Thesis (Ph.D.) --Murdoch University, 2004. / Thesis submitted to the Division of Arts. Includes bibliographical references (leaves 313-328).

O objetivo desse trabalho é compreender a produção intelectual do autor palestino, Edward W. Said, cuja trajetória heterogênea representou em larga medida uma metáfora teórica dos seus maiores dilemas políticos e conceituais, alguns deles constitutivos do objeto dessa tese. Entendemos que Said define a Cultura como lócus privilegiado para compreender a dominação colonial e, posteriormente, incorpora um discurso político para a formação da chamada identidade nacional Palestina. Procuramos demarcar o paradoxo central da sua obra que diz respeito ao convívio teórico da abordagem pós-colonial com a busca da historicidade do ethos nacional palestino. Entendemos que o paradoxo do Nacionalismo, sua estreita vinculação com o debate pós-colonial e os percursos teóricos decorrentes do engajamento progressivo com a causa nacional Palestina subsidiam outras reflexões que possuem interrelação. São essas; a representação do intelectual na sociedade contemporânea, a relação entre texto e realidade histórica, entendida por meio do conceito de mundanidade, a categoria de exílio como condição ontológica e metáfora epistemológica e o problema da relação entre cultura e imperialismo. Esses percursos de análise orientam-se por um objetivo mais geral que é a análise da centralidade e respectiva atualidade da obra de Edward W. Said na Historiografia Pós-Colonial. / The aim of the present work is to understand the intellectual production of the Palestinian author Edward W. Said. His heterogeneous history represented in a larger extent a theoretical metaphor of his major political and conceptual dilemmas, some of them consisting this thesis subject. We understand Said defines culture as a preferential locus in order to comprehend the colonial domination, later on embodying a political speech for the composition of the national Palestinian identity. We have attempted to delimit the main paradox of his work which refers to the theoretical interaction of the post-colonial approach with the historicity of the national Palestinian ethos. We understand that the paradox of Nationalism its close connection to the post-colonial aproach and theoretical courses arising from progressive engagement with the Palestinian national cause subsidizes other reflections interrelated, such as: the intellectual representation in contemporary society; the relation between text and historical reality understood through the concept of worldliness; the category of exile as an ontological condition and epistemological metaphor; and the problem of the culture-imperialism relation. These courses of analyzes have guidance in a broader objective which is the analysis of centrality and the respective present status of Edward Saids work in Post-Colonial Historiography.

O objetivo desse trabalho é compreender a produção intelectual do autor palestino, Edward W. Said, cuja trajetória heterogênea representou em larga medida uma metáfora teórica dos seus maiores dilemas políticos e conceituais, alguns deles constitutivos do objeto dessa tese. Entendemos que Said define a Cultura como lócus privilegiado para compreender a dominação colonial e, posteriormente, incorpora um discurso político para a formação da chamada identidade nacional Palestina. Procuramos demarcar o paradoxo central da sua obra que diz respeito ao convívio teórico da abordagem pós-colonial com a busca da historicidade do ethos nacional palestino. Entendemos que o paradoxo do Nacionalismo, sua estreita vinculação com o debate pós-colonial e os percursos teóricos decorrentes do engajamento progressivo com a causa nacional Palestina subsidiam outras reflexões que possuem interrelação. São essas; a representação do intelectual na sociedade contemporânea, a relação entre texto e realidade histórica, entendida por meio do conceito de mundanidade, a categoria de exílio como condição ontológica e metáfora epistemológica e o problema da relação entre cultura e imperialismo. Esses percursos de análise orientam-se por um objetivo mais geral que é a análise da centralidade e respectiva atualidade da obra de Edward W. Said na Historiografia Pós-Colonial. / The aim of the present work is to understand the intellectual production of the Palestinian author Edward W. Said. His heterogeneous history represented in a larger extent a theoretical metaphor of his major political and conceptual dilemmas, some of them consisting this thesis subject. We understand Said defines culture as a preferential locus in order to comprehend the colonial domination, later on embodying a political speech for the composition of the national Palestinian identity. We have attempted to delimit the main paradox of his work which refers to the theoretical interaction of the post-colonial approach with the historicity of the national Palestinian ethos. We understand that the paradox of Nationalism its close connection to the post-colonial aproach and theoretical courses arising from progressive engagement with the Palestinian national cause subsidizes other reflections interrelated, such as: the intellectual representation in contemporary society; the relation between text and historical reality understood through the concept of worldliness; the category of exile as an ontological condition and epistemological metaphor; and the problem of the culture-imperialism relation. These courses of analyzes have guidance in a broader objective which is the analysis of centrality and the respective present status of Edward Saids work in Post-Colonial Historiography.

Sammanfattning   Målet med min studie är att undersöka och analysera fyra olika läromedel avsedda för högstadieskolan utifrån termen orientalism. Hur gestaltas Muhammed och koranen i de utvalda läroböckerna utifrån Edward W Saids teori och terminologi orientalismen. Den avgränsade perioden för detta arbete börjar med en lärobok från året 1994 och avslutas med en lärobok publicerad år 2014. De två andra läroböckerna som används i denna studie är publicerade 1999 och 2003. Debatten om islam som religion är i den moderna kontexten vanligt förekommande både i massmedia och i en politisk debatt. Skolans läromedel är många gånger den första källan eleven möter i arbetet med andra religioner där av granskas och analyseras läromedel och deras framställning av Muhammed och koranen utifrån Saids teorier om Orienten. Den konklusion jag når fram till utifrån denna undersökning är att det finns en viss skillnad mellan de fyra olika utvalda läromedlen och att det sker en förändring över tid mellan böckerna. Samt att den först publicerade läroboken som undersökts har ett annat språk och andra tolkningar om Muhammed och koranen jämfört med de tre andra läroböckerna som försöker gestalta Muhammed och koranen på ett mer nyanserat sätt.

Studien undersöker relationen mellan skapandet av arpilleras och erfarenheten av exil utifrån konstnären Cecilia Valdés och den politiska och konstnärliga organisationen Salvador Allende-kommitténs ateljé. I relation till exil behandlar frågeställningarna följande ämnen: motivval, skapandets syfte för individen i exil och exilens påverkan på den skapande erfarenheten. I uppsatsens inledning presenteras undersökningens syfte och frågeställningar, centrala teoretiska perspektiv och metod. Sedan introduceras material och tidigare forskning, följt av en beskrivning av uppsatsens disposition. Uppsatsens undersökande del består av två kapitel vilka behandlar centrala motiv och känslotillstånd i ateljéns verksamhet. Undersökningen avrundas med en avslutande diskussion samt förslag på framtida forskning. Utifrån Sara Ahmeds affektteori, Edward W. Saids begrepp kontrapunktiskt perspektiv, Wendy Browns teori om samtida politiserade identiteter och sårade anknytningar och semiotisk bildanalys, har följande slutsatser nåtts: Den traditionella symboliken inom arpilleras skiftade i innebörd genom erfarenheten av exil. Ateljéns kollektiva verksamhet omvandlade exilen till en emanciperande erfarenhet snarare än att grunda den i förbittring. Slutligen skiljer sig anledningarna till ateljéns grundande från motiven bakom liknande verksamheter i Chile under militärdiktaturen.

Studien undersöker relationen mellan skapandet av arpilleras och erfarenheten av exil utifrån konstnären Cecilia Valdés och den politiska och konstnärliga organisationen Salvador Allende-kommitténs ateljé. I relation till exil behandlar frågeställningarna följande ämnen: mottival, skapandets syfte för individen i exil och exilens påverkan på den skapande erfarenheten. I uppsatsens inledning presenteras undersökningens syfte och frågeställningar, centrala teoretiska perspektiv och metod. Sedan introduceras material och tidigare forskning, följt av en beskrivning av uppsatsens disposition. Uppsatsens undersökande del består av två kapitel vilka behandlar centrala motiv och känslotillstånd i ateljéns verksamhet. Undersökningen avrundas med en avslutande diskussion samt förslag på framtida forskning. Utifrån Sara Ahmeds affektteori, Edward W. Saids begrepp kontrapunktiskt perspektiv, Wendy Browns teori om samtida politiserade identiteter och sårade anknytningar och semiotisk bildanalys, har följande slutsatser nåtts: Den traditionella symboliken inom arpilleras skiftade i innebörd genom erfarenheten av exil. Ateljéns kollektiva verksamhet omvandlade exilen till en emanciperande erfarenhet snarare än att grunda den i förbittring. Slutligen skiljer sig anledningarna till ateljéns grundande från motiven bakom liknande verksamheter i Chile under militärdiktaturen.

Hermione Granger is the most prominent female character in the Harry Potter series. She is also the only one in the trio of herself, Harry Potter, and Ron Weasley who is muggle-born. She is, therefore, most likely to be discriminated against in two aspects – on the basis of her sex and race. This essay examines Hermione with the help of Simone de Beauvoir’s The Second Sex and Edward W. Said’s Orientalism to show how she is represented and portrayed as “the Other” in these two aspects. In which aspect is she more likely to suffer from discrimination, or is it the combination of the two that is essential? As discrimination on the basis of sex, race, ethnicity, religion, and other aspects continues to grow in Western societies, it is important to look at how this widely popular literary series handles these issues.

This essay examines the art and artistry of Tyra Kleen in the years 1919-1921, when she was travelling and lived on the Indonesian islands Java and Bali. In this period of her life, she was dedicated to an artistic and culturally historical project in which she was drawing and painting Balinese ritual court and Temple dances, mudras, the empowered ritual hand poses of Buddha and Shiva priests, the Javanese theatre Wajang and the Javanese ritual court dance called Serimpi. 10 paintings with subjects deriving from these religious rites, traditions and cultural exercises are analyzed in relation to expression, content, and context with the ambition to convey knowledge about technique, proceeding, what the picture represents, and in what social cohesion these rites, dances and dramas are practiced. The paintings were often watercolor with accentuation of gouache and gold. The theoretical basis of the essay is postcolonial and genus theory. Oriental elements are depicted in her art by the forms inspired by art nouveau and the expressive choice of color. It was not only genus but also class that was important for her as a surveyor in another part of the world and in other religions. The androgyne ideal is related to the theosophic movement. Her artistry was anchored in a spiritual belief, involvement in the women´s issue and an interest in anarchism and class issues. Tyra Kleen was a well-travelled woman who was inspired from many other countries and cultures. Her education was European with a strong impact from the genres of fin-de-siecle. In her primary production there are traces from symbolism, art nouveau and spirituality. She shows another side of her artistry in her journey to Java and Bali, when she in a wealth of details paints the colorful and dynamic dances and the graceful movements of the hands and fingers. She had left the symbolic fantasy pictures and become exploring in her scientific project, even though you can see the forms from the art nouveau style and her interest of religion.

The main purpose of this thesis is to discuss what exile writing is and who can be seen as an exile writer. If the word “exile” is related to forced dislocation, like Paul Tabori and Sopia A. McClennen describes it, who can be viewed as an exile writer? Is Anders Olsson’s definition of an exile writer acceptable or not? Could the The Escape, a future story about exiled Northern Europeans in Myanmar, be classified as exile literature? Another purpose with this text is to describe how a story about exile can be made realistic and tangible to a reader who has not experienced exile. How can the exile experience be shown in a text? The third major aim with this thesis is to discuss how an ethnographic study differs from a fictive novel about another culture. Is an academic text more close to reality than fiction and what is reality anyway? Is it possible to make a mix of an academic study and a fictive novel?

Biblical interpretation in the contemporary context of globalisation faces a variety of challenges. This thesis addresses the challenges presented to the discipline by the incorporation of poststructuralism, postcolonialism, and liberation theologies, particularly the problem of interpretive ghettoisation and the ethics of contemporary biblical interpretation. It proposes one possible answer to the question of how the field of biblical hermeneutics can move beyond the segregation passively encouraged by subjectivity and self-determination toward the integration of academic and vernacular hermeneutics in the interests of justice for the dominated and the reconstitution of the dominant. This thesis first presents the interpretive theories of Edward W. Said, addresses the major criticisms of his work, and proceeds to discuss the adaptation of his concept of contrapuntal reading to the interpretation of biblical texts. Second, it presents a survey of current work in the field which attempts to overcome the gap between academic and vernacular hermeneutics and critiques these approaches in light of Said’s concepts. Third, it presents the book of Job as an appropriate context in which to explore the possibilities of contrapuntal hermeneutics. This section analyses various academic and vernacular interpretations of the book of Job and places these interpretations in contrapuntal dialogue over the course of three chapters. The first of these chapters explores the possibilities for dialogue between those interpretations that view suffering as a key theme in the book and those that do not; the second chapter explores interpretations of the book of Job and the issue of suffering in various Euro-North American psychological contexts and in various African contexts of HIV/AIDS; and the third chapter juxtaposes academic and vernacular interpretations of the book of Job in various Asian contexts. Finally, the study closes with an argument for pedagogical reform based upon the ethical and interpretive insights of contrapuntal hermeneutics.