CTRL+V is an investigation of one folklore jacket in many pieces, aiming to find out what that jacket is all about. / Program: Modedesignutbildningen

This thesis focuses on the mature development of Christine Brooke-Rose’s experimental fiction, taking particular interest in the exemplary texts Between and Thru. I argue that these texts both critically refigure and respond to central aspects of the poststructuralist debate. I investigate Between and Thru specifically in relation to the theories of Irigaray, Barthes (in the case of Between), Derrida and Kristeva (in the case of Thru), demonstrating how the two novels develop these theorists’ core tenets in an innovative manner that critics have failed to recognise up to this point. Starting – in the first chapter – from Brooke-Rose’s first four conventional novels, I explore the issues which lie at the basis of the experimental direction she comes to take, and investigate her first two experimental novels, Out and Such. The second chapter explores Between in relation to the debate over language and identity, whereas the third chapter investigates the way the novel addresses the gender issue as related to language. The fourth chapter concentrates on Thru’s narrative technique in order to better elucidate – in the fifth and sixth chapters – how the novel succeeds in resolving both the tension generated by the notion of language as linked to the representation of an ontologically unstable reality, and the narrative anxiety deriving from the dispute around the death of the author and the ontological status of characters. The seventh chapter offers an overview of Brooke-Rose’s fictional output after Thru, while the eighth and final chapter aims at further positioning Brooke- Rose in the context of the postmodern debate, showing how her work represents a countertendency to the nihilist attitude engendered by the major critical tenets of postmodernism. The thesis thus sheds light on the importance and role of Brooke-Rose as a highly innovative intellectual figure, while rethinking some of the main literary implications of the postmodernist debate.

This thesis is based primarily on work published in academic refereed journals between 1994 and 2003. Taken as a whole, the thesis explores and enacts an evolving methodology for curriculum inquiry which foregrounds the generativity of fiction in reading, writing and representing curriculum problems and issues. This methodology is informed by the narrative and textual 'turns' in the humanities and social sciences - especially poststructuralist and deconstructive approaches to literary and cultural criticism - and is performed as a series of narrative experiments and 'intertextual turns'. Narrative theory suggests that we can think of all discourse as taking the form of a story, and poststructuralist theorising invites us to think of all discourse as taking the form of a text; this thesis argues that intertextual and deconstructive readings of the stories and texts that constitute curriculum work can produce new meanings and understandings. The thesis places particular emphasis on the uses of fiction and fictional modes of representation in curriculum inquiry and suggests that our purposes might sometimes be better served by (re)presenting the texts we produce as deliberate fictions rather than as 'factual' stories. The thesis also demonstrates that some modes and genres of fiction can help us to move our research efforts beyond 'reflection' (an optical metaphor for displacing an image) by producing texts that 'diffract' the normative storylines of curriculum inquiry (diffraction is an optical metaphor for transformation). The thesis begins with an introduction that situates (autobiographically and historically) the narrative experiments and intertextual turns performed in the thesis as both advancements in, and transgressions of, deliberative and critical reconceptualist curriculum theorising. Several of the chapters that follow examine textual continuities and discontinuities between the various objects and methods of curriculum inquiry and particular fictional genres (such as crime stories and science fiction) and/or particular fictional works (including Bram Stoker's Dracula, J.M. Coetzee's Disgrace, and Ursula Le Guin's The Telling). Other chapters demonstrate how intertextual and deconstructive reading strategies can inform inquiries focused on specific subject matters (with particular reference to environmental education) and illuminate contemporary issues and debates in curriculum (especially the internationalisation and globalisation of curriculum work). The thesis concludes with suggestions for further refinement of methodologies that privilege narrative and fiction in curriculum inquiry.

This thesis has three primary objectives: to deconstruct the genealogical representation of Maori as a physical, unintelligent and savage people, to examine the role that education, and particularly physical education has played in perpetuating these representations by channelling Maori into physical curriculum areas, and to provide a functional kaupapa Maori philosophy of health and physical education. Postmodern theory underpins this theses because it encourages the search for multiple truths. In the colonial context, specifically, it provides an ideal tool by which to deconstruct the supposedly objective and preordained single truths of the colonisers. As I demonstrate, these single truths proved to be politically motivated and false. I also employ a Foucauldian understanding of European history to describe how European bourgeois nationalism and normalisation mutated into biopower, where the normalised Self was able to control, limit, describe and kill the Other. Travellers, missionaries and settlers transposed biopower from Europe to colonial New Zealand. Later, descriptions of the Other - or rather the juxtapositioning of the Self next to depictions of the primitive/anti Other - by anthropologists and historians aided this process. For the benefit of enlightened liberals, colonisation in New Zealand required a specific rhetoric to recast ruthless aspects of the process as mere anomalies on the road to Utopia. The modernist Western world validated colonisation under the guises of humanism and progress: the savage, primitive, pre-philosophical Maori provided the perfect contrast against the civilised, mature, philosophical Self. This genealogical representation formed the basis for Pakeha and Maori relations - and continues to do so. Representations of Maori as intrinsically unintelligent and physical, framed politically motivated educational policy. Initially, racist educational directives channelled Maori into physical vocations to provide labour for untamed rural New Zealand. In the 1960�s and �70�s, racially biased intelligence test were employed to debiltate Maori students by streaming them into non-academic classes. Later, the so-called empowering rhetoric of the neo-colonial era informed curricula by promoting diluted and sanitised versions of tikanga Maori such as Taha Maori, its physical education offshoot Te Reo Kori, and the current New Zealand Health and Physical Education Curriculum. Promoted under the liberal banner of biculturalism, these initiatives primarily benefited Pakeha and further misrepresented Maori culture as simplistic and irrelevent to contemporary society. Deconstructing grand narratives encourages researchers to construct knowledge outside such totalising truths. Thus, the theoretical approach and historical disseminations outlined above provide the foundations for part two of this thesis, which is a contribution towards Maori knowledge. Employing an interpretivist, indepth interviewing and collaborative narrative epistemology, I constructed korero with kaumatua and pakeke. These focus on health and physical education from a Maori position. Subsequent discussion examines certain aspects of each korero, to form a functional Maori philosophy of physical activity delineated by hauora, a Maori notion of holistic health. The discussion also outlines a number of issues surrounding the incorporation of tikanga Maori into mainstream education.

This essay offers a deconstructive approach to Nabokov´s Lolita. Critics have tended to treat space and time as distinct concepts in the novel: choosing to analyse the role of either one or the other, and even when considering both, examining them in isolation. It´s narrator, Humbert Humbert, however, implies that "time" and "spatial" terms are interchangeable in a way reminiscent of Einstein´s Theory of Relativity in which space-time is a continuum that is experienced relative to the individual observer´s own position in the universe. This essay therefore explores the possibility that Nabokov may have used Einstein´s concept of space-time relativity as a metaphor in Lolita. The essay looks first at the various ways in which the idea of relativity surfaces throughout the novel not just in relation to space and time, but also in its moral, cultural and historic forms. The roles of the Hour Glass Lake, Lolita´s sunglasses and Humbert´s car, three of the novel´s chief symbols, are then discussed in relation to its key elements: the notion of time dilation, the place of the observer and Humbert´s space-time bubble. It next concentrates on how the characters in the novel exemplify the roles of both observer and observed in a modern, self-centred and morally relativistic world. The final section argues that Humbert’s "madness" represents the most extreme consequence of his living in his own solipsistic bubble of space-time, or "dream vacuum" as he calls it.

The aim of this dissertation is to reflect on economic methodology. To reflect means to think about the relationship between researcher and the object of research. The object in mainstream economics is fixed in market realm. When the object is fixed then the focus in economic study is the method. Mainstream economics used equilibrium analysis method in order to make the research outcome be certainty. In the process of pursuing certainty the ontology of the object is neglected. The de-centering strategy we applied is deconstruction concept. My main reason for taking Derrida¡¦s deconstruction as a starting point is to de-center the fixed center which operating mechanism is the invisible hand. In this dissertation the logic of deconstruction is ¡§neither..or..¡¨ form and the steps are to undo and displace. In order to emphasize the multiples means and the relation of knowledge and power we use the term discourse. In chapter four we undo ¡§the invisible hand¡¨ metaphor that is the center of market. The direct consequence of the undo process is the finding of the ontological implication. In chapter five we displace ¡§the invisible hand¡¨ metaphor. Through rereading Adam Smith¡¦s methodology we interpret invisible hand as causal relation and find the same ontological implication. Together with these two processes above we find out the inspiration for reflection of economic methodology that is to answer the most fundamental question about what is the economic object. In chapter six we call for discussion to bringing the ontology back into economics. We believe the study of economic ontology is a prerequisite for understanding economics as a scientific discipline. It is thus intended and hoped that this reflection will help to beyond the opposite between positivism and post-positivism. For the defined goal to coordinate the opposite we introduce philosopher Quine¡¦s ontological method called ontological commitment. After the reflection we claim ¡Gthe method such as formation and econometric is important, but if we can emphasize the ontology of research object then the study will be activity. The defense of this claim is the main subject of this dissertation. Finally we just point out that if the claim is accepted, then something along this line of the attention is essential to the practice researcher. That is to take more time to think the nature of the research object when he construes a model.

Thesis (doctoral) - Rheinische Friedrich-Wilhelms-Universität, Bonn, 2005. / DatabaseEbrary. EAN: 9783110186338. Includes bibliographical references (p. [225]-242) and indexes.

This thesis statement is about the ongoing examination of the relationship between my mother and myself as viewed through works of art. I will explore the parallel actions we take in our daily lives that are obsessive and escapist in nature. My mother’s obsession is her passion for reading Romance novels, while mine is the repetition and labour-intensive quality of using domestic craft as a medium in my studio practice. For us, the escapism is two-fold: both can, and often do, serve as an escape from the struggles of daily life. At the same time, however, each medium allows time for reflection on life and the ability to process issues in a non-linear fashion. The following paper will explore the functions of the Romance Novel and domestic craft and will analyze various elements of both my art and other contemporary artists working in similar themes.

This thesis statement is about the ongoing examination of the relationship between my mother and myself as viewed through works of art. I will explore the parallel actions we take in our daily lives that are obsessive and escapist in nature. My mother’s obsession is her passion for reading Romance novels, while mine is the repetition and labour-intensive quality of using domestic craft as a medium in my studio practice. For us, the escapism is two-fold: both can, and often do, serve as an escape from the struggles of daily life. At the same time, however, each medium allows time for reflection on life and the ability to process issues in a non-linear fashion. The following paper will explore the functions of the Romance Novel and domestic craft and will analyze various elements of both my art and other contemporary artists working in similar themes.

The aspiration of this work was a call for justice for the Sons of Freedom Doukhobors - past, present and future. Sharing a Sons of Freedom identity, I worked within heritage; a heritage with deep cultural and spiritual roots that has encountered and responded to injustices through resistance and eventual assimilation into Canadian society. Justice as the primary motivation of this study is contingent upon hospitality or in the same breath deconstruction, derived from the work of Jacques Derrida and John Caputo. Hospitality is the theoretical, ethical and methodological pulse of this study and made possible a collective re-contextualizing of identity. Hospitality is an open and excessive welcome principled upon unconditional inclusion yet faced with an inevitable interplay of exclusion in all inclusion. The parameters of this study situated within the context of a Sons of Freedom heritage determined the welcome - although broad - was also specific and conditional. Working within an ethic of hospitality involved working with others in co-created relational spaces. Being in shared spaces generated memories, stories, songs and perspectives impassioned by sadness, anger, hope, ideas and intentions to sustain and keep identity on the move. The role of researcher and participant, or host and guest, was often disrupted as the roles became interchangeable. The blurred roles fostered spaces of sharing, trust, care and a sense of togetherness that “We are in this together.” Walking-alongside became a creative site for mobilizing counter narratives and critical interpretations to re-represent identity and on-going becoming. Justice, key to deconstruction and to this study, opened up the possibility of claiming identity as opposed to escaping or being burdened with an identity laden with stigma and shame. / Graduate / 0344 / 0998 / ahnab@shaw.ca