Thesis (M.A.)--Carleton University, 2006. / Includes bibliographical references (p. 112-116). Also available in electronic format on the Internet.

The Second World War was the most extensive military conict in the 20th century. During the war millions of prisoners of war (POWs) and foreign workers were used in the German economy to help the war eort. After the invasion of Norway thousands of these were transferred north to build Festung Norwegen, and prepare what was seem from the German side as one of the most critical areas to defend. Many in the Nazi high command assumed that the outcome of the war would be settled here. The POWs were placed in dierent camps, and controlled by a comprehensive prisoner system. This Master thesis is a modern archaeological contribution to the interdisciplinary research project Painful Heritage, and it focuses on increasing the awareness of the cultural landscape and material culture from the POW camps in Norway. This is something that has received little attention until today. The main focus of the thesis is to locate, evaluate and analyze the conservation status of some POW camps in Trondheim and ysand, in the context of modern archaeology. In this work, a wide scope of sources and material is used and evaluated as a whole. In Trondheim, the POWcamps that are located and analyzed is; Strindheim, Rotvoll, Korsvika and Blindeskolen. At ysand another four camps are also located and analyzed. The analysis of the camps in Trondheim shows that only Rotvoll has remaining visible structures from the POW camp, while the other three areas are developed for houses. Despite this, they still oer an archaeological potential as the settlement has not changed since the rst development of the area after the war. The analysis of Øysand shows that no POW camp areas are or have been developed for housing after the war, but they have been and is used for agriculture. There are few visible remaining structures originating from the camps, although 3 wells, cement remnants and a barrack is registered. As the camp areas have not been used for settlement after the war, makes them archaeologically interest due to the potential material culture in and under the topmost layer of soil. The challenge is that agriculture activities might have aected the subsurface structures signi cantly. It is also located in a closed waste pits with high archaeological potential at ysand. The landscapes and material culture from the POW camps are an enormous source of knowledge that can increase the understanding and insight on how people in captivity were treated during the Second World War. It is therefore very important that such remnants are recognized as source material and not undermined.

The poets Paul Celan and André du Bouchet were close friends and translated each other's poetry in the 1960s. Despite their proximity and friendship, this study suggests that they differ fundamentally in their poetics of the image. These two important authors outline two very different avenues in engaging with the image as a centuries old topos in philosophy and art. In his conception of the image, Celan links the iconoclastic impetus of the Second Commandment with the biblical confusion of tongues, believing that our need to speak in metaphors and typos images (Abbilder) after Babel impedes truthful poetic expression. For Celan, the Holocaust is a form of renewal of this linguistic Fall of Man. Nonetheless Celan's poetry also suggests that we can give testimony to an archetypos (Urbild) through truthful poetic expression. Du Bouchet, on the other hand, conceives of the image as encompassing the visual juxtaposition of black ink on the white page and the semantic paradoxes of his poetry. Du Bouchet distributes words across the page and as his poetry thematises gaps of meaning these gaps not only surface in his language but also extra-linguistically in the white gaps of the page. These different conceptions of the image in Celan and du Bouchet are first delineated by alternating analyses of the two authors' poetry and poetics. These investigations show Celan's desire to overcome a typified speech and, in his creation of poetic images, to tend toward truth, or an archetypos, whereas du Bouchet perennially negotiates the paradoxes which constitute his poetic image. In a second step, this study investigates how these differences in their conception of the image inform their respective approach to translating the other.

Thesis (M.F.A.)--Boston University

Den här uppsatsen syftar till att undersöka hur präster ser på asylsökande som konverterar till kristendom. Den ämnar även studera hur prästerna talar om de asylsökande, hur de ser på de asylsökandes aktörskap, om de förändrar eller reproducerar maktordningen de finns i samt hur de ser på sin egen roll i processen. Materialet är insamlat med semi-strukturerade intervjuer med sju präster från olika stift inom Svenska kyrkan. Undersökningen är gjord med hjälp av kritisk diskursanalys och teorin som använts har främst byggt på Edward Saids Orientalism. Bland de sju informanter som intervjuats finns det två tydliga grupperingar av inställningar. Fyra präster är tveksamma till att döpa asylsökande och tre är positiva. De tveksamma ger de asylsökande mindre agens, de reproducerar maktordningen där de själva är överst och de talar om de asylsökande som om de är utsatta och som att de behöver hjälp att fatta rätt beslut. De som uttrycker sig positivt till att döpa asylsökande ger de asylsökande agens, de förändrar till stor del maktordningen och de talar om de asylsökande som aktörer och individer.

No description available.

Diskriminering kan ske både på individuell och strukturell nivå men den hämtar alltid kraft från outtalade normer. Normer som bär med sig föreställningar om det som anses vara normalt och som samtidigt pekar ut det som ställs utanför, det avvikande. Det kan därmed sägas att normer reglerar och kategoriserar, skapar gränser och definierar skillnad. Den som är inkluderad i normen märker oftast inte av den medan den som bryter mot normen löper risken att bli diskriminerad och kränkt. Detta uttryck för negativ särbehandling är ett samhällsproblem som skolan inte på något vis är förskonad ifrån. Arbetet mot diskriminering regleras av likabehandlingsplaner som enligt lag måste upprättas av skolorna varje år.   Detta examensarbete är en kvalitativ studie av likabehandlingsplaner för grundskolan. Syftet med studien är att med kvalitativ textanalys belysa de föreställningar om diskriminering, synen på den Andre och normer som kommer till uttryck i 25 likabehandlingsplaner. Vidare undersöks om det normkritiska förhållningssättet slagit igenom som ett alternativ för arbetet för likabehandling. Studiens resultat visar att idéer om den Andre och rådande normer uttrycks tydligt i vissa fall och mer dolt i andra. En slutsats som studien drar är att flera skolor inkorporerat ett normkritiskt perspektiv i sitt likabehandlingsarbete även om det i många fall inte benämns som sådan.

The aims of this thesis are to show that dialogue in Gide's correspondences is of primordial importance in helping Gide to establish and develop his artistic position and to provide adequate proof of the fact that artistic discussion in the correspondences hears fruit in Gide's literary work. Before undertaking this task, certain preliminary steps are taken in my Introduction and in Chapter One. The former contains a definition of dialogue which stresses the fact that, for Gide, it is essentially artistically orientated and most useful when it entails opposition. My choice of Gide's correspondences with Paul Valéry, Francis Jammes, Paul Claudel and Roger Martin du Gard is explained and justified. These correspondences are representative of Gide's development as a "being of dialogue" and cover Gide's literary career chronologically. In Chapter One, Gide's attitude to correspondence is explored in order to prove that the correspondences deserve closer study since they held an important and specific place in Gide's life, being intended for publication. The possible reasons for this are investigated and the conclusion is drawn that Gide wanted his public to participate in the moral and artistic dialogue which takes place in the most important of his correspondences. The purpose of such a study was to show that my decision to deal only with dialogue upon art was not an arbitrary one. Chapters Two, Three and Four concern the course of dialogue in the chosen correspondences. Chapter Two snows now dialogue with Valery helps Gide to build the foundations of his artistic position, Chapter Three now dialogue with Jammes and Claudel encourages Gide to establish and strengthen it, while Chapter Pour is witness to the fact that dialogue with Martin du Gard is Gide's insurance against artistic complacency. Chapter Five studies the relationship between Gide's correspondences and certain of his works ( Le Traité du Narcisse, Le Retour de l'Enfant prodigue and Les Faux- Monnayeurs ). Images and artistic preoccupations which appear in the correspondences studied are given parallel expression in Gide's literature. In addition, the nature of Gide's dialogue with his correspondents is also apparent in the manner in which he presents ideas in his literature. Chapter Five is intended as proof of my conclusion not only that dialogue in Gide's correspondences is, as much as his Journal, a bridge to his work but also that, for a fuller understanding of the artistic reflection which is the fundamental basis of Gide's work, his correspondences are essential reading.

No description available.

In sy resensie van Die jogger (1997), lê Conradie (1997:31) ‘n verband tussen drie belangrike hoekstene van Afrikanerskap wanneer hy die hoofkarakter, Kilian, soos volg karakteriseer: Die verwikkeldheid van die karakter Kilian word versinnebeeld deur die relaas van grondbesitter, bywonerskap en uiteindelik amptenaar van die staat. Die siening word ook gehuldig dat bogenoemde elemente vir ‘n tyd lank die goue draad van Afrikanerskap verteenwoordig. Onderliggend aan al drie karakteriserings is die element van mag, asook die (geïmpliseerde) verband tussen mag en identiteit. In Brink se Die jogger word identiteitsmites veral die fokus van die dramatiese inhoud. Hierdie mites, wat hoofsaaklik verband hou met “mag”, “godsdiens” en “seksualiteit”, is vooropgestelde elemente in die drama. Soos Wasserman (1997:4) opmerk, is Kilian ‘n verteenwoordiger van ‘n bepaalde groep mans “met gesinne, kerkgangers, omies wat Saterdae langs jou gesit en rugby kyk het”, maar ook in die naam van ‘n politieke bestel bepaalde wreedhede gepleeg het. Van dié wreedhede word in herinnering geroep tydens Kilian se gedagtevlugte in die psigiatriese hospitaal. Binne die konteks van die drama, kan aangevoer word dat “mag”, “godsdiens” en “seksualiteit” sekerlik dié belangrikste identiteitsmerkers van die Afrikaner is. Die wyse waarop bepaalde identiteitsmites binne die dramatiese handelingsverloop van Die jogger gedemitologiseer word, lê hierdie studie ten grondslag. Kilian word in hierdie drama ‘n eksemplaar van ’n karakter wie se mag verbrokkel en waardeur die mites van die man – en magsgesentreerde bestaan - geproblematiseer word. Die probleemstelling vir hierdie studie kan dus omlyn word as die ontmitologisering van die gestalte van die man ná politieke transformasie in Suid-Afrika. As gewese kolonel in die Veiligheidspolisie, is Kilian ‘n voorbeeld van ‘n Afrikaner(man) wie se mag vanweë grootskaalse politieke magsverskuiwing gestroop is. / Dr. M.P. Beukes