L’œuvre dramatique de Tom Stoppard est souvent considérée comme caractéristique du postmoderne. Les techniques d’écriture qui régissent le texte théâtral de Stoppard, étudiés dans cette thèse, participent à une véritable mise en scène de l’écriture. Ils sont aussi, selon nous, un moyen de détourner et parodier les codes du postmoderne. Collages, fragments et réécriture, caractéristiques de l’œuvre de Stoppard, traduisent aussi une vision patrimoniale de la littérature, et permettent une approche originale et critique du postmodernisme, renouvelant ainsi le discours sur le moderne. La présente étude se propose tout d’abord de montrer comment, à travers les références aux œuvres picturales de Magritte et Duchamp, Stoppard met en scène le signe. Puis, elle cherche à mettre en évidence la manière dont Stoppard utilise le collage et l’emprunt musical pour construire et structurer certaines de ses pièces. Elle envisage enfin le collage comme l’expression d’une herméneutique littéraire et philosophique, en examinant notamment l’influence de l’écriture de James Joyce sur le processus scripturaire du dramaturge. Le théâtre, seule forme d’expression artistique qui peut emprunter à tous les autres arts (Beaux-Arts, musique et littérature), est le lieu idéal où se déploient le foisonnement, la complexité et la richesse de l’écriture de Stoppard. Mais l’utilisation de citations et de fragments n’implique pas la fragmentation du sens : le théâtre de Stoppard, loin d’être l’expression d’une vision détachée du monde, propose aussi une véritable réflexion ontologique et politique sur notre société. / Tom Stoppard’s plays have often been viewed as the epitome of the postmodern. The writing techniques which inform Stoppard’s dramatic texts and which are studied in the present thesis play an essential part in the way in which the playwright stages his own writing process. This study also postulates that those techniques stand as a means of subverting and parodying the codes of the postmodern. The collages, fragments and rewriting which inform Stoppard’s works, reflect a patrimonial conception of literature and allow for an original approach and critique of postmodernism thus renewing the discourse on the modern. While considering the various references to the works of Magritte and Duchamp, the present study seeks to unveil the way in which Stoppard stages the sign. It will then shed light on the way in which Stoppard uses musical collages and quotations, which dot the playwright’s work, to shape and construct some of his plays. Finally, this dissertation will envisage collage as the expression of literary and philosophical hermeneutics as it examines James Joyce’s crucial influence on the playwright’s writing technique. Theatre stands probably as the only form of art which can borrow from all the other forms of art (painting, sculpture, music and literature). As such, it is the ideal locus for Stoppard’s subtle and complex writing techniques to proliferate. However, using quotations and fragments does not necessarily imply a fragmentation of meaning. Far from conveying a detached view of the world, Stoppard’s dramatic works provide the audience with an ontological and political thought-provoking view on our contemporary society.

Le théâtre verbatim, une pratique scénique dont le texte repose entièrement sur les mots exacts énoncés par des personnes réelles, est au coeur d’une renaissance remarquable et inattendue du genre en Grande-Bretagne depuis le milieu des années quatre-vingt-dix. Au même moment, les metteurs en scène britanniques contemporains ont déclaré avoir trouvé de nouvelles approches pour une pratique du théâtre politique par son entremise. En dépit de la dominante anti-réaliste qui semble encore à l’heure actuelle caractériser la culture postmoderne, on admet le plus souvent que le réalisme documentaire est resté le mode par excellence de représentation des pièces verbatim sur scène. Il va donc de soi que ce théâtre, ainsi défini, ignore du même coup les récents bouleversements survenus sur la scène théâtrale britannique. À travers une étude comparative de sept spectacles que nous considérons comme représentatifs du théâtre verbatim, il est affirmé qu’il y a bien eu, malgré tout, des spectacles verbatim dont la nature discontinue implique l’éloignement du réalisme comme élément fédérateur de la représentation. Ces spectacles, qui font appel à l’expérimentation esthétique sous de multiples formes, approfondissent et transgressent ce que nous pourrions entendre par « théâtre verbatim ». Le but de cette analyse est donc d’étudier le théâtre verbatim à contre-courant de ses propres affirmations d’authenticité et de véracité et de suggérer la nécessité d'un discours qui articule mieux l’interdépendance entre les impératifs esthétiques et les possibilités d’un engagement social. Enfin, cette thèse rend compte de l’existence d’une diversité de variables esthétiques dans le théâtre verbatim d’aujourd'hui qui vise un public habitué aux nouveaux médias. À cet égard, ces variables sont regroupées selon trois positions théoriques, chacune étant analysée et traitée de manière distincte et illustrée par des exemples concrets. Par le biais de cette étude, nous espérons ainsi mettre en lumière les esthétiques mouvantes du théâtre verbatim, afin d’en établir une histoire critique et de contribuer à la formulation de ce champ de recherche si riche, autant d’un point de vue scientifique que du point de vue de la pratique vivante de l’art théâtral. / Beyond Documentary Realism: Aesthetic Transgressions in Contemporary British Verbatim Theatre Verbatim theatre, a type of performance based on actual words spoken by ‘real people’, has been at the heart of a remarkable and unexpected renaissance of the genre in Great Britain since the mid-nineties. Simultaneously, contemporary British theatre-makers claimed to have found a renewed avenue to politics through this particular medium. In spite of recent shifts in the British theatrical landscape as well as the much-vaunted postmodern culture of anti-realism, documentary realism is generally conceded to have remained the normative mode of presentation for verbatim plays on stage. Through a comparative examination of seven representative verbatim productions, this dissertation argues, however, that there has been an equally persistent strand of verbatim works that involves a move away from realism as the key element in performance. These productions make use of a wide variety of aesthetic experiments that broaden and transgress what we might understand as verbatim theatre. The strategy adopted by this study is thus to read verbatim theatre against the grain of its claim to ‘authenticity’ and ‘truthfulness’ and to suggest the need for a discourse which better articulates an interdependence between its aesthetic imperatives and the possibilities of social engagement. Finally, this dissertation accounts for the existence of a range of aesthetic variables in present-day verbatim theatre which is aimed at more media-aware contemporary audiences. These are grouped into three theoretical positions, each of them being analysed and discussed in a separate part and illustrated by case studies. It is hoped that, through this argument, the changing aesthetics of verbatim theatre will be illuminated and that – on however small a scale – this doctoral dissertation will contribute to a critical history and theoretical formulation of the complexity of this rich field as both a scholarly discipline and a lived practice.

The thesis analyses influence of actors in the regulatory mode of legislative process of the EU on a case study of liberalisation and integration of the Internal Market in electricity and natural gas. The Internal Market is regarded as an example of postmodern international system. Key arenas used for analysis of individual actors and their partial interests and goals (including ways of their pursuing) are national, regional and supranational.

Within the helping professions there are contrasting epistemological views regarding the role of the helping professional, which have direct influences on learning support practices. Despite these views, it remains unclear what parents expect when seeking learning support for their children. This qualitative study explored parents’ constructions of the role of the helping professional in learning support. It specifically addressed parents’ expectations of the helping professional, what they value in their interactions with helping professionals as well as their understandings of their own roles in consultation and intervention for learning support. A case study approach was employed to gain access to participants. Specifically, three parents of children attending a school for Learners with Special Educational Needs [LSEN] were included as participants. These parents had had experiences with various helping professionals, both at the school and in private practice settings, in the course of seeking assistance for their children. It was thus thought that they would be able to provide in-depth perspectives as to their ideas of the role of helping professionals who assist children experiencing difficulties due to their exposure and experiences with helping professionals. Initial data collection was undertaken via semi-structured interviews with the participants. A content analysis of the interviews was subsequently employed to elicit affinities for use during a further modified form of Interactive Qualitative Analysis [IQA] with the contributors to the study. In total, fourteen affinities were generated and included Parental expectations, Professional characteristics, The helping process, Parents’ role, Status of the helping professional, Professional approach, Parents’ personal experiences, Parents’ emotions, Assessment, Recommendations, Stigma, a Team approach, parent-professional Interaction and Values. These affinity descriptions were corroborated and expanded on with the participants and the relationships amongst the affinities where then hypothesised by the participants themselves. A central outcome of the study was the research participants’ social representations of helping professionals. These representations comprise the thematic elements representing the participants’ discourse about the role of helping professionals in learning support and provide the participants’ in-depth ideas of the relationships amongst these elements. / Dissertation (MEd (Educational Psychology))--University of Pretoria, 2007. / Educational Psychology / unrestricted

Please read the abstract in the section 00front of this document / Thesis (DMus)--University of Pretoria, 2010. / Music / unrestricted

This paper explores narratology with a focus on metaphorical and physical voice in Don DeLillo’s 1982 novel, The Names. Beginning with an overview of previous criticism on the novel and an exploration of its post-modern qualities, I progress into a discussion of meaning, and how it can be found in the narratological voice. The concepts of semantic and vocal form of meaning are taken into consideration. Moreover, it is demonstrated how language in The Names is both representational and experiential.Analysing the novel both in print and in audiobook format, I study voice from the perspective of post-classical narratology. With the use of audionarratological theory, I illustrate how voice in The Names is transformed into an explicit and amplified presence when encountered in its audiobook form. In this context, ideological characteristics of the voice are explored, and I look at how they are semiotically communicated.Finally, since criticism of post-modern fiction usually focuses on representational and metafictional qualities of language, this paper advocates for future research on the experiential qualities of language and asks for this mindset to be applied when analysing post-modern fiction. It is illustrated how the experience of listening to an audiobook version can add to the interpretation of a printed work.

Tidigare studier har visat att skuldsättning har ökat till resultat av avregleringar och ökad tillgängligheten av olika typer av krediter och lån. Dessutom fanns det få forskning om unga vuxnas syn på skuldsättning och skuldsättning för konsumtion. Därför har författarna valt att studera det på grund av ökat intresse för ämnet. Syftet med studien är att öka förståelse, beskriva och analysera unga vuxnas syn på skuldsättning. Studien fokuserar också på att öka förståelse för unga vuxnas syn på konsumtion som leder till skuldsättning. Studiens målgrupp att rikta sig in är personer mellan 18-25 år i båda kön. Studien är en kvalitativ forskning som använder intervju som metod. Det är 12 respondenter som intervjuades genom telefon, skriftligt form och i verkligheten. Studiens forskningsresultat visar att unga vuxna har en negativ syn på skuldsättning men när det gäller studielån eller bostadslån är det inte inkluderad som skuldsättning. Dessutom saknar unga vuxna en korrekt förståelse för skuldsättning. / Previous studies have shown that indebtedness has increased as a result of deregulation and increased availability of different types of credits and loans. In addition, there was little research on young adults' views on indebtedness and indebtedness for consumption. Therefore, the authors have chosen to study it due to increased interest in the subject. The purpose of the study is to increase understanding, describe and analyze young adults' views on indebtedness. The study also focuses on increasing understanding of young adults' views on consumption that lead to indebtedness. The study's target group people between 18-25 years in both sexes. The study is qualitative research that uses interviews as a method. There are 12 respondents who were interviewed by telephone, in writing and in real life. The study's research results show that young adults have a negative view of indebtedness, but when it comes to student loans or housing loans, it is not included as indebtedness. In addition, young adults lack a proper understanding of indebtedness. Keywords:

This work offers a framework for researchers by linking service-dominant (S-D) logic to an intersubjective stream of philosophy of science. Service-dominant logic has resonated in marketing, but no existing research has attempted to link S-D logic with basic meta-theory to provide a framework. Since the range of philosophies of science (isms) referred to in the marketing literature is broad, varying from ‘realism’ to ‘relativism’, from ‘positivism’ to ‘constructivism’ and from ‘structuralism’ to ‘post-structuralism/postmodernism’, first the different isms are grouped into four main groups/streams and then S-D logic is analyzed and classified according to these streams. The four streams are: object-orientation (realism, positivism, empiricism, and so on); subject orientation (constructivism, interpretivism, and so forth); intersubjective orientation (social constructionism, pancritical rationalism, methodological constructivism, and so on); and sign orientation (post-structuralism, postmodernism, and variations). S-D logic is mainly underpinned by an intersubjective orientation and has a huge potential for further development both in and for marketing if seen from a sign-orientated, post-structural perspective and linked to the theory of practices.

A la chute du régime fasciste, l'Italie entre dans une reconstruction matérielle mais également idéologique et culturelle. En architecture, cette entreprise se traduit par des débats sur le lien à la tradition, le dialogue entre histoire et pratique du projet architectural et sur le rapport renouvellé entre l'édifice et la ville. Dans ce contexte, le post-modernisme trouve, à l'occasion de la première Biennale d'architecture de Venise, le territoire propice à son expression. Ce renouvellement intellectuel de la discipline est analysé à travers une trajectoire particulière : celle de Paolo Portoghesi. Cet architecte occupe tout au long de sa carrière des positions prépondérantes au sein de la discipline, dans l'enseignement, la recherche, la presse, l'édition et la pratique.La thèse a pour objectif de mettre en évidence à travers les discours et l'œuvre de cet architecte et les témoignages de ses contemporains, le rôle qu'il a joué dans l'histoire de la seconde moitié du XXe siècle. Après avoir étudier sa production en tant qu'historien de l'architecture, spécialiste du baroque romain (chapitre 1), l'étude démontre comment ces travaux sont utilisés dans la conception architecturale, faisant de lui un représentant de la critique opératoire (chapitre 2). L'étude de son action en tant qu'enseignant, directeur de publication et président de la Biennale de Venise permet de la positionner au sein de l'école romaine d'architecture (chapitre 3) et comme l'un des personnages centraux du post-modernisme en Europe (chapitre 4). Enfin, son parcours permet d'illustrer la transition qui s'opère entre une volonté d'adéquation avec l'esprit du temps pour une théorie de l'esprit du lieu, d'abord à travers la conception de la ville contemporaine (chapitre 5), puis à travers l'énoncé du concept de géoarchitecture. / Following the fall of the Fascist regime, Italy enters a phase of rebuilding and reconstruction, also on an ideological and cultural level. In the field of architecture, this phenomenon triggers debates about the link to the tradition, the dialog between history and practice of the architectural project, and a renewed relationship between the buildings and the city. This environment and the First Venice Biennale are conducive to Post-modernism theories to develop themselves. This intellectual renewal of the discipline is here analyzed via a particular focus: Paolo Portoghesi's one. This architect holds throughout his carrier several major positions in the educational field, research field, press sector, book publishing and also as a practitioner.The thesis aims at highlighting the role Portoghesi played in the history of the second half of the twentieth century, through his texts and works, and the testimonies of his contemporaries. After examining his work as an architectural historian and a Roman Baroque specialist (Chapter One), the study shows how his researches are used in the architectural conception, making him a representative of the operative criticism (Chapter 2). Considering his action as a teacher, Editor in Chief and President of the architectural section of the Venice Biennale, enables to position him in the Roman School of Architecture (Chapter 3) and as one of the major characters of Post-Modernism in Europe (Chapter 4). His life's path illustrates the transition between willing to stick to the spirit of the time and the theory of the genius loci, firstly through contemporary city conception (Chapter 5), then with the concept of “geo-architecture”.

This study aimed to collate and analyse academic literature with regards to possible African perspectives on psychological distress. The purpose of conducting the literature review was to explore thirty years of critical arguments supporting and refuting an African perspective on psychopathology. Literature (e.g. Bhugra&Bhui, 1997) appeared to suggest that some of the relatively recent views regarding psychopathology fail to adequately address psychological distress as it presents in Africa. A systematic literature review was selected as the methodology for this study, and the specific method of the review was research synthesis (Gough, 2004; Popay, 2005). Reviewed literature was sourced between the years 1980 and 2010. The theoretical point of departure was integrative theory, thus falling within the postpostmodern framework. As such, literature regarding psychological theory formed a substantial part of the research, including literature relating to psychodynamic theory, cognitive-behavioural theory, postmodernism, phenomenology, existentialism, critical theory, and systemic patterning (Becvar&Becvar, 1996). These theories formed part of the analysis, thereby allowing contextual analysis as the interpretive method. The review’s themes highlighted the following outcomes: current psychiatric nosology employed a universalistic approach to diagnosis and intervention, thus limiting cultural conceptions of mental illness; holistic intervention requires the inclusion of traditional epistemological tenets; collaboration between modern practitioners and traditional healers would probably better meet the patient’s needs; and that culture-fit assessment and treatment often indicated improved prognosis. The outcomes evidenced the operation of an African perspective on psychopathology. In fact, much of the reviewed literature also suggested culture-contextual perspectives on psychopathology. Furthermore, the way in which lack of cultural coherence appears to exist between patients and some clinicians suggested that diagnostic flaws may be a relatively frequent occurrence. Potential benefits of the investigation include increased awareness that culture-related conceptualisation be further explored in the clinical field; that future researchers use the current review as a foundational reference for primary investigations; that contemporary clinical classificatory systems be reviewed in terms of cultural applicability; and that clinicians reconsider the diagnostic process in terms of culture-fit manifestations of psychopathology. / Thesis (PhD)--University of Pretoria, 2012. / Psychology / unrestricted