Denna kandidatuppsats undersöker de olika diskurser angående det övernaturliga som närvarar i Eden Robinsons roman Monkey Beach (2000) utifrån ett postkolonialt perspektiv. Det teoretiska ramverket består av Jo-Ann Episkenews indigenous storytelling, samt Michail Bachtins dialogicitetsbegrepp, där heteroglossi fungerar som utgångspunkt. Dessa har använts för att analysera hur Robinson använder sig av karaktärer för att gestalta olika epistemologier, och hur dessa relaterar till synen på det övernaturliga i romanen. Uppsatsens slutsats är att Monkey Beach är polyfon i sin gestaltning av de olika perspektiven på det övernaturliga; dessa perspektiv utgör olika diskurser, vilket gestaltas genom karaktärerna. Romanen utspelar sig inte i ett autonomt fiktivt universum; den fungerar som en motdiskurs till tidigare diskurser om urfolk i Kanada, vilket ger den både en avkoloniserande och kunskapsspridande funktion då den är skriven av en urfolksförfattare. / This undergraduate dissertation examines the various discourses surrounding the supernatural present in Eden Robinson’s novel Monkey Beach (2000) from a postcolonial perspective. The theoretical framework consists of Jo-Ann Episkenew’s Indigenous Storytelling, as well as Michail Bachtin’s concept of dialogism, with heteroglossia as its basis. These have been applied to the text to analyse how Robinson utilises characters to depict different epistemologies, and how they relate to the portrayal of the supernatural in the novel. The conclusion of this dissertation is that Monkey Beach is polyphonic in its portrayal of the various perspectives of the supernatural; these perspectives constitute different discourses, which are depicted through the characters. The novel does not take place in an autonomous fictional universe; it functions as a counter-discourse to previous discourses about Indigenous peoples in Canada, which gives it a decolonising and knowledge-disseminating function as it is written by an Indigenous author.

This study aims to explore gender norms within the romance genre when they are no longer applied on a romantic relationship between a man and a woman. Through a close reading of the novel Power Plays & Straight A’s by Eden Finley and Saxon James, the study examines the main characters, Foster Grant and Zach Sawyer, to observe how they fit into the roles of a traditional romance hero and heroine. The main source for this observation comes from Janice Radway’s study Reading the Romance: Women, Patriarchy, and Popular Literature (1991) which exemplifies the differences between the genders with the use of contrasting traits. The characters are also analysed in a societal context to observe how they abide by traditional masculinity and how their sexuality plays a part in it. There is also an overview of the novel through the perspective of both a traditional romance as well as a queer romance novel, in which terms like escapism, happy endings and coming outs are explored. Finally, there is a section specifically focused on desire and how it has changed within the genre, which is applied because the novel in question is an erotic novel as well as a romance novel. The conclusion showcases how the characters cannot be assigned to a typical female nor male role, as they both possess the traits traditionally assigned to both genders. As for their role in society, traditional masculinity is questioned, seeing as the character of Foster specifically embodies the rules of masculinity through his athletic pursuits and place within the jock culture – but would still get shunned because of his bisexuality. Furthermore, the novel possesses several traits of a traditional romance novel, most importantly the happy ending, while also including typical queer romance traits – such as a coming out scene. Desire also takes a prominent role since both main characters have an equal craving for the other. The overall conclusion of this study showcases the changing tides of the romance genre and how, despite its formulaic layout, it doesn’t render the ability for change of a genre that once seemed predictable. / Denna uppsats utforskar könsnormer i romancegenren när det inte längre tillämpas på en romantisk relation mellan en man och en kvinna. Genom en närläsning av romanen Power Plays & Straight A’s av Eden Finley och Saxon James, undersöker studien huvudkaraktärerna, Foster Grant och Zach Sawyer, för att observera hur de passar in i rollen som hjälte och hjältinna utifrån en traditionell romance-roman. Den primära forskning som uppsatsen bygger på är Janice Radways studie Reading the Romance: Women, Patriarchy, and Popular Literature (1991) som exemplifierar skillnaderna mellan könen med användning av motsatta egenskaper. Karaktärerna analyseras också i ett samhälleligt sammanhang för att observera hur de förhåller sig till traditionell maskulinitet och den påverkan som karaktärernas sexualitet har i förhållande till den maskulina kulturen. I uppsatsen görs även en översiktlig studie av romanen genom perspektivet av både en traditionell romance och en queer romance, där jag utforskar begrepp som eskapism, lyckliga slut och att komma ut. Slutligen finns det ett avsnitt som fokuserar på begär och hur det har förändrats inom genren, vilket tillämpas eftersom romanen i fråga är en erotisk roman såväl som en romance-roman. Slutsatsen visar hur karaktärerna inte kan tilldelas en typisk kvinnlig eller manlig roll, eftersom de båda har egenskaper som traditionellt tilldelas båda könen. När det gäller deras roll i samhället ifrågasätts traditionell maskulinitet, eftersom karaktären av Foster specifikt förkroppsligar maskulinitetens regler genom hans plats inom sportkulturen - men ändå skulle bli avvisad från machokulturen på grund av sin bisexualitet. Romanen innehåller flera drag av en traditionell romance-roman, viktigast av allt det lyckliga slutet, samtidigt som den innehåller typiska queerromance drag – som en komma ut-scen. Begär tar också en framträdande roll eftersom båda huvudkaraktärerna likgiltigt får sukta efter den andre. Den övergripande slutsatsen av den här studien visar romancegenrens föränderliga tidvatten och hur den, trots dess typiska formler, inte hindrar möjligheten till förändring av en genre som en gång framstått som förutsägbar.

Theses (MBA)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: The municipal elections of 5 December 2000 ushered in the final phase in the transformation of local government in South Africa. Legislation and directives from national government require that municipalities operate within a context of a strategic framework. This strategic framework, or Integrated Development Plan, determines how a municipality in an integrated practical approach, implement its legislative mandates obtained from the Constitution of the Republic of South Africa, 1996 the Local Government: Municipal Structures Act, 1998 and other legislation. In the past municipalities were characterized by operating within strong functional divisions or departments. It was inevitable that service delivery, career development and performance management developed within the context of functional isolation. However, the solutions to many of the socio-economic problems which face municipalities require that it have to be dealt with in a multi disciplinary manner. Based on the legislative framework in which municipalities operate, as well as the directives from national government, the study concluded that Eden District Municipality is obliged to reconsider its present operational methodologies. Based on a literature study of organisational structures and the introduction of project management within organisations, a number of recommendations are formulated to assist Eden District Municipality in the implementation of project management as strategic objective. / AFRIKAANSE OPSOMMING: Transformasie van plaaslike regering in Suid-Afrika het sy finale beslag gevind na die munisipale verkiesings van 5 Desember 2000. Wetgewing en voorskrifte van die nasionale regering vereis tans dat munisipale owerhede sal opereer binne die konteks van 'n strategiese raamwerk. Sodanige raamwerk, of Geïntegreerde Ontwikkelingsplan, bepaal die wyse waarop 'n munisipaliteit op 'n geïntegreerde wyse praktiese beslag moet gee aan die funksionale mandate soos ontleen uit die Grondwet van die Republiek van Suid-Afrika, 1996, Plaaslike Regering: Munisipale Strukturewet, 1998 en ander wetgewing. Munisipaliteite in Suid-Afrika is egter in die verlede gekenmerk deur departementalisering streng binne funksionele konteks. Gevolglik het dienslewering, loopbaanontwikkeling en prestasiemeting onvermydelik ook in 'n patroon van funksionele isolasie ontwikkel. Die sosio ekonomiese -eise wat munisipaliteite tans die hoof moet bied, kan egter beswaarlik binne 'n enkel dimensionele funksionele benadering hanteer word. Gegrond op die vereistes van die wetgewende raamwerk wat plaaslike regering in Suid-Afrika reguleer, sowel as die voorskrifte van die nasionale regering, word in die studie bevind dat dit onafwendbaar vir Eden Distriksmunisipaliteit is om sy bestaande operasionele metodologië in heroorweging te neem. Op grond van 'n literatuurstudie van organisasiestrukture en die toepassing van projekbestuur in organisasies, word bepaalde voorstelle aan die Eden Distriksmunisipaliteit geformuleer om projekbestuur as strategiese oogmerk te implementeer.

This thesis intends to answers these questions: What did “curiosity” mean in the nineteenth century, and how do Charlotte Brontë's four major works represent such curiosity? How were women looked at, formulated, and situated under the nineteenth-century curious gaze? In order to answer these questions, this thesis examines Brontë's works by juxtaposing them with nineteenth-century exhibitions. Four chapters are thus dedicated to this study: in each a type of exhibition is contemplated, and in each the definition of “curiosity” is defined through the discussions of boundary-breaking. The first chapter discusses the metaphors of “cabinets of curiosities” throughout Brontë's texts. The most intimate and enclosed spaces occupied by women and / or their objects—attics, desks, drawers, lockets—are searched in order to reveal the secret relationship between Brontë's heroines and the objects they have hidden away, especially the souvenirs. From cabinets of curiosities the thesis moves to another space in which the mechanism of curiosity and display takes place—the garden. The second chapter thus discusses the supposed antithesis between the innocent and the experienced, between the Power of Nature and the Power of Man, by reading the garden imagery in Brontë's works along with nineteenth-century pleasure gardens and the Wardian case. The imagery of Eve is also taken into consideration to discuss the concept of innocence. In the third chapter, metaphors of waxworks and the Pygmalion myth are applied to discuss the image of women's bodies in Brontë's texts, and the boundary between the living body and the non-living statue is seen as blurred. In the final chapter, dolls' houses and their metaphors in Brontë's works are examined in order to explicate Brontë's concept of “home,” and the dolls' house thus poses a question on the relationships between the interior and the exterior, the gigantic and the miniature, and the domestic and the public spaces.

Ce mémoire se focalise sur la pièce Antony and Cleopatra de Shakespeare en relation avec la pensée biblique, l’humanisme de la Renaissance et les caractéristiques de la tragédie comme genre littéraire et philosophie grecque. La chute d’Adam et Eve dans la Bible, ainsi que le conflit entre le héros tragique et les dieux, sont deux thèmes qui sont au centre de ce mémoire. Le mythe de la chute d’Adam et Eve sert, en effet, d’un modèle de la chute—et par conséquent, de la tragédie—d’Antoine et Cléopâtre mais aussi de structure pour ce mémoire. Si le premier chapitre parle de paradis, le deuxième évoque le péché originel. Le troisième, quant à lui, aborde une contre-rédemption. Le premier chapitre réfère à l’idée du paradis, ou l’Éden dans la bible, afin d’examiner ce qui est édénique dans Antony and Cleopatra. La fertilité, l’épicuréisme, l’excès dionysien sont tous des éléments qui sont présents dans la conception d’un Éden biblique et Shakespearien. Le deuxième chapitre est une étude sur la tragédie comme genre fondamentalement lié à la pensée religieuse et philosophique des grecs, une pensée qui anime aussi Antony and Cleopatra. Ce chapitre montre, en effet, que les deux protagonistes Shakespeariens, comme les héros tragiques grecs, défient les dieux et le destin, engendrant ainsi leur tragédie (ou ‘chute’, pour continuer avec le mythe d’Adam et Eve). Si le deuxième chapitre cherche à créer des ponts entre la tragédie grecque et la tragédie Shakespearienne, le troisième chapitre montre que le dénouement dans Antony and Cleopatra est bien différent des dénouements dans les tragédies de Sophocle, Euripide, et Eschyle. Examinant la pensée de la Renaissance, surtout la notion d’humanisme, la partie finale du mémoire présente les protagonistes de Shakespeare comme des éternels rebelles, des humanistes déterminés à défier les forces du destin. / This thesis focuses on Shakespeare’s Antony and Cleopatra in relation to biblical thought, Renaissance humanism, and tragedy as a literary genre and Greek philosophy. The fall of Adam and Eve as well as the conflict between the tragic hero and the gods are two themes that are at the center of this work. The myth of the fall of Adam and Eve functions as a model for the fall—and thus the tragedy—of Antony and Cleopatra and is also the very structure of this study. If the first chapter talks about heaven, the second evokes the original sin. The third chapter investigates a ‘counter-redemption’. The first chapter refers to the idea of heaven, or Eden in the Bible, in order to examine the idea of Eden in Antony and Cleopatra. Fertility, Epicureanism, and Dionysian excess are all elements that are present in the conception of a biblical and a Shakespearean Eden. The second chapter is a study of tragedy as a genre fundamentally related to ancient Greek religious thought and philosophy—which is also the case in Antony and Cleopatra. This chapter demonstrates that the two Shakespearean protagonists are indeed similar to Greek tragic heroes, constantly defying gods and fate, thus, engendering their own tragedy (or ‘fall’, to continue with the myth of Adam and Eve). If the second chapter seeks to bridge Greek tragedy and Shakespearean drama, the third, however, shows that the ending in Antony and Cleopatra is different from the endings in plays by Sophocles, Euripides, and Aeschylus. Analyzing the philosophy of the Renaissance, especially the notion of humanism, the final chapter of this work introduces Shakespeare’s protagonists as eternal rebels, humanists who are determined to defy the forces of fortune.

Cette thèse s’inscrit au carrefour de la mythocritique, de l’imagologie et des études postcoloniales. Elle a pour ambition d’identifier et d’analyser les images littéraires de la Polynésie du seizième au vingt-et-unième siècles grâce aux mythes bibliques et aux mythes polynésiens qui sont à leurs fondements. L’image la plus connue est celle de l’Éden polynésien qu’ont construit les voyageurs occidentaux et que déconstruisent les auteurs insulaires. Les littératures du Triangle sont en outre habitées par un imaginaire vétérotestamentaire réinterprété mais aussi par les réécritures de mythes traditionnels polynésiens. Se mêlent alors culture biblique d’une région très évangélisée et mise en valeur de la Polynésie pré-contact trop souvent niée ou dépréciée par les missionnaires, colons et écrivains occidentaux. Ainsi, le croisement des disciplines et le recours aux concepts polynésiens ont favorisé l’émergence d’une vision globale du rôle des mythes dans les œuvres littéraires qui participent de la représentation de ce territoire archipélique. / This study comes within the scope of mythocritics, image and postcolonial studies. It seeks to identify and analyse literary images from the sixteenth to twenty-first century Polynesia through biblical and Polynesian myths which are at the basis of these representations. The most famous image is obviously the Polynesian Eden, a cliché constructed by Western travellers and deconstructed by Insular writers. Literatures of the Triangle are also tinged with a reinterpreted Old Testament imaginary and with re-written traditional Polynesian myths. The biblical culture of a deeply evangelised region then mingles with the highlighted representation of pre-contact Polynesia which was so often denied or disparaged by missionaries, settlers and Western writers. Crossing disciplines and using Polynesian concepts have favoured a global vision of how myths (inter)act within literary works that take part in this territory of archipelago’s representation.

<p>With a hermeneutical method using narratology this thesis is interpreting the auteure Lars von Trier´s discussed movie <em>Antichrist</em>. On one hand within the limits of the hermeneutic Paul Riceours analysis of structure is used to reconstruct the narrative of the film out of the different part of discourses that I have construed in my first reading to find out a deeper comprehension of the relation between the characters and their relations to the different discourses. On the other hand the discourses which extracts out of His and Hers actions and statements are related to the clues that I´ve found out from interviews with von Trier regarding <em>Antichrist</em> where he, among other things, touches upon philosophical work of Friedrich Nietzsche and his own disregard about protestantism and religion. All in all this first phase of interpretation is termed the different horizons which I finally interprete and coalesce with my subjects comprehension on a metadiegetic and meta-metadiegetic level. By this a ”fusion of horizons” in the sense of Hans-Georg Gadamer can take place, which directly leads into the big scene of Relevations. But ”Chaos reigns” in von Triers <em>Antichrist </em>as well as Nietzsches philosophy.</p>

With a hermeneutical method using narratology this thesis is interpreting the auteure Lars von Trier´s discussed movie Antichrist. On one hand within the limits of the hermeneutic Paul Riceours analysis of structure is used to reconstruct the narrative of the film out of the different part of discourses that I have construed in my first reading to find out a deeper comprehension of the relation between the characters and their relations to the different discourses. On the other hand the discourses which extracts out of His and Hers actions and statements are related to the clues that I´ve found out from interviews with von Trier regarding Antichrist where he, among other things, touches upon philosophical work of Friedrich Nietzsche and his own disregard about protestantism and religion. All in all this first phase of interpretation is termed the different horizons which I finally interprete and coalesce with my subjects comprehension on a metadiegetic and meta-metadiegetic level. By this a ”fusion of horizons” in the sense of Hans-Georg Gadamer can take place, which directly leads into the big scene of Relevations. But ”Chaos reigns” in von Triers Antichrist as well as Nietzsches philosophy.

We insist upon “green space”, but the term’s vague cast brings little into focus. In this thesis I search out what it is that we look for in green space. I consider some ways, within our North American context, that we interact with it, represent it, speak about it and write about it. Drawing together evidence from a diverse range of sources in myth and mapping, poetry, classical philosophy, feminist theory, language, and personal experience, I find enigmatic but persistent geometries of desire binding us to the notion of green space. These desires for green space manifest themselves in relationships of practical dependence, imaginative dependence, violence, and love. But most of all green space is at work, wherever it emerges, at the core of our becoming-other.

Thesis (doctoral)--Université de Bordeaux III, 1982. / Includes bibliographical references (p. [965]-985) and index.