The main purpose of this practice-led research is to explore the relevance of present day Taiwanese aboriginal weavers’ work to contemporary society and how it might be integrated into today’s production processes, and used on stage as well as in exhibition. My research focuses on my costume design work for two theatrical productions, Africussion and Romeo and Juliet, for which the costumes were made with traditional Taiwanese aboriginal woven textiles, and is based on the assumption that the process of costume design affords a space to explore other aesthetic possibilities for aboriginal woven textiles, and that the theatre provides a context in which the conventional conceptions of Taiwanese aboriginal textile design can be challenged, broken apart and renewed. This research deals with both the theoretical and the practical considerations that apply to aboriginal weaving, and examines the intellectual traditions of the philosophy of art and aesthetics to be found in its theory and application. My thesis challenges the notion upheld by many of today’s aboriginal weavers that their ‘traditions’ are fixed and unchangeable, and argues for the importance of individual creativity if modern, contemporary needs and tastes in textiles are to be met by materials woven in the aboriginal way. My practice-led research is grounded on the techniques of aboriginal backstrap loom and weaving and basket weaving, which were learned from aboriginal weavers in a 20-month tribal fieldwork. This project approaches aboriginal woven textiles as artistic objects in the context of theatre productions and performances instead of as mere commercial entities. It also argues that theatrical costume design is much more than just the making of simple costumes that complement performances.

Today, especially after various critical evaluations of mainstream theories of International Relations (IR), it is common place to observe that IR discipline is Eurocentric. Natural outcome of this Eurocentric character of IR discipline has been the privileging of modern identity (and thus, modernity) and the marginalization of different cultures and identities as &quot / others&quot / . This thesis analyzes the relationship between the concepts of modern identity, national interest and difference within the framework of IR theory. The thesis asserts that IR discipline should solve the problem of exclusion of the &quot / other&quot / or suppression of differences since International Relations means first and foremost interaction with the &quot / Other&quot / . In order to solve this contradiction, I argue that IR theory should be deconstructed on the basis of a treatment of differences and heterogeneity. However, criticizing the creation of the &quot / others&quot / necessitates also the critique of modern identity since &quot / heterophobia&quot / is the result of the homogenizing character of European identity. Therefore, a deconstruction of the hegemony of modern identity in IR is the main concern of this thesis. The thesis finally argues that &ldquo / other worlds&rdquo / which leave room for different identities and other &quot / truths&quot / are also possible.

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The dissertation connects areas of critical-animal studies and feminist studies over the question of picturing bodies of animals and women including visual violence. In particular it addresses the use of mentioned picturing methods by an animal rights movement. I understand women and animals to be marginalised groups in patriarchal society on which is represented the power of hegemonic masculinity by denigrating, violent and sexual representation, even though each group has its specifics. The method of representation serves as means of confirmation and embedding of hegemonic masculinity, anthropocentric system built on binary oppositions man/woman, human/animal, and with them related discourse of difference. The aim of the dissertation is to point out common characteristics of denigrating representation including violence (with sexual meaning) on animals and women who are reduced to objects, on which visualisation of violence is socially accepted. The initial point comes from feminist theories of Carol J. Adams and her concept of absent referent. Further it works with concept of intersectionality and fluid identity according to Rosi Braidotti, which enables consideration of assigning a claim of personal identity also to animals. From the methodological position, the dissertation is based on...