This thesis is concerned with the description of individual experiences of (architectural) space in a social milieu. Architecture, while considered to be primarily concerned with space as its medium, has a very impoverished (or occasionally, very contorted) verbal language in which to discuss space. The author, as a beginner teacher, noted this in attempts to explore spatial experience with students of architecture, and resolved with their help to generate an appropriate verbal vehicle. The main body of the thesis relates this attempt and accounts for its failure. The Thesis, thus, follows three intertwined streams. 1) A scientific investigation into means for the description of human experience of (architectural) space, using methods developed from Kelly's Personal Construct Theory Repertory Grids. 2) A partially developed spatial analytic language, my personal response to 1) above, which is to be seen as the start of a new research programme that may last many years (the future of which is outlined). 3) An account of a personal learning experience both from, around and through each of these. These streams are organised into three parts. Part 1: Background Studies - into work in associated areas and fields, with an assessment of their relevance to the undertaking presented here. Part 2: The Experiments - attempting (and failing) to create a language, and the transition from verbal to visual, with critical arguments and observations. Part 3: A New Beginning - learning from the failure of Part 2, and the argument for and commencement of a new research programme.

The aim of this dissertation is to study segregation within the Swedish school system, with regard to the reformation during the last decades of the 20th century which researchers have described as a system change. After an initial research survey two questions are identified: one which concerns the process of human becoming, and the other concerning segregation, within and between social milieus in a school system. The first is answered from a relationistic philosophical perspective, which leads to the study object the educative milieu. In turn the study object leads to the development of a research approach to investigate such settings. The research approach consists in the construction of epistemic objects (in short: epiobjects) – in this case two school classes whose pupils have actively made the choice of these classes – understood as monistic entities constituted of internal relational structures. The construction of the epiobjects identifies the families involved in the classes as informants and decides on a number of research themes (for example description of the school, the teachers, leisure activities) for the data collection. The disposition of the study consists of tree main steps: determining relevant symbols, positioning and description. Determining relevant symbols means to decide what is assigned meaning in respect of the research themes. This was achieved through an interview study. Positioning means to decide how the symbols and bodies are distributed within the epiobjects in order to represent their relational structures. This was done with questionnaire data that was organised with aid of correspondence analysis. In the description the epiobjects can be understood as educative milieus, by focusing on their educative tensions and doxa. Educative tensions are differences between positions in the epiobjects relational structure, while doxa are areas of agreement. The analysis shows that the epiobjects are obviously different in terms of educative tensions and doxa. The main difference between the epiobjects concern the families’ motives for the choice they have made: families in one class maintained they chose the school because of its subject specialisation, while families in the other claimed that they sought a school characterised by orderly behaviour and a better learning of subject knowledge and skills. Associated with these differences are dissimilarities concerning, for instance, political orientation, education level, income, democracy, freedom of choice, as well as regarding inclination to attend different kinds of cultural events and institutions. The results can be seen as an illustration of how a system of freedom of choice leads to segregation, by orienting people with dissimilar preferences to different alternatives while, at the same time, these preferences concerning school choice correspond with differences in other areas of life.

This qualitative study examined how three accomplished traditional string musicians learned music in their homeschool environments. Data were derived from formal interviews of the three musicians. The research framework for this qualitative study is based upon the socio-educational model of second language learning motivation developed by R. C. Gardner (1959, 1985, 2004, 2010) and applied to the study of instrumental music learning motivation by P. D. MacIntyre (2012). Structured interview questions, triangulated by additional informal dialogues, field observations, externally documented sources, and collaboration with an expert review panel were the data collection activities utilized in the research. Five overarching themes emerged: (1) social and cultural surroundings influence musical achievement, (2) the desire to acquire the attributes and acceptance of other musicians supports musical achievement, (3) motivation impacts musical achievement, (4) learning and performing music causes anxiety, and (5) informal learning environments foster musical attainment. The examination of homeschooled, traditional musicians via the overarching themes, may provide valuable insights for educators in the area of acquisition and development of musical skill in high school students.

The aim of this research entitled Narrative Strategies in Selected Amharic Novels from 2000 until 2010 was to shed light on the relationship among form, meaning (content) and social milieuin establishing the textual and contextual features of fictional narratives. It mainly contends that it is possible to unravel the textual and contextual qualities of fictional narratives by studying form as a narrative strategy. In this research, form, when understood as a narrative strategy, is not only considered as a textual construct which motivates textual meaning but also regarded as a product of the social milieu from which the text emerges. Having this conception, form as a narrative strategy is investigated in selected Amharic novels published from 2000 until 2010 in view of expounding the artistic and thematic features of contemporary Amharic novels, endeavouring to fill the knowledge gap in Amharic literary scholarship about their literary features. The present research applies narratological approaches that range from classical to post-classical narratology. However, it dominantly uses post-classical conceptions of narratology as guidelines for its discussion. The dissertation comprises six chapters. The first one is an introductory chapter in which the research problems, goals and assumptions are explicated. Chapter two deals with the theoretical framework where the theoretical insight the research utilizes as a guideline is outlined and methodological issues are specified. The following three chapters focus on the analysis. In the third chapter, story is investigated as a narrative strategy in Yeburqa Zemeta (Burka’s Silence) (2000); in the fourth one, focalization is treated as a narrative strategy in Gerač.a Qač.eloč (Grey Bells) (2005), and in the fifth chapter, characterization is studied as a narrative strategy in Dèrtogada (Dertogada) (2010). The dissertation concludes with a chapter in which independent findings in the three analysis chapters are summed up and generalizations on the textual and contextual features of the present day Amharic novels are made. / Afrikaans & Theory of Literature / D. Litt. et Phil. (Theory of Literature)

Si le théâtre est le lieu de l’élaboration de la langue où le poète a naturellement sa place, force est de constater que l’auteur dramatique des années deux mille peine paradoxalement à trouver sa place dans le théâtre et la société de son temps. Confrontés à la frilosité institutionnelle, à la méfiance des publics et à une méconnaissance généralisée, les auteurs dramatiques actuels tentent de faire entendre leur voix et n’hésitent pas à revendiquer leurs droits auprès des instances publiques. Ce travail se propose de porter un regard actuel et transversal sur la place et la fonction de l’auteur dramatique, en le posant comme une entité humaine qui évolue dans un milieu artistique et social concret. Après avoir retracé le parcours de la figure de l’auteur et l’évolution de la conception du texte dramatique dans l’histoire du théâtre, notre principal intérêt portera sur les différents aspects qui composent aujourd’hui l’identité de l’auteur, qui définissent son profil socioculturel et qui déterminent sa place dans le théâtre. Nous nous pencherons tout d’abord sur l’image actuelle de l’auteur qui se présente comme un artiste combatif et comme un médiateur averti proche du public avant d’aborder la question de son statut professionnel. Nous nous focaliserons par la suite sur le phénomène récent du regroupement des auteurs dramatiques en collectif. L’étude de la place concrète et physique qu’occupe aujourd’hui l’auteur dans l’entreprise théâtrale, et surtout l’analyse des principaux modes de son intégration (direction-association) et des rapports qu’il entretient avec les autres partenaires de la création (metteur en scène, acteur, public) nous permettront de mesurer les avantages et les limites de sa présence au sein du théâtre. De même, la représentation de ses oeuvres dans le système théâtral subventionné, dans le théâtre privé et les compagnies amateurs, l’observation des structures, associations, festivals et manifestations divers qui mettent l’auteur de théâtre au centre de leur projet et enfin l’étude des différents moyens de diffusion et de valorisation (commandes, résidences, ateliers, comités de lecture) des écritures théâtrales contemporaines complèteront cette recherche. Dans un souci de dépasser le seul cadre théâtral, nous aborderons également la place qu’occupe actuellement l’auteur de théâtre dans l’espace médiatique, éditorial et scolaire. Enfin, l’exploration du geste d’écriture et l’analyse du processus de création des auteurs dramatiques, suivies par un aperçu des principales tendances esthétiques et formelles qui caractérisent les écritures contemporaines, offriront un nouveau regard sur la façon dont les auteurs conçoivent leur art et sur les moyens qu’ils déploient pour contribuer au renouvellement de l’écriture dramatique. / If the theatre is a place where a language in which the poet naturally belongs is created, we cannot avoid noting that the dramatist of the 2000's, paradoxically, is finding it hard to locate his place in the theatre and in the society of his time. Faced with institutional lukewarm support, with a distrusting public and a general lack of understanding of their role, the dramatists of today are trying to make their voices heard, and do not hesitate to demand that public bodies support their rights. This work proposes to concentrate on a cross-disciplinary examination of the place and function of the dramatist. It will do this by positing that he is a human entity that is evolving within a concrete artistic and social milieu. After tracing the trajectory of the authorial figure and the evolution of the concept of the dramatist in the history of the theatre, we will concentrate on the various aspects that today make up the identity of the author, that define his sociocultural profile, and that determine his place within the theatre. We will initially focus on the current image of the author seen as a combative artist and as an enlightened mediating figure who is close to his public. Then we will take on the question of the author's professional status. We will then concentrate on the recent phenomenon which presents dramatists as a collective group. The study of the concrete and physical place occupied today by authors in the theatre, and above all the analysis of the principal modes by which the author is integrated (directing-associating) and of the relationships he has with his partners in theatrical creativity (director, actor, public), these will allow us to measure the advantages and limits of his presence within the theatre. Likewise, the representation of his works in the context of subsidized theatre, in the context of private theatre and of amateur companies, the observance of the structures, associations, festivals and other demonstrations that put the dramatist at the centre of their projects, and finally the study of the different ways to propagate and valorize theatrical writing (command performances, resident artists, play reading committees, writing workshops), these will complete this research project. Given our determination to go beyond the world of theatre, we will also examine the current place occupied by the dramatist as a mediating, editorial and scholarly force. Finally, the study of the writing and the analysis of the creative processes of dramatists, followed by an overview of the esthetic and formal tendencies that characterize modern writing, will offer a new way of looking at the way in which authors view their art and will offer a new perspective on the ways in which they contribute to the renewal of dramatic writing.

L’essor du protestantisme évangélique en France est un laboratoire d’analyse des effets de la mondialisation sur les identités religieuses. Alors que leurs origines remontent souvent à la Réforme protestante en Europe elle-même, les évangéliques français font partie aujourd’hui d’un mouvement à dimensions mondiales où les Américains jouent un rôle de premier rang. Quelle influence ces derniers exercent-ils réellement en France? Pour les évangéliques français, quels sont les enjeux de l’association avec leurs coreligionnaires aux États-Unis? Nous cherchons à fournir des réponses en nous appuyant sur une étude de terrain des églises évangéliques dans l’est de la France. Il en ressort que les États-Unis exercent effectivement une certaine influence, mais que celle-ci n’est ni prépondérante ni uniforme. Le plus souvent, lorsque les églises françaises établissent des liens avec des Américains, elles le font en fonction de leurs propres besoins dans le champ social français. Ainsi les évangéliques français ne sont pas de simples récepteurs d’influence, mais des acteurs sociaux à part entière. / The growth of evangelical Protestantism in France is a laboratory for analyzing the effects of globalization on religious identities. Even though their origins can often be traced to the Protestant Reformation in Europe itself, French evangelicals are today part of a world-wide movement where Americans play a leading role. What influence do American evangelicals really exert in France? What is at stake for French evangelicals who associate with their American coreligionists? Our study of evangelical churches in the east of France shows that the United States does indeed exert a certain influence, but it is neither preponderant nor uniform in nature. Most of the time, when French churches develop ties to Americans, they do so in function of their own needs within the French social field. French evangelicals are thus more than just receptors of influence, but social actors in the fullest sense.

The aim of this research entitled Narrative Strategies in Selected Amharic Novels from 2000 until 2010 was to shed light on the relationship among form, meaning (content) and social milieuin establishing the textual and contextual features of fictional narratives. It mainly contends that it is possible to unravel the textual and contextual qualities of fictional narratives by studying form as a narrative strategy. In this research, form, when understood as a narrative strategy, is not only considered as a textual construct which motivates textual meaning but also regarded as a product of the social milieu from which the text emerges. Having this conception, form as a narrative strategy is investigated in selected Amharic novels published from 2000 until 2010 in view of expounding the artistic and thematic features of contemporary Amharic novels, endeavouring to fill the knowledge gap in Amharic literary scholarship about their literary features. The present research applies narratological approaches that range from classical to post-classical narratology. However, it dominantly uses post-classical conceptions of narratology as guidelines for its discussion. The dissertation comprises six chapters. The first one is an introductory chapter in which the research problems, goals and assumptions are explicated. Chapter two deals with the theoretical framework where the theoretical insight the research utilizes as a guideline is outlined and methodological issues are specified. The following three chapters focus on the analysis. In the third chapter, story is investigated as a narrative strategy in Yeburqa Zemeta (Burka’s Silence) (2000); in the fourth one, focalization is treated as a narrative strategy in Gerač.a Qač.eloč (Grey Bells) (2005), and in the fifth chapter, characterization is studied as a narrative strategy in Dèrtogada (Dertogada) (2010). The dissertation concludes with a chapter in which independent findings in the three analysis chapters are summed up and generalizations on the textual and contextual features of the present day Amharic novels are made. / Afrikaans and Theory of Literature / D. Litt. et Phil. (Theory of Literature)