No description available.

As the title suggests, this essay is a feminist and postcolonial literary analysis of the main character Okonkwo´s downfall and demise in acclaimed author Chinua Achebe´s 1958 novel, Things Fall Apart. A recurrent theme within the narrative is the concept of gender differences and gender roles, in the strict traditional and patriarchal system which serves as the setting of the narrative. Okonkwo, who is a traditional and proud Igbo man, has an aversion toward what is considered to be weak and feminine. Okonkwo is therefore struck with depression when he finds himself in a weak and helpless position, as well as emasculated emotional state of mind. Furthermore, Okonkwo becomes a victim to colonialism in the latter part of the narrative, which consequently adds to his already helpless and emasculated state of mind. The purpose with this essay is therefore to investigate if feelings of emasculation are the cause for Okonkwo´s final decision to end his own life. Based upon the analysis included in this essay, one of the conclusions that could be drawn was that the helplessness and feelings of emasculation Okonkwo experiences within the narrative are too much for him to cope with and therefore cause his downfall and demise.

This dissertation uses discursive formation as the methodological approach to examine representations of Indian Christians in eleven Bollywood movies released during the 2004-2014 decade. The decade witnessed the exit and eventual re-entry of the Hindu Right, and the citizenry during that period experienced centrist, liberal, and secular governance. Since the present of Indian Christianity is inextricable from a colonial past, and Bollywood emerges in response to colonialism, a postcolonial intervention in methodology and theory is undertaken. A postcolonial perspective illuminates the discourses that enable the formation of the postcolonial nation, i.e., the ways a nation imagines its culture, people, traditions, boundaries, and Others. There is a suggested relationship between the representations of Indian Christians in Bollywood movies and the decade of secular governance because the analysis is approached from the position that culture and media produce and re-produce each other. The representations of Christians in Bollywood movies are a product of contemporary and historical cultural, legal, political, and social discourses. This dissertation demonstrates that representations of Christians as hypersexual women and emasculated men within an emergent Hindu modernity discursively constructs India as a Hindu nation, and Christians as the westernized Other. The theoretical contributions pertain to belonging in the nation through homonationalism and hypersexualization; the relationship between democratic representations and media; the postcolonial ambivalent identity of the Bollywood industry because of way it represents Indian Christians in response to colonialism; and the Indian Christian community’s postcolonial identity as a way to make sense of their contemporary and historical identity.

No description available.

The Choice on Termination of Pregnancy Act (CTOP Act 92 of 1996) is perhaps the most revolutionary piece of legislation internationally ever to have been promulgated to regulate abortion and as such women’s reproductive lives. Abortion research tends to focus on the experiences of women and thus cast abortion as solely a territory that represents women’s reproductive concerns and the power to choose to procreate. While the CTOP Act safeguards women’s right of choice and a form of determination relating to what happens to their bodies, it also fails to recognise or even make pronouncements about the role that a man plays in the choice to terminate a pregnancy as well as how abortion affects a man’s life. This therefore implies that legally, men do not have a stake to influencing the decision to terminate a pregnancy. This qualitative study was undertaken to explore how young unmarried males whose partners have undergone an abortion construct abortion and the meanings that they attach to the experience of abortion. Interviews were conducted and the data was analysed using discourse analysis. Some of the young men knew about the woman’s decision to have an abortion and others did not know. Common findings include a sense of helplessness due to feeling that the decision is ultimately that of the woman, anger for those who did not know about the decision to abort and a lack of forgiveness towards their partners. / Psychology / M.A. (Clinical Psychology)

The Choice on Termination of Pregnancy Act (CTOP Act 92 of 1996) is perhaps the most revolutionary piece of legislation internationally ever to have been promulgated to regulate abortion and as such women’s reproductive lives. Abortion research tends to focus on the experiences of women and thus cast abortion as solely a territory that represents women’s reproductive concerns and the power to choose to procreate. While the CTOP Act safeguards women’s right of choice and a form of determination relating to what happens to their bodies, it also fails to recognise or even make pronouncements about the role that a man plays in the choice to terminate a pregnancy as well as how abortion affects a man’s life. This therefore implies that legally, men do not have a stake to influencing the decision to terminate a pregnancy. This qualitative study was undertaken to explore how young unmarried males whose partners have undergone an abortion construct abortion and the meanings that they attach to the experience of abortion. Interviews were conducted and the data was analysed using discourse analysis. Some of the young men knew about the woman’s decision to have an abortion and others did not know. Common findings include a sense of helplessness due to feeling that the decision is ultimately that of the woman, anger for those who did not know about the decision to abort and a lack of forgiveness towards their partners. / Psychology / M. A. (Clinical Psychology)