Ce travail cherche à faire le lien entre deux « pensées » littéraires, celles de deux écrivains italiens majeurs du début du XXe siècle, dont les ressemblances multiples mettent en valeur aussi les dissemblances. Il s'articuleautour d'un problème précis, à savoir celui du personnage romanesque, de sa crise, de sa remise en question, rejoignant ainsi une des problématiques cruciales du roman du XXe siècle dans la culture européenne. Ce type de personnage – exclu, exilé de la réalité – révèle la fragilité de l'accord entre l'être et le monde. Ainsi les auteurs étudiés – Pirandello et Svevo – posent la question de la construction, et à travers elle, de la déconstruction de ces « êtres de papier » que sont les personnages. Chez eux, en effet, les traits du personnage ne sont pas livrés d'emblée, mais ils sont construits par le déroulement du texte. Mais en même temps, leur aventure humaine les expose aux pires dangers, rendant incertaine leur identité, difficile, voire impossible leur rapport au monde. D’où un processus de dé-structuration et parfois d’anéantissement qui les frappe. C’est pourquoi (à l’exception des personnages féminins de Pirandello) ils trouvent refuge dans la maladie, la folie, les rêveries, voire dans la négation de la réalité. / This work tries to make a connection between two literary “thoughts” of two major Italian writers of the 20th century whose similarities bring out the dissimilarities. It presents us with a precise subject; that of the novelistic character, his crisis and the soul searching he does. Then, this matter emphasizes one of the crucial issues of 20th century novel in European culture. This sort of character – excluded, having cut himself from reality – reveals the fragility of the agreement between human being and the world. Thus, the writers we study – Pirandello and Svevo – raise the question of the making and through it, that of the deconstruction of these “men of paper” who are the characters. Pirandello’s and Svevo’s character is not disclosed at once but is gradually structured in the novel. Nevertheless, their human adventure put them at risk, turning their identity uncertain, making their relationship with the world difficult or even unbearable. That results in a process of deconstruction and sometimes of destruction of which they become the victims. That’s why (apart from Pirandello’s femalecharacters) they take refuge in sickness, in madness, in delusion or even in the negation of reality.

This dissertation investigates the significant problem of abandoned buildings in the Pretoria Central Business District and, to a lesser extent, the lack of public exposure to art, architecture and design. For the purpose of this study, empty spaces in the City Centre and Die Meent buildings are examined. A new system for their reuse is developed and a gallery for the exhibition of multiple art forms is incorporated therein, as an example of how the aforementioned system can be appropriated. These problems, especially the first, is not restricted to the local urban context. The investigation is thus divided into two phases: the first provides a solution to the challenge of reusing abandoned spaces in buildings; the second phase, as a proposed future exploration of this system, provides a solution to the need for a multi-purpose exhibition area. City Property is the proposed client for the first phase, while MINI Space is the proposed client for the second phase. Empty buildings are a growing concern worldwide, due to concerns for sustainable development and decreasing greenfield sites. This dissertation proposes that the term ‘site’ should be redefined, using the x-y-z axes as a base. By applying the theory of Deconstruction, it is argued that ‘ground zero’ be shifted to a higher level, to include not only the x- and y-axis, but also the z-axis, leading to the creation of truly three-dimensional cities. This project aims to advance a new way of looking at the city and promoting different forms of art. Culturally rich spaces within vibrant cities with multiple levels of living, working and playing, aid the creation of new communities and unique spaces for each individual. Copyright / Dissertation (MArch(Prof))--University of Pretoria, 2010. / Architecture / unrestricted

Orientador: Maria José Rodrigues Faria Coracini / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-26T12:09:00Z (GMT). No. of bitstreams: 1 RubboR.Rondelli_Daniella_D.pdf: 1806535 bytes, checksum: f5c1aaf9ccb0f20ce4d7e6c0a05dd716 (MD5) Previous issue date: 2014 / Resumo: Este trabalho, apoiado em uma perspectiva discursivo-desconstrutivista e em referenciais psicanalíticos, analisa as representações de ciência que se constroem nos dizeres do programa de televisão Fantástico a partir de suas possíveis aproximações com representações religiosas, problematizando o pressuposto da cultura logocêntrica ocidental que dicotomiza esses dois campos. Tal trabalho analítico ocorre sobre um corpus constituído por matérias relacionadas à medicina veiculadas no programa durante o período de um ano. Considerando, com Foucault, que toda verdade advém de relações sempre fluídas e dinâmicas de poder-saber, apontamos que desde o século XVII, com Descartes, as relações de poder-saber mobilizam-se no sentido de fortalecer o papel da ciência em detrimento da religião na produção de saberes. Porém, na contemporaneidade, a cultura do espetáculo surge como outra força importante que afeta essas relações já que, por um lado, cientistas, gozam de credibilidade e do status peculiares na sociedade atual, não porque sejam capazes, como promete a ciência, de desvendar verdades pré-existentes, mas porque as formações discursivas contemporâneas dão lugar privilegiado ao discurso da ciência, que opera de maneira a fazer crer nas verdades que cria e, por outro lado, considerando que o jornalista também tem um lugar de destaque nas formações discursivas contemporâneas, não apenas por sua credibilidade, muitas vezes colocada em xeque, mas pelo alcance multitudinario do que diz e, principalmente, por seu poder de decidir a quem será dado o direito de falar, refletimos sobre como as representações de ciência construídas no Fantástico engendram relações de poder e possibilidades de resistência / Abstract: Based on a discursive-deconstructivist theoretical perspective, and working with some psychoanalytical references, this thesis aims at analyzing representations of science that emerge in the Brazilian TV Show named Fantástico, by looking for their possible similarities with religious representations, and questioning the assumption of Western logocentric culture that has dichotomized these two fields. For that, our analytical work consisted in the analysis of medicine-related news that were conveyed in the TV show within the period of one year. Agreeing with Foucauldian terms that all truth comes from relations of power-knowledge, which are always fluid and dynamic, we pointed out that since the seventeenth century, with Descartes, the relations of power-knowledge have been mobilized to strengthen the role of science at the expense of religion in knowledge production. However, in contemporary times, the spectacle culture emerges as another important force that seems to affect these relationships in two ways. Firstly, in a way that scientists enjoy credibility and a peculiar status in our society, not because they are the promised ones by science, which are said to unravel pre-existing truths, but because contemporary discursive formations offer a privileged place to the science¿s discourse, which operates in order to make us believe in truths that it creates. Secondly, in a way that accredits journalists a prominent place in contemporary discursive formations, not only because of their given credibility, often confronted, but also due to their multitudinous reach, and especially for their power to decide who will be given the right to speak. All things considered, we intend to reflect on how representations of science built up on Fantástico tv show engender power relationships and possibilities of resistance / Doutorado / Linguagem e Tecnologia / Doutora em Lingüística Aplicada

Orientador: Antonio Miguel / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-27T09:27:21Z (GMT). No. of bitstreams: 1 Jesus_FrancisRobertade_D.pdf: 13951110 bytes, checksum: f87acc8213d881d73a179891f78fea29 (MD5) Previous issue date: 2015 / Resumo: Pelo título "Indisciplina e transgressão na escola" buscamos realizar um percurso de prática transgressiva indisciplinar de constituição de cenas narrativas ocorridas numa organização escolar da região metropolitana de Campinas, no Município de Vinhedo, interior do Estado de São Paulo, por/com crianças de uma turma de quarto ano/terceira série do Ensino Fundamental I, durante o ano letivo de 2010. O citado percurso foi constituído principalmente por rodas de problematizações como caminho investigativo orientado tanto heterônoma - pelas provocações e questionamentos da professora regular -, quanto autonomamente, por parte das crianças, enquanto modos de aprendizagens e formas outras de ver e de possibilidades de praticar e desempenhar educação escolar significativamente. As investigações foram impulsionadas pelo interesse de grande parte da turma em práticas de localização, orientação e deslocamentos espaciais, motivadas por práticas socioculturais em que suas famílias se encontravam inseridas, donde vimos possíveis relações com os estudos de geometria proposto para o ano/série e praticamos a disseminação dessa partida em direção ao decurso de atividades humanas e organizações sociais diversas, bem como conhecimentos necessários para engajamento efetivo nas mesmas. Assim, inspirados em produções filosóficas pós-estruturalistas e pós-modernas, a exemplo de Ludwig Wittgenstein e Jacques Derrida, defendemos e praticamos jogos de linguagem indisciplinares em que se deram práticas de ensinos e aprendizagens situados dentro da escola, orientados por problematizações das práticas socioculturais eleitas para estudo, bem como a promoção de inversões, deslocamentos, terapêuticas e desconstruções dos termos comumente privilegiados nas práticas escolares disciplinares. Ao findar do percurso trilhado, as crianças se mostraram capazes de inserções e construções de espaços de problematizações, promoção de discussões, argumentações, compreensões diferentes formas de vida, engajamento em práticas socioculturais diversas - inclusive de avaliações escolares oficiais do Estado, do Município e da Federação -, deslocamentos de sentidos, práticas de leituras em diferentes contextos de atividades, bem como realizar efetivamente cálculos, resolver problemas, execução de pesquisas, o que expressou a dispensabilidade de organização disciplinar do conhecimento escolar e possibilidades de releitura da função social atual da escola. Percurso esse que denominamos enquanto transgressão / Abstract: By the title "Indiscipline and transgression in school", we seek to conduct a path through the indisciplinary transgressive practice of constitution of narrative scenes occurring in a school organization in the metropolitan region of Campinas, in Vinhedo city, in the countryside of the State of São Paulo by/with children in current fourth grade of elementary school during the 2010 school year. The path was primarily composed of problematizations as investigative path that was oriented both in a heteronomous ¿ by teasing and questioning the regular teacher ¿ and in an autonomous way, from the children as methods of learning, other ways of seeing and opportunities to significantly practice and play school education. The investigations were driven by the interest of most of the class into practice location, orientation and spatial movements, motivated by socio-cultural practices in which their families were included in, where we saw possible relations with the geometry of studies proposed for the year/grade and we practiced the spread of the start towards the course of human activities and various social organizations, as well as knowledge needed to effective engagement in them. So, inspired by poststructuralist and postmodern philosophical productions, like Ludwig Wittgenstein and Jacques Derrida, we defend and practice indisciplinary language games that gave teachings and practices of situated learning within the school, guided by problematizations of cultural practices elected to study, and the promotion of investments, displacements, therapeutic and deconstructions of terms commonly privileged in disciplinary practices of the school. At the end of the beaten path, children proved that they were able to insert and construct problematizations spaces, discussions promotion, arguments, understanding of different ways of life, engagement in various cultural practices ¿ including state official school reviews, Town and Federation ¿, senses shifts, reading practices in different contexts activities and effectively to perform calculations, solve problems, research implementation, which expressed the dispensability of the disciplinary organization of school knowledge and replay possibilities of current school social function. Such path we call transgression / Doutorado / Ensino e Práticas Culturais / Doutora em Educação

This thesis is a reading of Jacques Derrida's critique of an ontology of touch, otherwise known as 'haptocentrism'. It takes as its focus Derrida's reading of Husserl's Ideen II in his book Le Toucher-Jean-Luc Nancy. This is a text that has received much less attention from commentators who focus on Derrida's relationship to phenomenology. Through this reading, we hope to fill an important gap in the critical literature on this subject. Through our reading, we hope to destabilise the concept of the body proper.

There is a lack of a feminist perspective within general theories of international relations, but also in those documents that represents the basis for foreign policy, and a feminist assessment of the same. Assessment-tools for foreign policy that constitute a feminist perspective are therefore very limited, and an explanatory factor for the lack of such tools may be that there are a various number of feminist perspectives that rest on different ontological grounds. The purpose of this thesis was to explore how it is possible to theoretically justify a framework for feminist assessment of foreign policy. Proceeding from this theoretical justification, construct a specific methodology including a framework for feminist assessment of foreign policy, and lastly to test the viability and usefulness of the proposed methodology by using the action plan, “Swedish Foreign Service action plan for feminist foreign policy 2015 - 2018 including focus areas for 2016” as an empirical case study. This study concludes that it is possible to theoretically justify the construction of such an assessment-tool in spite of variations within feminist theorizing. A methodology and a framework was developed and tested on Sweden’s action-plan for its feminist foreign policy. The methodology developed in this study made it possible to identify what type of feminism the action-plan represents, but also which areas that is left alone and should be dealt with.  It is also concluded that the plan consist of a type of rights-based feminism that focuses on the inclusion of woman in all areas of society, the particular vulnerability women represent concerning violence, sexual violence, domestic violence and that politics also must be concerned about issues regarding women’s private life and autonomy.

This dissertation exposes the status of eros in the works of Levinas, Irigaray, and, Nancy. I begin by evaluating Levinas’s phenomenological analyses of eros in Time and the Other and Totality and Infinity. In order to fully appreciate this, however, I must necessarily also provide a summary overview of the central theme which guides Levinas’s work: ‘the Other.’ This leads Levinas to develop ethics as first philosophy, which in turn implies that the reduction of the Other to the same is the unethical gesture par excellence. Levinas formulates eros as the ‘equivocal par excellence’; a profane relation with the radical alterity of the feminine. Eros, for Levinas, inevitably lapses back to the economy of the same, and hence he looks to paternal fecundity to understand a relation with alterity untainted by erotic sensuality. Moreover, I identify the themes in Levinas’s work which guide this dissertation: the plurality of being, the tactility of erotic caressing, transcendence in eros, sexual difference, the affair between love and death, revisiting Plato’s Symposium, and, the erotic relationship with alterity. Having exposed these themes, and pre-empting a feminist critique of Levinas, I move on to the work of Luce Irigaray. After contextualising Irigaray’s feminist project, I expose and evaluate her critical reading of Levinas, particularly in her essay “The Fecundity of the Caress.” For Irigaray, Levinas mistakenly assumes a universal masculine subject, which in turn denies the feminine (and thus empirical women) a chance to be subjects. The fact that Levinas considers eros profane suggests, for Irigaray, that Levinas’s phenomenology of eros is haunted by a patriarchal bias evinced in the way he turns to paternity to salvage eros from a damnable carnality. Irigaray, in contrast, asserts eros as a relationship between the two real poles of sexual alterity. Eros thus holds potential as a just relation between the sexes. However, I find that Irigaray’s insistence on the biological markers of sexual difference becomes somewhat too idealistic. When compared with one another, Irigaray and Levinas arrive at an impasse which is solved by turning to the work of Jean-Luc Nancy. Nancy insists that love (including eros) cannot be thought as anything but an indefinite multiplicity. Nancy’s thought on love reflects his formulation of ‘being-singular-plural,’ an ontology which asserts ‘being-with’ is axiomatic in all philosophical investigations. In Shattered Love, Nancy deconstructs dialectics in order to show that love does not operate in a dialectical fashion. Both Levinas’s and Irigaray’s accounts of eros are exposed as dialectical. Nancy, in contrast, formulates love and sex/gender as the exposure of a subject to the relation with the other. Moreover, by examining Nancy’s thought on the body, eros can be derived as subtending all relations between sexed bodies. Thus Nancy figures eros as neither ideal nor profane, nor does he restrict eros to an ideal relation between the masculine and the feminine. However, Nancy’s opaque philosophy is not without fault. Although Nancy offers an interesting way in which to think eros, certain avenues of thought remain unexplored. / Dissertation (MA)--University of Pretoria, 2012. / Philosophy / unrestricted

This research study is based on investigating the conflicts between the Church Associations (also called This research study is based on investigating the conflicts between the Church Associations (also called iimanyano) of the UPCSA. These associations are essentially a group of people who gather together to achieve certain aims and objectives in serving God within the Church.anyano) of the UPCSA. These associations are essentially a group of people who gather together to achieve certain aims and objectives in serving God within the Church. The iimanyano are normally identified by means of a specific uniform, even though the UPCSA (as with the reformed Church tradition) does not generally wear a uniform. The uniform of the iimanyano therefore does not have any specific origin. However, Chapter One of this study traces the purpose of the iimanyano in that it was formed to evangelise and reach out to black people within a cultural ethos. The research embarks on narrative, qualitative interviews and follows a participatory approach in discovering the problems that led to the iimanyano deviating from their original focus. In Chapter Two, the amalgamation of The Presbyterian Church of Southern Africa with the Reformed Presbyterian Church of South Africa in 1999 is discussed. (The emerging of these two Churches formed the Uniting Presbyterian Church in Southern Africa.) The process of joining the iimanyano of the two former (PCSA and RPCSA) Churches resulted in dissatisfaction and caused several grievances. These tensions of the iiimanyano are a threat to the union of the UPCSA. The study investigates through narrative research why the problems still persist. In Chapter Three, the narratives of the co-researchers in the context of the Presbytery of Tshwane are presented. These helped to identify certain experiences that the remaining iimanyano in the UPCSA denomination still encounter. It is further indicated that some underlining issues may have been rushed or underestimated by the Special Commission on Union. An interesting observation is that the tension is mostly referred to by the black members of the former two churches. Furthermore, some members are suspicious of any outside influence perpetuating the problem. In Chapter Four the struggles within the body of Christ whereby the uniform issue among the women is discussed. In Chapter Five, a narrative reflection on the research findings and recommendations to the associations of the UPCSA are given. / Dissertation (MA)--University of Pretoria, 2012. / Practical Theology / unrestricted

This degree work places itself within the field of textile design, with an artistic approach. The motive with this work is to introduce Kente cloth as a textile expression to be developed as a contemporary textile technique. The aim is to explore ways of reinterpreting the West African weaving technique of Kente cloth in combination with the use of recycled toys in order to create contemporary artistic textile designs. The design method consisted of workshops that focused on the deconstruction of the technique and the categorisation of toys. Experimental sketches on the handloom and jacquard machine were produced. The outcome of this design work is a collection of three handwoven artistic textile designs. Toys’’R’’Cloth engages the viewer to produce more sustainable designs by using recycled toys as material reuse. This work and its design method have the potential to be developed further and applied onto other textile techniques.

This study offers insight into the process and frst-hand experience of quitting circus. The focus lies in the defning of acts of stopping as a consciouschoice. Stopping is generally seen as negative and unproductive as it caneasily be associated with giving up or failing, and therefore seems to be anunlikely and unworthy subject to be researched. But in the artist’s opinion thedecision to stop carries a consciousness and a creative potential, which qualifes Quitting as a research subject. A substantial part of the research was devoted to defning and redefning the subject’s borders, as well as its heart. Within these explorations, concepts of phenomenology, psychology, storytelling,deconstruction, vibrant materiality and memoir-writing were discovered andrevealed. As a circus performer in transition, the artist was guided throughher research journey by sharing her own story of starting and stopping circus,sharing insights gained through reflective writing and self-observation. These were further enhanced by participating in physical and performance exercises and movement improvisations.Quitting’s potentiality is anticipated inspaces of resistance, moments of inertia, in the motivation for stopping, andin the felds between the old and the ‚not yet‘. This inspired the investigationof symptoms like training, repetition, pressure, perfection and identifcation. The initial defnition of Quitting as an ‚Intended Un-becoming‘ in a cleansingact of creating a new, unspoilt and authentic starting point was confrontedwith the realization that consequent Quitting would result in death. This challenged the project’s realizability and led to a confrontation with questionsabout achievement and performance. The abandoning of an impossible concept while continuing to pursue the project, presented Quitting as a paradoxand indicated possible new approaches. Recognizing the act of letting go as an individual event, and practices of realigning and re-synchronization as a generating of the potential that was searched for in Quitting, established the telling of Quitting Stories as a Making ofSpace. Storytelling and interviews with Quitters, practitioners and therapistsare therefore the main practice and expression of this research. Understanding Quitting’s paradoxical nature enabled its potential as an artistic practice, by presenting subjects in an unexpected way and allowing themto be seen in a new way. Quitting as an artistic practice is an intended futurecontinuation of the research.