My dissertation critiques Western culture’s vertical command of “growing up” to adult completion (rational, heterosexual, married, wealthy, professionally successful) as a reductionist itinerary of human movement leading to subjective sedimentations. Rather, my project proposes ways of “moving rhizomatically” by which it advances a notion of a machinic identity that moves continuously, contingently, and waywardly along less vertical, less excruciating and more horizontal, life-affirmative trails. To this end, my thesis proposes a “rhizomatic semiosis” as extrapolated from the philosophy of Gilles Deleuze and Félix Guattari to put forward a notion of language and, by implication, subjectivity, as dynamic and metamorphic. Rather than trying to figure out who the child is or what it experiences consciously, my project wishes to embrace an elusiveness at the heart of subjectivity to argue for continued identity creation beyond the apparently confining parameters of adulthood. This dissertation, then, is about the need to re-examine our ways of growing beyond the lines of teleological progression. By turning to Deleuze’s child, an intangible one that “makes desperate attempts to carry out a performance that the psychoanalyst totally misconstrues” (A Thousand Plateaus 13), I wish to shift focus away from the hierarchical, binary, and ideal model of “growing up” and toward a notion of movement that makes way for plural identities in their becoming. This endeavour reveals itself in particular in the work of John Wray, Todd Field, Peter Cameron, Sara Prichard, Michael Cunningham, and Cormac McCarthy, whose work has received little or no attention at all—a lacuna in research that exists perhaps due to these artists’ innovative approach to a minor literature that promotes the notion of a machinic self and questions the dominant modes of Western culture’s literature for, around, and of children.

張灝先生曾指出中國近代思想具有一個轉型期。在這轉型期中，傳統概念資源在新時代命題下受到挑戰，使得中國知識分子必須在一個萬國之新世界秩序下，重新擘畫中國的位置，因此在中國要回應內在取向危機與外在列強的挑戰下，便啟動了思想轉型的旅程，上述這段從傳統到現代的發展過程，即稱之為中國近代思想史的轉型時代。「平等」觀念作為中國近代知識分子戮力追求的新價值，自然也經歷了這段思想轉型的過程；在轉型過程中隨著張灝先生所指出中國近代思想之普遍主義/特殊主義雙層建構現象，「平等」論述也呈現出普遍性平等與特殊性平等觀的雙重展演。本文即是欲從轉型時代的角度出發，觀察「平等」觀念從傳統發展至現代的過程中，如何在普遍性上成為中國近代知識分子於理想上的永恆追求；又如何在特殊性上滿足不同行動者於現實層面的生命–政治目的。追尋中國近代平等觀念在轉型時代中的發展，以及平等觀念如何回應中國近代三大兩歧命題：傳統/現代、理想/現實、政界/家界的矛盾與拉扯，即為本文之主要研究目的與論述核心所在。 本文在研究範圍上，主要以康有為、嚴復、章太炎等三人「平等」論述為主，而旁及中國近代其他知識分子的平等觀，以及與平等觀念發展相伴共生的其他相關近代論述。而在研究方法上，則採用綜合的觀念史研究法，一方面觀察宏觀面向的中國近代平等觀念史發展及其類型結構，一方面觀察微觀部分的論者個體「以言行事」(Illocutionary Act)與「以言取效」(Perlocutionary Act)的平等論述內在動機；而上述兼顧宏觀與微觀的綜合觀念史研究法，則必須透過數位人文技術(Digital Humanities)的協助才能達到研究方法循環，故本文研究即由綜合的觀念史研究法與數位人文研究法合作完成。而在研究結果上，本文分析了康有為、嚴復、章太炎等三人平等觀後，提出中國近代平等觀念的形成發展，依序有啟蒙平等、救亡平等、革命平等的歷時性發展特徵；以及三人皆各自代表了國學近代化下的儒家平等、道家平等、佛家平等觀之觀念類型。並在描繪出三人平等觀的特殊性後，更進一步地勾勒出三人平等觀的普遍性意義，即僅追求政界平等而不論家界秩序，呈現出一種有別於五四時期激進式三綱平等訴求的漸進式平等觀念形態，本文認為漸進式平等即是晚清平等觀念最為特殊之展演。 在本文研究貢獻上，則是對以往學者大都認為西方觀念一入中國，就立即挑戰了三綱，而呈現出三綱同時瓦解的主張進行商榷。本文認為以往學者忽略了晚清時期有一批知識分子，他們戮力於緩解家界倫常的平等革命而不贊成家界平等，這一行動群體的存在是前輩學者較為忽略的部份。因此本文透過康有為、嚴復、章太炎等三人，勾勒出中國近代知識分子中僅追求政界革命而反對家界革命一派的主張，並動態刻劃這個群體與主張三綱平等的無政府主義者之對詰過程，豐富清末民初歷史研究的厚度，即為本文之研究貢獻。 而在康有為以儒學本土資源完成啟蒙平等觀的建構、嚴復從道學出發建構救亡平等觀，以及章太炎從佛學會通革命平等觀的行動過程中，也標示了一個晚清階段國學再造的特殊意義，即：中國近代知識分子在意圖透過會通傳統本土資源與西方觀念，以追求啟蒙、救亡、革命目的下，也順勢促成了中國傳統國學的近代化發展。而中國近代平等觀念中所呈現出的國學近代化色彩僅為一個面向，中國近代知識分子乃是透過對於整個傳統國學觀念系統內涵的轉置，來強化國學與西方文明之間的對話能力，並完成國學從傳統邁入現代的再造歷程。故將來可從「國學近代化」的角度出發，觀察各種本土觀念如何透過與西學會通，完成中國近代思想觀念從傳統到現代的轉型過程，藉此更整全地掌握中國近代思想轉型之樣態，此即本文具有借鑑性之理論意義與推廣前景所在。

Chapter One will outline the way I will be using the constructs of "national" and "personal" identity, and will then move on to provide a brief contextual setting for the creation and importance of certain literary conventions of Irish topography and character, in particular by examining the cultural nationalism in Yeats's poems. In doing so, I will outline the metaphor of evolution which is crucial in this dissertation, and will examine some of the ethical implications of employing this metaphor. Chapter Two will examine the 1996 memoir Angela's Ashes by Frank McCourt, outline McCourt's employment of various stock Irish tropes, and show how this leads to a conflation of "personal" and "national" identity, to the detriment of the memoir. Chapter Three will turn to critique Are You Somebody?, the memoir by Nuala O'Faolain which was also published in 1996. I will argue that, in contrast to Angela 's Ashes, Are You Somebody? offers a constructive fusion of both kinds of identity national and personal. In Chapter Four, I will compare and contrast key issues in the texts, in relation to their both being memoirs of (Irish) national significance, published at the same time in a changing Ireland, and I will conclude by arguing that the process of invention which is necessary for the writing of a memoir is equally necessary for the creation of a national identity. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2001.

My dissertation critiques Western culture’s vertical command of “growing up” to adult completion (rational, heterosexual, married, wealthy, professionally successful) as a reductionist itinerary of human movement leading to subjective sedimentations. Rather, my project proposes ways of “moving rhizomatically” by which it advances a notion of a machinic identity that moves continuously, contingently, and waywardly along less vertical, less excruciating and more horizontal, life-affirmative trails. To this end, my thesis proposes a “rhizomatic semiosis” as extrapolated from the philosophy of Gilles Deleuze and Félix Guattari to put forward a notion of language and, by implication, subjectivity, as dynamic and metamorphic. Rather than trying to figure out who the child is or what it experiences consciously, my project wishes to embrace an elusiveness at the heart of subjectivity to argue for continued identity creation beyond the apparently confining parameters of adulthood. This dissertation, then, is about the need to re-examine our ways of growing beyond the lines of teleological progression. By turning to Deleuze’s child, an intangible one that “makes desperate attempts to carry out a performance that the psychoanalyst totally misconstrues” (A Thousand Plateaus 13), I wish to shift focus away from the hierarchical, binary, and ideal model of “growing up” and toward a notion of movement that makes way for plural identities in their becoming. This endeavour reveals itself in particular in the work of John Wray, Todd Field, Peter Cameron, Sara Prichard, Michael Cunningham, and Cormac McCarthy, whose work has received little or no attention at all—a lacuna in research that exists perhaps due to these artists’ innovative approach to a minor literature that promotes the notion of a machinic self and questions the dominant modes of Western culture’s literature for, around, and of children.

For most writers who deal with displacement, rewriting themselves, articulating and communicating their sense of estrangment is their lifetime work. For displacement forces one to leave behind the familiar and embrace the unknown. In this process of deconstruction, the concepts of home, belonging and identity are renegotiated and questioned constantly. Le Grand Voyage – the working title for the draft of a novel that is presented in conjunction with this exegesis – is a fictional work that is produced out of the implications of displacement, which inscribes itself in a series of explorations I started in 2001, cumulating with two video works Frammento in 2003 and Footnotes in 2004. Le Grand Voyage investigates further the concept of home by questioning the home/mother relationship. The exegesis aims to contextualise the making of Le Grand Voyage by using another woman’s narrative as the main point of reference: Linda Olsson’s Let Me Sing You Gentle Songs (2005). Olsson’s work – like mine – is conceived out of the effects of displacement, and the literary form and structure display symptoms that are characteristics to narratives of displacement. By putting the home/mother/daughter in context, the narrative displays home as a patriarchal construct showing how the idealisation of home/place is predicated on a gendering of home, whereby, as McDermott notes, ‘home is constructed as a maternal, static and past, to which the (male) subjects longs to return’ (2003: 265). The narrative’s point of view is that of daughters but also that of mothers as daughters, and enables not only a feminist discussion of the notion of home but also of motherhood. Therefore, the theoretical approach for this work has encompassed feminists’ writings that have particularly focused their research on space, place and gender. In challenging the dominant form of gender constructions and relations, the first and second wave feminism have empowered many women to leave home in order to shape their own version of identity. I believe it is within the perspective of displacement, of being out of place, that many women continue to find the necessary distance to contest a particular reading of woman and home that still prevails in academic literature and fiction. Thus, an important part of this exegesis concentrates on the critic of home. I want to argue in a feminist way that our ideas of home and belonging still reflect gendered assumptions and are therefore contestable. That displacement as a catalyst for loss, emotional grief and mourning becomes an enabling way for women to rethink home in terms of what was at play rather than in place and to do the ‘memory work’ that feminists ask women to do: to remember in order not to forget because ‘forgetting is a major obstacle to change’ (Greene, 1991: 298). Their attacks on the feminisation of place have opened up for me possibilities to think of home outside the parameters of sameness. They have also enabled me to understand the paradoxical position a displaced person is faced with: if displacement is favored and privileged why then do longings for home still persist for some? – a fact that is well illustrated in the actual resurgence of the preoccupation to belong. The gain in displacement also involves the fact that distance forces one to look at the longing and nostalgia for what they really conceal. In the case of a woman and, motherless daughters, distance, as this exegesis demonstrates, enables the writer to unveil the longings as subversive and fraudulent, tricking women into thinking there was nothing better than the past: home sweet home, the safe, bounded nest where women could be women: could be the mother. With the ‘memory work’ they both learn to think away from the parameters of sameness and the past, outside the nostalgic stances of singularity, safety, boundaries and internalised histories, therefore outside of the maternal, the home/mother relationship. ‘What is home?’ is a difficult question to negotiate for a woman. The exegesis and the first draft of the novel show what is at stake when one asks the question and the responsibility of women when writing about home.

For most writers who deal with displacement, rewriting themselves, articulating and communicating their sense of estrangment is their lifetime work. For displacement forces one to leave behind the familiar and embrace the unknown. In this process of deconstruction, the concepts of home, belonging and identity are renegotiated and questioned constantly. Le Grand Voyage – the working title for the draft of a novel that is presented in conjunction with this exegesis – is a fictional work that is produced out of the implications of displacement, which inscribes itself in a series of explorations I started in 2001, cumulating with two video works Frammento in 2003 and Footnotes in 2004. Le Grand Voyage investigates further the concept of home by questioning the home/mother relationship. The exegesis aims to contextualise the making of Le Grand Voyage by using another woman’s narrative as the main point of reference: Linda Olsson’s Let Me Sing You Gentle Songs (2005). Olsson’s work – like mine – is conceived out of the effects of displacement, and the literary form and structure display symptoms that are characteristics to narratives of displacement. By putting the home/mother/daughter in context, the narrative displays home as a patriarchal construct showing how the idealisation of home/place is predicated on a gendering of home, whereby, as McDermott notes, ‘home is constructed as a maternal, static and past, to which the (male) subjects longs to return’ (2003: 265). The narrative’s point of view is that of daughters but also that of mothers as daughters, and enables not only a feminist discussion of the notion of home but also of motherhood. Therefore, the theoretical approach for this work has encompassed feminists’ writings that have particularly focused their research on space, place and gender. In challenging the dominant form of gender constructions and relations, the first and second wave feminism have empowered many women to leave home in order to shape their own version of identity. I believe it is within the perspective of displacement, of being out of place, that many women continue to find the necessary distance to contest a particular reading of woman and home that still prevails in academic literature and fiction. Thus, an important part of this exegesis concentrates on the critic of home. I want to argue in a feminist way that our ideas of home and belonging still reflect gendered assumptions and are therefore contestable. That displacement as a catalyst for loss, emotional grief and mourning becomes an enabling way for women to rethink home in terms of what was at play rather than in place and to do the ‘memory work’ that feminists ask women to do: to remember in order not to forget because ‘forgetting is a major obstacle to change’ (Greene, 1991: 298). Their attacks on the feminisation of place have opened up for me possibilities to think of home outside the parameters of sameness. They have also enabled me to understand the paradoxical position a displaced person is faced with: if displacement is favored and privileged why then do longings for home still persist for some? – a fact that is well illustrated in the actual resurgence of the preoccupation to belong. The gain in displacement also involves the fact that distance forces one to look at the longing and nostalgia for what they really conceal. In the case of a woman and, motherless daughters, distance, as this exegesis demonstrates, enables the writer to unveil the longings as subversive and fraudulent, tricking women into thinking there was nothing better than the past: home sweet home, the safe, bounded nest where women could be women: could be the mother. With the ‘memory work’ they both learn to think away from the parameters of sameness and the past, outside the nostalgic stances of singularity, safety, boundaries and internalised histories, therefore outside of the maternal, the home/mother relationship. ‘What is home?’ is a difficult question to negotiate for a woman. The exegesis and the first draft of the novel show what is at stake when one asks the question and the responsibility of women when writing about home.

關於台灣電影，日本可說是時常被使用的元素。除了在2014年一上映就賣座的《KANO》之外，在2010年上映，描繪日本女性與台灣男性戀愛的《愛你一萬年》、以及在2012年上映，將西門町以日本原宿的形象呈現的《西門町》，三部電影都展現日本與台灣的密切關係。雖然這些電影裡都有描繪日本風的元素，但都可說是台灣人基於文化接近性所再建構的，一種獨特的日本形象。 因此，本研究先概觀台灣在1990年代之後接受日本流行文化的影響，並就台灣人如何將日本流行文化再建構進行分析。譬如，《愛你一萬年》就是參考1992年在台灣所播放的日本偶像劇《東京愛情故事》，來描繪日本女性的形象；而受到1990年代後期所興起的「哈日」現象影響，電影《西門町》所描繪的西門町場景中，具有仿造日本「原宿」的都市構造，「卡哇伊」的服裝風格也開始出現。此外，雖然《KANO》與日本流行文化沒有直接的因果關係，但是日本流行文化與「台灣意識」似乎催生了對劇中「親日」的描寫。 根據上述想法，本研究依據焦點團體訪談(Focus Group Interview)的方式，讓日本受測者觀看上述三部電影，就電影裡面所描繪的日本形象與自身所想像的日本形象兩者之間的差異進行討論，分析他們的討論內容。 結果，對於《愛你一萬年》中所描繪的日本女性形象，日本受測者雖然不認為劇中日本女主角符合典型日本女性形象，但普遍都能接受本作品所描繪的日本女性形象。對於《西門町》中所描繪的西門町，如果就西門町整體氛圍的話，日本年輕世代的受測者能看出西門町與原宿的關聯性，然而如果注意到劇中西門町細部的話，日本受測者都不能看出這樣的關聯性。此外，對本作品所描繪的「卡哇伊」文化，日本人會覺得有些過時。對於《KANO》中所描繪的會說日語的台灣人，日本受測者則難以對三者（漢民族、原住民、日本人）進行區分。另外，根據語言、歷史與政治的角度，以及不同的時空背景來觀看本作品，對於嘉義農林棒球隊的球員是代表哪個民族的球隊的問題，受測者則會因為語言、歷史與政治的不同而有所差異。 / It can be said that Japanese elements are often used in Taiwanese films. Aside from KANO which enjoyed great success in 2014, Love You 10,000 Years from 2010 describes a love story between a Japanese woman and a Taiwanese man, while Westgate Tango from 2012 describes Ximending (西門町) in the style of Harajuku (原宿). Like this, these three Taiwanese films have a close connection with Japanese elements. However these elements have been affected by “Cultral Proximity (文化接近性)”and been reconstructed as fitting within Taiwan. That is, they can be considered localized Japanese elements. This research analyzes first how Taiwan received Japanese popular culture since around 1990 and subsequently localized it. For example, Love You 10,000 Years uses the Japanese female image from Japanese popular drama Tokyo Love Story , broadcast in Taiwan in 1992. The atomosphere of Ximending (西門町) Westgate Tango describes has an urban structure like that of Harajuku (原宿), and represents“Kawaii (cute、卡哇伊、カワイイ)”fashion that the “Hari (Japanification、哈日)” phenomenon of the late 1990’s brought in. KANO does not have a direct connection with Japanese popular culture, though it seems that Japanese popular culture and “Taiwan Identity” gave birth to the “Japanophile” attitude in the film. This research adopts the Focus Group Interview approach, first allowing Japanese participants to watch each above-mentioned Taiwanese film. Afterwards the researcher prompted a discussion of each film and analyzed the contents of them. As for the Japanese female image Love You 10,000 Years describes, Japanese participants did not recognize it as a stereotypical Japanese female image, however received it as one possible image among Japanese women. As for the atomosphere of Ximending (西門町) Westgate Tango describes, if participants considered the entire appearance of Ximending, participants whose ages ranged between twenty and thirty could associate the atomosphere of Ximending with that of Harajuku. On the other hand if Japanese participants considered individual scenes of Ximending, they could not do that. As for “Kawaii (卡哇伊、カワイイ)”fashion that this film describes, Japanese participants felt that it is out-of-date compared to Japanese fashion of the same period. Lastly, as for the Japanese-speaking Taiwanese speaking described in KANO , it was very difficult for Japanese participants to distinguish Taiwanese from Japanese. Therefore when considering the primarily Japanese language spoken by the“Chiayi Agricultural School baseball team (嘉義農林棒球隊)”, participants readily identified the team as Japanese. However, when considering the historical and political setting of film, it was found that participants had varied opinions about the ethnicity of the team.

The diploma thesis examines the specific work of Albert Camus and Gabriel Marcel, focusing on the question of human values. The aim is to show two forms of existential philosophy concerning human existence in their chosen dramas. The work is divided into chapters. In the first chapter we can find the basic characteristics of existentialism and its development. The second and third chapter deals with Camus' and Marcel's conception of philosophy. In these chapters will present the Camus' problem of suicide, revolt, absurd and sense of being. In the case of Marcel will be dealt with the issue of duality of being and have, relationship I-You, love, hope, death, freedom and faith. Diploma thesis results in subsequent chapters where you can find comparison existential themes in the works of authors.

The thesis is concerned with the matter of intersubjectivity, traditionally called as ?a question of the other minds?. The new approach in this area was brought mainly by two philosophical movements: by phenomenology and by dialogical personalism. They both reacted to each other in this point, and their reflexions upon this matter resulted in very outstanding discoveries, with influence untill nowadays. Thesis introduces the concept of the Other in each of both mentioned traditions, simultaneously tries to grasp surprisingly similar result of philosofical analysis in different traditions, and also tries to stress the primacy of ethics in historical development of both traditions as a place of meeting of (the other) minds.

Submitted by Maria Bernadete Dos Santos (mariabpds@id.uff.br) on 2017-10-10T14:05:56Z No. of bitstreams: 3 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação Paula Paulo.pdf: 2149459 bytes, checksum: c005caf1f174ecc705d825a05fcab564 (MD5) Endereço Eletrônico.pdf: 89286 bytes, checksum: 9badc17543c2e9c73d1911fed3a28c3a (MD5) / Approved for entry into archive by Biblioteca Central do Valonguinho Biblioteca Central do Valonguinho (bcv@ndc.uff.br) on 2017-10-26T21:45:35Z (GMT) No. of bitstreams: 3 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação Paula Paulo.pdf: 2149459 bytes, checksum: c005caf1f174ecc705d825a05fcab564 (MD5) Endereço Eletrônico.pdf: 89286 bytes, checksum: 9badc17543c2e9c73d1911fed3a28c3a (MD5) / Made available in DSpace on 2017-10-26T21:45:35Z (GMT). No. of bitstreams: 3 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação Paula Paulo.pdf: 2149459 bytes, checksum: c005caf1f174ecc705d825a05fcab564 (MD5) Endereço Eletrônico.pdf: 89286 bytes, checksum: 9badc17543c2e9c73d1911fed3a28c3a (MD5) / A Inclusão é um tema que cada vez mais vem sendo discutido na Sociedade. Como consequência, a inserção de pessoas que possuem qualquer tipo de necessidade educacional especial em salas de aulas regulares vem aumentando de forma progressiva. Embora existam muitas leis que garantam aos alunos com algum tipo de necessidade educacional especial a educação adequada num ambiente escolar inclusivo, a mesma muitas das vezes não é obedecida. Um dos motivos para esse problema é a falta de formação adequada dos professores para que consigam lidar com esses alunos. Por isso, foi proposta nessa dissertação uma maneira de colaborar com esses professores em sua prática docente. Produziu-se entre os anos de 2016-17 um conjunto de três vídeoaulas, disponibilizadas gratuitamente através do Youtube, onde cada aula possui um tema que auxilia o professor de Química a lidar com turmas inclusivas e com alunos deficientes visuais. Os vídeos foram filmados de maneira informal, seguindo um roteiro previamente estabelecido, e divulgados através do próprio site, redes sociais e uma oficina com alunos do PIBID (Programa Institucional de Bolsa de Iniciação à Docência) de Química da UFF. A primeira videoaula discute brevemente inclusão, mostrando alguns conceitos e leis, a segunda mostra como professores podem lidar com alunos deficientes visuais, através do uso de materiais didáticos inclusivos, mostrando como produzi-los e a última vídeoaula exibe alguns exemplos desses materiais já produzidos para o Ensino de Química. A análise dos vídeos foi realizada em 2016 por vinte e cinco professores voluntários de diferentes áreas do ensino já formados ou em formação. Todos avaliaram positivamente, indicando algumas melhorias com relação a alguns aspectos técnicos da gravação, como iluminação e áudio. Dessa forma, chegou-se à conclusão que as vídeoaulas alcançaram seu objetivo principal, indo além da sua meta inicial, atingindo também professores de outras disciplinas. / Inclusion is a subject that is increasingly being discussed in the society. As consequence, the insertion of people who have any kind of special educational need in regular classrooms has been increasing progressively. Although there are many laws guaranteeing pupils with some special educational need of adequate education in an inclusive school environment, it is often not obeyed. One of the reasons for this problem is the lack of adequate teacher training so that they can deal with these students. Therefore, it was proposed in this dissertation a way of collaborating with these teachers in their teaching practice. Between the years 2016-17, a set of three videotapes was made available for free through Youtube, where each class has a theme that helps the chemistry teacher to deal with inclusive classes and with visually impaired students. The videos were filmed in an informal way, following a previously established script and disseminated through the site itself, social networks and a workshop with UFF PIBID (Institutional Program of Initiation to Teaching) chemistry students. The first videotape briefly discusses inclusion, showing some concepts and laws, the second shows how teachers can deal with visually impaired students through the use of inclusive teaching materials, showing how to produce them, and the last videotape shows some examples of such materials already produced for teaching chemistry. The videos were analyzed in 2016 by twenty-five volunteer teachers from different areas of education already trained or in training. All evaluated positively, indicating some improvements regarding some recording technical aspects, such as lighting and audio. In this way, it was concluded that videotapes reached their main goal, going beyond their initial goal, reaching teachers from other disciplines as well.