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This thesis is concerned with the concept of community in the thought of three French postmodem philosophers-Georges Bataille, Maurice Blanchot and Jean-Luc Nancy. I contend that anarchism is the best framework for understanding them because they emphasize the importance of community outside of the organization of the state. On their view, community as a unity or totality of social relations is absent in contemporary life, but this is as it should be because it makes possible the emergence of communities that are not premised on unity or totality but difference and openness. Bataille thinks that community requires an experience of sovereignty that is sacred rather than political, and that it is available through myth. Blanchot considers community in terms of the inherent neutrality of relations which cannot be co-opted by political interests. Nancy has an ontological orientation to politics that interprets existence as a community and results in a global law of multiple networks. All three stress the interplay between freedom and order, and seek a heightened sense of responsibility in community. Yet they do not acknowledge that community requires lasting institutions, and despite their attack on totalitarianism, they do not advocate democracy. Their work powerfully questions the concept of community, but it ultimately fails to offer viable alternatives for contemporary political philosophy. / Thesis / Doctor of Philosophy (PhD)

<p>Abstract</p><p>Headline: Young trouble and teenage love (Fjortisgrubbel och tonårskärlek)</p><p>Number of pages: 37</p><p>Author: Annika Ilmoni</p><p>Tutor: Amelie Hössjer</p><p>Course: Media and communication C</p><p>Period: Autumn 2007</p><p>University: Division of Media and Communication, Department of Information Science, Uppsala University</p><p>Purpose/aim: The purpose of the work was to produce a comparing study of two Swedish teenage films from different periods of time, 1970 and 2005. An analysis was to be made of how love between teenagers as well as the heterosexual relationship in general was depicted in each of the films and further investigate the gender construction in both films.</p><p>Material/method: With the intention of narrowing down the complexity and make the evaluation more lucid 5 scenes from each film were used for comparison, these were chosen through the Anglo Saxon dramaturgy. To make the scenes more comparable 4 factors were used for analysis in each scene, these were: clothes, recreational activities, behaviour and environment. Beside the above given factors the heterosexual relationship were analysed and compared in each of the scenes through the theory of dominance in dialogue.</p><p>Main results: The gender construction occurs obliviously in the older film from 1970 while taking place in a more conscious way in the film from 2005. Further on the heterosexual relationship is perpetually depicted in the 70’s film with a submissive girl and predominant boy, the same dominance is easily seen in the more recent film but with a higher rate of equality as the girl is portrayed as the dominant character in almost half of all scenes. A general note for the comparison of the two films is that a consciousness of gender construction does not lead to a direct elimination of these.</p><p>Keywords: Teenage movie, post-modern feminism, gender construction, heterosexual relationship</p>

The diploma thesis "Spiritual support in the context of the Czech post-modern society" presents spiritual support as seen in the context of selected practices of the Czech Roman- Catholic Church. The thesis puts this view into the context of theoretical findings in the field of spiritual support and defines the main characteristics of the field, pointing out the debatable points or diverse approaches to it. The part dedicated to the Czech post-modern society describes the state of the contemporary Czech non/religiousness, explores its causes, and points out the opportunities of extending the offer of Christian spiritual support also to people outside the religious environment.

This study explores from the perspective of deaf persons, how the identity of deaf persons is shaped by their educational experiences. Previous studies on identity by Erickson (1984) and Leigh (2001) on deaf persons have located identity within either the medical model, as a discourse of assimilation, or within the reactive social model, as a discourse of human rights. It is argued that the ‘first wave of deaf identity politics’ (Wrigley, 1996) of the medical and social model binary are sites of oppression and resistance. This binary provides both an insufficient and a static explanation of deaf identity as a victim is increasingly at odds with the lives of deaf persons in a post-modern ontology. Subsequently, this study engages in exploring the post-modern driven ‘second wave of identity politics’ and proposes a bi-cultural Dialogue model that recognises and explores, through cross-cultural exploration, the complexity and fluid construction of a DeaF identity. Later, the contributions of Bat-Chava (2000); Glickman (1993) and Ohna (2006) towards deaf identity are discussed within the post-modern educational framework. This ethnographic study explores the identity development of nine deaf participants through their narratives. The inclusion of the researcher as a DeaF participant in this study provides an auto-ethnographic gateway into exploring the lives of deaf/Deaf/bi-bi DeaF persons. The themes of ‘significant moments’; ‘connections at home and school’ and ‘deaf identity development’ were investigated. This study investigated the educational experiences of both deaf learners who attended regular mainstream schools and also deaf learners who attended schools for the Deaf. The findings suggest that deaf identity is not a static concept, but a complex ongoing quest for belonging and acceptance of being deaf through ‘finding ones voice’ in a hearing dominant society. This study challenges educators, parents and researchers through using dialogue and narrative tools to broaden their understanding of deaf identity and the dignity associated with being a deaf person.

Abstract This study is a comparative analysis of selected poems from Jacques Prévert’s Paroles (1946/1947). It is an application of a mainstreamed theoretical paradigm comprising deconstruction, hermeneutics and relevance. The overall aim is to show how each translator of Jacques Prévert derived latent and relatively obvious semantic possibilities from the ST. This objective is attained through a descriptive analysis of the translation process, and an attempt to interpret the findings thereby revealed, primarily according to the tenets of deconstruction, and according to the tenets of hermeneutics and relevance if possible. The theoretical model that grounds the study is a non-reductionist, non-prescriptivist and non-evaluative. That is the reason why the traditional terminology associated with some of the theoretical aspects mainstreamed in the model have been adapted to fit in with the general aim of the study. Actual reading experiences hardly entail a consecutive reading of more than one text. But this research is like a laboratory experiment; it tests the applicability of integrated [theoretical] formulae to a hypothetical case, the consecutive reading of selected poems from Paroles (1946/1947) and their English translations.

Este trabalho analisa o Mangue como um fenômeno cultural que se distingue temporal e espacialmente de outras manifestações culturais que ocorrem nos âmbitos local, nacional e mundial. Como suas características podem ser pensadas como alguns dos aspectos culturais que marcam nosso tempo presente, suas possibilidades de distinção são analisadas a partir de duas perspectivas: a formação de identidades e a relação com a indústria fonográfica. Parto da hipótese de que o Mangue apresenta facetas modernas, pós-modernas e globalizadas, discutindo-as da perspectiva da arte e sua relação com a economia e a política. A análise sugere, ao final, que estas diferentes temporalidades não são mutuamente excludentes, mas, antes, combinam-se, rearranjando as relações entre as partes para que o todo continue em funcionamento / This research analyzes the Mangue [Mangroove] as a cultural phenomenon that distinguishes itself from other local, national and world cultural activities in relation to time and space. As Mangues characteristics may be thought in the same fashion of other cultural aspects that characterize our present time, its possibilities of distinction are analyzed from two distinct perspectives: the formation of identities and the relation between Mangue and the phonographic industry. I assume the hypothesis that the Mangue presents modern, post-modern and global facets, and discuss them from the perspective of arts and the relation between arts, economy and politics. Finally, the analysis suggests that these different temporalities are not mutually exclusive, but concur with each other, rearranging the relation between the parts in order to keep the whole at work

Este trabalho analisa o Mangue como um fenômeno cultural que se distingue temporal e espacialmente de outras manifestações culturais que ocorrem nos âmbitos local, nacional e mundial. Como suas características podem ser pensadas como alguns dos aspectos culturais que marcam nosso tempo presente, suas possibilidades de distinção são analisadas a partir de duas perspectivas: a formação de identidades e a relação com a indústria fonográfica. Parto da hipótese de que o Mangue apresenta facetas modernas, pós-modernas e globalizadas, discutindo-as da perspectiva da arte e sua relação com a economia e a política. A análise sugere, ao final, que estas diferentes temporalidades não são mutuamente excludentes, mas, antes, combinam-se, rearranjando as relações entre as partes para que o todo continue em funcionamento / This research analyzes the Mangue [Mangroove] as a cultural phenomenon that distinguishes itself from other local, national and world cultural activities in relation to time and space. As Mangues characteristics may be thought in the same fashion of other cultural aspects that characterize our present time, its possibilities of distinction are analyzed from two distinct perspectives: the formation of identities and the relation between Mangue and the phonographic industry. I assume the hypothesis that the Mangue presents modern, post-modern and global facets, and discuss them from the perspective of arts and the relation between arts, economy and politics. Finally, the analysis suggests that these different temporalities are not mutually exclusive, but concur with each other, rearranging the relation between the parts in order to keep the whole at work

Made available in DSpace on 2016-03-15T19:46:56Z (GMT). No. of bitstreams: 1 Leila Maria Mansini Fiamoncine.pdf: 604746 bytes, checksum: 2b3468f3d3a2c923781a7b37b584048e (MD5) Previous issue date: 2010-02-08 / Fundo Mackenzie de Pesquisa / The aim of this study is to approach the theme of the double in the dialogical appropriation of the myth of Amphitryon by José Saramago, when writing the post-modern novel O Homem Duplicado . Being deeply rooted in the mythological field and reaching the post-modern times, duplicated individuals have been represented under the most diverse forms the counterparts, the twins, the portrait, the reflection in the mirror and pass through time unveiling the individual and social relationships of each period from the ancient comedies up to the contemporary dramas. With such purpose, this essay will present an introductory research about the concept of myth and its use in the ancient times; then, it will present a research about the double and its diachronic literary evolution. Then the myth of the double will be seen both in the ancient myth of Amphitryon and in the novel by Saramago, with subsequent setting up of the relationships between both works. / Esta dissertação busca abordar a temática do duplo na retomada dialógica do mito de Anfitrião, feita por José Saramago no romance moderno O Homem Duplicado. Com profundas raízes mitológicas até chegar ao romance moderno, indivíduos duplicados foram representados em toda a literatura sob as mais diversas formas - os sósias, os gêmeos, o retrato, o reflexo no espelho - e perpassam o tempo desvendando as relações individuais e sociais de cada época, desde as comédias antigas até os dramas contemporâneos. Com este objetivo, o trabalho apresentará, em primeiro lugar, uma pesquisa sobre o conceito de mito e seu modo de utilização à época da antiguidade clássica. Em seguida, apresentará um estudo do duplo e do modo como esse tema é explorado no mito de Anfitrião e, depois, no romance O homem duplicado. Por último são estabelecidas as relações dialógicas encontradas em ambos os textos.

This thesis focuses on the issue of regional authenticity in Barry Hannah's contemporary southern fiction (1970-2010), in the context of some recent concerns about the validity of regional studies in a postregional moment, and about the efficacy of the authenticity paradigm itself. By examining those Hannah narratives that best encourage some rethinking of conceptual understandings of the post- South and postsouthern literature, this thesis reveals the significant contribution that Hannah's fiction can make to critical apprehensions of the region as an evolving field of enquiry. The metafictional dimension of Hannah's writing is testimony to its unique value, because the putative sense of "southernness" his stories appear to dramatize is complicated by an intense self-reflexivity about the ways in which a sense of place has never been foundational or essential but has always been constructed and performed. Deploying sustained close analyses of the best of Hannah's fiction (the kind of attention it has conspicuously lacked), this thesis argues that the region is constantly (re-)emerging in a process of myth-making, dialogue and performance, rather than having suffered some simple historical shift from southern to postsouthern. Understanding Hannah's fiction in the ways presented is to offer the possibility of some revision in thinking, about whether the concepts "South" and "southern" have survived both the deconstructive and postregional turns of the late twentieth century, and the transnational turn into the "new" southern studies from the early twenty-first century onward. The Hannah texts included here are identified exclusively for their value in reconceptualising those issues in recent southern studies where an impasse is imagined between regional ("southern") and global ("postmodern"), to suggest it is wholly conceivable to "have it both ways."