The transposition of Chekhov's The Cherry Orchard (originally published in Russian in 1904) to contemporary South Africa in Suzman's The Free State (2000) is based on the corresponding social changes within the two contexts. These social changes cause a binary opposition of past and present in the two texts. Within this context memory functions as a space in which the characters recall the past to the present and engenders a dialogue between past and present. Memory is illustrated in the two plays by associations with place as an important aspect of identity formation. Memory and place are fused in the plays by means of Bakhtin's concept of the chronotope which is best observed in the plays in memories of specific places such as the respective orchards, houses and rooms such as the nursery and the ballroom in. The Cherry Orchard and the garden in The Free State. Furthermore, the influence of the past is also evident in the present when ideas of social status, class, race (in the case of The Free State) and behaviour are contrasted and when various characters express their perceptions of personal relationships and ideas about marriage. The influence of the past is also evident when the characters voice their different perceptions and expectations of the past and future. In The Cherry Orchard these cultural differences are evident in the concept of heteroglossia. However, in The Free State, these dialogues are directed by a specific politically liberal view which diminishes the heteroglossia in the text. The juxtaposing of past and present is also illustrated in The Cherry Orchard by various subversive strategies such as comedy of the absurd in order to portray the behaviour of the characters as incongruous. Another subversive strategy is the contrasting of characters and ideas in order to expose pretensions and affectations in speech and actions to parody both the old establishment and the ambitions of former peasants. These conventions are best illustrated by the concept of the carnivalesque that also features as one of Bakhtin's terms to capture incongruous ideas and situations in literature. In The Free State, comedy is unfortunately much diminished and in contrast to Chekhov's ambiguity, only directed against politically conservative characters. The prevalence of these three Bakhtinian concepts in the texts shows how identity formation is to a large extent influenced and defined by occupied space. When social change affects the distribution of land, a character's concept of identity is destabilised. Although Suzman uses this similarity in the two contexts in order to transpose Chekhov's text to contemporary South Africa, she organises the various stances in the text to advocate a specific politically liberal view. Thus, Suzman's transposition leads to an interesting comparison between the Russian and South African contexts as well as between the two texts. However, her text is limited by her political interpretation of Chekhov's text. / Thesis (M.A. (English))--North-West University, Potchefstroom Campus, 2009.

The transposition of Chekhov's The Cherry Orchard (originally published in Russian in 1904) to contemporary South Africa in Suzman's The Free State (2000) is based on the corresponding social changes within the two contexts. These social changes cause a binary opposition of past and present in the two texts. Within this context memory functions as a space in which the characters recall the past to the present and engenders a dialogue between past and present. Memory is illustrated in the two plays by associations with place as an important aspect of identity formation. Memory and place are fused in the plays by means of Bakhtin's concept of the chronotope which is best observed in the plays in memories of specific places such as the respective orchards, houses and rooms such as the nursery and the ballroom in. The Cherry Orchard and the garden in The Free State. Furthermore, the influence of the past is also evident in the present when ideas of social status, class, race (in the case of The Free State) and behaviour are contrasted and when various characters express their perceptions of personal relationships and ideas about marriage. The influence of the past is also evident when the characters voice their different perceptions and expectations of the past and future. In The Cherry Orchard these cultural differences are evident in the concept of heteroglossia. However, in The Free State, these dialogues are directed by a specific politically liberal view which diminishes the heteroglossia in the text. The juxtaposing of past and present is also illustrated in The Cherry Orchard by various subversive strategies such as comedy of the absurd in order to portray the behaviour of the characters as incongruous. Another subversive strategy is the contrasting of characters and ideas in order to expose pretensions and affectations in speech and actions to parody both the old establishment and the ambitions of former peasants. These conventions are best illustrated by the concept of the carnivalesque that also features as one of Bakhtin's terms to capture incongruous ideas and situations in literature. In The Free State, comedy is unfortunately much diminished and in contrast to Chekhov's ambiguity, only directed against politically conservative characters. The prevalence of these three Bakhtinian concepts in the texts shows how identity formation is to a large extent influenced and defined by occupied space. When social change affects the distribution of land, a character's concept of identity is destabilised. Although Suzman uses this similarity in the two contexts in order to transpose Chekhov's text to contemporary South Africa, she organises the various stances in the text to advocate a specific politically liberal view. Thus, Suzman's transposition leads to an interesting comparison between the Russian and South African contexts as well as between the two texts. However, her text is limited by her political interpretation of Chekhov's text. / Thesis (M.A. (English))--North-West University, Potchefstroom Campus, 2009.

The purpose of this thesis is to research the relation between spatial structures and social relations including the cultural ones. This study specifically researches the relation between the construction and the representation of urban space and urban culture in Sakarya Caddesi as an instance of society-space interaction. This research focuses on Sakarya Caddesi where various urban cultural practices such as entertainment, has intensified. It deals with the constitution and representation of this entertainment space and researches how a particular place is constructed materially and imaginarily, how different social actors perceive, interpret and constitute a particular place in different ways. Accordingly, the contestation over the representation and use of place is discussed in this study. In order to comprehend a local place and culture, the issues should be thought in a wider context. Therefore, Sakarya Caddesi which is a part of urban space and the urban practices which occur in this area, are evaluated in global context. This study, discusses the influences of global changes on urban space, urban cultural practices and lifestyles. Discussing Sakarya Caddesi and its culture through discourses, this thesis relates spatial categories with some concepts of cultural politics such as identity.

The aim of this thesis is to study the multidimensional relation between the spatial and the social by focusing on Van as a place. In order to understand social processes, it is important to view the complex relation between the spatial and the social. Taking the space-place relation into consideration, this work approaches to the processes of construction and representation of identity of place in the framework of the interrelation between place, culture and identity. Different groups in society are in a constant contestation over the construction of the meaning and the identity of place. This work, studies how place is constituted both materially and imaginarily within this contestation process. Senses of place and the meanings given to places are formed by social, cultural, economical and political situations of the people. Consequently this thesis, discusses the contestation over the representation and the use of place in the context of social, cultural, economical, political processes and power relations. It considers the dynamics which are effective on the constitution of image of Van. It studies the influences of these dynamics on the construction, the use, the transformation and the reproduction of place through the cultural practices of different groups in the city. This thesis, researches the relation between place and culture, the everyday life practices of different groups and the process of production of meaning through these practices.

The aim of this thesis is to study the multidimensional relation between the spatial and the social by focusing on Van as a place. In order to understand social processes, it is important to view the complex relation between the spatial and the social. Taking the space-place relation into consideration, this work approaches to the processes of construction and representation of identity of place in the framework of the interrelation between place, culture and identity. Different groups in society are in a constant contestation over the construction of the meaning and the identity of place. This work, studies how place is constituted both materially and imaginarily within this contestation process. Senses of place and the meanings given to places are formed by social, cultural, economical and political situations of the people. Consequently this thesis, discusses the contestation over the representation and the use of place in the context of social, cultural, economical, political processes and power relations. It considers the dynamics which are effective on the constitution of image of Van. It studies the influences of these dynamics on the construction, the use, the transformation and the reproduction of place through the cultural practices of different groups in the city. This thesis, researches the relation between place and culture, the everyday life practices of different groups and the process of production of meaning through these practices.

This thesis inquires into the transformative potentials and possibilities of attending specifically to matters of occupation, settlement and development for rearticulating discourses and knowledge relations on homelessness to undermine the projects of separation of land from body. Through an historiographical analysis applied to the National Housing Strategy (NHS), Reaching Home (RH), and Housing First (HF), as contemporary Canadian iterations of housing and homelessness policy and practice, this work critically examines representations, attentions, and omissions to understand, engage, and intervene on considerations of the common projects that constitute discourses on homelessness. This analysis found that contemporary understandings communicate and define the homeless body as an identity of lack, novel to the neoliberal contemporary that omit attentions to homelessness as a colonial capitalist process implicated in ongoing, relational, and severed histories of violence. This work also revealed that NHS, RH, and HF operationalize solutions to ending homelessness through abstracted/eugenic ‘expert’ medicalized, liberalized, and market-based systems/taxonomies of worth that reify/silo/silence/erase knowledges through and by embodied projects and discourses of ‘rights’, justice, care, and help. While NHS, RH, and HF claim ‘housing as a right’ and advocate deinstitutionalization via a discourse of ‘choice’ in a market system, this work revealed these discourses to be part of a redeveloped economic institutionalized politics severed, rearticulated, and managed in the social sphere. These findings are considered as a violence of Land/Body bifurcation possible through and by the imposition of claims on body and land in the creation and maintenance of ideal citizen subjects as settlement subjectivities becoming self-determined rights holders, consumers, tenants, and citizen placeholders in a commodified market for home. Overall, this project aims to contribute to a resistance of the severing violence of occupation, settlement, and development through an ontology of Land/Body simultaneity offering possibilities for transformational intervention into the context from which the ideas of homeless bodies and landscapes emerge. / Thesis / Master of Social Work (MSW)

During the nineteenth century an unprecedented number of emigrants left Britain, primarily for America, Australia, Canada, and New Zealand. Recent historical scholarship has argued that these predominantly Victorian mass migrations belong to an even larger history of “Anglo” migration, characterized by its global reach and ideological investment in settlement. Situating my approach in relation to this wider framework, this thesis argues that Victorian periodicals played a key and overlooked role in both imagining and mediating the dramatic phenomenon of mass British settler emigration. As I argue in chapter 1, this is both owing to close historical and material links between settler emigration and the periodical press, and to the periodical’s deeper running capacities to register and moderate forms of modern motion. While most novels do little to engage with emigration, turning to periodicals brings to light a large range of distinct settler emigration texts and genres which typically work with cohesive spatio-temporal models to offset the destabilizing potentiality of emigrant mobility. Moreover, many now canonical texts originally published in periodicals can be situated alongside them; presenting opportunities to produce fresh readings of works by Charles Dickens, Anthony Trollope and others which I incorporate throughout. My first three chapters focus on settler emigration genres which circulated across a range of mainstream, predominantly middle-class periodicals: texts about emigrant voyages, emigration-themed Christmas stories, and serialized novels about colonial settlement. I argue that these texts are cohesive and reassuring, and thus of a different character to the adventure stories often associated with Victorian empire. The second part of my thesis aims to capitalize on the diversity and range which is a key feature of Victorian periodicals by turning to settler emigration texts that embody a feminized or radical perspective, and which often draw upon mainstream representations in order to challenge their dominant formations.

This study focuses on the conditions and processes that strengthen social distinctions and symbolic boundaries in society. In order to fully grasp the conditions of these processes, it is not sufficient to simply study them as they are carried out on a daily basis. Therefore in this study firstly a general overview of the matter evaluated in the context of globalization. Although a variety of means are at work in constructing social distinctions and symbolic boundaries, in this study three of them have been taken up: leisure, consumption and space. In order to reveal the relationship between them and social distinctions, it examines two different leisure spaces: Laila and Kaktus.

This thesis is the first study using contemporary spatial theory, including cultural geography and its precursors, to examine and compare representations of space in the poetry of three mid-twentieth century American poets: Robert Lowell, Sylvia Plath, and Anne Sexton. Because of the autobiographical content often foregrounded in their work, these poets have been labelled Confessional. Previous criticism has focused primarily on the ways in which they narrate (or draw on) their personal lives, treating accompanying descriptions of their surroundings primarily as backdrops. However, these poets frequently manifest their affective states by using the pathetic fallacy within structures of metaphor that form a textual mapping of the physical space they describe. This mapping can be temporal as well as spatial; the specific spaces mapped in the poem s present are often linked to memories of earlier life or family. These spaces include psychiatric, general, and penal institutions, parks and gardens, nature (especially coastal settings), and the home (almost always a place of tension or conflict). Each poet addresses these broad types of space differently according to their evolving subjective relationship to them. These relationships are in turn strongly influenced by their social class and gender: for the two women, their experience of their own bodies as prescribed space, in relation to the restrictive and objectifying female role that was imposed on them, is critical. Also, critical in shaping the poets experience of space are post-World-War II socio-cultural and demographic changes in the United States, notably suburbanisation, consumerisation and the consolidation of a therapeutic culture . Interwoven with these influences are major political concerns of the period such as the Cold War with its accompanying surveillance and conformism and the threat of nuclear annihilation. In the work of all three poets, awareness of these modern fears fused with traditional Gothic motifs to permeate their descriptions of spaces with anxiety, bitterness, and even dread in a rejection of the synthetic optimism of the American Century and commercial culture. Other criticism has touched on many of these themes in relation to one or another of the poets, but this study, by way of the theme of space, offers comparison and synthesis that aims to shed new light on their work and its relation to the period during which they wrote.

This study analyzes how spatial organization impacts science communication at the St. Petersburg Science Festival in Florida. Through map analysis, qualitative interviews, and a close reading of evaluation reports, the author determines that sponsorship, logistics, exhibitor ambience, and map usability and design are the factors most affecting the spatial performance of science. To mitigate their effects, technical communicators can identify these factors and provide the necessary revisions when considering how science is communicated to the public.