Between the actualized built spaces that the artist moves around and through on a daily basis and the more abstract systems we invent to represent these structures sits the illusion of space and structure found in his drawings and paintings. Constant turnover within the built environment offers not only content, but rich analogy for his artistic practice. The artist’s endeavors in the studio in many ways echo the genesis, evolution and possibility he observes in the transitioning city around him. In the actual making of the work, he gleans from traditional methods of drawing and painting, from the architectural lexicon, from experiments with new materials, from the effects of time and decay and from building processes themselves.

This essay explores and investigates post-colonial identity in Ireland in Hugo Hamilton’s The Speckled People: A Memoir of a Half-Irish Childhood (2003) and The Sailor in the Wardrobe (2006). Relying primarily on Homi K. Bhabha’s postcolonial criticism, which draws on some ideas from psychoanalysis, this essay argues that the autobiographies resonate well with the ideas of culture as a strategy of survival and of the post-colonial child as an analyst of Western modernity. Thus, three chosen concepts; ‘the Uncanny’, ‘Third Space’ and ‘Hybridity’ work together to reveal a recurring theme of split and duplicity in reference to the colonial past throughout. Furthermore they also reveal that the actual writing of the autobiographies in itself must be regarded as a way of responding to and negotiating that very same split and duplicity in reference to Ireland’s past.

Made available in DSpace on 2016-04-26T18:10:57Z (GMT). No. of bitstreams: 1 Helder Jaime Juacaba.pdf: 1866239 bytes, checksum: 8034f28d3b9418da9d8685110cf78c1a (MD5) Previous issue date: 2011-06-02 / The study object of this thesis is the media support of cinema embodied in fiction film, whose construction is understood as a communicative function capable of generating meaningful effects. It more specifically refers to the identification of the forms used in film to produce sequences with the suggestive capacities to produce the effect of fear. In this context, emerged the research problem, as viewers already know it to be fiction. But why are the deliberate procedures in film construction able to generate the effect of fear? Therefore, the argument was developed that cinematographic procedures inserted certain language patterns, to touch on the uncanny collisions in the determinations of the unconsciousness of the viewer, causing the effect of fear. To support this argument, references to Das Unheimlich Freud's and Peirce's semiotic approach were used, in which fear could be evaluated as an interpretative sign in a logical order: the movie / cinema (sign) builds the stranger / Das Unheimliche (object) to produce the overall effect of fear on which the spectators must arrive (interpretant). The corpus includes the following films: Psycho (1960) - Director: Alfred Hitchcock, The shining (1980) - Director: Stanley Kubrick and The Others (2001) - Director: Alejandro Amenábar. Whose criterion of choice was the indisputable recognition and acceptance of the public and critical effects of tension, suspense, terror and fear in films. Beyond the intention of shedding new light on the interpretive films selected, the research aimed to contribute, by means of the semiotics and psychoanalysis, to expand the debate on one of the basic epistemological axes of the scientific field of communication: language / O objeto de estudo desta dissertação é o suporte midiático do cinema materializado em ficção fílmica, cuja construção é entendida como uma função comunicativa capaz de gerar efeitos de sentido. De forma mais específica refere-se à identificação dos modos utilizados no cinema para elaborar seqüências fílmicas com capacidades sugestivas para produzir o efeito do medo. Neste contexto surgiu o problema da pesquisa, pois qualquer espectador, de antemão, sabe estar diante de uma ficção, entretanto, porque os procedimentos deliberados da construção fílmica são capazes de gerar o efeito do medo? Assim sendo, foi desenvolvido o argumento de que os procedimentos cinematográficos embutidos em determinados padrões de linguagem, ao tangenciarem o estranho familiar esbarram nas determinações do inconsciente do espectador, provocando o efeito do medo. Para embasar esta argumentação foram utilizadas as referências do Das Unheimlich de Freud e a abordagem semiótica de Peirce, em que o medo pôde ser avaliado como um signo-interpretante dentro de uma ordenação lógica: o filme/cinema (signo) constrói o estranho/ Das Unheimliche (objeto) para produzir o efeito geral do medo ao qual os espectadores devem chegar (interpretante). O corpus da pesquisa incluiu os seguintes filmes: Psicose, 1960 Diretor: Alfred Hitchcock, O Iluminado, 1980 - Diretor: Stanley Kubrick, e, Os Outros, 2001 Diretor: Alejandro Amenábar, cujo critério de escolha foi o indiscutível reconhecimento de público e crítica no tocante aos efeitos de tensão, suspense, terror e medo dos filmes. Além de pretender lançar novas luzes interpretativas sobre os filmes selecionados, a pesquisa visou contribuir, por meio da semiótica e da psicanálise, para a ampliação do debate sobre um dos eixos epistemológicos fundamentais do campo científico da comunicação: a linguagem

Esta dissertação tem como objetivo investigar de que forma a estrutura e a temática do texto de Franz Kafka, ao criarem um espaço de estranhamento na relação entre o leitor e o texto uma sensação constante de que algo está fora de lugar, constroem um campo de resistência política. Parte-se da análise dos elementos constitutivos da obra kafkiana, buscando localizar quais elementos efetuariam tal processo, assim como da análise dos trabalhos de pensadores como Adorno, Benjamin, Deleuze & Guattari e outros sobre o escritor checo. Para tanto, será feito recurso livre à produção do autor, com destaque para a tríade O Processo, O Castelo e A Metamorfose, sem prejuízo de outros contos, novelas, cartas e anotações de seus diários. Também será buscada uma articulação dos temas inerentes à obra de Kafka com os conceitos principais dos filósofos citados. Como procedimento metodológico, estruturamos este percurso em quatro eixos principais: a escrita, o conceito de mímesis, o conceito de estranhamento (unheimlich) e as relações entre arte, política e sociedade, com especial foco no conceito de resistência, presente nas definições de Adorno e Deleuze sobre a arte. Assim, busca-se averiguar o caráter político dos textos de Kafka como alegorias da condição humana. / This work aims to investigate the way Kafka´s thematics and narrative structure builds the sensation of uncanny, misplacing and oddity between the reader and the story. Simultaneously, these characteristics of Kafka´s work can build a political field of resistance. To achieve this goal and locate those elements in Kafka´s literary corpus, an in-depth analysis of his works letters, aphorisms, romances and short stories - is necessary, with special attention to The Process, The Castle and The Metamorphosis. Also, this work intends to establish a dialogue between Kafka´s thematics and the concepts of Adorno, Benjamin, Deleuze and Guattari, among others. Four lines of force are the core of this thesis: Kafka´s writing techniques; the concept of mimesis; the uncanny (unheimlich); and the linkage between art, poltics and society, with emphasis in the concept of resistance which is present in Kafka´s work and in Adorno´s (and also in Deleuze´s) definition of art. At last, what is the political status of Kafka´s work as an allegory of human condition?

This essay is a narratological analysis of Stephen King’s ​The Shining, ​and​ ​employs Mieke Bal’s categorization of focalization, description and discourse with the intent of establishing their function in representing the concept of the uncanny in the narrative. By analyzing these narratological functions and their interplay, several manifestations of the ordinarily elusive uncanny become evident. The novel, through the structuring of the narrative and use of forthright descriptions as well as the insight into the characters’ minds, continually manages to represent the disturbances of the familiar that characterize the uncanny.

My installation, "The Viewers", consists of three life-sized figures and a projected video feed. The figures are placed in and around the gallery space, and the video originates from a hidden camera installed in one of the figures eyes. The first figure that the viewer encounters upon entering the gallery space is hyper-realistic security guard. His position behind the gallery circulation desk, a space which is traditionally assumed not to be an 'art space' allows him to view those entering the gallery while remaining relatively unnoticed. A camera that is installed in his one of his eye sockets and hidden behind sunglasses feeds live images that "he perceives" to another part of the gallery where they are projected. The second figure is a male soldier, positioned covertly on a lighting ledge connected to the ceiling of the gallery. From his high-post, he can clearly view the gallery's occupants through his binoculars, while only being noticeable himself from particular angles. The third figure is a real person dressed as a gorilla. Throughout the evening, he will move through the gallery, viewing and contemplating the artworks and its viewers as well. The purpose of the gorilla is primarily to view the exhibit and the social interaction generated by the gallery setting, but inevitably, viewers will want to interact with him, drawing them into the playful drama of the piece as a whole. Together, and through their individual means of viewing, each figure alludes to the idea of playing a part: the security guard in his fulfillment of the role of a security guard, the soldier in the almost costume-like quality evoked by his camouflage attire, and the gorilla being fairly obviously a performer in costume. That each is in a sense playing a role, and that each has a particular means of viewing the people in the gallery, suggests the additional roles and importance of the fourth element, that of the viewers. My work aims to suggest that the viewers are always playing a part of sorts when viewing an exhibition: the part of the viewer. This references not only the integral nature that the viewer has in defining the meaning of an artwork, but also the role that the viewer agrees to take on – the set of assumptions and mode of viewing the art as ‘art’ – as soon as one enters the gallery space.

The Cork Good Shepherd Magdalen Asylum opened in the summer of 1872, and was abandoned in 1994. The number of women who passed through its walls remains unknown. Ireland’s Magdalen Laundries, a system of religious-run female penitentiaries founded to incarcerate society’s so called ‘fallen’ women, is a part of the country’s past traditionally met with reticent silence. For the atonement of their perceived sins, the inmates worked in the Magdalen laundries for no pay. The arduous labour was symbolic; the washing of soiled linen, for the purging of one’s soul. The inmates were held under no legal authority, had committed no crime, and were assigned no sentence; many women, unaware of their rights, were held in the laundries until they died. These institutions existed in Ireland over the span of three centuries, the last closing in 1996. Though a dialogue has begun to surround this chapter of Irish history, the issue remains far from resolved. The government has made no official acknowledgment or apology for their role in perpetuating such a shocking stance on social policy, while the Catholic orders responsible will not recognize the suffering caused at their hands. The Church refuses to release archival records that document the identities and numbers of the Magdalen women who worked in the laundries during the twentieth century. It is estimated that 30 000 ‘fallen’ women were put through this system - women who, with no records of their lives available, remain erased by anonymity. This lack of archival information has rendered the laundries, in Ireland’s collective consciousness, more in story than in history. The architecture that witnessed this past has since fallen victim to time. Whitewashed over with redevelopments, or left to fall into decay, the laundries, and their stories, are disappearing. Their place in the collective memory hangs in the balance, dwindling in the walls of their ruins. The sense of place, or memory, that is recorded in architecture, lingers in the folds of the ruin. Hovering like a ghost over its ashes, it becomes orphaned. As such, the preservation of place becomes laden with a sense of urgency. It becomes a problem of representation. Taking what remains of the Cork Good Shepherd Magdalen Asylum as a point of entry, I have endeavoured to decipher the fragments of the ruin as a reference to the whole, to, as Victor Hugo writes in Notre-Dame de Paris, turn the mountain of architecture into the imperishable flock of birds – the petrified memory into the narrative one. This is done in three parts. The first introduces the site’s historical and social context, composing a portrait of the building through the ephemera of its past. The second addresses the presence of absence in the return to the ruin, focusing its investigation on the imaginary space that stretches out between the shadow of the past-self, embodied in the built world, and the return of the present-self to this embodiment once it has fallen into ruin. This is followed by a series of meditative narratives constructed from the historical, latent, and projected memories contained within the ruin of the Magdalen Asylum in Cork. Part three is a rumination on the ruin, speculating on its role within human consciousness. The ruin of the Cork Good Shepherd Magdalen Asylum testifies to a dark history - one that remains largely unresolved, one that many would rather forget. This history has yet to find its place in Ireland’s collective memory and, with the vestiges of its past rapidly dissolving, it is in danger of erasure.

Foreign Bodies: Military Medicine, Modernism and Melodrama traces how representations of warfare in the modernist novel, girls' romances, nursing memoirs, and war films dramatize the humanitarian disaster of war through the figure of woman. My analysis focuses on the visual and literary poetics of violence as troped in and through the bodies of combat nurses. The "uncanny" serves as a lens to explore the complex links between gendered war work and the radical transgression of the boundaries of the nation state and the body experienced during wartime. To establish the unique explanatory power of the uncanny for gender issues, I trace how feminist and postcolonial theorists have revised Freud's analysis of the uncanny. I trace medical metaphors of wounding and infection in the novel and various cinematic adaptations of A Farewell to Arms (1932, 1951, 1957, 1996). I read the letters and diaries of World War I nurse Agnes von Kurowsky against the censored memoirs of American nurses Mary Borden and Ellen La Motte. I show how the uncanny aesthetic adopted by Ernest Hemingway in A Farewell to Arms is subverted by these women writers. I explore how these uncanny aesthetics also manifest in adolescent nursing romances from Sue Barton to Cherry Ames. With the onset of World War II, I trace how the discourse of foreign bodies in relation to the metaphor of malaria in the South Pacific. Focusing on the portrayal of the Japanese foreign body, often encoded through off-screen sound, I demonstrate how medical metaphors of malaria operate in films portraying nursing in the South Pacific such as So Proudly We Hail (1943) and Cry Havoc (1943). Turning to the Korean and Vietnam Wars, I explore the representation of post-traumatic stress disorder in M*A*S*H (1970) and in nursing memoirs such as American Daughter Gone to War (1992) and Home Before Morning (1983). I bring this history of nursing representation to bear on media texts concerning the war in Iraq including Baghdad E.R. (HBO, 2006).

This essay examines Neil Gaiman’s Coraline from a psychoanalytic perspective, with focus on the formation of the super ego. While the young girl’s identity formation has been examined before, the general focus is often oedipal. In this essay, I choose to step away from the oedipal and examine the psychosymbolism throughout the novella. The aim is to see how Coraline’s own psychic development manifests itself in the other world. The characters in the novella are looked upon as representations of different aspects of Coraline’s psyche. Her actions with them are considered to be representations of internal conflicts or resolutions.   In short, this essay examines how the novella portrays the psychodevelopmental nature of the child's identity formation.

The Cork Good Shepherd Magdalen Asylum opened in the summer of 1872, and was abandoned in 1994. The number of women who passed through its walls remains unknown. Ireland’s Magdalen Laundries, a system of religious-run female penitentiaries founded to incarcerate society’s so called ‘fallen’ women, is a part of the country’s past traditionally met with reticent silence. For the atonement of their perceived sins, the inmates worked in the Magdalen laundries for no pay. The arduous labour was symbolic; the washing of soiled linen, for the purging of one’s soul. The inmates were held under no legal authority, had committed no crime, and were assigned no sentence; many women, unaware of their rights, were held in the laundries until they died. These institutions existed in Ireland over the span of three centuries, the last closing in 1996. Though a dialogue has begun to surround this chapter of Irish history, the issue remains far from resolved. The government has made no official acknowledgment or apology for their role in perpetuating such a shocking stance on social policy, while the Catholic orders responsible will not recognize the suffering caused at their hands. The Church refuses to release archival records that document the identities and numbers of the Magdalen women who worked in the laundries during the twentieth century. It is estimated that 30 000 ‘fallen’ women were put through this system - women who, with no records of their lives available, remain erased by anonymity. This lack of archival information has rendered the laundries, in Ireland’s collective consciousness, more in story than in history. The architecture that witnessed this past has since fallen victim to time. Whitewashed over with redevelopments, or left to fall into decay, the laundries, and their stories, are disappearing. Their place in the collective memory hangs in the balance, dwindling in the walls of their ruins. The sense of place, or memory, that is recorded in architecture, lingers in the folds of the ruin. Hovering like a ghost over its ashes, it becomes orphaned. As such, the preservation of place becomes laden with a sense of urgency. It becomes a problem of representation. Taking what remains of the Cork Good Shepherd Magdalen Asylum as a point of entry, I have endeavoured to decipher the fragments of the ruin as a reference to the whole, to, as Victor Hugo writes in Notre-Dame de Paris, turn the mountain of architecture into the imperishable flock of birds – the petrified memory into the narrative one. This is done in three parts. The first introduces the site’s historical and social context, composing a portrait of the building through the ephemera of its past. The second addresses the presence of absence in the return to the ruin, focusing its investigation on the imaginary space that stretches out between the shadow of the past-self, embodied in the built world, and the return of the present-self to this embodiment once it has fallen into ruin. This is followed by a series of meditative narratives constructed from the historical, latent, and projected memories contained within the ruin of the Magdalen Asylum in Cork. Part three is a rumination on the ruin, speculating on its role within human consciousness. The ruin of the Cork Good Shepherd Magdalen Asylum testifies to a dark history - one that remains largely unresolved, one that many would rather forget. This history has yet to find its place in Ireland’s collective memory and, with the vestiges of its past rapidly dissolving, it is in danger of erasure.