This thesis is a book length collection of poetry—all original and by the author. The book has three chapters, each with a different mode of expressing the work’s overall theme: the remnants of unfulfilled wishes. The first chapter deals with ordinary or mundane manifestations of the theme. The second chapter covers extraordinary, but still feasible, variations on the theme. The final chapter deals with subconscious versions of these unfulfilled wishes. It is far more surreal than the other two chapters and exists in a sort of dream-reality. The poetry included in this work is all free verse. There are narrative and lyric poems present, along with other experimental modes of poetry. Even though plot threads run through some individual poems, the overall collection shares only thematic unity. The work, as the title implies, seeks to call attention the fragmentation of dead dreams after hope has burned away. In a sense then, this collection could be seen as a post-modern work. The poems are arranged within the chapters to either create groupings around minithemes, or to create sharp contrast. The order represented in this collection is an attempt to maximize impact. The cast of characters in this collection of poems is meant to be representative of the characters present in city life. There are drunks and prostitutes, mothers and fathers, lovers and ex-lovers, husbands and wives, sisters and brothers, schoolchildren, writers, grandparents, lawyers, politicians, photographers, gamblers and even corpses. These characters populate a world where unanswered wishes are as legitimate as minutes and hours as instruments to gauge the passing of lives—a poetic rendering of Earth at the beginning of the twenty-first century.

This dissertation asks how it came to be that Amina Lawal, a peasant woman from Northern Nigeria, was sentenced to death by stoning in 2002 for committing the crime of zinā, or illegal sexual activity, three years after full Islamic sharīah penal law began to be implemented there by way of massive grassroots demand. Each chapter examines a factor I deem necessary to explore this question. Drawing on ethnographic evidence gathered during fieldwork in Northern Nigeria, I first examine "sharīah as social text," concluding that sharīah is thought to offer the radical societal ordering and historical and cultural legitimacy necessary to combat the corruption and poverty associated with the Federal State structure. However, the integration of the stoning punishment into the formative period of Islamic law (1st-3rd AH/ 7th-10 CE centuries), taken up in Chapter two, reveals stoning to have presented theological problems, challenging its reception in contemporary Nigeria as a symbol of stability. Chapter three traces the slow integration of Hausaland into a legalistic milieu identified with an eastward Arab-Islamic epistemic tradition by the eighteenth century, culminating in the Sokoto Caliphate's (r. 1809 - 1903) identification with the Mālikī school of Islamic law. The British arrival in the late nineteenth century ended the Caliphate, changed Islamic penal law, and promulgated the "Native Courts Proclamation," which outlawed the stoning punishment despite its absence during the Sokoto Caliphate. This history is often recalled in contemporary Northern Nigeria, but only recently, as the State weakens and the Muslim north loses political power. Chapter four analyzes Lawal's trial as the stage where the boundaries and mandates of post-1999 sharī'ah are delineated. I call several features of legal argumentation endemic of "post-modern Islamic law": legal reductionism, reliance mainly on primary texts, combining Islamic and constitutional arguments, and eschewing the jurisprudential tradition. These factors combine to make it easier (relative to Islamic history) to mete out stoning. Finally, I examine gender and the Western reaction to the case, arguing that these discourses collude to ironically elide the voice of Amina Lawal, Nigerian women more generally, and the stoning punishment per se.

Abstract Headline: Young trouble and teenage love (Fjortisgrubbel och tonårskärlek) Number of pages: 37 Author: Annika Ilmoni Tutor: Amelie Hössjer Course: Media and communication C Period: Autumn 2007 University: Division of Media and Communication, Department of Information Science, Uppsala University 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. 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. 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. Keywords: Teenage movie, post-modern feminism, gender construction, heterosexual relationship

The role of the father in post-modern times has changed dramatically and the new challenges posed to fathers due to these changes prompted this study. The aim of this study is to design a theory for a practice that could possibly be used by a Biblical counsellor or therapist to counsel and enrich fathers amidst the challenges of the post-modern world. The research was done on the basis of the practical theological model of Zerfass and contains the following structure: • A meta-theoretical evaluation of fatherhood in related subject areas revealed by literature studies. • The meta-theoretical evaluation was combined with an empirical research by means of interviews with fathers. An applicable questionnaire was used to research the conceptual understanding of fatherhood and practice of post-modern fatherhood with the fathers. . A basic theory on which Scriptural perspectives on fatherhood have been researched. The meta-theoretical research indicated that the main reason for the dramatic changes to fatherhood is not ideological based but due to practical changes in society. Due to the women's very successful entering of the workplace, a predominantly men's territory, many things have changed on the family front. Men were forced to share responsibilities in the practical care taking of children at home. A search for new models to post-modern fatherhood started. The old patriarchal model failed to provide ways of meaningful understanding and processing the new challenges of fatherhood brought on by practical changes in the society of a post-modern world. Linked to this search for new models of post-modern fatherhood is the feminist's struggle against patriarchy. The research indicated that the main pillar of patriarchy was the theological concept of God as Father. The feminist produced a lot of material on the ways and means to free God and society of patriarchy. The basic theory on which Scriptural perspectives on fatherhood have been researched took into consideration the results of feminist's studies. One benefit from the feminist's struggle was the emphasis put on the metaphorical character of theological discourse. God our Father is a metaphorical discourse, which bring into play the hermeneutic process of interpretation. Realising the metaphorical character of theological language we can enhance our understanding of God by reconstructing our concept of God's fatherhood. Through research we rediscovered many other complimenting metaphors of God in a parental capacity (God sometimes acts like a Mother, He gave birth to His people etc.) which can help the post-modern father to come to a better self-expression when it comes to the challenges posed to him today. Very often these new roles were traditionally restricted to the women's territory. The conclusion of the research is that through the process of pastoral hermeneutics the post-modern father can discover the cultured derived practice of his fatherhood and evaluate this post-modern fatherhood in terms of God's fatherhood as it has been revealed through the process of researching the Scripture. The interaction between his understanding of what fatherhood means and of God's fatherhood enables the father to come to a new and meaningful self-expression of his own fatherhood in post-modern times. / Thesis (Ph.D. (Pastoral))--North-West University, Potchefstroom Campus, 2005.

The role of the father in post-modern times has changed dramatically and the new challenges posed to fathers due to these changes prompted this study. The aim of this study is to design a theory for a practice that could possibly be used by a Biblical counsellor or therapist to counsel and enrich fathers amidst the challenges of the post-modern world. The research was done on the basis of the practical theological model of Zerfass and contains the following structure: • A meta-theoretical evaluation of fatherhood in related subject areas revealed by literature studies. • The meta-theoretical evaluation was combined with an empirical research by means of interviews with fathers. An applicable questionnaire was used to research the conceptual understanding of fatherhood and practice of post-modern fatherhood with the fathers. . A basic theory on which Scriptural perspectives on fatherhood have been researched. The meta-theoretical research indicated that the main reason for the dramatic changes to fatherhood is not ideological based but due to practical changes in society. Due to the women's very successful entering of the workplace, a predominantly men's territory, many things have changed on the family front. Men were forced to share responsibilities in the practical care taking of children at home. A search for new models to post-modern fatherhood started. The old patriarchal model failed to provide ways of meaningful understanding and processing the new challenges of fatherhood brought on by practical changes in the society of a post-modern world. Linked to this search for new models of post-modern fatherhood is the feminist's struggle against patriarchy. The research indicated that the main pillar of patriarchy was the theological concept of God as Father. The feminist produced a lot of material on the ways and means to free God and society of patriarchy. The basic theory on which Scriptural perspectives on fatherhood have been researched took into consideration the results of feminist's studies. One benefit from the feminist's struggle was the emphasis put on the metaphorical character of theological discourse. God our Father is a metaphorical discourse, which bring into play the hermeneutic process of interpretation. Realising the metaphorical character of theological language we can enhance our understanding of God by reconstructing our concept of God's fatherhood. Through research we rediscovered many other complimenting metaphors of God in a parental capacity (God sometimes acts like a Mother, He gave birth to His people etc.) which can help the post-modern father to come to a better self-expression when it comes to the challenges posed to him today. Very often these new roles were traditionally restricted to the women's territory. The conclusion of the research is that through the process of pastoral hermeneutics the post-modern father can discover the cultured derived practice of his fatherhood and evaluate this post-modern fatherhood in terms of God's fatherhood as it has been revealed through the process of researching the Scripture. The interaction between his understanding of what fatherhood means and of God's fatherhood enables the father to come to a new and meaningful self-expression of his own fatherhood in post-modern times. / Thesis (Ph.D. (Pastoral))--North-West University, Potchefstroom Campus, 2005.

The overall goal of this thesis is to examine the newly emerging ideas and practices of spirituality and development. Spirituality and development will be discussed within the broader discourses of alternative development critiques. The issues that arise in the attempts to translate ideas of spirituality and development into practice are examined. The theoretical underpinnings of spirituality and development are analyzed, based on a literature review of spiritual, anti-colonial, post-colonial, feminist, environmental, radical economic, eco-feminist, ecumenical, geographical and anthropological critiques of development. The thesis then explores the discourses of spirituality and development within three Northern donor agencies; the International Development and Research Centre (IDRC), the World Bank and the World Council of Churches (WCC).

Esta dissertação faz parte de uma pesquisa poética que abrange produções artísticas em dança. Assim, o corpo contínuo ou algodãozado é apresentado não como um conceito, mas como uma noção que opera construindo obras. Esse termo é uma imagem cunhada no âmbito da produção artística e pedagógica da autora, e procura dar conta de um entendimento de um corpo que não se reduz ao biológico, um corpo que, uma vez experimentado, desdobra-se em imagens, conceitos, palavras, sensações, impossibilitando o encontro com uma realidade última ou com um eu. Esse corpo também se desdobra no espaço, ao qual se entrega, do qual depende e com o qual é dinamicamente formado. Nesse campo de um eu problemático, o ponto de vista em primeira pessoa, a via da escuta das sensações, procura ser uma ferramenta de acesso para que se possa perceber os jogos de poder, de definições de realidade e conceitos, reiterados nas ações corporais, entendidas como idênticas a conceitos e imagens. Como essa experiência não encontra um ponto de fundação, passa a ser entendida como detonadora de um processo de criação permanente, confundindo arte e vida e solicitando ao fazer artístico a responsabilidade por explicitar as convenções que o legitimam, bem como pela proposição de outros modos de fazer. Daí a necessidade de compreender um processo artístico à luz das tradições que informam seus modos de fazer, ou, dito de outra maneira, que lhe subjetivam. No caso desta pesquisa, esta tradição abrange o legado de John Cage e Merce Cunningham, e, mais especificamente, da geração da Judson Church, ou da chamada dança pós-moderna norte-americana dos anos 1960 e 1970, especialmente no que se refere ao uso de técnicas de educação somática proposto como procedimento artístico por esses últimos. As produções artísticas aqui enfocadas – a série Caixas, os desdobramentos do espetáculo Instruções para abrir o corpo em caso de emergência e os procedimentos de falar-fazer – são produzidas por esse entendimento. Ao longo dos anos da pesquisa, o fazer das mesmas foi demandando a complexificação do entendimento do corpo algodãozado, desembocando na própria abordagem da escrita aqui presente como um de seus desdobramentos poéticos. / The present dissertation is one of the results of a research in Poetics, which comprises also artistic Dance productions. The terms Continuous or Cottoned Body are presented not as a concept, but as a perception that develops a work of art. Cottoned Body is an image derived from the author’s Artistic and Educational history, built on the understanding of a body that can’t be reduced to Biology. A body that, once experienced, unfolds into images, concepts, words, sensations, not to be limited to a ultimate reality or a Self. The firstperson point of view, the way of listening to sensation, is an tool to access power games, definitions of reality and concepts, which are reiterated in body actions – herein understood as identical to concepts and images. The foundations of such experience are not attainable, therefore it fosters a permanent creative process, blurring Life and Art, and compelling the Artist to present the conventions that legitimate her Poiesis. Hence the need to comprehend Poiesis in light of the traditions that subject it. In the present research, this traditions can be traced back to the legacy of John Cage and Merce Cunningham, and the Judson Church generation from the 1960s and 1970s. We focus specifically on the use of Somatic Education as a tool for artistic creation by the Judson Church group. The artistic works analyzed in this dissertation (the Caixas series; the developments of Instruções para abrir o corpo em caso de emergência; and the Falar-Fazer procedures) are a result of such comprehension. During the research time, the Poiesis of these works engendered a complexification of the notion of Cottoned Body. This complexification resulted in the narrative approach presented in this dissertation, itself one of its poetic unfoldings.

Made available in DSpace on 2014-06-11T19:35:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2004-11-29Bitstream added on 2014-06-13T21:07:53Z : No. of bitstreams: 1 chicoski_r_dr_assis.pdf: 879246 bytes, checksum: 1a1d01028bb5a71acc72be1a539f8e80 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O objeto de estudo da pesquisa é a obra O mez da grippe e outros livros (1998) de Valêncio Xavier, escritor contemporâneo influenciado pelas artes visuais, fascinado pela imagem e por textos híbridos. A produção literária labiríntica, eclética está alicerçada nos princípios da montagem cinematográfica, na colagem e na intertextualidade. A vocação multitextual do autor leva-o a construir textos descontínuos, polifônicos, multidiscursivos. De modo não linear, incorpora vários códigos que se entrelaçam formando um mosaico, um caleidoscópio literário. A obra é analisada à luz de referências sobre o pós-modernismo, a fim de discutir a relação entre erotismo e morte na ficção de Xavier. / The research is focused on Valêncio Xavier's O mez da grippe e outros livros (1998, The influenza month and other books). Xavier is a contemporary writer who is influenced by the visual arts and is fascinated by the image and by hybrid texts. His eclectic literary production resembles a labyrinth and is supported by the principles of cinematic assemblage, collage and intertextuality. The author's vocation leads him to produce texts that are marked by discontinuity, polyphonic and multi-discursiveness. The result of the juxtaposition of the various codes that he appropriates in a non-linear fashion is a mosaic, a literary caleidoscope. The works are read in light of references about post-modernism, so as to discuss the relation between eroticism and death in Xavier's fiction.

Esta dissertação faz parte de uma pesquisa poética que abrange produções artísticas em dança. Assim, o corpo contínuo ou algodãozado é apresentado não como um conceito, mas como uma noção que opera construindo obras. Esse termo é uma imagem cunhada no âmbito da produção artística e pedagógica da autora, e procura dar conta de um entendimento de um corpo que não se reduz ao biológico, um corpo que, uma vez experimentado, desdobra-se em imagens, conceitos, palavras, sensações, impossibilitando o encontro com uma realidade última ou com um eu. Esse corpo também se desdobra no espaço, ao qual se entrega, do qual depende e com o qual é dinamicamente formado. Nesse campo de um eu problemático, o ponto de vista em primeira pessoa, a via da escuta das sensações, procura ser uma ferramenta de acesso para que se possa perceber os jogos de poder, de definições de realidade e conceitos, reiterados nas ações corporais, entendidas como idênticas a conceitos e imagens. Como essa experiência não encontra um ponto de fundação, passa a ser entendida como detonadora de um processo de criação permanente, confundindo arte e vida e solicitando ao fazer artístico a responsabilidade por explicitar as convenções que o legitimam, bem como pela proposição de outros modos de fazer. Daí a necessidade de compreender um processo artístico à luz das tradições que informam seus modos de fazer, ou, dito de outra maneira, que lhe subjetivam. No caso desta pesquisa, esta tradição abrange o legado de John Cage e Merce Cunningham, e, mais especificamente, da geração da Judson Church, ou da chamada dança pós-moderna norte-americana dos anos 1960 e 1970, especialmente no que se refere ao uso de técnicas de educação somática proposto como procedimento artístico por esses últimos. As produções artísticas aqui enfocadas – a série Caixas, os desdobramentos do espetáculo Instruções para abrir o corpo em caso de emergência e os procedimentos de falar-fazer – são produzidas por esse entendimento. Ao longo dos anos da pesquisa, o fazer das mesmas foi demandando a complexificação do entendimento do corpo algodãozado, desembocando na própria abordagem da escrita aqui presente como um de seus desdobramentos poéticos. / The present dissertation is one of the results of a research in Poetics, which comprises also artistic Dance productions. The terms Continuous or Cottoned Body are presented not as a concept, but as a perception that develops a work of art. Cottoned Body is an image derived from the author’s Artistic and Educational history, built on the understanding of a body that can’t be reduced to Biology. A body that, once experienced, unfolds into images, concepts, words, sensations, not to be limited to a ultimate reality or a Self. The firstperson point of view, the way of listening to sensation, is an tool to access power games, definitions of reality and concepts, which are reiterated in body actions – herein understood as identical to concepts and images. The foundations of such experience are not attainable, therefore it fosters a permanent creative process, blurring Life and Art, and compelling the Artist to present the conventions that legitimate her Poiesis. Hence the need to comprehend Poiesis in light of the traditions that subject it. In the present research, this traditions can be traced back to the legacy of John Cage and Merce Cunningham, and the Judson Church generation from the 1960s and 1970s. We focus specifically on the use of Somatic Education as a tool for artistic creation by the Judson Church group. The artistic works analyzed in this dissertation (the Caixas series; the developments of Instruções para abrir o corpo em caso de emergência; and the Falar-Fazer procedures) are a result of such comprehension. During the research time, the Poiesis of these works engendered a complexification of the notion of Cottoned Body. This complexification resulted in the narrative approach presented in this dissertation, itself one of its poetic unfoldings.

Orientador: Igor Rossoni / Banca: Dinamara Garcia Rodrigues / Banca: Rubens Pereira dos Santos / Banca: Margarida Gandara Rauen / Banca: Luis Carlos Santos Simon / Resumo: O objeto de estudo da pesquisa é a obra O mez da grippe e outros livros (1998) de Valêncio Xavier, escritor contemporâneo influenciado pelas artes visuais, fascinado pela imagem e por textos híbridos. A produção literária labiríntica, eclética está alicerçada nos princípios da montagem cinematográfica, na colagem e na intertextualidade. A vocação multitextual do autor leva-o a construir textos descontínuos, polifônicos, multidiscursivos. De modo não linear, incorpora vários códigos que se entrelaçam formando um mosaico, um caleidoscópio literário. A obra é analisada à luz de referências sobre o pós-modernismo, a fim de discutir a relação entre erotismo e morte na ficção de Xavier. / Abstract: The research is focused on Valêncio Xavier's O mez da grippe e outros livros (1998, The influenza month and other books). Xavier is a contemporary writer who is influenced by the visual arts and is fascinated by the image and by hybrid texts. His eclectic literary production resembles a labyrinth and is supported by the principles of cinematic assemblage, collage and intertextuality. The author's vocation leads him to produce texts that are marked by discontinuity, polyphonic and multi-discursiveness. The result of the juxtaposition of the various codes that he appropriates in a non-linear fashion is a mosaic, a literary caleidoscope. The works are read in light of references about post-modernism, so as to discuss the relation between eroticism and death in Xavier's fiction. / Doutor