This essay is an introduction to the intentions and purposes of the british play writer Sarah Kane (1971-1999). Her own voice is presented both via quotations linked to her work and by an explanation of her connections to the surrealist poet and actor Antonin Artaud. The main focus is on Kane’s second play, Phaedra’s Love, first performed in 1996. The play is analyzed in co-relation to La volonté de savoir, the first volume in Michel Foucault’s trilogy Histoire de la sexualité. The analysis concentrates on how the structures in society control and act in relationship to and in collision with desire. In La volonté de savoir Michel Foucault presents the thesis that there exists a special talk about sex and sexuality. A talk that states that these are repressed issues. Foucault asserts that such a talk originates from several discourses and institutions in society and together they constitute a chain of power. In his analysis Foucault examines why we declare ourselves as oppressed and what consequences that generates. This essay relies heavily on an inquiry of these consequences and its discourses. The theories of Foucault are applied to Phaedra’s Love and explain the scenarios in which the social discourses of power collide and how they try to affect the characters and their desire. Together they make clear, that desire, in the play, is not primarily related to sex and sexuality. It is rather a desire; the object of which is the state of self-governed individuality. A need for an individual space in the discourses of talk. The main characters, Phaedra and Hippolytus, changed attitude concerning talk and silence result in a powerful social reaction. They both riot against a structure which maintains the standard discourses of power and knowledge. The riot is to be read as the final outcome of the society that surrounds them. The social reaction that comes with this exposes that the controlling discourses of power ultimately are based upon, not talk, but violence. Several other aspects are of importance for the analysis and its conclusions even though they are not pointed out in this abstract. The play Phaedra’s Love and Foucault’s theories both operate on numerous levels at the same time, and as a whole, they both present experiences they wish the spectator/reader will reflect upon. / Uppsatsen ger en ingång till den brittiska dramatikern Sarah Kanes intentioner som pjäsförfattare. Hon kommer själv till tals via citat knutna till sin produktion och genom påvisade beröringspunkter med den surrealistiska poeten och skådespelaren Antonin Artaud. Tyngdpunkten ligger på Kanes andra pjäs; Phaedra’s Love, uruppförd 1996. Med stöd i Michel Foucaults Viljan att veta band 1 ur trilogin Sexualitetens historia undersöks det hur samhällets strukturer kontrollerar och verkar tillsammans med och i kollision med begäret i pjäsen. Michel Foucault driver i Viljan att veta tesen att det finns ett särskilt tal om könet och sexualiteten, ett tal som hävdar att dessa är förtryckta. Foucault menar att ett sådant tal utgår från flera olika diskurser och institutioner i samhället och att de tillsammans utgör en maktens relation. Foucault undersöker i sin analys varför vi påstår oss vara förtryckta och vad det får för konsekvenser. Analysen av pjäsen fördjupar sig i dessa konsekvenser och dess diskurser under rubrikerna: ”Familj och monarki”, ”Tal och tystnad”, ”Begär”, ”Motstånd”, ”Bekännelse”, ”Samhälle” och ”Våld”. I varje avsnitt appliceras Foucaults teorier på Phaedra’s Love och förklarar det scenario som uppstår då samhällets maktstrukturer kolliderar med och försöker påverka rollfigurernas begär. Genom analysen av pjäsen visar sig begäret inte primärt vara sexuellt relaterat utan rör istället begäret att agera som självständigt subjekt. Behovet av att ta subjektiv plats i talet och dess diskurser. Rollfigurernas förändring i förhållningssätt till talet och tystnaden och deras agerande därefter utlöser en kraftig reaktion från samhällets sida. Huvudrollerna Phaedra och Hippolytus gör uppror mot de strukturer som bibehåller makten och vetandets diskurser intakta. Deras agerande kan läsas som en reaktion provocerad ur det samhälle som omger dem. Samhällets reaktion mot detta visar, i sin tur, på att maktens kontrollerande diskurser ytterst inte ligger i talet utan i våldet. Flera andra aspekter är av betydelse för analysen och dess slutsatser även om de inte poängteras här i sammanfattningen. Kanes pjäs rör sig liksom Foucaults teorier parallellt på flera genomgripande nivåer. Som helhet presenterar dock de båda en erfarenhet med en förhoppning om att åskådaren/läsarens ska ta tillvara densamma.

Thesis (M.A.)--Miami University, Dept. of French and Italian, 2009. / Title from first page of PDF document. Includes bibliographical references (p. 63-64).

O emprego da ventilação e da iluminação natural nas construções minimiza os impactos ambientais e possibilita uma maior harmonia entre o entorno e o edifício. Isso pode ser ilustrado através das obras do arquiteto João Filgueiras Lima, Lelé, que proporcionam o uso racional da energia elétrica, conforto aos usuários e humanização dos espaços. Este trabalho evidencia as metodologias de projeto de Lelé e sua equipe na elaboração de um edifício mais confortável. Posteriormente, identifica as estratégias de conforto térmico e ventilação natural utilizadas por ele, por meio da comparação e avaliação de dois hospitais da Rede Sarah, localizados nas cidades de Salvador - BA e do Rio de Janeiro - RJ. A análise se divide em duas etapas: primeiramente a qualitativa, através da identificação e caracterização dessas estratégias. Em seguida, é efetuada a análise quantitativa, por meio de medições in loco das variáveis ambientais temperatura, umidade relativa e velocidade do ar e dos níveis de iluminância e através de ensaios no túnel de vento. A análise dos resultados é baseada em entrevistas; pesquisas de campo; nas normas ASHRAE Standard 55-2004 e NBR/ABNT 5413; na comparação da velocidade do vento em cada hospital analisado nos ensaios no túnel de vento e nos parâmetros adquiridos em literatura especializada. As análises apresentadas neste trabalho demonstram a preocupação de Lelé na incorporação dos aspectos bioclimáticos desde a concepção do projeto, destacando a importância de suas experiências profissionais. Além disso, destaca-se que a principal evolução que ocorreu no Sarah Rio foi à estrutura e a geometria da cobertura em sheds. / The use of natural ventilation and lighting by buildings reduces the environmental impacts and allows a better harmony between the building and its surroundings. It can be seen in the work of the architect João Filgueiras Lima, Lelé, which provides a rational use of electricity, comfort to the users and the humanization of the spaces. This work shows Lelés design methodology for the conception of a more comfortable building. After that, this research identifies thermal comfort and natural ventilation strategies used by this architect through the evaluation of two Sarah Network Rehabilitation hospitals, which are located in the Salvador - BA and Rio de Janeiro - RJ. The analysis is divided in two steps: initially a qualitative analysis based on the identification and characterization of these strategies. Then it was done the quantitative analysis based on field research of environmental variables as temperature, humidity and air velocity, lighting levels and also through wind tunnel experiments. The analysis of the results was based on interviews, field research, the ASHRAE 55-2004 and NBR/ABNT 5413 standards, the comparison of the air velocity variables in each hospital analyzed in the wind tunnel, and the data obtained in specialized literature. The analysis presented in this work shows the Lelés concern about the incorporation of bioclimatic aspects since the design conception, highlighting the importance of his professional experiences. Furthermore, the results indicated that the main evolution occurred in the Rio de Janeiro Sarah Hospital was about structure and geometry of the sheds on the roofing.

The purpose of this study was to understand in what ways the law of Lex Sarah contributes to quality within the Swedish social services. The legislation of Lex Sarah aims to ensure quality assurance of social services by eliminating misconduct. Operational developers are keyactors in the investigation process of Lex Sarah. Therefore a central question of this study was: In what ways does operational developers consider that Lex Sarah achieve its purpose? The method of analysis was a qualitative study. The basis of the theoretical framework of the study is social constructivism, in which institutional theory and thoughts describing how ideas are transferred and spread is a part of. The theoretical framework has been helpful to illustrate possible ways of how the idea of quality has been spread from industry to social services. The empirical material has been collected by qualitative semistructured interviews.   Central findings of the empirical material is that there was no coherent definition within the group of operational developers of the quality concept. Emphasis is mainly placed on the quality concept's commitment to legislation and user satisfaction. The term is explained in broad terms and no detailed description is given. Lex Sarah is described as an alarm system and the empirical material also shows oppon it’s controlling functions. Through the empirical material it is also shown that the measures proposed by the operational developers not necessarily lead to improvement or quality of the operations. One explenation highlighted is the gap between investigation and the enforcement. A central discovery is also based on the lack of user influence within the Lex Sarah-process.

Thesis Abstract The present thesis offers to read six plays by three contemporary British playwrights - Sarah Kane's Crave (1997) and 4.48 Psychosis (1999), Caryl Churchill's The Skriker (1994) and Far Away (2000), and Tim Crouch's ENGLAND (2007) and The Author (2009) through the lens of Julia Kristeva's essay on abjection, Powers of Horror (1982). Kristeva theorizes abjection as that which retains some resemblance to the subject or object, but is neither - or no longer belongs to the subject. Being confronted with the abject is unpleasant because it is threatening for the subject. It contains all that is habitually removed from life and does not belong in the symbolic order - corpses and excrements. Likewise, the maternal body needs to become abject for the infant to realize its own borders and bodily integrity. Kristeva proposes that the abject finds its way back into the symbolic order through literature, and reads a number of writers as being concerned with the abject. In the theatre, as well as in the visual arts, abjection has been a useful theoretical starting point, despite the fact that it is seen by a number of critics as something which cannot truly be grasped, and as resisting description and verbal imposition. Each playwright and each play includes a different aspect of the abject. Central to...

Thesis (MDram)--University of Stellenbosch, 2011. / AFRIKAANSE OPSOMMING: Die literêre interteks staan sentraal tot die teks-analitiese proses en die gevolglike ontsluiting van betekenis binne die oeuvre van Sarah Kane, maar in die huidige besprekings van haar werk, word hierdie interteks alleenlik tot literatuur soos die roman, die gedig en die teaterteks beperk. Die gevolg is dat daar ‘n totale verontagsaming van die neerslag van die liriek as nóg ‘n tipe literêre interteks is. Beide James Macdonald (in Fisher 2001b) en Iain Fisher (2001b) dui daarop dat lirieke van heelparty orkeste - o.a. Joy Division, Radiohead, Nirvana en die Beatles - in Kane se werk nagespeur kan word, maar geeneen blyk ondersoek na die moontlike redes vir die ontlening daarvan óf hoe dit die betekeniswaarde van haar werk informeer, in te stel nie. Deur op Still en Worton (1990:1-2) se teorie dat die leser van ‘n teks sy/haar eie intertekste op daardie teks van toepassing kan maak in ‘n poging om die betekenis daarvan te ontsluit (selfs al word betrokke intertekste nie noodwendig deur die skrywer erken nie), te trek, word daarop gedui waar en hoe verskeie lirieke van voorgenoemde vier orkeste hul neerslag in vier van Kane se dramas, Phaedra’s Love, Cleansed, Crave en 4.48 Psychosis vind. Na gelang van Michael Riffaterre (1990:58) se teorie omtrent “connectives” (in hierdie geval die lirieke wat Kane se tekste met liedjies uit die populêre kultuur verbind) en hoe ‘n deeglike voorkennis daaromtrent die leser daartoe in staat stel om te bepaal of betrokke “connective” wel die teenwoordigheid van ‘n interteks daarstel al dan nie, word ‘n deeglike studie van elkeen van die lirieke gedoen. Daarna word verskeie raakpunte tussen hierdie lirieke en Kane se tekste uitgewys, hetsy dit met onderwerpmateriaal of tematiek verband hou, sodat ge-argumenteer word dat hierdie lirieke wel as intertekste beskou kan word. Vervolgens word die betekenisse van die onderskeie lirieke op Kane se dramas (spesifiek die tematiek daarvan) van toepassing gemaak en daar word ge-argumenteer dat hierdie intertekste óf bestaande beskouings daarvan ondersteun en moontlik daarop uitbrei óf dat dit tot radikaal nuwe insigte omtrent haar werk aanleiding gee, sodat nuwe en oorspronklike benaderings tot tematiek en karakters in die toekoms gevolg sou kon word. Uiteindelik illustreer ek aan die hand van my meestersproduksie empty (2010) hoe ek my benadering tot die neerslag van die liriek as interteks in Kane se werk op genoemde produksie van toepassing gemaak het, sodat die betekenis daarvan ook na gelang van die liriek as interteks duidelik word. / ENGLISH ABSTRACT: The intertextual relationship between Kane’s own work and those literary sources she derives ideas and adopts words from, plays a vital part in the textual analysis of her oeuvre. However, current discussions about and analyses of this intertextual relationship only focus on the novel, the poem and the play as literary intertexts and their subsequent influence on the interpretation of her work. This results in a complete disregard for the lyric’s use as another type of literary intertext (where the lyric is to be understood as the written and not the sung word). James Macdonald (in Fisher 2001b) and Iain Fisher (2001b) both refer to the presence of lyrics from various bands - among them Joy Division, Radiohead, Nirvana and The Beatles - in Kane’s work, but neither of them preoccupy themselves with the further investigation as to why these lyrics have been borrowed or how they inform the interpretation of her work. Drawing on Still and Worton’s (1990:1-2) theory that “the reader’s experience of some practice or theory unknown to the author may lead to a fresh interpretation” of any given text he/she reads (i.e. where the reader applies the knowledge about his/her own intertexts in an attempt to decipher the meaning of the text he/she is currently reading or studying), a clear indication of where and how various lyrics from aforementioned bands can be found in four of Kane’s dramas: Phaedra’s Love, Cleansed, Crave and 4.48 Psychosis. Based on Michael Riffaterre’s (1990:58) theory of “connectives” (in this case those lyrics which establish a connection between Kane’s plays and songs from popular culture) and how proper foreknowledge about these “connectives” can help in determining whether they do establish an intertextual relationship between the play and the song(s) or not, a thorough study of every lyric is undertaken and various similarities between them and Kane’s plays are highlighted. Based on these similarities (whether it be with regard to themes, subject matter or characterization), arguments are made that these lyrics should be viewed as intertexts, and the meanings and analyses of these lyrics are subsequently applied to Kane’s work. In the end these literary intertexts either support existing views and interpretations of her work, or they lead to radically new insights about the work, so that new, innovative and original approaches can henceforth be followed with regard to themes and characterization in her work. Finally I use my own master’s production, empty (2010), as an example to illustrate how I applied the research I have done about the lyric as an intertext in Kane’s work, on my own work and how these various lyrics help to give a better understanding of the play.

Sarah Hall’s feminist dystopia The Carhullan Army presents a near-future society by using oppositional binaries traditional to the genre of the literary dystopia; Utopia/Dystopia, Male/Female, and Good/Evil. This essay deconstructs these binaries in order to unveil the inherent complexities in power structures that cannot be captured by such binaries. Previous research on the novel has approached it with feminist theory, and different branches of feminism such as ecofeminism. In this essay, I use feminist theory as a starting point to discuss the Authority’s oppression of women in the novel, but I also show the limits to this approach when considering the apparent post-9/11 context in which the novel is situated, which decisively inflects its treatment of power. Michel Foucault’s theories on power and knowledge are used in order to examine the complex power structures in The Carhullan Army, which relate to—and transcend—borders of gender. I find that the subtle political presence of American imperialism in the novel is vital to understand the power struggles that are apparent in both the patriarchal city of Rith and the matriarchal Carhullan farm. This essay examines the novel both as a critique to the political submissiveness that Great Britain showed when it followed America into war against Iraq in 2003 and as a depiction of what this submission might lead to.

<p>Predmet istraţivanja ove doktorske disertacije jesu metafore tela i prostora u stvarala&scaron;tvu savremene vel&scaron;ke spisateljice Sare Voters. Istraţivanje se usredsreĊuje na prvih pet romana iz njenog opusa, objavljenih u periodu od 1998. do 2009. godine. Romani Usne od somota, Srodne du&scaron;e i Dţeparo&scaron; spadaju u neoviktorijansku prozu, dok su romani Noćna straţa i Mali stranac sme&scaron;teni u period za vreme i nakon Drugog svetskog rata. Uloga protagoniste u njenim romanima najĉe&scaron;će se dodeljuje lezbejskim likovima, pa se njeno stvarala&scaron;tvo moţe shvatiti kao poku&scaron;aj da se navedene istorijske epohe rekonstrui&scaron;u tako da se omogući predstavljanje lezbejskih likova i lezbejske seksualnosti. Istovremeno, njeni romani doprinose &scaron;irem predstavljanju lezbejske tematike u savremenoj knjiţevnoj produkciji. Osnovni cilj istraţivanja jeste da se ispita uloga telesnih i prostornih metafora u obradi teme istopolne ljubavi, ali i znaĉaj ovih metafora za ĉitav niz drugih tema.<br />Istraţivanja tela i prostora predstavljaju izuzetno plodnu i dinamiĉnu oblast savremene kritiĉke teorije. Ovi pojmovi dospevaju u ţiţu kritiĉkog interesovanja u drugoj polovini dvadesetog veka, mada je njihovo prisustvo u oblastima nauĉnih istraţivanja znatno duţe, pa rasprave o telu i telesnosti nalazimo jo&scaron; u klasiĉnoj filozofiji. Prostor je pak sve do druge polovine dvadesetog veka prevashodno bio predmet matematiĉkih i geografskih istraţivanja, dok je u humanistiĉkoj tradiciji bio shvaćen tek kao pasivna i statiĉna pozadina istorijskih dogaĊaja. Istraţivanje polazi od istorijskog pregleda kljuĉnih teorijskih pristupa telu, poĉev od platonistiĉke dualistiĉke tradicije,&nbsp;preko kartezijanskog dualizma, sve do savremenih poststrukturalistiĉkih teorija, a teorijsko upori&scaron;te analize telesnih metafora ĉine teorije Mi&scaron;ela Fukoa i Dţudit Batler. Analiza romana se usredsreĊuje na motiv transodevanja, metaforu duha, ali i na skup konkretnih telesnih slika kojima se spisateljica iznova vraća. Potom se razmatraju savremena teorijska poimanja prostora, pri ĉemu se istraţivanje oslanja i na relevantna istorijska, knjiţevnoistorijska i sociolo&scaron;ka istraţivanja. Ovaj teorijski okvir sluţi da se ispitaju predstave kuće, zatvora, ludnice i britanske prestonice, te interakcija lezbejskih likova s ovim lokalitetima<br />&nbsp;</p> / <p>The aim of this doctoral thesis is to explore the corporeal and spatial metaphors in the fiction of Sarah Waters, a contemporary Welsh novelist. The critical focus of the thesis is on Waters‟s first five novels, published between 1998 and 2009. Tipping the Velvet, Affinity and Fingersmith belong to the neo-Victorian genre, while Night Watch and The Little Stranger are set in the period during and after the Second World War. In Waters‟s fiction, the role of protagonist is mostly reserved for lesbian characters and her oeuvre can be perceived as an attempt to rewrite the chosen historical periods in ways which provide for the representation of lesbian characters and lesbian sexuality. In addition, her novels make a significant contribution towards wider literary representation of lesbian issues in the contemporary context. The main goal of this research is to analyze the role of corporeal and spatial metaphors in the portrayal of same-sex relationships, class tensions and other relevant themes in Waters‟s work.<br />The issues of body and space are undoubtedly at the centre of contemporary critical interest and theoretical debates that surround them are diverse and wide-ranging. However, while the history of theoretical interest in the body dates back to the classical tradition, spatiality only came to prominence in the second half of the twentieth century, when a surge of critical interest can be observed marking the beginning of the so-called spatial turn. The thesis therefore&nbsp;starts by providing a brief historical overview of the key theoretical approaches to the body, including the mind/body debate in the classical Platonic tradition, Cartesian dualism and contemporary poststructuralist theory. The theories of Michel Foucault and Judith Butler are then used as the main theoretical framework for the analysis of corporeal metaphors, which focuses on the motif of cross-dressing, the spectral metaphor, as well as a range of recurrent corporeal images in Waters‟s writing. In the following chapters, the focus shifts to contemporary theoretical approaches to spatiality and relevant sociological, cultural and historical research, which are used to explore the representations of home, prison, asylum and urban space, as well as the interaction between the lesbian protagonists and their surroundings.</p>

I am interested in the idea that schools should be designed to offer individualized learning."A Science & Mathematics Magnet School at Maymont" explores a type of school that is becoming more familiar and accessible. By allowing students who have an interest in excelling in school and preparing for their future careers to come together and meet one another and experience aneducation that might not otherwise be available can be beneficial in many ways. In most cases, because of the funding required for such specialized schools, class sizes are reduced to meet budgets and the schools are opened to the community to gain funding. Smaller class sizes increase student interaction and aid in forming connections among students and between studentsand teachers. The use of the school as a venue for the community adds needed revenue. Both occurences may be advantageous and positively effect community at the school and surrounding populous levels.

Chronologically I have described the different environments that I have been exposed to in the past five years and how my interactions with the different locations have affected my work. I started writing about what I was doing a year after finishing my undergraduate degree, when I started to feel as though I needed to re-invent my work in a way that also meant trying to see the process of creating art differently. I didn't know yet how this new work would begin to generate, or what would inspire it, but I knew that I was seeking a studio practice that would be personal enough to sustain a lifetime of exploration. In the end I found the inspiration had always been all around me.