Thesis (MA)--University of Stellenbosch, 2002. / ENGLISH ABSTRACT: This assignment uses the theory of deconstruction to reflect on some discourses that underlie the practices of psychology and psychiatry. The language of the psychological professions is analysed in terms of its political implications. A number of linguistic power hierarchies that are central to the practice of psychology are deconstructed: the individual and the social, reason and unreason, normality and pathology, form and content, theoretical categories and real life, professional and lay views, and non-psychotic and psychotic language. The concepts of justice (as understood within the Derridian paradigm) and care are analysed, with specific emphasis on their practical implications in the interactions between therapists and patients in real life psychotherapeutic situations. This deconstructive process takes place in the intersection of my own story as an intern clinical psychologist with the stories of some of the patients I ' have worked with during this year. The outcome of this process is a deepening and broadening of the meaning of providing just and respectful mental health .' care to every patient. / AFRIKAANSE OPSOMMING: Hierdie werkstuk benut die teorie van dekonstruksie om te reflekteer oor sommige van die diskoerse onderliggend in sielkundige en psigiatriese praktyk. Die taal van die sielkundige professies word ontleed in terme van moontlike politieke implikasies. Daar is 'n dekonstruksie van 'n paar magshiërargieë wat sentraal staan tot die taal van die sielkunde: die individu en die samelewing, rasionaliteit en irrasionaliteit, normaliteit en patologie, vorm en inhoud, teoretiese kategorieë en "die regte lewe", professionele en leke-posisies, en die taal van nie-psigotiese en psigotiese pasiënte. Die konsepte van geregtigheid (soos verstaan binne 'n Derridiaanse paradigma) en sorg word ontleed, met spesifieke klem op die praktiese implikasies hiervan in die psigoterapeutiese interaksies tussen sielkundige en pasiënt. Hierdie proses van dekonstruksie vind plaas in die kruising tussen my eie storie as intern kliniese sielkundige en die stories van sommige van die pasiënte saam met wie ek hierdie jaar gewerk het. Die gevolg van hierdie proses is 'n verdieping en verbreding van die betekenis van geregtigheid en respek in die sisteem van geestesgesondheidsorg.

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With a view to Jacques Derrida's rearticulation of Plato's khoral myth I consider the possibility of non-oppositional difference within a relational economy - a notion that Derrida seems quite resistant to. By framing a discussion in terms of Derrida's critical interaction with phenomenology, looking specifically to Edmund Husserl, Martin Heidegger and Hannah Arendt, I attempt to mark the context from which deconstruction emerges as a philosophical position. In a general sense, I deal with Derrida's conception of the relational space in-between persons, places and things, and the implications of his appropriation of khora for thinking about how we properly relate to one another.

Considering deconstruction as a means of achieving sustainable construction, would enable the construction industry to address some of its environmental problems. In addition, the growing pressure from the public and legislation for environmental considerations, means that there is now a need for the construction industry to increasingly consider the recycling and reuse of building components used in constructing buildings. The deconstruction of buildings provides the construction industry with the opportunities to effectively deal with its unsustainable construction practices. One of the approaches taken by industry to facilitate the adoption of deconstruction is designing a building with the intention of disassembly instead of demolition at the end of its useful life. This concept is known as Design for Deconstruction (DFD). Although some research works have been undertaken to support and establish deconstruction into current construction practice, there is little or no guidance for practitioners on how best to do this. This need to fully integrate the concept of design for deconstruction into the current project delivery process is the basis of this research. In order to contextualise, corroborate and develop the research, a review of existing literature on sustainable construction and deconstruction was undertaken. Following from the review of literature, a survey and case study were undertaken to explore the current practice of deconstruction and investigate a practical example of sustainable construction practice that reflects the integration of deconstruction principles within the building process. The findings from the review of literature, the survey and case study were used to develop a mechanism for integrating deconstruction into the building process. The mechanism is a process model for the construction industry to implement the concept of DFD from inception to completion of a building project and throughout a building's lifecycle. Evaluation of the developed process model was carried out by industry practitioners to assess its suitability and practicability. The feedback from the evaluation established that the process model is effective in enabling some aspects of sustainability principles such as designing to minimise waste and encouraging the reuse and recycle of building materials and components. Several benefits and potentials of the process model were also identified. Considering deconstruction as a means of achieving sustainable construction, would enable the construction industry to address some of its environmental problems. In addition, the growing pressure from the public and legislation for environmental considerations, means that there is now a need for the construction industry to increasingly consider the recycling and reuse of building components used in constructing buildings. The deconstruction of buildings provides the construction industry with the opportunities to effectively deal with its unsustainable construction practices. One of the approaches taken by industry to facilitate the adoption of deconstruction is designing a building with the intention of disassembly instead of demolition at the end of its useful life. This concept is known as Design for Deconstruction (DFD). Although some research works have been undertaken to support and establish deconstruction into current construction practice, there is little or no guidance for practitioners on how best to do this. This need to fully integrate the concept of design for deconstruction into the current project delivery process is the basis of this research. In order to contextualise, corroborate and develop the research, a review of existing literature on sustainable construction and deconstruction was undertaken. Following from the review of literature, a survey and case study were undertaken to explore the current practice of deconstruction and investigate a practical example of sustainable construction practice that reflects the integration of deconstruction principles within the building process. The findings from the review of literature, the survey and case study were used to develop a mechanism for integrating deconstruction into the building process. The mechanism is a process model for the construction industry to implement the concept of DFD from inception to completion of a building project and throughout a building's lifecycle. Evaluation of the developed process model was carried out by industry practitioners to assess its suitability and practicability. The feedback from the evaluation established that the process model is effective in enabling some aspects of sustainability principles such as designing to minimise waste and encouraging the reuse and recycle of building materials and components. Several benefits and potentials of the process model were also identified.Considering deconstruction as a means of achieving sustainable construction, would enable the construction industry to address some of its environmental problems. In addition, the growing pressure from the public and legislation for environmental considerations, means that there is now a need for the construction industry to increasingly consider the recycling and reuse of building components used in constructing buildings. The deconstruction of buildings provides the construction industry with the opportunities to effectively deal with its unsustainable construction practices. One of the approaches taken by industry to facilitate the adoption of deconstruction is designing a building with the intention of disassembly instead of demolition at the end of its useful life. This concept is known as Design for Deconstruction (DFD). Although some research works have been undertaken to support and establish deconstruction into current construction practice, there is little or no guidance for practitioners on how best to do this. This need to fully integrate the concept of design for deconstruction into the current project delivery process is the basis of this research. In order to contextualise, corroborate and develop the research, a review of existing literature on sustainable construction and deconstruction was undertaken. Following from the review of literature, a survey and case study were undertaken to explore the current practice of deconstruction and investigate a practical example of sustainable construction practice that reflects the integration of deconstruction principles within the building process. The findings from the review of literature, the survey and case study were used to develop a mechanism for integrating deconstruction into the building process. The mechanism is a process model for the construction industry to implement the concept of DFD from inception to completion of a building project and throughout a building's lifecycle. Evaluation of the developed process model was carried out by industry practitioners to assess its suitability and practicability. The feedback from the evaluation established that the process model is effective in enabling some aspects of sustainability principles such as designing to minimise waste and encouraging the reuse and recycle of building materials and components. Several benefits and potentials of the process model were also identified. Thus, in this research, it can be concluded that integrating the concept of deconstruction into the construction project delivery process can assist the industry to better reuse and recycle building materials and achieve a sustainable environment. Furthermore, the expected impact of the research on the construction industry is a practical process model that can be used to incorporate the concept of deconstruction into the project delivery process. This can be adopted at all the stages of the building process and would benefit the industry as it offers a solution to reduce the environmental impacts caused by its activities.

My thesis is an account of my research on Deconstruction as it relates to family structure and the making of the objects leading to, and consisting of, the work shown in the installation, Endure. The work is a product of my intercessory labor to make sense of the breakage within family structure. Through forced brokenness, domestic imagery, and intercessory reconstruction, I am building a memorial that expresses my concern with deconstruction and hope for reconciliation.

Desfuncionalizar as linguagens desfuncionalizar a cultura desfuncionalizar a vida. esta frase, com que a professora lucrécia ferrara sintetizou minha pesquisa, orientou a elaboração deste trabalho, iniciado pela leitura das obras fonte (1917), de marcel duchamp, e a traição das imagens (1928), de rené magritte. tais obras, como jogos de linguagens que são, como textos profundamente conscientes de suas formação e relação com os demais de sua cultura, contribuíram para formar as questões teóricas que comporiam a seqüência do trabalho, seu corpo principal. a relação das linguagens com o mundo, com a cultura pregressa que as conforma, das linguagens entre si, no interior desta cultura, e suas possibilidades de desdobramento, seus funcionamentos e processos, foram estudados, a partir de referências bibliográficas vindas da semiótica, da lingüística, da teoria e crítica de arte e, sobretudo, da filosofia (destaque para as obras de jacques derrida, gilles deleuze e félix guattari, e roland barthes; com contribuições mais pontuais, como as noções de carnavalização e intertextualidade de mikhail bakhtin, a dominância nas funções de linguagem em roman jakobson, as obras de charles peirce e ludwig wittgenstein, as análises do riso, por henri bergson, e do jogo, por johan huizinga), bem como de exemplos literários (destacadamente os livros de lewis carroll das aventuras de alice e o dom quixote, de miguel de cervantes). ao empobrecimento de nossas escrituras (nossas linguagens cultura e vida, num movimento contínuo e complexo que nos impede assim separá-las), à sufocação de suas potências por suas formas consagradas e suas funções previstas, à estagnação que a funcionalidade racionalista impõe às coisas e ao nosso estar entre elas, sob a forma de uma língua estável e definida num mundo de coisas idem, o trabalho encontra a proposta de uma escritura plenamente consciente de si, de sua constituição, seu desenvolvimento, suas escolhas, seus diálogos, sua inserção em seu contexto, e do espaço aberto entre o texto que ela se faz e o texto que fariam as normas e hábitos da linguagem para comunicar; uma escritura permanentemente atenta ao jogo, atenta ao seu corpo e às figuras que pode criar neste espaço vital que abre; uma escritura que não se esgote num fim, não se apague na repetição de um modelo, nem se necrose numa verdade; escritura poética em cuja ocorrência se abram possibilidades de construção de sentidos, para além dos significados cristalizados; irrupção do devir-música da escritura, do desfuncional (que não se resolve nem se resume na dualidade função e disfunção phármakon: remédio e veneno), dos funcionamentos patológicos, escritura apaixonada, saturação do texto, transbordamento, na desconstrução do funcionalismo de nossa cultura e de suas fronteiras. / to defunctionalize languages to defunctionalize culture to defunctionalize life. this sentence, with which professor lucrécia ferrara synthesized my study, guides this dissertation, initiated with a reading of the works fountain (1917), by marcel duchamp, and the treachery of images (1928), by rené magritte. these works, being languages games, texts profoundly conscious of their formation and their relationships with the others from their culture, have helped form the theoretical issues that would constitute the sequence of the text, its body. languages relationships with world, with the previous culture that form them, relationships among languages, within this culture, and their spreading possibilities, their functioning and procedures, were studied, with a bibliography that includes semiotics, linguistics, art theory and criticism and, above all, philosophy (especially the works of jacques derrida, gilles deleuze and félix guattari, and roland barthes; with more specific contributions, such as the notions of carnivalization and intertextuality from mikhail bakhtin, the dominance in language functions from jakobson, the works of charles sanders peirce and ludwig wittgenstein, and the analysis of laughter, by henri bergson, and of ludicity, by johan huizinga), as well as literary examples (particularly the books of alices adventures by lewis carroll, and don quixote, by miguel de cervantes). to the impoverishment of our writings (our languages culture and life, in a complex and continuous movement that prevent us to separate them), to the suffocation of their potentialities by usual forms and provided functions, to the stagnation that rationalist functionality imposes on things and on our being among them, in the form of a stable and defined language in a world compound of things idem, this work proposes a writing amply conscious of itself, of its constitution, its developments, its choices, its dialogues, its insertion in its context, and of the space created between the text it makes itself and the one which would be made by the habits and norms of the language directed to communicate; a writing permanently attentive to the game, aware of its body and the figures it can create in the vital space that it opens; a writing not depleted by ends, not obliterated by the repetition of a model, not necrosed by a truth; poetic writing in whose happening new possibilities for the construction of sense are created, beyond crystallized meanings; eruption of writings becoming-music, the defunctional (that cannot be resolved into neither reduced to the duality function and dysfunction phármakon: medicine and poison), eruption of pathological functioning, passionate writing, saturation of the text, overflow, deconstruction of our cultures functionalism and its borders.

Partindo do princípio de que as concepções de tradução dependam do modo como se concebe a linguagem, e de que a dinâmica histórica das teorias sobre tradução corresponda à alternância sucessiva entre propostas universalistas e relativistas, revê-se o momento de ingresso do tema na pesquisa acadêmica, época de domínio do universalismo, tipificado pela abordagem estruturalista. Mostra-se como as limitações próprias a essa abordagem levam ao abandono do universalismo em prol de um pensamento relativista radical que acaba também não dando conta do objeto. Nesse contexto, os estudos da tradução, enquanto tendência específica da pesquisa na área, aparecem como solução conciliatória, e ganham força como a abordagem mais próxima de descrever a experiência prática com o objeto. Faltam-lhe, todavia, aprofundar seus fundamentos teóricos, o que pode ser alcançado mediante o contato com a pragmática de Wittgenstein e a praxiologia de Bourdieu. As noções desenvolvidas por esses dois pensadores abrem espaço e contribuem para o desenvolvimento de uma teoria voltada para a prática, favorecendo a compreensão da tradução como o trabalho do tradutor. / Assuming that translation concepts depend upon the way language is conceived, and also that the history of translation theories alternates between universalists and relativists points of view, this work reviews the moment when translation theory is appropriated by academic research, a time in which the spread and supremacy of Universalism is represented by the dominant structuralist approach. The inner limitations of that approach imply however the abandon of Universalists ideas and the adoption of the opposite perspective, that of an extreme Relativism, which due exactly to its extremism limits itself to criticizing the presuppositions of the former Universalist paradigm. In that context, Translation Studies, considered a specific approach to the theme, arise as a conciliatory solution and seem to be closer to the translation praxis in describing its object. But Translation Studies also lack a deeper theoretical background and that can be achieved, supposedly, through an interdisciplinary contact with Wittgensteins pragmatics and Bourdieus praxeology. The chief notions elaborated by these two scholars may help the development of a theory that defines translation as the translators work.

I intend to showcase Suzan-Lori Parks's repetitious, supplemental virtuosity, which is a testament to the fluid, indeterminate condition of her concepts. I seek to demonstrate that in textualizing the quality of absence in the written dialogue, Parks's The America Play becomes uniquely deconstructive. For indeed, through the absent "presence" of an historically mythified president and a gravedigger's skewed identity, the play becomes a stage for splinters of historicized, differentiating, repeating signifiers that supplement, even as they redefine, their referential signified. Performing deconstructive thinking, Parks's textuality is accommodated by a content through which she calls attention to the structures of metaphysics in our discourse, stressing our inability to erase them, and our need to question them through continual self-reflexive thinking. I hope to show that Parks's genius is apparent in her unique mastery of language. This kind of mastery is revealed through her drama's connection to conceptual possibilities, which are hypostatize, staged through the materiality of her drama's textual configuration. In consciously imbuing her pages with representational temporal spaces akin to Derrida's différance, Parks shows how the supplemental perpetuity of metaphysical signification phenomenally attests to the conceptual, idealized absence it supplements. I speak here of idealization that underlies the structural signified, always already a supplemented absent, which carries metaphoric trappings of phenomenological substance in a form of the signifier, returning through a morphemic ideality in the assuredness of its infinite return. I read Park's intent in The America Play as inherently deconstructive because Parks dramatizes the enigma of the trace; that is, the enigma of its impossible, yet, relentless repetition. In examining the trace and its historical "genesis" through the Idea in the Kantian sense, I will show how Parks's Rep & Rev, repetitions and revision, textually performs its impossible repetition, which is always metaphysical. In self-reflexively showing the impossibility of metaphysical presences, Parks establishes a need for a persistent practice of deconstructive interrogation, questioning self-assured, metaphysical, dogmatic thinking.

Le but du présent travail est de proposer une interprétation du concept de déconstruction chez Heidegger. Notre interprétation repose sur trois thèses : 1) La déconstruction est l’un des trois éléments de la méthode phénoménologique de Heidegger avec la réduction et la construction, ces trois éléments étant indissociables les uns des autres. 2) Ces trois éléments nous permettent de comprendre la stratégie la plus générale de constitution de la pensée de Heidegger. 3) La déconstruction de la métaphysique est la version heideggérienne de la critique de la raison. Dans la première partie, la réduction est définie comme une opération de remise en question des présupposés naturalisés de la pensée, le présupposé qui fait l’objet de la réduction de Heidegger étant le concept métaphysique d’être. Dans la deuxième partie, la construction est définie comme une généalogie des présupposés naturalisés de toute l’histoire de la métaphysique. La construction nous permet de dégager deux définitions de la métaphysique chez Heidegger : 1) En tant que compréhension hégémonique et normative des concepts fondamentaux de l’Occident : être, vérité, pensée, langage et homme. 2) En tant qu’onto-théologie. Dans la troisième et dernière partie, la déconstruction est définie comme une double opération. D’une part, l’opération négative de circonscription des limites de la métaphysique, d’autre part, l’opération positive consistant dans la proposition d’une nouvelle manière de penser les concepts fondamentaux de la métaphysique. / The aim of this work is to propose an interpretation of Heidegger’s concept of deconstruction. Our interpretation is based on three thesis: 1) the deconstruction is one of the three elements of Heidegger’s phenomenological method with the reduction and the construction, these three elements being indissociable from each other. 2) These three elements allow us to understand the most general strategy of Heidegger’s thought constitution. 3) The deconstruction of metaphysics is the heideggerian version of the critique of reason. In the first part, the reduction is defined as an operation of questioning the naturalized presuppositions of thought, the metaphysical concept of being is the naturalized presupposition which is the object of Heidegger’s reduction. In the second part, the construction is defined as a genealogy of the naturalized presuppositions of the whole history of metaphysics. The construction allows us to identify two definitions of metaphysics in Heidegger’s thought: 1) as an hegemonic and normative understanding of the basic concepts of the West: being, truth, thought, language and man. 2) As an onto-theology. In the third and last part, the deconstruction is defined as a double operation. On the one hand, the negative operation of circumscription of metaphysics’ limits, on the other hand, the positive operation which consists in the proposition of a new way of thinking the basic concepts of metaphysics.

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.