Made available in DSpace on 2016-04-28T19:58:59Z (GMT). No. of bitstreams: 1 Adriana Carolina Hipolito de Assis.pdf: 672456 bytes, checksum: edab5f92b9c9b1f071dc138522739886 (MD5) Previous issue date: 2006-10-10 / This study observes the application of the palimpsest concept as a procedure capable of assisting in the novel analysis with the objective of revealing disguised narratives. When we conducted the palimpsestic scraping of the novel Desmundo, by Ana Miranda, we found a second level, another layer, where texts emerge revealing echoes of a fickle voice from oral tradition; where fairy tales, rites of passage, initiation tests and even an affection, love ideal appear, represented by the cliché of a happy end. The contribution we make using palimpsests as a novel analysis tool occurs when we associate them to reception mechanisms, which, associated with semiotic theories and based on tattooed marks found in the text, allow the reader to perceive these hermetic layers, which coexist side by side in the same narrative. Only the reader is capable of taking new bifurcated narrative paths by following the track left by the palimpsestic text / O presente ensaio reflete sobre a aplicação do conceito do palimpsesto como um procedimento capaz de auxiliar as análises dos romances, com o intuito de revelar narrativas camufladas. Ao efetuarmos a raspagem palimpséstica do romance Desmundo, de Ana Miranda, encontramos um segundo plano, uma outra camada, na qual emergem textos que revelam ecos de uma voz movediça advinda da tradição oral, na qual comparecem contos de fadas, ritos de passagem, provas iniciatórias e, até mesmo, de um ideal de afeto, de amor traduzido pelo clichê do final feliz. A contribuição que estabelecemos com os palimpsestos, como ferramenta para a análise de romances, ao associá-los aos mecanismos da recepção e às teorias semióticas, permitem ao leitor, a partir das marcastatuagens indiciadas no texto, percepcionar as camadas, que herméticas, convivem em uma mesma narrativa. Somente o leitor pode, ao seguir os rastros deixados no texto-palimpsesto, bifurcar e descobrir outros caminhos narrativos

In a culturally diverse South Africa, the debate concerning whose history to commemorate, is an increasingly controvertial issue. In light of this, a refreshing opportunity for the celebration of a shared memory has been identified in the forgotten Mpumalanga mission station, Botshabelo. It is remembered as a place of harmony between different cultures, the natural and man-made landscape, this once self-sustainable, flourishing settlement that now stands abandoned and in a state of decay (Langhan, 2000:25). This dissertation research focuses on design within sensitive heritage environments at various scales, through acts of layering. At the urban scale, the research investigates the possible mediation between heritage conservation and development for a returning local community. At a more detailed scale, the project focuses on the rediscovery of Botshabelo’s cultural precinct through layering of the old fabric with new ritual. And finally, at the precinct vision’s climax, Fort Merensky (which overlooks the Botshabelo valley) forms the dissertation’s site of design focus. Finally, through the reinterpretation of Fort Merensky as a device for ‘hiding’ and ‘revealing’, a cumulative moment is formed by which a (figurative and physical) vantage point for the unlocking and celebration of Botshabelo’s meaningful landscape is enabled. The project intends to create an architectural device for the safekeeping, showcasing and testing of ideas that mark Botshabelo’s memory, learning from it as a model for the development of South African self-sustainable, creative communities. / In ‘n kultuurryke Suid-Afrika, is die debat rondom wie se erfenis behoort gedenk te word ‘n kontroversiele onderwerp. ‘n Verfrissende geleentheid om ‘n gedeelde herinnering te vier is geïdentifiseer in die vergete Mpumlanga sendingstate, Botshabelo. Onthou as ‘n plek van harmonie tussen verskillende kulture, die natuurlike- en mensgemaakte landskap, word hierdie eens self-volhoubare, bloeiende nedersetting vandag bevind in ‘n verlate en vervalle toestand (Langhan, 2000:25). Die verhandelingnavorsing fokus op die tema van ontwerp binne sensitiewe erfenisomgewings op verskillende skale deur middel van gelaagtheid. Op die stedelike skaal ondersoek die navorsing die moontlike bemiddeling tussen erfenisbewaring en ontwikkeling van ‘n terugkerende plaaslike gemeenskap. Op ‘n meer gedetailleerde skaal, fokus die projek op die herontdekking van Botshabelo se kulturele gebied deur die ou stof met nuwe ritueel te laai. As hierdie gebied se klimakspunt, word Fort Merensky wat oor die Botshabelo-vallei uitkyk, die terrein van ontwerpfokus vir die skripsie. Deur die herinterpretasie van Fort Merensky as ‘n toestel om te ‘versteek’ en ‘onthul’, word ‘n kumulatiewe oomblik geskep waardeur ‘n (figuurlike en letterlike) uitkykpunt vir die ontsluiting en viering van Botshabelo se betekenisvolle landskap moontlik gemaak. Die projek beoog om ‘n argitektoniese toestel te skep vir die bewaring, uitstalling en toetsing van die idees wat Botshabelo se verlede kenmerk en sodoende daaruit te leer as ‘n model vir die ontwikkeling van Suid-Afrikaanse self-volhoubare, kreatiewe gemeenskappe. / Mini Dissertation MArch(Prof)--University of Pretoria, 2018. / Architecture / MArch(Prof) / Unrestricted

Utilising a qualitative methodology approach and a case study research design this study set out to explore the influence of ‘own teachers’ on beginner teacher professional identities. The research design borrowed from the idea of a palimpsest, (Diamond & Mullen, 1999). Data comprised a mix of semi-structured interviews, field notes and a researcher journal. Ten participants, representative of four different racial groups in South Africa were included. Data was analysed by means of the thematic content analysis method. This study contributed to the body of knowledge on beginner teachers’ professional identity on two levels. The first level pertains to the methodological contribution of this study in terms of the interrelatedness with which particular methodological constructs were applied. The second level of contribution involves four novel theoretical findings that came to the fore in this study. First, findings showed how participants (beginner teachers) connected with fictional characters from various types of media and substitute those characters as role models in the place of ‘real’ own teachers or teacher-like figures. Second, participants drew on positive experiences with own teachers that guided them through the navigation of several socio-political challenges stemming from the Apartheids era. Third, positive own teachers served as beacons of hope, strength and resilience. Examples of past teachers unfolded as the driving force behind attitudes displayed by participants, of embracing diversity and sensitivity towards differences between themselves, their learners and colleagues. Fourth, positive own teachers served as beacons of hope, strength and resilience. The fifth, and most complex finding, illustrated the ways in which participants constructed their emerging professional identities around what they perceived as the qualities of the ‘ideal’ teacher. ‘Levels of cautiousness’ surfaced as key to the professional identity of beginner teachers in terms of the influence of their own teachers. It was found that beginner teachers approached their professional identity on a continuum of ‘caution’ with regard to certain aspects including reflection, classroom discipline, the influence of own teachers as well as the awareness of the role of own teachers. This study showed a close link between participants’ self-knowledge, perceptions of their personalities, their inherent communicative traits and their progress on this ‘continuum of caution’. / Thesis (PhD)--University of Pretoria, 2016. / Humanities Education / PhD / Unrestricted

Negotiation of urban space is particularly pertinent to South African history as a site of social and spatial conflict resulting from the legislative practices and social engineering of the apartheid government in the form of the Group Areas Act (1950). As a postcolonial and post-apartheid city, Cape Town has the distinction of evolving from pre-apartheid's least segregated city to apartheid's most segregated city, with many of the injustices of the past perpetuated in the post-apartheid era by its current neoliberal order. Yet, in The Rediscovery of the Ordinary (1991), South African writer Njabulo Ndebele asserts that Johannesburg has always been, the centre of South African resistance and “spectacle” – and the object of studies such as Johannesburg: The Elusive Metropolis (2008). Located at the intersection of urban and postcolonial studies, this study is grounded by the framework of ‘critical urban theory' (Michel De Certeau, Henri Lefevre, Neil Brenner), which frames urban space as a “site, medium and outcome” of histories of social power. It therefore reads the post-apartheid narratives of The Woman Next Door (2016) by Yewande Omotoso, Thirteen Cents (2001) by Sello Duiker and Living Coloured: Because Black and White Were Taken (2019) by Yusuf Daniels, as representations of the city as “politically and ideologically mediated, socially contested and therefore malleable” space, by drawing on Sarah Nuttall's assumption of place – specifically the city – as a constitutive subject of certain narratives as well as Homi Bhabha's notion of the “unhomely”. The concepts of home, unhoming and homelessness are therefore used to establish how history and space collide to create a palimpsestic reading of Cape Town. Thus, the study maps spatial contestation in central and peripheral locations of the city and raises questions of racialised and class-based (un)belonging as representative of the post-apartheid South African city.

The Palimpsest of time is ever changing.Mankind has tried to understand and utilize time through many lenses. Through the concepts of Khronographics, Kairographics, and the Technics, Architecture can be used as a means of expressing and revealing time. / Master of Architecture

Innerhalb der handschriftlichen Überlieferung, die aus dem Mittelalter auf uns gekommen ist, gehören Palimpseste zu den Zeugnissen, die schon immer in besonderer Weise das Interesse auf sich gezogen und Phantasien beflügelt haben.

Diploma thesis deals with possibilities of interpretation of landscape park type ornamented farm in Veltrusy castle area in the current context. Park is treated as an artificial place, which function changes in the course of history. The concept of space is used in the sense of meaningful place, which one can understand and be identified with. In the empirical part, we try to reveal the primary structure and characteristic motifs of the park, which are important for the interpretation of its meanings in new historical context, so as to maintain its identity and dynamics. As the text has as many interpretations as readers, so has the park as many interpretations as visitors. Park enters into an ongoing dialogue with its users, but in the changing historical context. The aim of this work is not an effort to create "one holistic" interpretation of the park, but to provide the basis for individual interpretation. In conclusion we consider the possibility to convey the structure and nature of the park to visitors and make them more responsive to the identity of the park and give them the possibility of individual interpretation.

Building on a literature that identifies the technologies of liberal governance in the urban fabric of the nineteenth-century ‘liberal city’, my thesis explores the built environment of unified Berlin as a space within which power relations are performed and resisted. The original contribution to knowledge made by this thesis is through its contention that none of the forms of governmentality that have thus far been identified in the literature are adequate for an analysis of the Berlin Republic. To this end it posits the existence of a specifically post-authoritarian governmentality and uses the built environment of Berlin to explore its features and the ways in which it is continually (re)asserted, challenged and (re)negotiated in the German context. More specifically, it analyses post-1990 responses to National Socialist prestige buildings in Berlin which had also been incorporated into the highly politicised narratives of the Cold War: the former Aviation Ministry, the Olympic Stadium and the former Tempelhof Airport. Using these sites’ status as heterotopia, or ‘other spaces’, it highlights how the politics of the past inform the negotiation of the tensions between the celebration / delimitation of heterogeneity, the valorisation / instrumentalisation of ‘objective’ knowledge and the balance between freedom/ control. As well as uncovering evidence to support the idea of post-authoritarian governmentality, the thesis also finds indications that this is a transitional phase and that, in some respects, Germany can be seen to be moving towards the advanced liberal governance seen elsewhere in the western world.

This thesis looks at the life and works of Daphne du Maurier in the context of the inter-related ideas of religion, psychology and politics. Throughout, I use a methodology based on the concept of the palimpsest. But I also use theory provided by Jung, Plato and Nietzsche – all of which were known to du Maurier to a greater or lesser degree. Other theory is used occasionally, but only as it suggests itself in the context under consideration. The ideas of ‘Resurrection, Renaissance and Rebirth' give the thesis a structure and a theme. The interaction of Christianity and Paganism is also examined. Section One, ‘Introduction – Resurrecting Texts/Lives', introduces the idea of the palimpsest. In reality, this is a twice-written document frequently containing a Christian text which is written over a Pagan one, with the Pagan text resurrecting itself over time. In theory, the palimpsest is a textual space where disparate texts collide and collude in an involuted manner. Section Two, ‘Life and Text – Renaissance Inspired Men', looks at two men who drew their inspiration from the Renaissance as either age or idea - the socialist Victor Gollancz and the conservative Frank Buchman - and to what degree du Maurier interacted with both the people and their conceptual framework. Section Three, ‘Life into Text – Renaissance Men', concerns itself with du Maurier's biographies of two Renaissance brothers, Anthony and Francis Bacon, and how their lives have been read, gnostically, by herself and others, notably The Francis Bacon Society and Nietzsche. Section Four, ‘Spectralised Lives in Text - Rebirthing', examines how the foregoing discussion plays itself out in two of du Maurier's novels, Jamaica Inn (1936) and The Flight of the Falcon (1965). The chapter on Jamaica Inn looks at Celtic Revivalism and how the Celtic gods spectralise the characters of the novel leading to a rebirthing experience for the protagonist Mary Yellan – implicit in this is the concept of the Renaissance-as-idea. The chapter on The Flight of the Falcon shows how the Renaissance-as-age daimonises characters of the twentieth-century. The palimpsest as either a document or a theoretical perspective weaves itself in and out of all my chapters. Section Five, ‘Concluding Remarks', leads to two related conclusions, firstly that du Maurier has been spectralised by the Renaissance, and secondly that du Maurier's life and works, taken together, can be read as an involuted palimpsest.

Os signos do paradoxo e da contradicção são intrínsecos ao poema Invenção de Orfeu (1952) de Jorge de Lima (1893-1953), desde sua intermitente teorização sobre o ato criativo, situado entre o engenhoso e o místico, entre o órfico e o sirênico, entre natura naturata e natura naturans, até a inconstante modulação dessa teoria pela crítica, que chega a convergir, não obstante as polêmicas, na consideração da obra como um difícil volume de altos e baixos, em sentido estritamente qualitativo. Esta tese intenta demonstrar como, em seu inteiro teor, a Invenção de Orfeu está calcada em uma manipulação soberana e mesmo tirana das formas, que redesenha a ars inveniendi barroca a fim de expor a errância e a violação que habitam o interior da Técnica. Dito no sentido teológico latente à Suma Poética limiana, ela demonstra como a essência corruptível que se atribui apenas à matéria, seja ela a linguagem, o sujeito ou a História, emana, desde o início, da própria Forma. Propõe-se aqui uma arqueologia dos três estratos de significado da Invenção de Orfeu, o metalinguístico, o autobiográfico e o histórico, assim como um modo de compreender a patente dialética entre o épico e o lírico através de sua síntese dramática, na trama das vozes actantes que configuram os subpoemas ou no drama sexual e antropofágico que se desenrola entre Musa, rapsodo e Guias (ou comparsas). Tem ainda importância central neste trabalho o conjunto epigráfico da Invenção, que funciona como um mapa estratégico-composicional, articulando em si o dilema da traição e da continuidade entre a literatura sagrada e a profana. O capítulo I coloca em pauta a obra marginal do autor e as epígrafes bíblicas; e analisa as intersecções entre camadas de significado, matrizes e gêneros. O capítulo II detém-se sobre a epígrafe de Guillaume Apollinaire e percorre as relações entre parábola e estranhamento, entre incesto e palimpsesto, desde Ancila Negra até o engenheiro noturno. E o capítulo III enfoca o conturbado trânsito da questão indígena na obra de Jorge de Lima, até sua inflexão final. Em Apêndice, organiza-se material de arquivo, sobretudo poemas segregados do compósito. / Signs of paradox and contradiction are intrinsic to the Invention of Orpheus (1952), Jorge de Limas (1893-1953) major poem, firstly because its theoretical conception of the creative act as a tension between the witty and the mystical, the orphical and the sirenical, natura naturata and natura naturans; secondly based on the inconstant reception by critics, who in spite of their different positions, agree in considering the poem as a difficult and irregular ensemble in terms of its aesthetical quality. This thesis argues that the Invention of Orpheus, in its whole, is grounded on a sovereign and even tyrannical manipulation of forms, reworking the baroque ars inveniendi in order to expose how astrayness and violation inhabits the core of Technique. In terms that are consistent with the theological dimension proper to de Limas Summa Poetica, it demonstrates how the corruptible essence, generally associated only to material, be it the language, the subject or the History, ultimately derives from the Form itself, since the beginning. This thesis presents an archaeology that considers three levels of meaning in Invention of Orpheus, the metalinguistic, the autobiographical and the historical, as well as a mode of understanding the dialectic of the epical and the lyrical through its dramatic synthesis, as in the acting voices that give form to subpoems, or in the sexual and anthropophagic drama between the Muse, the raphsode and the guides (or accomplices). The epigraphic ensemble of Invention is considered crucial to this study, functioning as a strategical and compositional map that articulates in itself the dilemma of betrayal and continuity between sacred and profane literature. The first chapter discusses de Limas marginal works and the biblical epigraphs, analyzing the intersections between levels of meaning, matrices and genres. Chapter II focuses on an epigraph by Guillaume Apollinaire, and analyses the relation between parable and enstrangement, between incest and palimpsest, from Ancila Negra (Black Servant/Support) to the nocturnal engineer. Chapter III focuses on the problematic development of the indigenous conflict in Jorge de Limas work. The Appendix organizes archive materials, especially poems excluded from the composite.