The thesis writing here is an effort by the artist to identify his motives in creating, and his aims for the audience, and to communicate this to the reader in a clear and truthful manner. Section 1 focuses on introducing the ground of the artists’ thinking, discussing his ideas of the body and culture identity, and how they motivate his work. Section 2 goes into greater detail about the manner his thought process evolved through the course of a number of works. In Section 3, there is an ever sharper focus in the works towards the isolated and inscrutable individual. The theme that runs throughout is that, although it’s difficult if not impossible to fully communicate with another, the effort is worthwhile.

The dissertation studies feminist knowledge production through translation in the context of post-communist Eastern Europe. It focuses on one case study, the Serbian translation of the American feminist health classic Our Bodies, Ourselves (OBOS) through the lens of the politics of translation and reproduction. The translation, Naša tela, mi (NTM), was published by a group of feminist activists from the Autonomous Women’s Centre (AWC) in Belgrade, Serbia in 2001. By focusing on this one case study, my dissertation offers an in-depth analysis of the political, social, linguistic, and feminist dimensions implicated in the transfer of a Western feminist project from one geopolitical location to another, to a post-socialist, post-conflict Eastern European country in the 1990s. Against the background of the Yugoslav wars and the influence of ethno-nationalism in the 1990s, I examine the development of domestic and transnational feminist networking, including the Belgrade feminists’ work with victims of domestic and sexual violence and refugees. I assess the extent to which NTM serves as oppositional discourse to the changing politics of reproduction and pronatalist discourses around abortion and fertility in Serbia in this period. Furthermore, I analyze NTM’s contribution to local feminist knowledge on women’s reproductive health, rights, and sexuality. I emphasize the importance of the local context, including the history of abortion access and traditional gender relations. Methodologically, the dissertation is based on interview data, archival documents, and comparative textual analysis. The dissertation draws attention to feminist knowledge production across uneven geopolitical borders, translation flows across the East-West divide, and the role of English in transnational feminist networking. The dissertation brings together the politics of translation and the politics of reproduction and calls for further studies into the role of translation in transnational feminist patterns of knowledge production.

Ένα κεντρικό πρόβλημα της φιλοσοφίας ήταν πάντοτε το πρόβλημα της κατάκτησης του εαυτού μας. Πότε είμαι πραγματικά ο εαυτός μου; Ποιο είναι το οντολογικό νόημα της κατάκτησης του εαυτού μας; Αυτό το πρόβλημα έγινε ο άξονας γύρω από τον οποίο περιστρέφονται και άλλα προβλήματα με τα οποία χρειάστηκε να καταπιαστούμε: πώς θεμελιώνεται οντολογικά η γνώση και πώς είναι δυνατή η κατάκτησή της; Τι είναι η γνώση; Ποιο είναι το νόημα του χωρισμού της ψυχής από το σώμα; Ποιο είναι το νόημα του θανάτου; Αν στόχος είναι η έξοδος από το σπήλαιο, τότε υπάρχει κάτι που να με υποχρεώνει να επιστρέψω; Τελικά, στέκει αθεμελίωτο το αίτημα της δίκαιης πράξης; Καθώς προσπαθούμε να βρούμε τις απαντήσεις σε αυτά τα ερωτήματα, προτείνουμε τις δικές μας προσεγγίσεις σε σημαντικά πλατωνικά ζητήματα: τη σχέση της χειρωνακτικής και διανοητικής εργασίας, το νόημα της σωματικότητας, το νόημα του άλλου, το νόημα της μεθόδου, τη διαφορά και τη σχέση του φιλοσόφου και του πολιτικού. Μέσα από όλα αυτά τα προβλήματα, προσφέρουμε στο τέλος τη δική μας προσέγγιση γύρω από το πλατωνικό νόημα της κατάκτησης του εαυτού μας και ανοίγουμε ένα δρόμο για μία στέρεη προσέγγιση του πλατωνικού ευ πράττειν. Τον τελευταίο λόγο τον έχει ο τίμιος αναγνώστης μας, ο οποίος θα κρίνει την ποιότητα του αποτελέσματος. Εμπνευσμένοι από μία στιγμιαία σκέψη του Πλάτωνα στον Θεαίτητο, αφήνουμε στον επίλογο μία υπόθεση εργασίας: την θεμελίωση μιας ηθικής χωρίς a priori και χωρίς σχετικισμό: τις δύο συμπληγάδες κάθε προσπάθειας ηθικής θεμελίωσης. Και υποστηρίζουμε ότι μία τέτοια θεμελίωση μπορεί να αντληθεί από τη μαρξιστική σκέψη. / A basic problem of philosophy was always the problem of the conquest of ourselves. When am I really myself? What is the ontological meaning of the conquest of ourselves? This problem became the axle around which rotate more platonic problems we had to undertake: how is knowledge ontologically grounded on and how is it possible to acquire it? What is knowledge? What is the meaning of the soul-body separation? What is the meaning of death? If the exit from the cave is the final aim, then is there something that makes me to return? Eventually, is the request of the justice act without ontological foundation? As we are trying to find the answers for all this questions, we offer our one approach on important platonic issues: the relation between the manual and the mental labor, the meaning of corporality, the meaning of the other, the meaning of the method, the difference and the relation between the philosopher and the statesman. Through all this problems, we are finally offering our approach about the platonic meaning of the conquest of ourselves and we are opening a path for a solid understanding of the platonic just act. The last word is on our fair reader, who will judge the quality of the result. Inspired from an instantaneous thought of Plato in Theaetetus, we are offering a working hypothesis: the foundation of an ethic without apriori or relativism: those two symplegades of every attempt for an ethical foundation. And we are claiming that such a foundation can be derived from Marx’s thought.

本篇論文意在分析綏夫特<<格理弗遊記>>中的主體、客體、卑賤體的再現，嘗試以不同觀點來看遊記主人翁在四次航行中的遭遇。<<格理弗遊記>>為十八世紀著名的旅行文學，而旅行本身即被視作一種譬喻來闡述旅行者與旅行之間的關係。本論文我主要採用克莉斯蒂娃(Julia Kristeva)幾本書中的理論觀點來逐章論述。在<小人國遊記>中，格理弗以旅行者主體去觀察與再現異地事物。其中最顯而易見的是以「方便之計」來救火。此不經意的行為不僅帶入旅行者主體的議題，也進一步檢驗在家與旅行之間的關係。除了旅行者主體之外，格理弗作為一個發言主體背後代表一套語言規則。最顯著的例子是拉普塔與慧駰國的語言系統。此兩國的語言系統以及他們對於某些外在客體的描述提供讀者去了解語言背後的符號意義。除此之外，透過格理弗在慧駰國的所見所聞，尤其是犽猢的無所不在，造成格理弗不僅在身體上也在心理上產生認知的改變。而他的回程也代表著一項重要的意義：格理弗的改變源於他內在卑賤體(abject)的存在，而他的家人更讓他了解到自己是一位在家的陌生人。 / This thesis investigates the representation of the subject/object/abject in Jonathan Swift’s Gulliver’s Travels. In Chapter One, I give a short introduction to describe what and why I want to talk about these representations in this thesis. Following the introductory chapter, Chapter Two explores the representation of the subject and provides a prominent example of Gulliver’s urinating act in Lilliput. This behavior not only constructs Gulliver’s subjectivity, but also helps examine the idea of home. Kristeva’s idea of “the Semiotic and the Symbolic” and Freud’s concept of “fort-da” game are adopted to discuss the dynamics of travel and Gulliver’s traveling subject. Chapter Three examines the way to decode and encode what the strangers speak in alien lands. To address the problem of the linguistic system of the strangers, Kristeva’s idea of “materiality of language” is elucidated. I also offer two examples from the Flappers and the Yahoos to call into question Gulliver’s role as a speaking subject. Foucault’s idea of power and Kristeva’s concept of “genotext” provide a possibility to discuss the relation between the subject and the discourse. In Chapter Four, the representation of the abject is particularly presented by Gulliver’s voyage in the Houyhnhnm-land. The presence of the Yahoos elicits Gulliver’s psychological symptom and problematizes his subject. Moreover, Gulliver’s return to his homeland and his acting-outs suggest that Gulliver is a stranger to himself. Kristeva’s theory of abject offers an effective way to describe Gulliver’s transformation. By focusing on the representation of the subject/object/abject in Gulliver’s Travels, my thesis provides a more newfangled interpretation of this classical text.

Project (Ed.S.)--James Madison University, 2009. / Includes bibliographical references.

Uppsatsens syfte är att undersöka hur relationen mellan människa och djur framställs i den samtida realistiska litteraturen för att diskutera motsägelsefulla etiska aspekter av djursynen i den industrialiserade delen av världen. Genom att i analysen av romanen Vi är alla helt utom oss av Karen Joy Fowler utgå från djurstudier är ambitionen att synliggöra och ifrågasätta rådande normer kring djursyn. Fowler illustrerar hur en nära relation till ett annat djur kan skapa medkänsla för andra levande varelser, påverka livsval och förändra sättet vi agerar på. Genom att minska distanseringen arterna emellan och leva med andra djur kan människan få en mer empatisk djursyn och förlegade idéer om att utnyttja djur kan ifrågasättas. Fowlers roman visar att olikheterna mellan arter snarare handlar om uppträdande än om beteckning, vilket öppnar för en diskussion kring multiarter. Det framgår också att språket saknar förmågan att spegla verklighetens rikedom och komplexitet när det rör sig om identitet. / The purpose of the thesis is to examine how the relation between human and animal is depicted in the contemporary realistic literature and to discuss contradictory ethical aspects of the Western view of animals. Using Animal Studies, the analysis of the novel We Are All Completely Beside Ourselves by Karen Joy Fowler questions the prevailing norms around the view of animals in our society. Fowler’s novel illustrates how a close relationship with another animal can create compassion for other living beings, influence the choices we make and may change the way we act. By reducing the distance between species, humans can develop a stronger understanding for animals and start to question norms and outdated ideas about exploiting animals. Fowler’s novel shows that the differences between species concerns behavior rather than designation, which opens up for a discussion about multi-species. It is clear that language lacks the ability to reflect the richness and complexity of reality when it comes to identity.

渥坦貝克的劇作《解剖新義》聚焦於法國殖民北非時期，伊莎貝拉(Isabelle Eberhardt)的旅行經驗。伊莎貝拉女扮男裝以歐洲冒險家身份旅行，設法爭取個人自由，致力於破除父權社會加諸於女性身上的性別刻板印象。本劇涵蓋了空間位移、遊牧旅行以及與他者相遇的概念。大多數的批評家對於此劇的討論，多著眼於角色如何跨越性別、地理疆界，而鮮少碰觸旅行議題本身。本論文試圖細讀《解剖新義》，進而探討其中的旅行議題，以及旅行伴隨而來的外來者問題。 本論文的第一章涵蓋《解剖新義》的相關評論，以及論文的主題。第二章說明旅行必要的條件，進而帶出本論文關切的旅行要素。第三章引用茱莉亞·克莉斯蒂娃 (Julia Kristeva)對外來者的見解，點出外來者的問題。本劇呈現旅行者與當地居民彼此間心理的矛盾衝突；同時，也提供不同例子說明個人如何能夠緩和自我與他者間的不合。第四章將以雅克·德希達(Jacques Derrida)的「待客之道」(hospitality)理論延續討論個人將如何面對與他者相遇的問題。第五章為本論文的總結，提供新 的解讀《解剖新義》方法。即便「待客之道」的概念在《解剖新義》中的某些場合被曲解誤用，卻也隱含「待客之道」在不同論述中，可能以不同概念呈現。 / Timberlake Wertenbaker’s New Anatomies (1981) is a play that centers on Isabelle Eberhardt’s traveling experience during French colonialism in North Africa. Isabelle, who endeavors to break the gender stereotype that is imposed on women in the patriarchal society, manages to strive for her own freedom by setting out for a journey as a European cross-dressed adventurer. The play deals with the ideas of displacement, nomadic traveling, and the encounter with the other. Critics’ responses to the play often focus on how the characters cross the gender and spatial boundaries; however, few of them seem to touch upon the issue on traveling itself. I intend to grapple with the issue on traveling by having a close reading on New Anatomies, and to deal with the accompanying foreigner question in a voyage. Chapter One of the thesis contains the literature reviews of New Anatomies, and carries out the concern of the thesis. Chapter Two presents the essential element in traveling and further maps out my concern about traveling. Chapter Three brings out the foreigner question by elucidating Julia Kristeva’s notion on strangers. The play reveals the psychological conflicts between a traveler and the locals; meanwhile, it also presents diverse examples on how one is able to reduce the estrangement between one and the other. To proceed with the discussion on how one shall react in response to the encounter with the other, I employ Jacques Derrida’s concept of hospitality in Chapter Four. Chapter Five is the conclusion of the thesis that points out how the thesis can be treated as a new way of study on New Anatomies. Though the meanings of hospitality are in some occasions being deformed in New Anatomies, they imply that there are different concepts of hospitality that is authorized in different discourses including traveling.

The Thesis deals with God{\crq}s presence. Discovers how the Old Testament, gospel and apostle Paul sees God{\crq}s presence in our lifes. In the second part I introduce two theological conceptions. American evangelical theologian and founder of Pastoral Care Ministries, Leanne Payn, who provides healing prayer service. The author assures us that entirety comes with the inner Christ{\crq}s presence. The second theologian is catholik clergyman Raniero Cantalamessa who in his work and his sermons leads his readers into the deep awareness of the God{\crq}s Spirit presence and calls for new personal Pentacost.

Indiana University-Purdue University Indianapolis (IUPUI) / This thesis centers on a country that has produced some of the greatest and most important English language dramas of the past two centuries. Within this cultural context, this thesis is also about a feminine revival in Irish theatre and how this can be a powerful tool to incite change. Early in history, Irish writers, and specifically dramatists, recreated a type of theatre that captured the true essence of what it meant to be Irish by representing their struggles, frustrations and humor. The Irish talent for storytelling connects back to its Gaelic roots and has remained a constant in the life of a culture that has passed down this art form for centuries. The focus of this thesis is to examine three contemporary Irish plays by prominent playwrights who came to the world of theatre from very different backgrounds. Each play is written by a different hand, yet all share a vital common denominator: the interaction of female character groups – groups that are central to the action of each play. What incited my interest in these three plays – Brian Friel’s Dancing at Lughnasa, Anne Devlin’s Ourselves Alone and Marina Carr’s The Mai – was the playwright’s ability to expose what had been silenced in Irish history for so long. Each female character portrays one important aspect of Irish womanhood that has been tragically understated in the nation’s literature since the death of John Millington Synge: woman’s struggle between what she wants to be and who she is expected to be. These three plays will be scrutinized in terms of three elements of social control contributing to woman’s struggle in Irish society: myth, church and patriarchal tradition.

No description available.