This dissertation presents an investigation into two so-called live art works – Ugly girl at the rugby (1998) and Chandelier (2001-2002) – by the contemporary South African artist Steven Cohen (1962-). These works are explored with reference to the manner in which Cohen (as self-declared queer Jewish freak) uses performance art as a form of activism in order to expose practices of marginalisation and suppression (oppression) of non-normative or so-called deviant subject positions in terms of gender, race and ethnicity. The analysis of artworks is guided by the discourse of the carnavalesque and performative conceptualisations of gender with particular emphasis on Cohen’s use of drag as contemporary form of masquerade in order to propose an alternative subject position. The argument is as follows: that Cohen, by setting up an extreme alternative to normative identity constructs, manages to destabilise existing hierarchies that are structured according to binaries as these exist in spaces (such as a rugby stadium and a squatter camp) in the South African context. This destabilising of binary hierarchies gives rise to the argument that the symbolically encoded nature of spaces known for associations of suppression, exclusion and marginalisation are wrought open so that alternative meanings can come into being by activating these spaces as multifaceted and chronotopic constructs. The conclusion is that Cohen contributes profoundly towards the destabilisation of identities and in this way also helps to propose invigorating and fresh views of gender, race and ethnicity in a contemporary South African situation. / Thesis (MA (History of Art))--North-West University, Potchefstroom Campus, 2013.

Submitted by Maike Costa (maiksebas@gmail.com) on 2016-03-31T12:43:01Z No. of bitstreams: 1 arquivo total.pdf: 1366177 bytes, checksum: 1b02d1a5ce5861390070022558e311b0 (MD5) / Made available in DSpace on 2016-03-31T12:43:01Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 1366177 bytes, checksum: 1b02d1a5ce5861390070022558e311b0 (MD5) Previous issue date: 2015-07-24 / This work is about the Rees algebra of a nite colength almost complete intersection ideal generated by forms of the same degree in a polynomial ring over a eld. We deal with two situations which are quite apart from each other: in the rst the forms are monomials in an unrestricted number of variables, while the second is for general binary forms. The essential goal in both cases is to obtain the depth of the Rees algebra. It is known that for such ideals the latter is rarely Cohen{Macaulay (i.e., of maximal depth). Thus, the question remains as to how far one is from the Cohen{Macaulay case. In the case of monomials one proves under certain restriction a conjecture of Vasconcelos to the e ect that the Rees algebra is almost Cohen{ Macaulay. At the other end of the spectrum, one proposes a proof of a conjecture of Simis on general binary forms, based on work of Huckaba{Marley and on a theorem concerning the Ratli {Rush ltration. Still within this frame, one states a couple of stronger conjectures that imply Simis conjecture, along with some solid evidence. / Este trabalho versa sobre a algebra de Rees de um ideal quase intersec cão completa, de cocomprimento nito, gerado por formas de mesmo grau em um anel de polinômios sobre um corpo. Considera-se duas situa c~oes inteiramente diversas: na primeira, as formas s~ao mon^omios em um n umero qualquer de vari aveis, enquanto na segunda, s~ao formas bin arias gerais. O objetivo essencial em ambos os casos e obter a profundidade da algebra de Rees. E conhecido que tal algebra e raramente Cohen{Macaulay (isto e, de profundidade m axima). Assim, a quest~ao que permanece e qua o distante são do caso Cohen{Macaulay. No caso de monômios prova-se, mediante certa restri cão, uma conjectura de Vasconcelos no sentido de que a algébra de Rees e quase Cohen {Macaulay. No outro caso extremo, estabelece-se uma prova de uma conjectura de Simis sobre formas bin arias gerais, baseada no trabalho de Huckaba{Marley e em um teorema sobre a ltera cão de Ratli {Rush. Al em disso, apresenta-se um par de conjecturas mais fortes que implicam a conjectura de Simis, juntamente com uma evidência s olida.

The purpose of this study is to find and analyse conceptual metaphors in the lyrics, A Thousand Kissed Deep, Here It Is, and Boogie Street from the album Ten New Songs (2001) by Leonard Cohen using Conceptual Metaphor Theory (CMT). In order to detected the conceptual metaphors, the source and target domains were identified. Conceptual metaphors were found by mapping source domains onto target domains and viewing the lexical expressions in the lyrics. The result and analysis of the findings in this study show that linguistic expressions of LOVE, LIFE and DEATH are conceptually present in the lyrics.

In this thesis I aim to build a normative argument for equality of access to advantage at the global level, and motivate action conducive to the realization of this ideal. The normative argument is presented over the course of the first two chapters. In Chapter One I ask, ‘How should we conceive of distributive equality?’ Following G.A. Cohen, I argue that equality is best conceived as equality of access to advantage. I interpret this to require equal access to both ‘worldly autonomy’—a term I invoke to describe a certain basic threshold level of autonomy—and subjective preference satisfaction. In Chapter Two, I establish a justificatory basis for equality on a global scale. I argue that equality is justified at the global level on the basis of justice as reciprocity for the mutual provision of the global system of state-enforced borders, in which the participation of all people is equally necessary, and that makes possible a wide variety of institutional goods predominately enjoyed by people in rich developed countries. In Chapter Three, I take up the second aim of the thesis: to motivate action conducive to the realization of this global distributive ideal. I engage the concern that global equality is a poor ideal, demanding too much change in the attitudes and lifestyles of the well-off to motivate them to pursue it. I aim to show that, even if most people are not motivated to pursue global equality, there are alternative grounds for immediately feasible global reforms and redistributions likely to have greater motivational purchase on people’s sensibilities. Alternative grounds for redistribution and reform include reparative justice, cooperative justice, respect for basic human rights, and self-interest. Making these redistributions and reforms would not only be desirable from the perspective of the alternative grounds that explain them, but will have the further happy result of bringing the world closer to the global distributive ideal of equality of access to advantage. Plausibly, it will bring the world sufficiently close to this ideal that people will be motivated to pursue it for its own sake.

In his 1987 essay "Canadian Poetry After Auschwitz," Michael Greenstein argues that A.M. Klein's mock-heroic poem, The Hitleriad (1944), ultimately fails to portray the severity and tragedy of the Holocaust because "it lacks the necessary historical distance for coping with the enormity" of the event (1). Greenstein's criticism is interesting because it suggests that in order for a writer to adequately represent the horrors of a traumatic event like the Holocaust it is "necessary" for him to be distanced from the event. While Greenstein specifically addresses historical (or temporal) distance, Canadian authors writing about the Holocaust have also, inevitably, had to negotiate their geographical and cultural distance from the historical event as well. Not surprisingly, their works tend to be immensely self-reflexive in nature, reflecting an awareness of the questions of authority and problems of representation that have shaped critical thinking about Holocaust literature for over half a century. This dissertation examines the role that distance has played in the creation and critical understanding of representative works of Canadian Holocaust literature. It begins with an extensive analysis of the poetry and prose of geographically-distanced poet A.M. Klein, whose work is unique in the Canadian literary canon in that it mirrors the shifting psychological state of members of the Canadian Jewish community as news of the Holocaust slowly trickled into Canada. This is followed by a discussion of the Holocaust texts of Irving Layton and Leonard Cohen, both of whom experimented with increasingly graphic Holocaust imagery in their works in response to the increasingly more horrifying information about the concentration camps that entered the Canadian public conscience in the 1960s. The dissertation then turns its attention to the uniquely post-memorial and semi-autobiographical works of two children of Holocaust survivors, Bernice Eisenstein and J.J. Steinfeld, before focusing on the Holocaust works of Timothy Findley and Yann Martel, both of whom produce highly metafictional novels in order to respond to the questions of appropriation and ethical representation that often surround works of Holocaust fiction created by non-Jewish writers. The dissertation concludes with an analysis of Anne Michaels' novel Fugitive Pieces—a text that addresses all three types of distance that stand at the center of this dissertation, and that illustrates many of the strategies of representation that Canadian writers have adopted in their attempts to negotiate, highlight, erase, and embrace the distance that separates them from the Holocaust.

Les applications rationnelles sont des objets fondamentaux en géométrie algébrique. Elles sont utilisées pour décrire certains objets géométriques, tels que la représentation paramétrique d'une variété algébrique rationnelle. Plus récemment, les applications rationnelles sont apparues dans des contextes d'informatique pour l'ingénierie, dans le domaine de la modélisation de formes, en utilisant des méthodes de conception assistée par ordinateur pour les courbes et les surfaces. Des paramétrisations des courbes et des surfaces sont utilisées de manière intensive afin décrire des objets dans la modélisation géométrique, tel que structures des voitures, des avions. Par conséquent, l'étude des applications rationnelles est d'intérêt théorique dans la géométrie algébrique et l'algèbre commutative, et d'une importance pratique dans la modélisation géométrique. Ma thèse étudie les images et les fibres des applications rationnelles en relation avec les équations des algèbres de Rees et des algèbres symétriques. Dans la modélisation géométrique, il est important d'avoir une connaissance détaillée des propriétés géométriques de l'objet et de la représentation paramétrique avec lesquels on travaille. La question de savoir combien de fois le même point est peint (c'est-à-dire, correspond à des valeurs distinctes du paramètre), ne concerne pas seulement la variété elle-même, mais également la paramétrisation. Il est utile pour les applications de déterminer les singularités des paramétrisations. Dans les chapitres 2 et 3, on étudie des fibres d'une application rationnelle de P^m dans P^n qui est génériquement finie sur son image. Une telle application est définie par un ensemble ordonné de (n+1) polynômes homogènes de même degré d. Plus précisément, dans le chapitre 2, nous traiterons le cas des paramétrisations de surfaces rationnelles de P^2 dans P^3, et y donnons une borne quadratique en d pour le nombre de fibres de dimension 1 de la projection canonique de son graphe sur son image. Nous déduisons ce résultat d'une étude de la différence du degré initial entre les puissances ordinaires et les puissances saturées. Dans le chapitre 3, on affine et généralise les résultats sur les fibres du chapitre précédent. Plus généralement, nous établissons une borne linéaire en d pour le nombre de fibres (m-1)-dimensionnelles de la projection canonique de son graphe sur son image, en utilisant des idéaux de mineurs de la matrice jacobienne.Dans le chapitre 4, nous considérons des applications rationnelles dont la source est le produit de deux espaces projectifs.Notre principal objectif est d'étudier les critères de birationalité pour ces applications. Tout d'abord, un critère général est donné en termes du rang d'une couple de matrices connues sous le nom "matrices jacobiennes duales". Ensuite, nous nous concentrons sur des applications rationnelles de P^1 x P^1 vers P^2 en bidegré bas et fournissons de nouveaux critères de birationalité en analysant les syzygies des équations de définition de l'application; en particulier en examinant la dimension de certaines parties bigraduées du module de syzygies. Enfin, les applications de nos résultats au contexte de la modélisation géométrique sont discutées à la fin du chapitre. / Rational maps are fundamental objects in algebraic geometry. They are used to describe some geometric objects,such as parametric representation of rational algebraic varieties. Lately, rational maps appeared in computer-engineering contexts, mostly applied to shape modeling using computer-aided design methods for curves and surfaces. Parameterized algebraic curves and surfaces are used intensively to describe objects in geometric modeling, such as car bodies, airplanes.Therefore, the study of rational maps is of theoretical interest in algebraic geometry and commutative algebra, and of practical importance in geometric modeling. My thesis studies images and fibers of rational maps in relation with the equations of the symmetric and Rees algebras. In geometric modeling, it is of vital importance to have a detailed knowledge of the geometry of the object and of the parametric representation with which one is working. The question of how many times is the same point being painted (i.e., corresponds to distinct values of parameter), depends not only on the variety itself, but also on the parameterization. It is of interest for applications to determine the singularities of the parameterizations. In the chapters 2 and 3, we study the fibers of a rational map from P^m to P^nthat is generically finite onto its image. More precisely, in the second chapter, we will treat the case of parameterizations of algebraic rational surfaces. In this case, we give a quadratic bound in the degree of the defining equations for the number of one-dimensional fibers of the canonical projection of the graph of $\phi$ onto its image,by studying of the difference between the initial degree of ordinary and saturated powers of the base ideal. In the third chapter, we refine and generalize the results on fibers of the previous chapter.More generally, we establish a linear bound in the degree of the defining equations for the number of (m-1)-dimensional fibers of the canonical projection of its graph onto its image, by using ideals of minors of the Jacobian matrix.In the fourth chapter, we consider rational maps whose source is a product of two subvarieties, each one being embedded in a projective space. Our main objective is to investigate birationality criteria for such maps. First, a general criterion is given in terms of the rank of a couple of matrices that came to be known as "Jacobian dual matrices". Then, we focus on rational maps from P^1 x P^1 to P^2 in very low bidegrees and provide new matrix-based birationality criteria by analyzing the syzygies of the defining equations of the map, in particular by looking at the dimension of certain bigraded parts of the syzygy module. Finally, applications of our results to the context of geometric modeling are discussed at the end of the chapter.

Effect sizes are the currency of psychological research. They quantify the results of a study to answer the research question and are used to calculate statistical power. The interpretation of effect sizes—when is an effect small, medium, or large?—has been guided by the recommendations Jacob Cohen gave in his pioneering writings starting in 1962: Either compare an effect with the effects found in past research or use certain conventional benchmarks. The present analysis shows that neither of these recommendations is currently applicable. From past publications without pre-registration, 900 effects were randomly drawn and compared with 93 effects from publications with pre-registration, revealing a large difference: Effects from the former (median r = 0.36) were much larger than effects from the latter (median r = 0.16). That is, certain biases, such as publication bias or questionable research practices, have caused a dramatic inflation in published effects, making it difficult to compare an actual effect with the real population effects (as these are unknown). In addition, there were very large differences in the mean effects between psychological sub-disciplines and between different study designs, making it impossible to apply any global benchmarks. Many more pre-registered studies are needed in the future to derive a reliable picture of real population effects.

The National Theatre's Frankenstein is not the first time Shelley's novel has been adapted for the stage, but it is the first time a stage adaptation has returned the popular story to its source material's feminist themes. Departing from the iterations that portrayed Victor Frankenstein as a Byronic hero, Nick Dear's adaptation has re-designed Frankenstein to be misogynistic and calloused. His new nature is best observed in the scene wherein Frankenstein presents the Woman-Creature he's built for his first Creature. She is naked, silent, submissive, and viciously dismembered at the end of the scene. While such submissiveness might justifiably be criticized by a society that has become incredibly concerned for the representation of women in media, this scene has striking similarities to several performance art pieces of the 1960's and 1970's. Building on an understanding of how these pieces function, the Woman-Creature stops being problematic, and becomes poignant. This thesis compares the Woman-Creature's scene to three particular pieces: Marina Abramovic's "Rhythm 0,"Carolee Schneeman's "Meat Joy,"and Suzanne Lacey's "Three Weeks in May."While not a performance art piece itself, this particular scene in Frankenstein has similar purposes, mainly to show the consequences of a social structure that places men as the dominant leader. By not shying away from the visceral nature of these consequences, this production of Frankenstein shocks the audience and reminds them of the harsh realities of the patriarchal structure still seen today.

No description available.

This project focuses on the autofictional family novels, crafted from the mid-1970s onwards through the early 2000s in French and Serbian by the women writers of Jewish Sephardi origin, born in the French-ruled Maghreb (Annie Cohen, Annie Fitoussi, Nine Moati, Gisèle Halimi) and ex-Yugoslavia (Frida Filipović and Gordana Kuić), respectively. It is situated at the many intersections of Slavic, Jewish, Gender, and Memory Studies. Through the lens of feminist and decolonizing interpretive strategies, I analyze and connect these texts as a translingual and largely unknown archive of Sephardi women’s contemporary writing. Applying the methodological took-kit of Comparative Literature, I unsettle and frustrate a narrowly conceptualized—monolingual and mono-ethnic—vision of literary production. This emerging archive carves out a space in which the uniqueness and difference—ethno-cultural and gender, alike—of Sephardi women’s lived experiences throughout the 20th century becomes foregrounded in the full complexity of their poetics against the politics of erasure, silencing, invisibilization, and oblivion.  In this connective and comparative thesis, I re-discover the corpus as a transmediterranean feminist project, which destabilizes the notion of literary canon and articulates its anti-ethnocentric instantiations. Additionally, I tease out Sephardi identity as a tenuous and performative phenomenon, produced in and through the act of writing by the generation of Sephardi daughters, as they grapple with ambiguous and provocative maternal legacies. Language or, more precisely, languages themselves—Serbian and French, traversed, interspersed with, if not interrupted by Judeo-Spanish/Djudezmo, Spanish, and Judeo-Arabic—serve as the crucial poetic means of this identity performance. Finally, the corpus under my scrutiny performs what Marianne Hirsch deems postmemorial work, in that it harbors and preserves the memories of the foremothers in the narrative flow of these autofictional matrifocal family novels, which are, in turn, to be remembered by the reader.