The following thesis investigates the British punk movement of the mid-late seventies and suggests that, by performing acts of imaginative re-identification, we may gain greater insights into both the phenomenon of punk and aspects of Jesus’ life, ministry, and teaching despite their axiomatic and sometimes problematic differences. To do this we explore the power of the sartorial creations that the movement adopted and the way in which they conveyed an oppositional protest message and stance. We explore punk graphics and the way in which they could offer a targeted critique of the nation. We look at punk performances and how they confrontationally engaged with their audiences and what they wanted to elicit in return. We reflect on women in punk, punk in Northern Ireland and the relationship between punk and the black community and the degree to which punk exhibited a counter-cultural attitude to relationships. Concluding our look at punk we investigate how society, the authorities and commerce reacted to the movement, before investigating punk as a trans-historical essence. Having explored punk and established imaginative connections we then revisit aspects of Jesus’ life and consider him as a subversive who negated some of the national symbols of Israel, collided with Jewish national authority and reversed many of the nation’s perspectives. We look at the more confrontational nature of Jesus, his use of symbolic physical statements and his interaction with women, teaching on enemies and the way he related to the outcast. We then conclude by showing the degree to which the present-day church has been absorbed into the surrounding culture and explore two instances in post-war theology where there has been a recovery of the more seditious pattern within Jesus’ life before seeing whether there is anything that the church may learn from imaginatively identifying with punk.

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Part 1: ‘True Receivers': Rilke and the Contemporary Poetics of Listening In this part of this thesis I argue that a contemporary ‘poetics of listening' has emerged in the UK, and explore the writing of three of our most significant poets - John Burnside, Kathleen Jamie and Don Paterson - to find out why they have become interested in the idea of the poet as a ‘listener'. I suggest that the appeal of this listening stance accounts for their engagement with the poetry of Rainer Maria Rilke, who thought of himself as a listening ‘receiver'; it is proposed that Rilke's notion of ‘receivership' and the way his poems relate to the earthly (or the ‘non-human') also account for the general ‘intensification' of interest in his work. An exploration of the shifting status of listening provides context for this study, and I pay particular attention to the way innovations in audio and communications technology influenced Rilke's late sequences the Duino Elegies and The Sonnets to Orpheus. A connection is made between Rilke's ‘listening poetics' and the ‘listening' stance of Ted Hughes and Edward Thomas; this establishes a ‘listening lineage' for the contemporary poets considered in the thesis. I also suggest that there are intriguing similarities between the ideas of listening that are emerging in contemporary poetics and Hélène Cixous' concept of ‘écriture féminine'. Exploring these similarities helps us to understand the implications of the stance of the poet-listener, which is a counter to the idea that as a writer you must ‘find your voice'. Finally, it is proposed that ‘a poetics of listening' would benefit from an enriched taxonomy. Part 2 of the thesis is a collection of my poems entitled ‘Small Weather'.

Mat, språk och kultur är tätt sammanlänkade, och i matlagningsprogram förekommer en rad olika sorters kulturspecifika referenser. Kulturspecifika referenser definieras som ”any reference to a cultural entity which, due to its distance from the target culture, is characterized by a sufficient degree of opacity for the target reader to constitute a problem” (Mailhac i Ranzato 2015:54) och kan vara sådant t.ex. som måttenheter (pint), märken (Tabasco) och maträtter (surf and turf). Denna undersöknings fokus är översättningen av kulturspecifika referenser i matlagningsprogram, och eftersom merparten av de matlagningsprogram som översätts för svensk tv är på engelska består denna studies material av 21 engelskspråkiga matlagningsprogram och deras svenska översättningar. De matlagningsprogram som undersökts är Det goda livet, Jamie Olivers smarta rätter, David Roccos ljuva matresa – Italien, Kitchen Hero och Hela England bakar. Genom att att konstruera en korpus och analysera de kulturspecifika referenserna har normerna för översättningsstrategier gällande kulturspecifika referenser i matlagningsprogram kartlagts, och jämförts med resultaten från Pedersens välkända undersökning av primetime-TV (2011). Resultaten kategoriserades sedan enligt Pedersens taxonomi. Resultaten visade att normerna för matlagningsprogram liknade dem för primetime-TV, trots att det fanns ett par domänspecifika skillnader. Eftersom språk formar hur vi ser världen är det intressant att se hur kulturspecifika referenser översätts från en kultur till en annan, eftersom det formar hur den kulturen ses och värderas, eller åtminstone dess matkultur. / Food, language and culture are closely linked and cooking shows are peppered with culturally specific references. Culturally specific references are defined as “any reference to a cultural entity which, due to its distance from the target culture, is characterized by a sufficient degree of opacity for the target reader to constitute a problem” (Mailhac in Ranzato 2015:54) and can be things such as measurements (pints), brands (Tabasco), and dishes (surf and turf) to name a few. This study focuses on the translation of culture specific references in cooking shows. Since most of the cooking shows translated into Swedish are in English, the material for this study consists of 21 cooking shows in English and their Swedish translations. This study will look at the shows 3 good things, Save with Jamie, David Rocco’s Dolce Vita, Kitchen Hero and The Great British Bake off. By constructing a corpus and analyzing the culturally specific references, the norms regarding translation strategies for the translation of culturally specific references in cooking shows have been mapped out, and compared to the results of a well known study on primetime TV by Pedersen (2011). These were categorized in accordance with Pedersen’s taxonomy (2011:76). The results showed that the norms were very similar to those of primetime TV, with the exception of some domain-specific norms. Language influences how we see the world. Thus, the way culturally specific references are translated from one culture into another is important because it affects how cultures are viewed and interpreted, at least within the food community.

This study and the accompanying design project explore postmodern identity construction as a nomadic state of being in relation to the shared experience of space. The potential of the relationship between postmodern identity and physical space is explored both theoretically and through practical application. The main theory explored is ‘third space’, with specific reference to the concept of ‘thirdness’ as articulated by American psychoanalyst Jessica Benjamin (in Frosh&Baraitser 2009). This study examines how shared spaces can, through narrative reframed by ontology (Somers 1994), be seen as physical manifestations of the ‘third space’ as envisaged by the likes of Homi K Bhabha (1994) and Edward Soja (1996). The notion of ‘thirdness’ is used to explore the relationship between individuals and shared space. ‘Thirdness’ is also paralleled to Ubuntu. ‘Thirdness’ is investigated as a means to access shared relational spaces that provide an abundance of symbolic narratives that can be gathered and integrated into the self. This study explores how being connected through shared space has the potential to be constructive in identity formation in the wake of unstable postmodern identity. This study uses a design process adapted from Karl Aspelund (2006) as an approach to the research. In the context of this study, design is seen as more than the resulting artefact. It encompasses the thought process, the methods used and steps taken to reach a particular research outcome. This study attempts to form a synthesis between the theoretical research conducted and design praxis in the form of the design outcome. As inspiration for the design action, the design process followed in this research facilitates the exploration of theory that is perhaps unfamiliar to design discourse. The steps in the process allow the refinement of concepts, application of the theory in a practical environment (a paper making workshop) and finally, the visualisation of the theory via the design artefact (an animated short). The medium of animation is selected purposively in order to convey the interpretive narrative derived from the process. The paper produced in the workshop reflects the theory, inspires the narrative of the animation and is used to create the environment and characters of the animation, which, in turn, embody the overarching concepts of the study. Copyright / Dissertation (MA)--University of Pretoria, 2012. / Visual Arts / unrestricted