The purpose of this study is to frame the cinematic male prostitute as a "fallen angel" to demonstrate that the evolution of the cinematic hustler has paralleled historicized ideological definitions of male homosexuality. Because cultural understandings of male homosexuality frequently reflect Judeo-Christian ideological significations of sin and corruption, the term "fallen angel" is utilized to describe the hustler as a figure who has also succumbed to sin due to his sexual involvement with other men. This study constructs an epochal analysis of eight films that explores the confluence of the social understanding of homosexuality with the cinematic image of the hustler from the mid 1960s through the present. In doing so, this study shows that the image of the cinematic hustler is intricately tied to the image of the male homosexual in material cultures and eras that produce them. A filmography is included.

“Where the Shadows Lie: Finding the Other in the Spatial Depictions of the Underworld in The Book of Enoch, Inferno and Paradise Lost” answers a question of spatial behaviour in the three texts, in terms of the portrayal of the characters of Fallen Angels, who have been Othered from Heaven, in each text within the spatial context of their respective heterotopias. The spatial behaviour refers to how these characters are portrayed to act within a certain space, with that behaviour directly shaped and influenced by the space and place that the characters are depicted in. The question of spatial behaviour in this study revolves around whether the behaviour within the Othered space is that of acceptance, or of rebellion. The narrative of each text is analysed as a whole, in order to be contextualised through a Narratological analysis, as well as a Hermeneutic reading and a contextualisation within the realm of Social-Scientific Criticism. The texts are then analysed in more detail, with particular focus given to 1 Enoch 6-21, lines 1-9 and 22-57 in Inferno, and lines 33-45, 52-55, and 64-110 in Paradise Lost in order to Deconstruct their base similarities and then to answer the research question of spatial behaviour through Critical Spatiality. This analysis investigates the aspect of Thirding-as-Othering, in terms of how the Othered space is represented, and how the (Othered) Fallen Angels inhabit that space, based on the choices available to them: either, accept the imposed differentiation and division, or to resist their own “Otherness” and the Othered space that they were sentenced to. These spatial behaviours depict the choices taken by the author of each text, based on the cultural and religious values of their times and cultures, to represent the spatial behavioural options of their narratives’ characters. These options are the choice to fight against the banishment and make a space of Power out of the Othered space, or to accept being Othered and accept the Othered space for the prison it is meant to portray. This study incorporates a Narratological Analysis of The Book of Enoch, Inferno and Paradise Lost, followed by a Hermeneutical Interpretation and Social-Scientific reading. The texts are then analysed in terms of the focal points of 1 Enoch 6-21, lines 1-9 and 22-57 in Inferno, and lines 33-45, 52-55, and 64-110 in Paradise Lost, and are Deconstructed in terms of the spatial depictions of the Underworlds in order to determine the similarities in conditions, both physical and emotional, that are created by the Thirding, which is ultimately investigated, in terms of Critical Spatial Theory, in order to answer the aforementioned research question. / Dissertation (MA)--University of Pretoria, 2012. / Ancient Languages / unrestricted

Engel definieren sich vor allem durch ihre Undefinierbarkeit, ihre Zwischenwesenhaftigkeit. Das Spannungsfeld unvereinbarer Bereiche ermöglicht den Engeln die Existenz. Um ihre Aufgaben – besonders die des Mittlers bzw. Boten – zu erfüllen, können sie fliegen. Jeder Engel, schreibt Rilke, sei schrecklich. Als besonders schrecklich mögen diejenigen Engel sein, die gefallen sind. Ausgewählte Fall-Studien zu ihnen stehen im Zentrum dieser Arbeit. Engel büßen bei ihrem Fall die Fähigkeit zu fliegen und ihre privilegierte Position ein. Auf sich gestellt, zeigen gefallene Engel zwei Reaktionsmuster: Macht und Melancholie. Mächtigen gefallenen Engel gelingt es – oder: sie beabsichtigen es –, die Beziehungsrelation zur göttlichen Autorität nach ihrem Fall aufrechtzuerhalten bzw. neu zu definieren: Durch Errichtung neuer Reiche, rebellischer und sinnlicher, führen sie die Versuchung fort. Aber sie sind keine Mittler mehr, weil sie keine Mitteilungen mehr empfangen, sondern Botschafter eigener Botschaften. Melancholische gefallene Engel lassen dagegen die nutzlos gewordenen Flügel hängen. Auch sie haben vor ihrem Fall in einem Beziehungsverhältnis existiert. Fällt das Gegenüber weg, sinkt ihre Erscheinung in sich zusammen, erlischt ihre Botenfunktion, senden und empfangen sie nicht bzw. nichts Neues mehr. Macht und Melancholie sind in aber auch Aktionsfelder. Der Künstler reflektiert in der objektiv – für sein künstlerisches Schaffen – wie subjektiv – für sein künstlerisches Selbstverständnis – genutzten Identifikationsfigur des gefallenen Engels beide Positionen. So greifen Macht und Melancholie, Rebellion und Resignation, Schöpfen und Scheitern ineinander. Gefallene Engel sind eigentlich ihres Botenstatus’ beraubt. Doch haben sie eine einzige letzte Botschaft – sie sind selbst die Botschaft vom Ursprung ihres Falls und haben darin ihr Ziel. / Angels are defined above all by their indefinability, their mutable essence. The conflict zone between irreconcilable areas makes the existence of angels possible. To fulfill their function – in particular that of medium or messenger – they can fly. Every angel, Rilke wrote, is terrifying. Most terrifying among the angels are, perhaps, those that have fallen. Selected case studies of those form the core of this dissertation. When angels are cast out of heaven, they forfeit their capacity for flight and their privileged position. Left to their own defenses, fallen angels display one of two reaction modes – might or melancholy. Mighty fallen angels are able – or they aim – to maintain their relationship with divine authority, or to redefine it, after the fall. By erecting new realms, more rebellious and sensual, they carry on with temptation. But they are no longer media, because they no longer receive communications. Rather they are the messengers of their own message. Melancholy fallen angels, on the other hand, let their now-useless wings droop. They too existed in a relationship before the fall. When their vis-à-vis disappears, their apparition caves in; their messenger function extinguished, they send and receive nothing or at least nothing new. Yet might and melancholy are not only reaction modes, but also fields of action. The artist, in using the identification figure of the fallen angel both objectively – for his or her artistic creation – and subjectively – for his or her sense of artistic self, reflects both positions. So might and melancholy, rebellion and resignation, creation and collapse mesh. Fallen angels are in fact robbed of their messenger status because, unable to fly, they are no longer a medium. But they do have just one last message – they are themselves the message of the origins of their fall, and that is their goal.