This thesis considers how desire might be theorised in the twenty first century against the backdrop of New Zealand society, culture and film. Methodologically, this exploration is addressed with reference to Žižek’s return to a critique of ideology, whose conceptual basis is drawn from Marx, Althusser and Lacan, and which is significant in its analysis of contemporary desire as emanating from social conditions and constellations of power. Žižek’s challenge to call for a new Master is one that this thesis responds to enthusiastically. Such a response is posited from a location which intersects Lacanian psychoanalysis and sociological theories. The method this exploration employed focus groups and individual interviews from which talk of desire is constructed and critically explored. Focus groups and individual interviews were conducted following a viewing of the New Zealand film, Heavenly Creatures, which enabled an exploration of how participants offer competing ideological locations which can reveal the hidden and not so hidden mechanisms regulating social relations and ambiguities. The participant profiles of the focus groups were designed around key themes relating to the film: fathers of teenage daughters; those working or heavily involved within the creative industries; young women aged between 18-25; and those who grew up in Christchurch during the 1950’s. Heavenly Creatures is a film interpretation of the actual murder of Christchurch resident Honora Rieper in 1954 by her teenage daughter and this daughter’s friend. In exploring both the themes of friendship and the figure of the mother, Heavenly Creatures deliberately conflates fantasy with ideology, so that it is from this intersection that possibilities of subjective desire are confronted. When addressing desire set against this particular film, participants confront deadlocks and misrecognitions, in particular the disintegration of those ideological conditions with which they are identifying. These include the limitations of modern capitalism, concerns about the ‘environment’, the pervasive engagement with cynicism, and frustrations with the inability to intimately and socially self-express. In order to understand and articulate desire various locations are posited in the guise of subjective truth. These points of fixation are structured by the conditions of dominant social and cultural ideologies, which the participant seeks to symbolise in returning to the ambiguity of the promise of the Master’s discourse as proposed by Lacan. This thesis critically explores three of the modalities through which Lacan’s construct of the Master is revealed in participants’ talk about desire: these are the precarious position of belief, the fragmented body, and love as an ideological act. It is argued that these modalities work within discourse in such a way as to offer participants ideological personification as well as a complexity of circumstances from which they can designate the objet a (the truth of one’s desire in psychoanalytic terms) insisted by the superego. In this way these three modalities are configured as enabling a speaking, or a saying, from a position of knowledge. This position in turn insists that the subject does not have to abandon the problem of desire but rather engage with knowledge attained through confronting and developing a literacy of desire. Desire read alongside the modalities of belief, the body and love posit a contemporary ontology in which the gaze commands an ethical and somewhat moral dimension from which the subject can construct a Master which not only seeks to recognise and speak about desire, but also manage it within daily life.

Föreliggande studie hade som syfte att öka kunskapen om kärleksberoende som fenomen. Studiens frågeställningar berörde hur ett kärleksberoende yttrar sig samt om det går att likställa med andra beroendeformer. Semistrukturerade intervjuer genomfördes med tio kvinnor vilka definierade sig själva som kärleksberoende. Intervjumaterialet analyserades tematiskt och resulterade i fyra teman; Relationernas karaktär, Likheter med andra beroenden, Riskfaktorer samt Tillfrisknande. Resultatet visade att studiens deltagare hade ett tvångsmässigt förhållande till destruktiva relationer. De beroendeframkallande mekanismerna som framkom var framförallt förälskelse och romantiska och dramatiska spel i en kärleksrelation. Vidare fanns en kongruens mellan kriterierna för kärleksberoende och de för andra beroendeformer (DSM-IV-TR, 2000), det var dock omöjligt att utesluta alternativa förklaringar till benägenheten att ha destruktiva kärleksrelationer. Ett anknytningsteoretiskt perspektiv applicerades på studiens resultat och påvisade ett samband mellan otrygg anknytning till primära anknytningspersoner i barndomen och utvecklandet av kärleksberoende i vuxen ålder. Ökad forskning om kärleksberoende krävs för att anpassa diagnostik för denna grupp samt ge bättre tillgång till samhällets stödinsatser.

Disney is one of the largest media companies in the world. They have been critizied for portrayting men, women and love relationships with stereotypical behaviours and attributes. This may lead to negative effects on childrens and adolescents perception of reality. The purpose of this study was to investigate how Disney portrays the dynamic between the characters within the love relationship in their movies launched in the 21st century. This study has examined four movies released in the 21st century containing a love relationship between a man and a woman. Movies examined were; Atlantis - The Lost Empire, The Princess and the Frog, Tangled and Frozen. For this study, a quantitative content analysis with qualitative elements was applied to answer the purpose and issue of the study. The study measured the frequency of the characters activities and actions when they are with and without each other, what they are doing together and who is the initiator of classical love actions. The results for this study presented interesting patterns. Both female and male characters were often portrayed with stereotypical behaviuors in Disneys animated movies. However, these patterns differed when the characters were with and without each other. When the characters were together, the female characters tended to be portrayed with more male attributes, whilst the male characterstended to be portrayed with more female attributes. Additionally, Disney tend to portray love relationships in a stereotypical and unrealistic way.

There is no abstract available for this dissertation.

Elsa Joubert has been a prominent author of Afrikaans novels since the 1950's and has received several important literary prizes. This dissertation is a study of issues of identity and the experience of the female characters in the following five novels by Joubert: Ons wag op die Kaptein, Die Wahlerbrug, Bonga, Die swerfiare van Poppie Nongena and Die reise van lsobelle. It is clear from the analyses of the novels that geographical. ideological and political matters greatly influence the identity of the characters. Interpersonal relations within the family and with a loved one, also play a crucial role in the development of a personal identity. Theoretical concepts from feminism and female writing, postmodernism, New Journalism and travel literature as genre are used as points of departure for the discussion of the novels. A brief overview of Joubert's oeuvre is provided. The main focus of the study is the way in which the main characters in the selected novels (Leonora, Agnes, Isobelle, Leo, Lottie, lnacia Maria, Ana-Paula and Poppie) experience a sense of identity. It becomes clear that there is a close relation between identity and space and therefore it is necessary to analyse cultural contexts, spatial relations (the country and the continent as place) and the love of travel in the novels. The lives of all these female characters are influenced deeply by experiences of love and falling in love often brings about a radical change in their sense of identity. Most of the female characters in the selected novels many men from other cultures. Often they experience an identity crisis as a consequence of being confronted with a strange culture. They might long for the comfort of what is well-known and loved, but they also want to accept and conform to the new circumstances as is expected from them by a beloved. The emotional pain resulting from being tom between their cultural inclination and love, affect their self-esteem and sense of identity. Initially the love relationship is a way to develop a new self-contained identity and is part of a personal rebellion and a quest for freedom. Often however, they have to conform to the norms of society and of the cultural context. It is remarkable that many of these characters never experience true love and they are torn between their own cultures and the 'love' for a man who expects them to conform to a new way of living and a new identity. Therefore many of these characters experience themselves as outsiders. The women in Elsa Joubert's novels do not have easy lives. They have to struggle against odds, they have to make difficult choices, they have little power and fulfillment often evades them. Joubert, however, does not present a pessimistic view of either the prospects of women in general or of life in Africa. Die reise van lsobelle ends in a positive way as the character Leo takes control of her life and makes her own decisions. She is not a victim, but a liberated woman, a victor. She is the personification of the new, emancipated woman who will survive and find a place in Africa. / Thesis (MA (Afrikaans en Nederlands))--North-West University, Potchefstroom Campus, 2004.

No description available.

Salman Rushdie's Midnight's Children and Ahdaf Soueif s The Map of Love both construct cosmopolitan figures, who through their narratives, attempt to reformulate nationalist constructions of nation. This study compares Rushdie and Soueif's configuration of the cosmopolitan global consciousness and its rootedness in the postcolonial local centers of Bombay and Cairo respectively. The comparison shows that the multiply determined identity of cosmopolitans can both impede, as well as allow for, the active participation in the social and political life of the country in which they inhabit and aim to represent. This thesis considers Rushdie and Soueif's journey back into postcolonial centers where the contested threshold between homogenous constructions of national identity and the heterogeneity of cosmopolitans has to be negotiated before productive critique and reform can begin at home.

No description available.

Sketch is a fictional novella that explores themes of love, absence, sexual violence, and coincidence. It is a result of two years of extensive writing as a Michener fellow at the University of Miami, and is my first attempt at a longer work. Though a few of the character names are slightly fantastical, the story is firmly rooted in New York City, and the characters themselves are realistic.

Most of the research related to psychotherapy is about modality, treatments and therapeutic outcomes. There is little research on the psychotherapists themselves; their subjective experiences, their preparation or personal development. Personal growth, which leads to a developmental level permitting self-reflection and relational ability, is considered by the psychotherapy profession to be an important aspect of the psychotherapist's education. This hermeneutic study focuses on students' experience of personal growth during a formal psychotherapy educational programme. The core of the thesis is the presentation of the students' lived experience during training. Recent graduates of psychotherapy programmes were interviewed and their accounts include the process of personal growth, in what ways the developmental journey was felt to be supportive and containing, ways graduates feel changed, the impact on their lives during and after the training, and the meanings they ascribe to the experience. The particular growth experiences of Maori graduates are to some degree explored, as are the experiences of psychotherapy teachers who facilitate personal development. Themes emerged from data analysis; personal growth did happen, was felt to be positive, and took place as a journey. The growth process was turbulent, painful, yet resulted in positive outcomes for the graduates. Love and relationship were experienced as the most significant catalyst in promoting growth towards key outcomes. It was felt that bicultural learning activities enhanced and supported growth for Maori and non-Maori. The nature and complexity of love is discussed; including the place of love in personal change, psychotherapy and psychotherapy training. The discomfort commonly experienced in the profession around describing the therapeutic relationship as one involving love is highlighted. Possible reasons are given for this, for not using the word love in psychotherapy. Implications for psychotherapy education arising from the research are presented; with questions about, and recommendations for, facilitating personal growth, and the utilisation of love in a more open and conscious manner as a part of psychotherapy training. Currently most preparation of psychotherapists occurs in mainstream academic institutions, with a movement in the profession towards more formal qualifications. It is a challenge for educators and students alike to continue to include in traditional academic structures and processes what is felt to be the essence of psychotherapy; love and relationship, the practice of which requires high levels of personal development.