對於俄羅斯與烏克蘭而言，由於兩國之間長久以來極為密切的歷史與文化關係，因此始終難以接受蘇聯瓦解之事實。迄今，許多俄羅斯人依然視基輔為羅斯民族之出生地，且不認為烏克蘭是一個主權獨立的國家。更確切的說，俄羅斯人認為基輔羅斯乃是導引東正教與俄語進入俄國之發祥地。儘管俄烏之間具有不可割捨的兄弟之情，但當兩個民族或想像共同體對於其彼此疆界、文化等存有歧見時，則仍無法避免各種紛至沓來的紛爭問題。就克里米亞之黑海艦隊為例，顯示俄烏對於塞瓦斯托波爾城之想像共同體的重疊。同時，亦攸關俄烏兩國對於領土與心理疆界，產生必須且窘困的界定過程。 克里米亞半島素有黑海”鑰匙”之稱，不但是烏克蘭通往世界之大門，亦是各國經黑海進入東歐和亞洲的良港。由於其戰略位置之重要性，致使各種不同的政治勢必，紛紛介入克里米亞半島領土歸屬問題。蘇聯崩解後，克里米亞半島動盪不安的情勢，已造成黑海地區俄羅斯與烏克蘭雙邊關係之威脅，並儼然形成如同納戈爾諾－卡拉巴赫或阿布卡齊亞緊張衝突之溫床。克里米亞在蘇聯繼承國家之中，雖然尚不足以列入族裔衝突之範疇。但隨著反對國家之間領土紛爭的自決主張之聲浪，及自蘇聯時期懸而未決的軍事政治問題遺緒之情況下。致使克里米亞問題，成為俄烏兩國與國際緊張關係之焦點。 簡言之，克里米亞問題之根源在於其地區的人口分佈與地緣政治歷史。一九四四年，史達林以串通納粹敵國之罪名，將所有克里米亞韃靼人（約二十萬人）集體驅逐遷往中亞地區。截至一九八Ｏ年代末期，在近五十年漫長歲月中，克里米亞韃靼人不但其基本文化權及族群認同遭到否決，甚至於在蘇聯的人口統計資料中，未曾出現克里米亞韃靼人。蘇聯瓦解後，克里米亞始終受到兩方面重疊勢力的控制：其一、克里米亞共和國當局，與要求承認其歷史及領土權利的克里米亞韃靼人；其二、尋求獨立並要求回歸俄羅斯的克里米亞共和國親俄領導人士，及反對克里米亞分離主義之烏克蘭當局。這些勢力圍繞著一個相同的基本政治問題：誰擁有克里米亞半島之主權？就目前情勢而論，克里米亞韃靼積極份子要求承認其國家地位；然而，克里米亞境內及外在的敵對勢力，則頗不以為然。無庸置疑，歷史爭論與目前克里米亞的情勢發展，實乃息息相關。 / For Russians and Ukrainians, the disintegration of the Soviet Union has been particularly difficult due to the extremely close historical and cultural ties between the two countries. Many Russians still view Kyiv as the birthplace of their nation（Rus’）and do not conceive of Ukraine as an independent country. Rather, they think of it as Kievan Rus’, the land that brought the Orthodox Christian religion and the Russian language to Russia. As relations between Russia and Ukraine reveal, however, problems can arise when two imagined communities, or nations, disagree over the boundaries（cultural or otherwise） that distinguish them. In the case of the Black Sea Fleet dispute, the imagined communities of Russia and Ukraine overlap at Sevastopol. Throughout Crimea’s complicated history, the peninsula’s strategic location on the Black Sea has made it a desirable military outpost and warm-water port, leading to territorial claims by a great variety of political forces. Since the demise of the Soviet Union, the unstable situation in Crimea has threatened to turn the Black Sea region of Russia and Ukraine into a hotbed of tension similar to Nagorno-Karabakh or Abkhazia. While the Crimea still cannot be listed among the numerous areas of violent ethno-political conflict in the Soviet successor states, it has recently become a focus of domestic and international tension, with conflicting self-determination claims voiced against a background of interstate territorial disputes and an unsettled legacy of military-political issues from the Soviet period. Simply put, the conflict over Crimea has its roots in the region’s demographic and geopolitical history. In 1944, accused of collaboration with the Nazi invaders, the entire Crimean Tatar population（by then some 200,000） was deported, mostly to Central Asia. For over forty years, Crimean Tatars were denied basic cultural rights and even an ethic identity; until the 1980s, Crimean Tatars never appeared in Soviet population statistics. Since the collapse of the Soviet Union, Crimea has been the object of two overlapping rivalries for control: first between the Crimean Republic authorities and the Crimean Tatars, who demand recognition of their historic and territorial rights to the peninsula; and second between pro-Russian leaders of the Crimean Republic, who want either independence or reunification of the peninsula with Russia, and the Ukrainian authorities, who oppose Crimean separatism and insist that Crimea remain an integral part of Ukraine. These movements revolve around the same basic political question: who has sovereignty over the Crimean peninsula? Presently, Crimean Tatar activists regard the Crimean ASSR as a recognition of Crimean Tatar statehood, while their opponents in the Crimea and beyond are convinced that the autonomous formation was purely administrative. The historical controversy is, of course, highly relevant to the present situation in the Crimea.

Thesis (MA (English Studies))--University of Stellenbosch, 2009. / ENGLISH ABSTRACT: Drawing on theories of gender and subjectivity, this thesis explores the way in which constructions of modernity as well as tradition are mapped onto geographical localities and thus expressed through gender acts. The female protagonists in Maxine Hong Kingston’s The Woman Warrior, Sindiwe Magona’s To My Children’s Children and Forced to Grow, as well as Eva Hoffman’s Lost in Translation undergo either transnational translocation or imagined translocation where they straddle multiple cultural contexts concurrently. The role of globalism and modernity amplifies the female’s ambiguous position and therefore challenges her gender identity as she takes on additional gender characteristics. This challenge, a result of translocation, causes both the individual and collective nature of the subject to be emphasised and placed in multiple cultures concurrently. The female’s subjectivity is under much tension as the cultures she immerses herself in interlace but also clash. As a result of this, her sense of self is constantly in flux as she attempts to achieve stability and coherence. This sense of a gendered, stable and located self will, I argue, both dissipate and transmutate upon undergoing physical or imagined translocation. In addition, this thesis examines the manner in which globalism allows for the dissolving of boundaries and explores the extent to which the ambiguous position these female protagonists occupy enables them to reformulate and refashion their gender identity as well as write themselves away from the marginalised positions they inhabit. I will further explore how female subjects are compelled to take on additional feminine or masculine attributes upon translocation, seeming to become androgynous in the reformulation of their gender identity for a certain period of time. I will argue that protagonists supplement their gender in order to obtain a sense of belonging in a specific cultural context which requires this alteration of gender, and argue that this is also a means by which they liberate themselves from the marginal positions they occupy in their ethnic culture where sexism and prejudice are prevalent. However, I will demonstrate that modernity does not only provide them with liberation and autonomy, but that simultaneously it is also restrictive on the subject’s gender identity. Finally, this thesis explores whether the female protagonists are able to use their ambiguous positioning strategically in order to generate coherence of the self yet, concurrently, maintain fluidity between multiple cultural boundaries of the self. / AFRIKAANSE OPSOMMING: Hierdie verhandeling gebruik geslags- en subjektiwiteitsteorieë om ondersoek in te stel na die maniere waarop konstruksies van moderniteit en tradisie uiting vind in geslagshandeling. Dieselfde teorieë word gebruik om ondersoek in te stel na die invloed van geografiese plasing op geslagshandeling. Die vroulike protagoniste in Maxine Hong Kingston se The Woman Warrior, Sindiwe Magona se To My Children’s Children en Forced to Grow, sowel as Eva Hoffman se Lost in Translation, ervaar elkeen óf transnasionale translokasie, óf verbeelde translokasie, waardeur hulle vele kulturele kontekste tegelykertyd in die dwarste beset. Die rol van globalisering en moderniteit versterk sonder twyfel die vroulike protagonis se dubbelsinnige posisie, en haar geslagsidentiteit word in twyfel getrek soos sy addisionele geslagseienskappe aanneem. Hierdie vertwyfeling – die gevolg van translokasie – veroorsaak dat beide die kollektiewe sowel as die individuele aard van die subjek benadruk word, en gelyktydig in meervoudige kulture geplaas word. Die protagonis se subjektiwiteit verkeer onder baie spanning omdat die kulture waarin sy haarself verdiep onderling vervleg is, maar tog ook bots. Derhalwe is haar beskouing van haarself voortdurend vloeibaar en veranderend terwyl sy probeer om samehorigheid en stabiliteit te bewerkstellig. Ek is van mening dat hierdie sin van 'n “geslaghebbende”, stabiele, gelokaliseerde self verdwyn en/of transmuteer wanneer dit fisiese of verbeelde translokasie ondergaan. Gevolglik ondersoek hierdie verhandeling dus ook die manier waarop globalisme die ontbinding van grense tot gevolg het, sowel as die mate waartoe die dubbelsinnigheid van die vroulike protagoniste se posisie hulle toelaat om hul geslagsidentiteit te herformuleer en te herontwerp, en hulself weg, of uit, die gemarginaliseerde posisies wat hulle beset te skryf. Ek wil ook kyk na die maniere waarop die vroulike subjek genoop is om, as gevolg van translokasie, addisionele vroulike of manlike karaktertrekke aan te neem, met dié dat dit blyk dat die protagoniste vir 'n ruk lank androgene eienskappe in hul geslagsidentiteit toon. Ek argumenteer dat die protagoniste hul geslag aanvul, nie net sodat hul aanklank binne 'n spesifieke kulturele konteks kan vind nie, maar ook as 'n manier waarop hul hulself kan bevry van die marginale posisies waarin hulle hul in 'n etniese kultuur, waar seksisme en vooroordeel gedy, bevind. Nietemin wil ek ook aantoon dat moderniteit nie bloot net bevryding en selfstandigheid aan die vroulike protagoniste bied nie, maar dat dit ook tegelykertyd beperkings op die subjek se geslagsidentiteit plaas. Die uitkoms van hierdie tesis is om te bepaal of die vroulike protagoniste in staat is tot die strategiese gebruik van hul dubbelsinnige posisionering, wat koherensie van die self sal meebring, en tog terselfdertyd vloeibaarheid tussen verskillende kulture sal behou.

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This thesis provides an ethnography of the final year at an emerging middle-class private high school in the Northeast of Brazil. It draws on 15 months of fieldwork, including participant observation in the classroom wherein I followed students whilst they prepared for vestibular (the university entrance exam). Students' movements through Fortaleza, one of the world's most unequal cities, produced knowledge about the kind of person that one could and should be in the future. Private schooling appeared to provide a route for students to realise that metaphorical (and perhaps physical) movement. Vestibular served as a sort of rite of passage that could transform (emerging middle-class) youth into (middle-class) adults. Students and teachers characterised vestibular as a luta (fight) that could be won with enough training, flexibility and commitment. Good or high self-esteem was needed to overcome laziness and endure this luta and, thus, teachers and students worked on producing better self-esteem through affective work. Dreams (aspirations for the future) also played a critical role: the school encouraged students to engage in time work, to imagine appropriate future(s) into which students could channel their energies in the present. This version of individual power differed from the political and economic power structures portrayed in the classroom. Students grew indignant as, through curriculum and pedagogy, they came to understand that they were oppressed and that Brazil was underdeveloped and not quite modern. The university entrance exam served as a national meritocratic ritual that portrayed Brazil as becoming modern with governable and governing citizens. Students resisted these assertions and/but their cynicisms belied hope for better imagined futures. Using the classroom as container, this thesis presents a portrait of people and ideas in formation during a post-Lula era.

This thesis is engaged in the formation of the concept of class in the second generation of the Czech (Bohemian) Working-Class Movement. I selected time termination, because of the beginning of the 1890s involved onset of second generation of working-class movement, which deflected from radikalism the first generation of pioneers to engagement oscillating between reformism of Bebel and revisionism of Bernstein. Even since the early 1890s gradually alternated Class about itself (Klasse an sich) at precisely defined Class for itself (Klasse für sich). Thesis seeks to answer the question: Why occured to the above-mentioned phenomenon in the second generation? The traditional explanation of Marxist Historians about the end of Persecutory Phase and logical accession Mass Party seems too schematic. The year 1914 is selected as an upper time milestone, because the First World War caused a series of high quantitative and qualitative transitions in social relations: proletarianization of wide classes in society; fatal deteroration of living, social, health and political conditions of workers. The Working Classes in the prewar and wartime periods are two different social phenomena, which ought to analyse historically separately. The thesis is conceptually draws on Benedict Anderson's seminal work Imagined...

Consacré à deux recueils et à un roman parus en 2011, Arvida de Samuel Archibald, Atavismes de Raymond Bock et Il pleuvait des oiseaux de Jocelyne Saucier, le présent mémoire interroge la représentation de territoires régionaux dans la littérature québécoise contemporaine. Il propose que le territoire exploré par ces fictions soit en fin de compte plus imaginaire que réel, d’où l’adoption du concept de « régionalité » emprunté à Francis Langevin. Le premier chapitre présente l’histoire des régionalismes littéraires français et québécois et s’attache à la façon dont le corpus étudié s’en distingue et s’en inspire, entre autres par des allusions intertextuelles. Il procède ensuite à l’analyse des univers intertextuels des fictions associées à la notion de bibliothèque imaginaire. Le second chapitre explore les questions d’héritage, de mémoire et de filiation par l’entremise d’analyses textuelles, lesquelles relèvent des difficultés de transmission et d’appropriation du souvenir. Enfin, le troisième chapitre porte sur les rapports complexes qu’entretient le corpus avec le réalisme littéraire, en mettant en scène des univers à la fois familiers et étranges sur le plan référentiel. En découle une forme de distanciation qui s’accompagne du motif de l’éloignement, tout en empruntant des éléments à l’inquiétante étrangeté freudienne. / Drawing from two collections and one novel published in 2011, Arvida by Samuel Archibald, Atavismes by Raymond Bock, and Il pleuvait des oiseaux by Jocelyne Saucier, this thesis explores the representation of regional territories in contemporary Quebec literature. It proposes that the territories described by these works of fiction are more imagination than reality, as Francis Langevin’s concept of “régionalité” suggests. The first chapter addresses the history of French and Quebecois regionalism, emphasizing how the examined corpus distinguishes itself and draws inspiration, in large part by way of intertextual allusions. This leads to an investigation of the intertextual universes of fictional works associated with the notion of the imaginary library. The second chapter explores questions of heritage, memory and filiation by way of textual analysis, revealing the challenges associated with the transmission and appropriation of memory. Lastly, the third chapter explores the complex relationship between the corpus and literary realism, situating universes both familiar and foreign on the referential plane. Thus results a form of detachment which takes shape as a thematic pattern of remoteness, borrowing Freudian elements of disquieting strangeness.

The purpose of this thesis is to substantiate the hypothetical development of a community radio station for a South African National Park, such as the Kruger National Park and to design the programming. As such the thesis has two phases namely a theoretical phase, where the variables and dynamics of the process of community unification, tourism’s ability to alleviate poverty and the central role played by radio are considered, and a creative phase, where the findings of the theoretical phase are applied in the design of the programme. The research leads to a model, and its methodology can be described as applied creative research. In order to arrive at the model, the research investigates a number of dynamics. In the first instance the research investigates a potential audience for such a community radio station. The notion of this potential audience or imagined community is interrogated. The thesis argues that there needs to be a conceptually synthesised audience, consisting of the local ethnic community, and a tourist community and that these two communities have interwoven functions around the provision and exploitation of tourism. Secondly, the thesis argues the demands of the audience synthesis, by investigating the nature of the South African tourism industry, with specific reference to the National Parks. In this section, the interrelatedness of the function and demands of the two communities are posited and developed, so that the groundwork for potential content of the Community Radio Station can be foregrounded. The thesis then interrogates the concept of communication by radio and draws on Marshall McLuhan’s concepts of ‘hot’ and ‘cold’ receivers and Walter Ong’s work around primary and secondary orality, amongst others. Here the thesis argues for the way that radio may be used to exploit and develop the synergy of the ethnic and the tourist community. The thesis then moves into the phase, where, through the recognised research process oftriangulation, which includes the synergised two communities (now a ‘Parks Emergent Radio Community’/ PERC), the shared content around the demands of tourism in National Parks, and the communal form of radio are creatively interwoven into a potential or hypothetical programme layout. The study concludes with a consideration of what might be the stumbling blocks in the way of implementing such a triangulated process and notes finances and budgets, training, and most specifically, bureaucratic intervention by licensing authorities as primary obstacles. The thesis argues for the advantages of the development of such a Community Radio Station for National Parks, given the projected steep increment in the tourist trade in South Africa. / Thesis (DPhil (Community Radio))--University of Pretoria, 2006. / Drama / unrestricted

Following the postmodern discourses of spatial conceptualisation, this study examined the manner in which space in an Open Distance Learning (ODL) University enables or constrains academics’ work as they go about the process of constructing their academic identities. Focusing on academics’ engagement in one college of the University, the study was premised on the assumption that, in the current higher education (HE) dispensation, academic identity construction presumes and demands the existence of supportive space for academics to effect the academic practices. Lefebvre’s (1991) social production of space and Soja’s (1996) Thirdspace were used as lenses to examine the multiple dimensions of space in relation to spatial practices in the College, the spatial policies and the experiences of academics as the users of the Institutional space. Qualitative ethnographic research methods that were used to collect data included a review of the Institutional policies, intranet posts and emails; the observation and photographing of academics’ offices and administrative office space; observation of departmental meeting proceedings and the conducting of semi-structured interviews with academics of different academic ranks. Findings suggested that although some forms of space are supportive of spatial practices that contribute to academic identity construction, the imagined space of the ODL Institution can be unfairly inclusive and inconsiderate of academics’ unique spatial needs. Such inclusivity of space seemed to be inconsistent with the appropriate ODL space as imagined by some participants where academics may work comfortably and with limited restrictions. The study concluded by making recommendations on how the Institution and the academics may manage space for optimal academic identity construction in the College. / Educational Foundations / D. Ed. (Philosophy of Education)

This is a multimodal discourse analytical study about national identity in russian film posters specifically in regards to four themes, posters that demonstrates wars, conflicts, violence or weapons. The aim of the study is to illustrate how national identity is portrayed in russian film posters, in relation to these four above themes from the start of the Soviet union 1922, until the end of the union 1991, plus four years ahead. This is studied by looking at how these four above themes are emphasized during different time periods, how the common history is described during different time periods, which similarities and differences that can be deduced from this, and how the question “who are we as a nation?” can be deduced from the pictures. The study also discusses the problem regarding media and its potential to influence, with a focus on the film media and the film poster, since these mediums have a huge potential to create a certain imagined community. For this reason it becomes important to understand who controls the media, since the one with control also beholds the power to decide what the nation identity should consist of, and how it should be portrayed. The study shows that the national identity in russian film posters is portrayed with a strong interconnection to wars, conflicts, violence and weapons during the whole investigation period, but how these themes are portrayed differs between the early/mid Soviet period and the late/post-Soviet period. The early/mid period puts a focus mainly on a strong patriotism where the soldier and the hero are frequently used motifs, which could be interpreted as motifs that are meant to eliminate questions about death in relation to wars. This could be seen as a result of an autocratic state controlled media. The late/post period instead emphasizes a criticism interconnected with conflicts with a focus on motifs like blood and dead bodies, that could be interpreted as motifs that demonstrate the tragic consequences of a violence. This could instead be seen as a result of a media that has been affected by a public sphere that has opened up, where the citizens are allowed to voice their opinions. The similarities is henceforth that the whole investigation period emphasizes a russian hegemony that puts a focus on the “russian” of the nation. The study recommends further studies in the area, either by investigating more themes in regards to film posters and national identity, or by investigating how another country portrays the national identity or the common history, there amongst war memories, in a media material. / Det här är en multimodal diskursanalytisk studie om gestaltning av nationell identitet i ryska filmaffischer, specifikt kopplat till fyra teman, affischer som gestaltar krig, konflikter, våld eller vapen. Studien har som syfte att illustrera hur nationell identitet uttrycks i ryska filmaffischer, kopplat till dessa fyra ovan teman från Sovjetunionens start 1922, till efter dess fall 1991, och fyra år framåt. Detta studeras genom att titta på hur dessa fyra ovan teman har betonats under olika tidsperioder, hur den gemensamma historieskrivningen har gestaltats under olika tidsperioder, vilka likheter och skillnader som går att utläsa från detta, samt hur frågan om “vem är vi som nation?” kan utläsas ur bilderna. Studien diskuterar även problematiken kring media och dess påverkanspotential i speciellt avseende till filmmediet och filmaffischen, då dessa medium har potential att skapa en viss föreställd gemenskap. Problematiken blir därmed vem som har kontroll över filmmediet, då den som har kontroll är den som besitter makten att bestämma vad nationsidentiteten ska bestå av och hur den ska gestaltas. Studien visar att den nationella identiteten uppvisar en stark koppling till krig, konflikter, våld och vapen under hela undersökningsperioden, men hur dessa teman gestaltas skiljer sig dock åt från tidiga/mitt Sovjettiden till sena/post-Sovjet tiden. Den tidiga/mitt perioden lägger främst fokus på en stark patriotism där soldaten och hjälten är vanligt förekommande motiv, som kan tolkas som motiv som ska eliminera frågor om död i samband med krig. Detta kan vidare tolkas som ett resultat av att en autokratisk stat har kontrollerat media. Den sena/post perioden betonar istället en kritik i samband med konflikter genom ett fokus på motiv som blod och döda kroppar, som kan tolkas demonstrera de tragiska konsekvenserna av ett våld. Detta kan istället tolkas som ett resultat av att media har påverkats av att en offentlig sfär har öppnats upp, där medborgare får lov att uttrycka sina åsikter. Likheterna är dock att hela undersökningsperioden betonar en rysk hegemoni som lägger fokus på det “ryska” i nationen. Studien rekommenderar fortsatt forskning av området, antingen genom att undersöka fler teman kopplat till nationell identitet i filmaffischerna, eller genom undersökning av hur andra länder länder gestaltar den nationella identiteten eller den gemensamma historien, däribland krigsminnen, i ett medialt material.

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