues that the metaphysical tradition is built from the privileging of the logos (speech, thought, and logic,) over it’s opposite, and while Derrida does not object to the societal results of such a privileging, he questions why we allow ourselves to make such an assumption in the investigation of the origin event, and in the nature of reality. I chose to study deconstruction because through the course of my studies at Claremont I found myself raising similar objections to the philosophic tradition, and have a great interest in the arts and culture resulting from deconstructionist philosophy. Through my study I’ve learned to better examine not only the reasons for my own interest in philosophy and the arts, but the importance (or un-importance) of such a pursuit. I believe Derrida’s work could be important in teaching us the absurdity of sacred pursuit, and the importance of finding said sacredness in everything.

The WM sector in Nairobi is a failure. Collection rates are deplorable, regulations go unenforced and the municipal landfill is desecrating the environment and killing neighbouring slum dwellers. This paper focuses on the exclusion and marginalization of the slums adjacent to Nairobi’s landfill, Korogocho and Dandora, and uses a post-structuralist theoretical framework to conceptualize a just response to these exclusions and theorize an inclusive approach to waste policy in Nairobi. Building on the work of Jacques Derrida, I present a ‘deconstructive ethic’ for development that is dedicated to mitigating and overcoming the production of alterity, and reintegrating excluded communities and knowledges into the sites of knowledge and policy creation. This ethic is used to formulate a five-part response to the conditions of exclusion experienced in Korogocho and Dandora, and to engage these populations in finding participatory solutions to the city’s waste problem.

Over the past three years I have engaged in a search for a form of moving image that would serve as a medium to contain, express and communicate my concerns and ideas. My initial investigations led me to motion graphics but as my understanding of moving image broadened I came to the conclusion that the models I was examining did not fit this genre, they are something new and do not have a definition. There are conflicting ideas about what the term motion graphics means. For the purpose of clarity, I adopted Matt Frantz's definition as a start point: "designed, non-narrative, non-figurative based visuals that change over time." Motion graphics is often considered a component of a larger moving image work or a filler element between two larger works. For example, the opening moments of a film or television programme, or a swirling abstract that forms a background for an interstitial between programmes. I require a description of a moving image type of that can be used as a guide to making work. Research into the field of moving image work made by designers was conducted with grounded theory employed as the principle methodology. This research has revealed a moving image type that I refer to as "graphic film". During the past year I have identified its key characteristics. I have explored and tested the boundaries of this new genre by constructing graphic film and comparing it to previously defined forms of moving image. The outcome of this project is a comprehensive description of what graphic film is and its ten primary characteristics. This project can serve as a guide for other graphic designers who wish to make work of this type.

Zugl.: Bielefeld, Univ., Diss.

Thesis (M.A.)--University of Hong Kong, 1999. / Includes bibliographical references (leaves 47-48).

Thesis (M.A.)--University of Hong Kong, 1999. / Includes bibliographical references (leaves 47-48) Also available in print.

Thesis (MA (Counselling Psychology))--University of Pretoria, 2003. / Includes bibliography.

Thesis (Ph. D.)--Illinois State University, 1998. / Title from title page screen, viewed July 6, 2006. Dissertation Committee: Maurice Scharton (chair), Bruce Hawkins, Janice Neuleib. Includes bibliographical references (leaves 251-260) and abstract. Also available in print.

Thesis (M.A.)--Montana State University--Bozeman, 2007. / Typescript. Chairperson, Graduate Committee: Michael Sexson. Includes bibliographical references (leaves 78-81).