L’objet de ce travail est de rendre compte d’une triple invention. La première, au sens de « trouver », tient à la découverte fortuite des œuvres d’Henry Darger (1892-1973). La deuxième, qui est le fait de la réception institutionnelle, consiste à faire de l’écrivain et illustrateur un artiste d’Art Brut, créateur pour ainsi dire par accident. Qui plus est, cette approche privilégie sa production picturale, alors qu’il se considérait lui-même avant tout comme romancier. Ces deux inventions seront avant tout l’occasion d’exposer l’objet central de cette étude : l’invention de l’artiste par lui-même, rétabli en écrivain. Dans ses écrits, autobiographiques et fictionnels, Darger déploie une inquiétude volontaire qui lui permet de remettre en cause le primat de l’identité personnelle, en multipliant les Moi potentiels. L’état d’inquiétude interroge la relation au monde, bouleverse les rapports conventionnels entre réel et vrai, vrai et faux, et met au jour l’irréel, ce pan de la réalité que la fiction rend accessible. Enfin, Darger déploie une pratique littéraire en rapports à des œuvres préexistantes, véritable écriture-lectrice qui repose toutefois sur une mythologie personnelle, un ensemble de thèmes structuré en architecture de symboles. / The purpose of this study is to account for a triple invention. The first resultsfrom the incidental finding of Henry Darger’s works (1892-1973). The secondone, which is the result of institutional reception, consists in turning both writerand illustrator into an Outsider Artist, creator by accident, so to speak.Moreover, this approach favour his pictorial work, whereas he consideredhimself to be a novelist above all. These two inventions will give us theopportunity to present the main issue of this study : the artist’ self-creation,reclaiming the status of writer. In his writings, be they autobiographical or fiction, Darger displays a purposeful anxiety enabling him to question theprimacy of personal identity, hence multiplying potential selves. This purposefulanxiety questions his relation to the world and upsets the traditional structuresbetween what is real and what is true, right and wrong. It also unveils the unreal,this aspect of reality made available by fiction. Finally, Darger displays aliterally craft associated with pre-existing works, a fully-fledged writing-in-thereadingexperience still based upon a personal mythology: a set of themeswoven into an architecture of symbols.

The present study focuses on Escritos para desocupados (Writings for the Unoccupied), a 2013 work by Mexican author Vivian Abenshushan, as a multifaceted book that poses challenges for literary studies, book studies, and the reader in general. From a textual perspective, Escritos para desocupados is a shape-shifter. That is, depending on how the reader accesses its content, it can be a blog-book, a web-book, a printed book or a digital PDF-book. Using a term coined by the author, the "augmented book," I seek to encompass a phenomenon that is no longer unusual, the publication of a text in different media. Using Roger Chartier's Forms and Meanings: Texts, Performances and Audiences from Codex to Computer (1995), and N. Katherine Hayles's Electronic Literature: New Horizons for the Literary (2008), the present study reworks and builds upon Abenshushan's term "augmented book" to reflect the transformation suffered by the text, and expands upon this new perspective to offer three basic modes of augmentation: through content, through formats, and through reading. Drawing on these forms of augmentation, and adding a more literary perspective, after reviewing the characteristics of two Avant-garde and post-Avant-garde literary movements in Mexico, as well as their primary characteristics, the findings suggest that Escritos para desocupados could be considered the manifesto to a new post-Avant-garde literary movement in Mexico, under the proposed name of movimiento desocupado (Unoccupied Movement). Note to the reader: This thesis is currently available only in Spanish.

The thesis intends to describe the life and work of Khabi Mngoma, protagonist of black music education in South Africa (latter half of the twentieth century), with reference to historical, socio-political, anthropological, educational and musicological aspects. His musical development from a mere participator in musical activities of his environment to a dominantly influential initiator of cultural and musical activities and education programmes on a national scale, is investigated. The study is presented in thirteen chapters: the first three chapters explore the musical influences of Khabi Mngoma's childhood (in the township-, school-and rural environment respectively), and the musical influences of his early adulthood. Particular, reference is made to his first academic musical studies in Western classical music, and the arousing of his interest in the academic study and performance of African music. The following nine chapters describe Khabi Mngoma's cultural and music educational activities (1948 - 1990) and explore the growing recognition of him as a cultural and music educational leader in South Africa. This period of Khabi Mngoma's life and work is divided into five periods: his work in Orlando, Soweto and Johannesburg during the years of his association with the Orlando High School (1948 - 1952; the first period); the second period refers to Khabi Mngoma's Social and Cultural work for the National War Memorial Health Foundation (1953 - 1957); the third, fourth and fifth periods relate to Khabi Mngoma's cultural and educational activities associated with the periods of employment by the Johannesburg City Council (1957 - 1964; third period), Dorkay House (Union Artists) and Reckitt & Colman (1965 - 1975: simultaneous employment; fourth - period), and finally the University of Zululand (1975 - 1987; the fifth period). The fifth period continues into the years following his retirement in 1987, with his influence on a national scale continuing to be established through various significant involvements, discussed in this study. The decision to arrange Khabi Mngoma' s adult life and career into five periods needs explaining. I am aware that human endeavor can never be neatly compartmentalized, because so many aspects of such endeavour overlap. This format is not intended to imply a rigid delineation; it is derived from the chronological arrangement of my material, and is intended to guide the reader through this study.

À partir des autoportraits photographiques de Vivian Maier (1926-2009) et Francesca Woodman (1958-1981), la thèse de ce texte est que la figuration féminine nous transmet un art de disparaître. Si l’on établit que cet art serait présent de manière plus ou moins active dans l’ensemble de l’iconographie du féminin, on montre que c’est un contexte particulier qui en révèle l’existence : celui de l’émancipation des femmes depuis la fin du XVIIIe siècle, de l’invention de la photographie au XIXe siècle et du bouleversement écologique contemporain. En effet, on constate chez Vivian Maier et Francesca Woodman, et plus largement dans l’autoportrait photographique féminin, une écologie poétique déterminée et engendrée par la technique photographique et les mutations modernes dans la vie des femmes, où se rencontrent désormais le destin de la figuration féminine dans l’histoire de l’art et le destin possible de notre espèce. Cette thèse propose de tirer de ces autoportraits un nouveau modèle pour habiter le monde en ce moment de transition historique à l’égard du genre et de la nature. / Drawing from the photographic self-portraits of Vivian Maier (1926-2009) and Francesca Woodman (1958-1981), this thesis argues that feminine figuration conveys an art of disappearing. Establishing that this art is, to a certain extent, at work across the iconography of the feminine, we are showing that it was brought to light within a specific context: the emancipation of women since the end of the 18th century, the invention of photography in the 19th century and the contemporary ecological crisis. Indeed, a poetic ecology emerges through the works of Vivian Maier and Francesca Woodman in particular, and the feminine photographic self-portrait as a whole, determined by the photographic technique and modern changes in women’s lives, where the destiny of feminine figuration in art history converges with the possible destiny of our species. From these self-portraits, this thesis offers to draw a new way of inhabiting the world in this historic moment of transition with regard to gender and nature.

This thesis investigates cinema’s attempts to engage in a dialogue with the trace of the physical body. My concern is with the on-screen presentation of the body rather than its treatment as a representation of gender, sexuality, race, age, or class. I examine specifically The Elephant Man (Lynch, 1980), Crash (Cronenberg, 1996), Attenberg (Tsangari, 2010), Taxidermia (Pálfi, 2006), and Sokurov’s family trilogy (Mother and Son, 1997; Father and Son, 2003; and Alexandra, 2007). The recurring tropes in these seven films include references to the medical gaze (both objective and objectifying) and haptic visuality which privileges sensual, close engagement with the image of the material object. I consider the medical and the haptic as metaphors for depictions of the body in cinema. To develop my analysis, I draw on the works of Michel Foucault, Laura U. Marks and Vivian Sobchack amongst others. I conclude that the discussed films, preoccupied with images of corporeal forms, criticise cinema’s conventional treatment of the body as simply a vessel for a goal-driven character and portray bodies which appear to consciousness in their own right.

Jarmila Jelínková - Self-devotion women motive showed on the "Breaking the waves" scenerply Abstract The article analyzes the character of Bess in the script of Lars von Trier and Vivian Nielsen's drama Breaking the Waves. The portrayal of Bess' behavior, life, and relationships to her husband, the church and God are interpreted from the perspective of feminist theology as introduced by Isabel Carter Heyward. The main message of the play is the parallel to Jesus' sacrifice of pure altruism leading towards physical self-destruction; other possible interpretations offered in the article are the images of self-sacrifice as a type of mystical obsession or as a type of internalized manipulation conveyed by means of discursive power. Keywords: faith in God, self-sacrifice, power, freedom, feminist theology, Lars vor Trier, Vivian Nielsen.

One in 4 children in the United States lives in a family impacted by the chronic, heritable disease of substance use disorder (SUD), also known as alcoholism or addiction. Recent research has demonstrated that resilience is a key protective factor against developing the disease in adolescence and adulthood and that the neurological roots of resilience lie in the child's experiences in early childhood. In spite of this, few resources related to family SUD or current models of resilience are included in preservice teacher preparation for early childhood educators. This study examined whether key components of Masten's model of resilience are found in fairytales, a form of literature commonly used in early childhood teacher preparation programs. A qualitative, descriptive, deductive content analysis was conducted on 24 fairytales from 22 different cultures, using a tool derived from Propp's morphology of fairytales and Masten's model of resilience. Results indicated that the texts of 96% of these stories contained multiple specific references to the 3 dominant evidence-based factors for resilience: attachment/relationships, initiative, and self-regulation. When broken into the 7 subcategories of these 3 protective factors, as identified by Masten, 9 fairytales contained examples of all 7 protective factors; 9 had examples of 6, and another 5 had examples of 5. The results of this study may be used to provide teacher educators with resources to better prepare preservice early childhood teachers to understand and nurture resilience in children, while addressing existing mandated learning objectives related to emergent literacy. This will benefit all children the teachers will work with, but especially those who are impacted by SUD and other forms of trauma.

This thesis will illustrate how pretend play can be used in the home for educational purposes. The major emphasis of the work will be emergent literacy, however, application principles can be applied in all subject areas. Parents who desire to expand their child's literacy skills while exposing the child to an arts enriched home environment need ideas and tools developed with supportive research to strengthen and focus their efforts. These tools will greatly expand parental resources by offering several principles as a guide for adapting existing classroom materials for home use. The following Seven Components form the core foundation for adapting pretend play materials to aid the home learning environment curricula: (1) Child as Active Participant (Vygotsky; Piaget). (2) Parent as Role Model for Dramatic Play and Literacy, serves as Facilitator, and Co-player (Haight and Miller; Vygotsky). (3) Physical environment could be anywhere: car, office, or bedroom. (4) Resource material: should be able to use common found objects in home, with limited preparations or expense. (5) Play Content needed to provide elements of literacy: cognitive learning, symbol representation, oral language, self-expression, listening and comprehension (Goodman). (6) Promote creative and fun learning experience with a relaxed, informal atmosphere. (7) Play should be process and discovery oriented, and not for performance (Brown and Pleydell; Tuge). This thesis will also examine the preliminary results of a study for parents and children who applied a curriculum developed with the core components and explored the participants' interest level in such activities. Recommendations for further research will also be made.

The Nashville Civil Rights Movement was one of the most dynamic local movements of the early 1960s, producing the most capable student leaders of the period 1960 to 1965. Despite such a feat, the historical record has largely overlooked this phenomenon. What circumstances allowed Nashville to produce such a dynamic movement whose youth leadership of John Lewis, Diane Nash, Bernard LaFayette, and James Bevel had no parallel? How was this small cadre able to influence movement developments on local and a national level? In order to address these critical research questions, standard historical methods of inquiry will be employed. These include the use of secondary sources, primarily Civil Rights Movement histories and memoirs, scholarly articles, and dissertations and theses. The primary sources used include public lectures, articles from various periodicals, extant interviews, numerous manuscript collections, and a variety of audio and video recordings. No original interviews were conducted because of the availability of extensive high quality interviews. This dissertation will demonstrate that the Nashville Movement evolved out of the formation of independent Black churches and college that over time became the primary sites of resistance to racial discrimination, starting in the Nineteenth Century. By the late 1950s, Nashville’s Black college attracted the students who became the driving force of a local movement that quickly established itself at the forefront of the Civil Rights Movement. Nashville’s forefront status was due to an intentional leadership training program based upon nonviolence. As a result of the training, leaders had a profound impact upon nearly every major movement development up to 1965, including the sit-ins, the Freedom Rides, the March on Washington, the birth of SNCC, the emergence of Black Power, the direction of the SCLC after 1962, the thinking of Dr. Martin Luther King, Jr., the Birmingham campaign, and the Selma voting rights campaign. In addition, the Nashville activists helped eliminate fear as an obstacle to Black freedom. These activists also revealed new relationship dynamics between students and adults and merged nonviolent direct action with voter registration, a combination considered incompatible.

A museum has to care for the objects in its collection to the best of its ability. The concept collections management emerged in the 1960s, when accountability for collections became a strong incentive for museums to develop modern collections management practices. In the process of establishing accountability (the effective implementation of practices to ensure adherence to collections policies on the accessioning, care and disposal of objects in a museum collection) many museums encountered problems such as the lack of access to detailed information about the objects in collections, a proliferation of accession numbers and inadequate location control. These problems were also encountered at the National Cultural History Museum, Pretoria. This research reveals the way in which the historical, anthropological and archaeological collections at the Transvaal Museum, predecessor of the National Cultural History Museum were managed from 1913 to 1964. This period was chosen for the following reasons: -- J W B Gunning, the director of the Transvaal Museum, was succeeded by H G Breijer in 1913. The year 1913 is thus a clear starting point for research and a new beginning, a watershed, at the Museum. -- The year 1964 marked the inception of an autonomous museum, the National Cultural History and Open-Air Museum, and the discontinuance of responsibility, after a period of 60 years, for the anthropology, archaeology and history collections at the Transvaal Museum. The development of the Transvaal Museum as a natural history and a history museum, is traced. In 1953, for the first time, a trained professional officer was appointed for the history division at the Museum. After 1953 there was an increased awareness (from a professional point of view) that historical, anthropological and archaeological collections require specialized curatorial care. Modern collections management principles, although they were not called by this name, featured effectively in the handling of the historical collection in particular, for the first time in more than 50 years. Aspects such as departmental organization, the staff, expansion of collections, policies, documentation and conservation are investigated. An evaluation of the factors that played a decisive role in collections management practices for the historical, anthropological and archaeological collections shows that a combination of aspects has to be considered in order to understand the practices that were followed and the changes that were made. / Thesis (DPhil (Museology))--University of Pretoria, 2006. / Historical and Heritage Studies / unrestricted