Vem vill inte vara sig själv [Who Doesn't to be Himself]  opens a discussion on the meaning and function of the alter ego in contemporary culture. In the essay the writer goes back and forth between describing and analyzing the examples he presents, mainly subcultural and media influenced facts and phenomena, and here and there he connects them to personal experiences, among other things the part the alter ego played in his first meeting with art.

This mini-dissertation is aimed at analysing the requirements the court takes into consideration when deciding to pierce a trust veil in either insolvency or divorce matters. A clear exposition of the legal nature of a trust is provided to determine how a trust affords the extensive protection to trust assets, the very characteristic that makes it as popular as it is today. It is due to this protection of trust assets that a trust has become the object of abuse by founders and trustees, and the court has felt it necessary to introduce a remedy. In Badenhorst v Badenhorst the court stated that the company law doctrine of piercing the veil should be extended to trust law. Some authors criticised this judgement, and arguments pro(for) the extension is included in the conclusion. The research explored the circumstances that warrants the piercing of a trust veil and it was found that the court is likely to pierce a trust veil if the trust form was abused. The study then shifts its focus to the type of abuse the court seeks to remedy. A trust can amount to be the alter ego of a person or a court can deem a trust to be a sham. The research investigates the distinction between the two in depth, and the resultant finding is that only alter ego trusts will be pierced by a court, since a sham trust means that no valid trust has in fact been formed and therefore there is no veil to pierce. Often the courts are confused by the two and the likelyhood of a trust being labelled a sham by South African courts are slim. To find that a trust was abused, the courts will look at the essential requirements of forming a trust to determine the validity. The most important factors that the court considers when deciding to pierce the veil, is the type of control over the trust assets and the intention with which the trust is created or kept. An extensive analysis of the Companies Act and the doctrine of piercing the veil was done to probe their compatability with trust law and to see if the remedy is in fact effective and correctly applied. Case law to support the court‘s view and application of the mentioned doctrine is discussed and evaluated. The study closes with an evaluation of the procedure of piercing the veil and the consequences following such piercing, as well as the arguments for allowing piercing of a trust veil to force trust users to obey the basic trust idea of separation of enjoyment from control. / LLM (Estate Law), North-West University, Potchefstroom Campus, 2015

This mini-dissertation is aimed at analysing the requirements the court takes into consideration when deciding to pierce a trust veil in either insolvency or divorce matters. A clear exposition of the legal nature of a trust is provided to determine how a trust affords the extensive protection to trust assets, the very characteristic that makes it as popular as it is today. It is due to this protection of trust assets that a trust has become the object of abuse by founders and trustees, and the court has felt it necessary to introduce a remedy. In Badenhorst v Badenhorst the court stated that the company law doctrine of piercing the veil should be extended to trust law. Some authors criticised this judgement, and arguments pro(for) the extension is included in the conclusion. The research explored the circumstances that warrants the piercing of a trust veil and it was found that the court is likely to pierce a trust veil if the trust form was abused. The study then shifts its focus to the type of abuse the court seeks to remedy. A trust can amount to be the alter ego of a person or a court can deem a trust to be a sham. The research investigates the distinction between the two in depth, and the resultant finding is that only alter ego trusts will be pierced by a court, since a sham trust means that no valid trust has in fact been formed and therefore there is no veil to pierce. Often the courts are confused by the two and the likelyhood of a trust being labelled a sham by South African courts are slim. To find that a trust was abused, the courts will look at the essential requirements of forming a trust to determine the validity. The most important factors that the court considers when deciding to pierce the veil, is the type of control over the trust assets and the intention with which the trust is created or kept. An extensive analysis of the Companies Act and the doctrine of piercing the veil was done to probe their compatability with trust law and to see if the remedy is in fact effective and correctly applied. Case law to support the court‘s view and application of the mentioned doctrine is discussed and evaluated. The study closes with an evaluation of the procedure of piercing the veil and the consequences following such piercing, as well as the arguments for allowing piercing of a trust veil to force trust users to obey the basic trust idea of separation of enjoyment from control. / LLM (Estate Law), North-West University, Potchefstroom Campus, 2015

No description available.

As a child growing up, I was always in love with the ritual of “dress up”. Whether it was my dolls, various reluctant pets, or myself, it was always an activity I loved. It is not surprising then that adornment has become the medium through which I express myself and bring my fantasy world to life. Jewelry and accessory have the potential to lead many lives. One particular piece can change entirely by putting it on one body as opposed to another, or by removing it to see it as an object. In fashion, the body is the canvas and the runway becomes the moment of performance. My work uses the body in much the same way where the wearer becomes performer. Through this act, we construct personal forms of armor, or “power suits”, to face the battlefield of the outside world. In harnessing this act of adorning and what it encompasses, I am consistently challenged as both designer and maker. Creating alter egos, whether subtly flirtatious or overtly sexual, demure or flamboyant, are some of the many ways in which these “power suits” can be concocted. The stories we project about ourselves daily, through how we adorn our naked bodies, become empowering. Myths versus reality, ascetic versus sensual, and beautiful versus ugly are some of the concepts from which I draw inspiration. These dualities are conceptually expressed in my work through physical combinations of opposing materials. Mixing mediums, through methods such as collaging, beading, needlepointing, knitting, and sewing, are integral in my designs. With alternative materials, such as feathers, textiles, and yarns, I add softness and new scintillating sensations when juxtaposed with the hard, cold qualities of metal. Through combining such materials, I construct pieces that not only challenge one’s notion of what “pretty” is, but also inspire the way one thinks about body adornment. The objects I create become vessels that actualize the dualities I strive to express. In producing hybrids of materials, my need to explore these dichotomies is satisfied.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Šis tarpdisciplininis magistro darbas yra konceptuali galios ir realybės (tam tikra prasme ir autentiškumo) studija. Viena nuo kitos sunkiai atsiejamos pastarosios sąvokos yra analizuojamos per tris plačius teorinius pjūvius – hiperrealybę, orientalizmą bei šiuos procesus katalizuojančią ir iš dalies logistinę funkciją atliekančią antrąją modernybę. Galios ir realybės santykis darbe analizuojamas ne tiek per fizinį silpnesniojo pavergimą, kiek mėginimus modifikuoti tikrovę bei vaizdinių pagalba kurti hiperrealybę, subordinuotą galios subjekto interesams. Atvejo studijai pasirinkta galios implikuota Jungtinių Arabų Emyratų (JAE) hiperrealybė bei sąlygas jos atsiradimui paklojusi antroji modernybė. Atlikta empirinė ir teorinė analizė atskleidžia, jog įspūdingi Emyratų kultūros objektai, iliustruojami leksinėmis hiperbolėmis ir kvapą gniaužiančiais vaizdais, tėra simuliakras, neatspindintis tikrovės ar vietos kultūros, bet siekiantis pačią tikrovę pakeisti. Be to, JAE yra naujos rūšies simuliakras, kurio esminiu požymiu galima laikyti vertybiškai svetimos kultūros perėmimą bei pavertimą „sava“, siekiant simbolinio pripažinimo. Šio Emyratų, kaip globalaus pasaulio galios centro, pripažinimo, kuris yra ir šalies modernizacijos katalizatorius, ir nedemokratinio valdančiojo režimo legitimacijos įrankis, siekiama drastiškai aukojant autentiškumą bei kuriant „faraoniškus“ kultūros projektus, kurie šiame darbe laikomi kultūros utopija. Be to, autentiškumo ignoravimas ir Oriento (JAE)... [toliau žr. visą tekstą] / This interdisciplinary Master thesis is a conceptual investigation of power and reality (in a sense of authenticity as well). The following concepts which are hardly distinguishable from each other are analyzed via three theoretical layers – hyperreality, orientalism and the late modernity which works both as a catalyst for these processes and as a logistical tool. The relation between power and reality is revealed not through physical subjugation of the weaker but rather through the attempts to modify reality and with the help of images to create hyperreality that is subordinated to self-interests of the mighty. As the case study the power implicated hyperreality of United Arab Emirates (UAE) and the second modernity that conditioned it has been chosen. Empirical and theoretical analysis reveals that spectacular Emirati cultural objects, illustrated by lexical hyperboles and breath-taking images merely is a simulacra that does not reflect reality or local culture but seeks to alter that reality. Furthermore UAE is a new kind of simulacra characterized by accepting and transforming into “their own” the foreign culture that is alien to the one found within local cultural context in order to obtain symbolic recognition. The symbolic recognition of Emirati as one of the hubs of global power is both the catalyst of Emirati modernization and the instrument of legitimacy of the ruling elite. This recognition is pursued by ‘pharaonic’ cultural objects (cultural utopia) and... [to full text]

La mujer loca, eller Den galna kvinnan [min översättning] är en roman publicerad 2014 av den spanske författare och journalisten Juan José Millás. I denna studie visar jag att denna roman är en autofiktion eftersom författaren, berättaren och karaktären har samma efternamn. Den autofiktivaromanen skapar en tvetydig pakt, vilket innebär att författaren lämnar tolkningsföreträde angående berättelsens sannolikhet åt läsaren. Genom mitt analysarbete drar jag slutsatsen att i romanen La mujer loca handlar den tvetydiga pakten om att ta ställning eller, åtminstone reflektera, över tre existentiella frågor som skildras tydligt i denna roman och som samtidigt är återkommande i Millás verk, dessa är: identiteten, språket och döden.

Denna studie undersöker hur serietecknare gestaltar sig själva visuellt i sina verk. Där undersökningen utgår ifrån konstnären och serietecknaren Ester Erikssons seriebok Jag Esters rester (2017). Fokuset för analysen är huvudkaraktären Ester och hur Ester är en visuell representation av Erikssons självbild. Jag utgår ifrån att karaktären Ester är Erikssons alter ego och med denna studie undersöker jag hur användandet av ett alter ego kan fungera som utgångspunkt för ett konstnärskap. Den självbiografiska serien präglas av autenticitet och subjektivitet där betraktaren förväntar sig att det som skildras är verkligt och sant, men att detta inte nödvändigtvis är fallet då det som framställs är serietecknarens subjektiva uppfattning av sig själv och den upplevda händelsen som presenteras. Det är Erikssons subjektiva uppfattning av jaget som Ester representerar, där Eriksson valt ut vilka egenskaper som hon vill lyfta fram, förstärka eller inte visa alls. Att se på självframställningen som ett alter egot skapar en distans mellan konstnären och det tecknade jaget. Det är distanseringen mellan det upplevda jaget och det konstruerade jaget som sker när ens jag blir till ett alter ego som gör det möjligt att få tillgång till andra sidor av sig själv. Denna distansering sker när serietecknaren tecknar sig själv som en seriefigur.

This study evaluated the effectiveness of proxy voice intervention, embedded within couple enactments, on client-perceived softening. During enactments, direct couple interaction is the focus while the therapist coaches from the periphery. In the context of an enactment, the therapist may use proxy voice when partners appear to be distressed and expressing themselves in terms of secondary emotions by modeling appropriate attachment and self-concept expression. The primary research question was whether therapist use of proxy voice in an enactment would be more likely to bring about softening effects, or whether use of proxy voice was counter-intuitive to enactment conceptualization and would bring about effects related to struggle (e.g. withdrawal or negativity). The review of literature sets forth (1) enactments as common factors; (2) enactments conceptually and operationally; (3) proxy voice in the context of enactments; and (4) the effects of proxy voice on softening versus withdrawal or negativity. Proxy voice occurred 42 times in nine research sessions where proxy voice was delivered repeatedly in a 20-30 minute enactment episode. Results indicated that proxy voice was significantly (both statistically and clinically) associated to softening while dissimilarly linked with withdrawal or negativity. Results also suggested that proxy voice may be used to dampen volatility and foster couple softening during enactment in the following ways: (1) proxy voice temporarily increases the structure of the couple interaction, thereby allowing the therapist to dampen reactivity and model healthy expression before returning to direct couple interaction; (2) proxy voice is a hypothesis of softer emotions that fits the clients' experiences, helps them to feel validated, and encourages them to consider something in a newer, softer way; and (3) proxy voice taps into foundational relationship dynamics surrounding self-concept and attachment experiences that "propel" interaction processes but remain outside conscious awareness or explicit expression for the couple. These preliminary findings suggest that proxy voice intervention embedded within a fluid, carefully delineated, and discriminating model of enactments effectively facilitates essential elements of couple interaction (expression of primary affect, and self-concept and attachment threats) while promoting self-reliant couple interaction and increased couple softening.