<p>Bilder borttagna av upphovsrättsliga skäl.</p>

<p>Naučno-istraživački rad iz oblasti fenomenologije arhitekture;<br />bavi se uspostavljanjem zasnovanog i analitičkog odnosa ka<br />osnovnim odrednicama koje su predmet istraživanja. To su:<br />efemerna arhitektura, granični prostori, prostorne prakse,<br />redefinisanje odnosa arhitekture i tehnologije, ukazivanje na<br />primenu teorije funkcija arhitekture, te sintetičko određenje ka<br />korelirajućim transdisciplinarnim teorijama prostora.</p> / <p>Scientific research from the field of phenomenology of architecture;<br />considers establishment of the discursive analytical relations towards the<br />notions of the ephemeral architecture, liminal space, spatial practice;<br />redefinition of the relation between architecture and technology and their<br />future unitary action; indication of the architectural functions theory<br />application, and finally, synthetically defined attitude towards all of the<br />correlating factors and transdisciplinary theories of space.</p>

《吾兒故事》是葛蒂瑪第一本以非自人的敘事觀點寫成。她一 方面以有色人種的革命家庭為縮影，揭示南非種族隔離社會中，少數族裔的困境。另一方面，她質疑男性觀點下女性形象再現的偏頗，突顯非自人女性再殖民統治及父權宰制下的顛覆力量，並描繪跨種族之認同心理。藉此，葛蒂瑪呈現了多元文化中跨越界線的可能。葛蒂瑪超越了種族及性別觀點的限制，將她慣用的自女性觀點轉為非自人的男性觀點，以突顯非自人革命社群中的內部問題。正如她之前的小說，《吾兒故事》不僅呈現了南非的轉變和她自己寫作策略的改變，更標明了葛蒂瑪處理非自人議題時，跳脫自人觀點的新里程碑。 本論文的研究目的在於處理男性觀點下南非女性的再現，被殖民者的抗拒及顛覆和認同問題。論文主體分為三部份，第一部分旨在探討葛蒂瑪的新敘事策略和目的；第二部分旨在分析殖民與父權宰制下，受壓族群如何打破沉默，發聲抗拒；第三部份則旨在分析其尋求認同的過程及心理。 / My Son s Story is Nadine Gordimer's tenth novel but is her first novel narrated in the nonwhite perspective. Gordimer uses a colored revolutionary family as a microcosm in the apartheid society to unveil the dilemma and predicament of the in-between men and women in South African apartheid. In the colored male's narrative, Gordimer attempts to interrogate the partial and problematic representation of South African women, to highlight the oppression and subversion of the nonwhite women dominated by colonial and patriarchal authority and to scrutinizes the psychic desire of the interracial relationship between a colored man and a white feminist. In this novel, Gordimer presents a possibility of the boundary crossing in the multiracial and multicultural South Africa through the story of the colored family. My thesis aims to tackle the problems of the representation of South African women in masculine narrative, the subversion of the oppressed, and the identities of the in-between people. The main body of the thesis consists of three parts. First, I will explore Gordimer's new narrative strategies and objectives in the novel. Second, I will probe how these marginal and oppressed people break silence to articulate their resistance to the colonial and patriarchal domination in the apartheid society. Third, I will investigate the process of the quest for identities of the in-between people and their transgression. In My Son's Story, Gordimer keeps her concern about anti-apartheid revolution and about the oppression of the in-between groups and women oppression. She breaks through the racial and gender limits of perspectives and shifts her typical white female perspective to a nonwhite male to uncover the inner problems of the nonwhite revolutionary community through a colored family. Like her pervious novels. My Son's Story not only represents the transition of South Africa and her transformation in writing strategy but also marks her new start to look beyond her white perspective while dealing with the issue of the nonwhite in apartheid.

I den här texten diskuteras förmågan hos elektroakustisk musik att uttrycka sig genom associationer, och frågar ifall musik någonsin kan vara utan en sådan associativ effekt. Detta görs genom luppen av mitt eget arbete, där jag har hämtat inspiration ur mellantillstånd och mellanplatser, liminal spaces, samt genom mitt försök att utarbeta en metod för att arbeta med utommusikaliska referenser som kan informera musikaliska, konstnärliga beslut. Den konstnärliga delen av examensarbetet utgörs av: DEC (2021), K87-89 (2021), Koltrast (2021), samt installationen: Metamorfos (2022). / <p>Alla de bilagor som har "(supercollider-kod)" i sig ska egentligen vara i Supercollider-format ".scd" istället för ".txt". I nuläget är det tyvärr inte möjligt att ladda upp filer i .scd-format till DiVA.</p>

At the end of the fifteenth century, Hieronymus Bosch provided the foremost expression of the strict religious piety embodied by the Devotio Moderna and the impending embrace of secular humanism. As a result, Bosch's seemingly complex images provided viewers with positive messages concerning the journey of life through the use of binary symbolism. He utilized the pilgrimage motif as a guide throughout his paintings and in relation to the liminal spaces surrounding his works. This article will examine his important triptych, The Haywain, (c.1495-1516) as an example of spiritual paths taken simultaneously by both religious and contemporary figures, along with the viewers themselves. The underlying theme of Christ's Ascension in The Haywain plays out in an interwoven assortment of journeys, identified by characteristic northern and medieval Christian iconography. Christ's final journey acts as the ultimate goal and the paradigm for both the pilgrim within the triptych and the viewer. Evidence of processional celebrations mimicking pilgrimages reveals that the motifs in Bosch's works were located throughout his visual culture. Finally, an investigation of Bosch's 1505 triptych The Temptation of St. Anthony reveals that Bosch remains consistent in his use of the pilgrimage theme. Bosch worked within the context of the visual and textual culture of the Netherlandish city of ‘s-Hertogenbosch, and despite his creative style, was understood among his contemporaries as a messenger of positive piety.

This dissertation brings the Ancient Near Eastern practice of the wheel, hanging, impaling, placarding, and crucifixion (WHIPC) into the scholarship of crucifixion, which has been too dominated by the Greek and Roman practice. WHIPC can be defined as the exposure of a body via affixing, by any means, to a structure, wooden or otherwise, for public display (Chapter 2). Linguistic analysis of relevant sources in several languages (including Egyptian hieroglyphics, Sumerian, Hebrew, Hittite, Old Persian, all phases of ancient Greek, and Latin) shows that because of imprecise terminology, any realistic definition of WHIPC must be broad (Chapter 3). Using methodologies and interdisciplinary approaches drawn from art history, archaeology, linguistic analysis, and digital humanities, this work analyzes scattered but abundant evidence to piece together theories about who was crucified, when, how, where, and why. The dissertation proves that WHIPC records, written and visual, were kept for three primary functions: to advertise power, to punish and deter, and to perform magical rituals or fulfill religious obligations. Manifestations of these three functions come through WHIPC in mythology (see especially Chapter 4), trophies (Chapter 5), spectacles, propaganda, political commentary, executions, corrective torture, behavior modification or prevention, donative sacrifices, scapegoat offerings, curses, and healing rituals. WHIPC also served as a mode of human and animal sacrifice (Chapter 6). Regarding the treatment of the body, several examples reveal cultural contexts for nudity and bone-breaking, which often accompanied WHIPC (Chapter 7). In the frequent instances where burial was forbidden a second penalty, played out in the afterlife, was intended. Contrary to some modern assertions, implementation of crucifixion was not limited by gender or status (Chapter 8). WHIPC often occurred along roads or on hills and mountains, or in in liminal spaces such as doorways, cliffs, city gates, and city walls (Chapter 9). From the Sumerians to the Romans, exposing and displaying the bodies consistently functioned as a display of power, punishment and prevention of undesirable behavior, and held religious and magical significance. Exposure punishments have been pervasive and global since the beginning of recorded time, and indeed, this treatment of the body is still practiced today. It seems no culture has escaped this form of physical abuse.

薩爾曼•魯希迪的《摩爾人的最後嘆息》運用想像與史實描繪出一個印度家族的故事。這個四代家族所經歷的時間橫跨整個二十世紀，一般說來在這個世紀前半部分大多數國家經歷了殖民統治與帝國主義，而在後半部分則面臨去殖民與國家主義的風潮。因此，書中論及的這些殖民與後殖民的經驗也引發了一些重要的議題，像是混雜、多元文化，和國家主義。霍米•巴巴提出‘閾限空間’這個概念有助於對這本小說做深入的評價與賞析，特別是能促進對以上三個議題更深入而具體的認知。霍米•巴巴將許多概念納入‘閾限空間’這個總括性術語的討論範圍，因此本論文將從中擷取三個概念來論述這本小說，分別是混雜、文化差異、及國家意識。 本論文的導論先闡釋霍米•巴巴‘閾限空間’這個概念並且發掘魯希迪這本小說中許多重要的後殖民議題。這些議題與‘閾限空間’ 這個概念的關係密不可分，因此這個概念所延伸論及的理論便可用於理解並賞析這本小說。接下來的三章將分別以混雜、文化差異、及國家意識來發掘並建立《摩爾人的最後嘆息》與‘閾限空間’這概念之間的關係。第二章將藉由霍米•巴巴對殖民者與被殖民者之間的矛盾關係的論述進而深入理解小說中意欲呈現的殖民混雜與後殖民混雜。這種矛盾的關係理論上與他者化的過程有關聯，在這過程中身分認同與主體化不論是在後殖民理論還是此本小說中都是值得商榷的議題。第三章利用霍米•巴巴的‘文化差異’來重新檢視並且重新定義所謂的多元文化。魯希迪在小說中巧妙地將現在的印度重疊在過去由摩爾人統治的西班牙之上，這種後殖民的羊皮紙影像便可藉由文化差異與多元文化的概念得到更具體的意義。此外，閾限空間也是一種不同文化的接觸地帶，這樣的中介地域也有助於理解魯希迪在流行文化與高等文化間所採的折衷主義。第四章則著重於探討霍米•巴巴如何發展閾限空間與國家意識的理論關係，還有國家與敘事之間的關係。此章也將利用國家與敘事的關係來理解魯希迪是如何在這本小說中運用許多文學技巧在小說世界中重構國家形象，尤其是文本互涉的材料與歷史的指涉這樣的技巧。 最後的總論將重申在本論文中提及的一些重要的論點，藉由重申這些論點來總結論文提及的一些重要概念的大意，並且讓魯希迪的《摩爾人的最後嘆息》與巴巴的‘閾限空間’這個文本與理論相互闡釋並佐證的關係更為清楚。 / Salman Rushdie’s The Moor’s Last Sigh delineates, fictively and historically, a family saga in India. The four-generation family approximately spans the twentieth century that, generally speaking, has gone through colonization and imperialism in the first half as well as de-colonization and nationalism in the second half. Accordingly, they bring forth a few significant issues, such as hybridity, multiculturalism, and nationalism. Homi Bhabha’s idea of ‘liminal space’ is conducive to the evaluation of the novel, and expressly to the discussion of the above three concepts in a more specific way. He subsumes a lot of ideas under the umbrella term ‘liminal space’, so this thesis is to extract three ideas—hybridity, cultural difference, and nationness—to elaborate on the novel. The introductory chapter expounds Bhabha’s idea of ‘liminal space’ and also explores a few post-colonial issues in the novel. The issues in question are related to Bhabha’s idea of ‘liminal space’, from which some key ideas are derived so as to appreciate the fictional world Rushdie constructs in the novel. The following three chapters are respectively based on the three liminality-related ideas, whereby to find the relation of the novel with Bhabha’s ‘liminal space’. The second chapter is to obtain a deeper apprehension of colonial and post-colonial hybridity through Bhabha’s argumentation concerning the ambivalent relationship between colonizer and colonized. The ambivalent relationship is theoretically associated with the othering process. In the process, identification and subjectification are moot questions not only in post-colonial theory but in the novel as well. The third chapter is intended to make use of Bhabha’s idea of ‘cultural difference’ to review and redefine what the word ‘multiculturalism’ is like. In turn, it helps to shed much more light upon Rushdie’s palimpsesting modern India over Moorish Spain. In addition, liminal space refers to a contact zone of cultural difference that elucidates Rushdie’s eclecticism between popular culture and high culture in the novel. The fourth chapter is to discuss the way Bhabha colligates liminal space and the idiolect ‘nationness’ and the way he relates the idea of nation to narration. The relationship between nation and narration is applied to the understanding of how Rushdie utilizes literary techniques, especially intertextual materials and historical allusions, for a re-construction of a nation in a fictional world. The conclusive chapter is to reiterate some important arguments that are germane to the above key concepts and to the reciprocal clarification between Bhabha’s ‘liminal space’ and Rushdie’s The Moor’s Last Sigh.

Single activities have long been places where single people can come to meet friends, build community or look for partners. The activities have relevance for studies of heterosexuality, intimacy, personal life and space. This dissertation discusses a conference, a cruise, an online site and an association for heterosexual singles in contemporary Sweden. It shows how these activities, analysed as organising people and spaces, offer participants different versions of intimacy, relationships, personal life and ultimately singledom itself.  The concept non-relationality is coined to describe how people understand and enact what it means to lack a certain kind of relationship. Multi-sited ethnographic observations are combined with interviews and a survey (n=416). The chosen methods allow insight into both the heterogeneous character of the contemporary single activity scene, as well as existing tendencies to form communities. The group whose single activities are examined is deemed fairly typical of the single population at large. Nevertheless, most conclusions centre on the specific set of activities described in the book and relate them to historical examples and theory. The single activities examined can be interpreted to enact different practices entailed in a relationship without necessarily demanding commitment to a whole relationship or a specific person. In that way, the activities accommodate the inflexible personal lives that some singles report having. This challenges strict boundaries between coupledom and singledom. Such transgressive or “hetero-doxical” potential in single activities is nevertheless circumscribed by organisers’ notion that the activities provide therapeutic community in a phase before singles take the step (back) into coupledom.