Unter dem Begriff des Poststrukturalismus wird eine disparate, auf den Axiomen des Strukturalismus aufbauende und diese zugleich überwindende Strömung verstanden, die sowohl innerhalb der Sozial- und Kulturwissenschaften als auch in interdisziplinär organisierten Feldern wie den Gender Studies von großer Tragweite ist. Geteilt wird die Auffassung, dass kulturelle Phänomene allgemein sprachlich strukturiert sind. Seine Tendenz, unter die Oberfläche vermeintlich stabiler, monolithischer Strukturen zu schauen, qualifiziert den Poststrukturalismus für eine Anwendung auf genderwissenschaftliche Kategorien wie Weiblichkeit und Männlichkeit, deren Bedeutung nicht aus sich selbst erwächst, sondern die als Signifikate innerhalb eines (phallokratischen) Systems zu denken sind.

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This project uses Michel Foucault’s underdeveloped notion of “tolerated illegality” as a departure point for two converging inquiries. The first analyzes, and then critiques, dominant legal logics and values. This part argues that traditional legal philosophers exhibit a “disagreement without difference,” generally concurring that legal certainty and predictability enhance agency. Subsequently, this section critiques “formal legal” logic by linking it to science envy (specifically the desire for certainty and predictability), and highlighting its agency- limiting effects (e.g. the violence of law en-force-ment). The second part examines multiple dimensions of tolerated illegality, exploring the permutations of this complex socio-legal phenomenon. Here the implications of tolerated illegality are mapped across different domains, ranging from the dispossession of Indigenous peoples of their lands, to the latent ideologies embedded in superhero shows. This section also examines the idea of liberal “tolerance,” as well as the themes of power, domination, politics, bureaucracy, and authority. Ultimately, this project demonstrates that it is illuminating to study legality and (tolerated) illegality in tandem because although analyses of “formal legality” provide helpful analytical texture, the polymorphous and entangled nature of tolerated illegality makes clear just how restricted and artificial strict analyses of legality can be. / Graduate

A Sceptical Aesthetics of Existence: The Case of Michel Foucault Emmanouil Simos (Hughes Hall) Michel Foucault's genealogical investigations constitute a specific historical discourse that challenges the metaphysical hypostatisation of concepts and methodological approaches as unique devices for tracking metaphysically objective truths. Foucault's notion of aesthetics of existence, his elaboration of the ancient conceptualisation of ethics as an 'art of living' (a technē tou biou), along with a series of interconnected notions (such as the care of the self) that he developed in his later work, have a triple aspect. First, these notions are constitutive parts of his later genealogies of subjectivity. Second, they show that Foucault contemplates the possibility of understanding ethics differently, opposed to, for example, the traditional Kantian conceptualisation of morality: he envisages ethics in terms of self-fashioning, of aesthetic transformation, of turning one's life into a work of art. Third, Foucault employs these notions in self-referential way: they are considered to describe his own genealogical work. This thesis attempts to show two things. First, I defend the idea that the notion of aesthetics of existence was already present in a constitutive way from the beginning of his work, and, specifically, I argue that it can be traced in earlier moments of his work. Second, I defend the idea that this notion of aesthetics of existence is best understood in terms of the sceptical stance of Sextus Empiricus. It describes an ethics of critique of metaphysics that can be understood as a nominalist, contextualist, and particularist stance. The first chapter discusses Foucault's late genealogy of the subject. It formulates the interpretative framework within which Foucault's own conceptualisation of the aesthetics of existence can be understood as a sceptical stance, itself conceived as nominalist, contextualist and particularist. As the practice of an aesthetics of existence is not abstract and ahistorical but the engagement with the specific historical circumstances within which this practice is undertaken, the second chapter reconstructs the intellectual context from which Foucault's thought has emerged (Heidegger, Blanchot, and Nietzsche). The third chapter discusses representative examples of different periods of Foucault's thought -such as the "Introduction" to Binswanger's "Traum und Existenz" (1954), Histoire de la folie (1961), and Histoire de la sexualité I. La volonté de savoir (1976)- and shows in which way they constitute concrete instantiations of his sceptical aesthetics of existence. The thesis concludes with responses to a number of objections to the sceptical stance here defended.

本論文的架構分作五章，第一章為緒論，第二章依序描繪西方十六世紀以來的知識空間，第三章探討法學在其中賦有的形象，第四章則以前兩章為框架，從知識空間和法學的轉變出發，重新檢討法典化之爭的實際意義，第五章為結論。

Taking as its starting point Nietzsche’s and Foucault’s theses on liberalism and war, and Dillon and Reid’s extensive engagement thereof, this thesis offers a critical conceptualization of drones and drone warfare. I argue that deployment of drones specifically over and against bodies and communities in conflict zones in and between Afghanistan, Pakistan, Iraq, Yemen, Somalia, and until recently, Libya, is the material practice of a legal and political doctrine and precedent that has been established and policed most prominently by the United States and its military and intelligence apparatuses since the end of the Cold War. This novel precedent, however - due to its necessarily mutually constitutive relationship with a perceived danger said to be emerging from specific spaces, bodies, and communities in the decolonized and still-colonized worlds - locates its ontological and thus political genealogy in the anthropological knowledge that legally justified the (in)humanity of peoples and communities in these spaces during the era of high imperialism that lasted roughly from the nineteenth to mid-twentieth centuries. I theorize this as a mode of political, tragic nihilism through a reading of some key theories of Deleuze and Guattari, Foucault, and Nietzsche and specifically, their import to the field of critical security and international relations theory. I demonstrate that the semiotic image of the drone is a highly pertinent point of departure through which we can understand these political stakes of strategic discourses enunciating the imperatives of both the Revolution in Military Affairs as well as recent global counterinsurgency/counterterrorism operations, specifically as they relate to claims about what it is drones are said to productively offer such militaristic projects. Ultimately, I argue that it is through the semiotic image of the drone as a clean, precise tactic that furthers the strategic goals of counterterrorism to target specific bodies that we can begin to politically theorize a particularly malignant political nihilism symptomatic of contemporary liberal societies. However, I also suggest that it is through Nietzsche’s politics of nihilism that we can begin to think about radical critical interventions that resist such a dangerous mode of politics. / Graduate

本論文探討英國劇作家凱洛•邱琪兒之《九重天》以及《頂尖女孩》兩劇中深具顛覆性的時空手法。本論文由五章組成。第一章回顧多年來相關的眾多評論角度。第二章援引巴赫汀(Mikhail Bakhtin)的時空型(chronotope)概念探討兩戲中時空融匯的現象，尤其是劇中人物心理、身體狀態，戲劇時空，以及外在社會文化時空背景，三者之間緊密的互動。兩齣戲各別有著兩個不同的時空型：《九重天》第一幕代表的是性別角色僵化的時空型，第二幕則代表了1979年當時社會上傳統性別角色開放且迅速轉變的狀態；《頂尖女孩》則透過一對姐妹Marlene與Joyce對映出當時兩種不同的女性生活，一個是典型八零年代柴契爾主義的事業女強人，一個則是在此種政經趨勢下卻相對更加弱勢的傳統女性。 第三章則探討兩劇第一幕呈現長久以來隱藏空間當中的性別歧視。透過女性地理學者(feminist geographical theorist)之觀點，筆者分析兩戲當中兩性間不同的空間體驗(spatial experience)，以及公/私領域之分界(private-public distinction)所暗藏性別歧視的空間隱喻(spatial metaphor)。當男性與冒險及旅行等等充滿能動性(mobility)的字眼連結，女性卻總是被動地與家庭空間緊緊連繫。邱琪兒在此揭露空間亦為不公平的性別政治當中之一環。 第四章則著重於分析《九重天》第二幕當中的公園場景，以及《頂尖女孩》第二、三幕的辦公室與廚房場景。首先援引傅柯(Michel Foucault)的異質空間(heterotopia)概念來討論各場景間複雜的鏡像與補償關係。透過空間理論學者昂希．列菲弗爾(Henri Lefebvre)以及抵抗地景(geographies of resistance)的空間生產理論分析邱琪兒如何透過呈現特定社會族群佔領特定空間的手法，企圖激進地改變現實當中此類空間的社會意義。 雖然距兩齣劇作首演的年代已有二十多年，但其中所探討之議題依然常見於現今二十一世紀的社會當中。邱琪兒預見了現今複雜的家庭狀態以及大鳴大放的同性戀運動。即使越來越多女性在政治界或是企業界嶄露頭角，世界上多數的女性依然掙扎於找尋工作與家庭之間的平衡點。 / This thesis is to examine Caryl Churchill’s subversive temporal and spatial devices on stage in Cloud Nine and Top Girls. The chronotopes of the two plays articulate how people’s states of beings interact with the external social and cultural conditions, especially during the 1980s in London. Both plays crystallize the space politics full of gender discriminations in the patriarchal society. In addition, Churchill’s dramatic devices are the subversive spatial practice that transforms the gendered spaces into the sites of resistance in order to manifest her protest and seeks more possibilities for the gender roles in the future. There are five chapters in this thesis. Chapter One is an introduction, including the overview of two plays and the review of numerous analyses in the past two and half decades. In Chapter Two, Churchill’s theatrical temporal and spatial devices, including setting, synchronism, and anachronism in Cloud Nine and Top Girls construct chronotopes that lay bare the special social and cultural condition in a certain historical moment. Those chronotopes demonstrate how Churchill unifies people’s internal states of being and the external political structures together. Moreover, by presenting the chronotopes, Churchill criticizes the slowness of the progress in gender politics and the possible backlash about women’s right in the 1980s. In Chapter Three, I analyze how the spatiality of patriarchy constructed by the private-public dichotomy in both Act Ones of Cloud Nine and Top Girls. The spatial experiences between men and women depicted in Act One of Cloud Nine illustrate the stereotypical masculinity and femininity in the Victorian age. The spatial metaphors about movement in Act One of Top Girls expose the strict boundary between the private and the public spaces, and foreshadow the importance of mobility as being a possible strategy to transgress the boundaries. Finally, Chapter Four is the analysis about how Churchill subversively and politically explores the possibility of creating new social spaces in the park space of Cloud Nine and the office space of Top Girls. Her theatrical strategies are potential spatial practices that create the rupture to transgress the unfair restrictions and discriminations in the patriarchal and heterosexual society. The final chapter concludes that Churchill’s dramatic devices about time and space are the subversive strategies to conduct her observations and criticisms about the unfairness in society.

This thesis examines the intellectual environment in which Pope John Paul II's thought operates, especially as it pertains to his writings on the truth. The pontiff's thinking faces open hostility toward Christianity, as exemplified by Friedrich Nietzsche and Michel Foucault. The pope's theology pays attention and builds links to modern thought through its positive engagement with phenomenology and personalism, as well as through its opposition to materialism. Despite these connections, this theology fails to fit well with (post)modern thinking, as it takes a wider view of things in two ways: (1) By offering a spiritual sense of things, it goes beyond thought and takes into account supernatural sources of knowledge, sources which are both a one-time event (the Resurrection of Jesus Christ) and part of the ongoing journey of the Christian community; (2) By boldly referring to traditional, outmoded language, as with the words obedience and humility, with the same level of reverence and fullness of their sense as they were used before the secular-feminist era condemned these virtues. The strange and unique qualities of John Paul II's thinking issues from these two practices. It also arises from his bold ability to engage with modern thought without becoming defensive and without hiding behind the Bible or Catholic piety, though he uses both of these generously. John Paul II offers a clear alternative to the chaos and confusion of post-Enlightenment thought, in both his thought's style and substance. The Holy Father's words cause us to reflect more deeply than those of modern or postmodern thinkers, and call us away from the relativism of Richard Rorty, Foucault, and so many others. The pope's thought succeeds in part because he takes a much wider vista of things, in that he digs more deeply into Western and Christian thought and that he enters this heritage as an inheritor rather than as a skeptical scientist-researcher as in Foucault's case. The pope's thought also succeeds because he assigns spiritual meaning to this journey of Christian and world people. In this sense, his thought is also radically inclusive. / Philosophy, Practical and Systematic Theology / D. Th. (Systematic Theology)

Text in English with abstracts in English, Afrikaans and isiZulu / There has been considerable debate amongst feminist scholars as to whether the normalization of cosmetic surgery positively impacts women, empowers women by promoting agency and choice (Gimlin 2002, Kuczynski 2006), or oppresses women by propagating patriarchal ideologies that confine women’s bodies and consequently inhibit their voice (Blum 2003, Blood 2005, Heinricy 2006, Clarke and Griffin 2007, Tait, 2007). Rather than entering this debate my argument proceeds from a premise that the normalization of cosmetic surgery is a form of implicit and exclusive violence. Using a selection of post‐structuralist, feminist, and psychoanalytic theories, I analyze the manner in which this form of violence confines women’s bodies and structures the psyche. Using Jacques Lacan, Judith Butler, and Michel Foucault’s argument on pastoral power, I deconstruct the formation of the normalized self, the conscience, and the act of confession as it translates in the context of the cosmetic surgical body itself. Furthermore, I highlight liberal feminism’s role in this form of oppression. In so doing, I theoretically show the continual and effective functioning of pastoral power in the context of an individualization technique that oppresses women in the second decade of the twenty‐first century. I argue that the normalization of cosmetic surgery provokes a silencing of woman’s voices, an exploitation and oppression of the individual’s psyche, and an invalidation of the living body by a less visible, less explicit, mode of incarceration that is concealed by an aesthetic and moral veil. It is in this context that I present a counter discourse to the oppression that underlies the normalizing discourses promoted by the cosmetic surgical industry, a destabilization of patriarchal norms embedded within cosmetic surgical discourses, and a theoretical reconstruction that involves an inscription of what I refer to as an authentic feminist voice in contemporary consumer culture – a mode of intimate unconscious insurgence. I advocate a return to Julia Kristeva’s theory and the intimate revolt promoted by her ethical approach. Furthermore, I present a voice that demonstrates an intimate revolt – a voice that challenges patriarchal norms and is not exclusively confined by the mechanisms of normalization that shape the twenty‐first century woman with emphasis on the cosmetic surgical industry and its superincumbent discourses – the South African poet Antjie Krog. It is Krog’s skillfully structured poetic texts that facilitate my theoretical reconstruction. Applying Kristeva’s theory on semanalysis, I theoretically show that Krog’s work fabricates an excess to the confines of the law of the Father and the mechanisms of normalization itself. In addition, I present an “originary attachment” as an adaption of Kristeva’s argument on the chora and my proposal of an “originary ideal” challenges Kristeva’s emphasis on phonetic grams in the context of that which underlies the realm of the paternal metaphor. Using Louise Viljoen’s analysis of Krog’s work and Bridget Garnham’s research on emerging designer cosmetic surgical discourses as support, I then present Krog’s poetic texts as a counter discourse to the “moral” cosmetic surgical discourses that exploit the ageing individual in the second decade of the twenty‐first century. In addition, applying Kristeva’s theory on paragrams to Krog’s poetic text(s), I present a destabilization of the patriarchal norms implicit within cosmetic surgical discourses. Furthermore, I extend Kristeva’s theory on the principle of negativity to present a re‐translation of the act‐of‐confession in Krog’s poetic text(s), an extension of Foucault’s pastoral power and Butler’s argument on the exclusivity of normalization, and a reclamation of her ageing body in Verweersrkrif/Body Bereft (Krog 2006). / Feministiese geleerdes voer al geruime tyd 'n warm debat oor die kwessie of die normalisering van kosmetiese chirurgie vroue positief beïnvloed, vroue bemagtig deurdat dit volmag en keuse vir hulle in die hand werk (Gimlin 2002; Kuczynski 2006), of vroue onderdruk deurdat dit patriargale ideologieë voorstaan wat die vroueliggaam inperk en gevolglik die vrou inhibeer om haar stem te laat hoor (Blood 2005; Blum 2005; Clarke en Griffin 2007; Heinricy 2006; Tait 2007). In plaas daarvan om by hierdie debat betrokke te raak, gaan ek van die veronderstelling uit dat die normalisering van kosmetiese chirurgie 'n vorm van implisiete en eksklusiewe geweld is. Aan die hand van post-strukturalistiese, feministiese en psigoanalitiese teorieë ontleed ek die manier waarop hierdie vorm van geweld vroue se liggaam onderwerp en hul psige vorm. Ek dekonstrueer die vorming van die genormaliseerde self, die bewussyn en die daad van belydenis, soos dit in die konteks oorgebring word, aan die hand van Jacques Lacan, Judith Butler en Michel Foucault se beskouings van herderlike oftewel pastorale mag. Hierbenewens onderstreep ek die rol wat liberale feminisme in hierdie vorm van onderwerping speel. Sodoende demonstreer ek teoreties hoe die voortdurende en effektiewe funksionering van pastorale mag in die konteks van ’n individualiseringstegniek vroue in die tweede dekade van die een-en-twintigste eeu onderdruk. Ek maak die aanname dat die normalisering van kosmetiese chirurgie daartoe bydra dat vroue die swye opgelê word, die individu se psige uitgebuit en onderdruk word en die lewende liggaam ontkragtig word deur middel van ’n inkerkering wat minder sigbaar en minder eksplisiet is en agter ’n estetiese en morele sluier verdoesel word. In hierdie konteks bied ek ’n teendiskoers aan vir die onderwerping wat onderliggend is aan die normaliseringsdiskoerse wat die kosmetiesechirurgiebedryf ondersteun, en ek bepleit dat die patriargale norme wat in diskoerse oor kosmetiese chirurgie vassit, gedestabiliseer word. Ek demonstreer verder ’n teoretiese rekonstruksie wat ’n inskripsie insluit van wat ek ’n geloofwaardige feministiese stem in die eietydse verbruikerskultuur noem – ’n modus van intieme, onbewuste opstandigheid. Ek bepleit 'n terugkeer na Julia Kristeva se teorie en die intieme oproer wat deur haar etiese benadering voorgestaan word. Afgesien hiervan stel ek ’n stem voor wat ’n intieme opstand demonstreer – ’n stem wat patriargale norme uitdaag en nie uitsluitlik onderdruk word deur die normaliseringsmeganismes wat vorm gee aan die vrou van die een-entwintigste eeu nie, waar die klem op die kosmetiesechirurgiebedryf en die boliggende diskoerse daarvan val – Antjie Krog, Suid-Afrikaanse digter. Dit is juis Krog se kunstig gestruktureerde digterlike tekste wat my teoretiese rekonstruksie fasiliteer. Aan die hand van Kristeva se teorie oor semanalise toon ek teoreties dat Krog se werk ’n ruimte daarstel wat "uitstyg" bo die grense wat die wet van die Vader en die normaliseringsmeganismes stel. Hierbenewens stel ek ’n "originêre gehegtheid" as aanpassing van Kristeva se beskouing van die chora voor, en my voorstel van ’n "originêre ideaal" daag Kristeva se opvating oor paragramme uit in die konteks van dit wat ten grondslag lê aan die gebied van die paternalistiese metafoor. Op grond van Louise Viljoen se ontleding van Krog se werk en Bridget Garnham se navorsing oor opkomende diskoerse oor ontwerpers- kosmetiese chirurgie bied ek Krog se digterlike tekste aan as ’n teendiskoers vir die "morele" diskoerse oor kosmetiese chirurgie wat die verouderende individu in die tweede dekade van die een-en-twintigste eeu uitbuit. Daarby, deur Kristeva se teorie oor paragramme op Krog se digterlike teks(te) toe te pas, demonstreer ek 'n destabilisering van die patriargale norme wat implisiet in diskoerse oor kosmetiese chirurgie teenwoordig is. Hierbenewens brei ek Kristeva se teorie oor die negatiwiteitsbeginsel uit deur middel van ’n heroorsetting van die belydenisdaad in Krog se digwerk(e), ’n uitbreiding van Foucault se pastorale mag en Butler se opvatting oor die eksklusiwiteit van normalisering, en ’n opeising van Krog se verouderende liggaam in Verweerskrif/Body Bereft (Krog 2006). / Sekubekhona izingxoxo-mpikiswano eziningi kwizifundiswa zama-feminist ukuthi ngabe ukwenza isurgery yohlinzo olungajulile ukuzishintsha ukubukeka ngokwemvelo (cosmetic plastic surgery) kunomphumela omuhle yini kwabesimame, ngabe kuhlinzeka ngamandla kwabesimame ngokuphakamisela phezulu ukuthi umuntu azenzele akufunayo kanye nokuzikhethela (Grimlin 2002, Kuczynski 2006) noma kuyinto ecindezela abesimame ngokuqhubela phambili indlela nama-idiyoloji abekwa ngabesilisa ukuthi imizimba yabesimame kumele ibukeke kanjani, kanti lokhu kucindezela izwi labesimame (Blum 2003, Blood 2005, Heinricy 2006, Clarke and Griffin 2007, Tait, 2007). Kunokuthi iphuzu nami ngingenele kule ngxoxo-mpikiswano, elami iphuzu lona liqhubeka ukusukela kwisimo sokuthi ukwamukela uhlujzo olungajulile lokuzitshintsha ukubukeka kwabesimame (cosmetic surgery) kuyindlela yodlame olungaqondile ngqo kanye nolukhipha inyumbazane abesimame. Ngokusebenzisa amathiyori epost-structuralist, awe-feminist kanye nawepsychoanalytical, ngihlaziya indlela le nhlobo yalolu dlame ecindezela ngayo imizimba yabesimame kanye nokuhlela indlela okumele bacabange nokuzibona ngayo. Ngokusebenzisa iphuzu likaJacques Lacan, Judith Buttle kanye noMichel Foucault lamandla okukhokhela ngokomoya, ngiqhaqha indlela okubumbeka ngayo isithombe sokuzibona, unembeza kanye nomoya wokuhlambulula ngokuzidalula (confession) lapho kubhekwa izinto ngaphansi kwesimo somzimba wokuhlinzwa okungajulile ukuzishintsha ukubukeka ngokwakho. Nangaphezu kwalokho, ngigqamisa indima ye-liberal feminism ngokwayo kule nhlobo yencindezelo. Ngokwenza lokho, ngikhombisa ngokwethiyori ukuqhubeka nokusebenza kwamandla esikhokhelo ngokomoya ngaphansi kwethekniki yokuzazi komuntu eyedwa okucindezela abesimame kwiminyaka elishumi yesibili, yesenshuri yamashumi amabili nanye . Ngiqhubela phambili iphuzu lokuthi ukwenziwa kohlinzo olungajulile lokuzishintsha ukubukeka kuqala umoya wokucindezela izwi labesimame, ukuxhashazwa kwabo, kanye nendlela umuntu azibona ngayo ngokwengqondo, kanye nokucindezela umzimba ophilayo ngezindlela ezingazibonakalisi obala, ezifihlekile, indlela yokubopha efihlwa yindlela yokubukeka kanye nokwembozwa umoya. Kungaphansi kwalesi simo lapho ngethula khona i-discourse yencindezelo eyenza ukuthi imboni yohlinzo olungajulile ukuzishintsha ukubukeka kwabesimame kube yinto ephakanyiswayo nokubonwa iyinhle, ukuphazamiseka kwama-norm endlela yengcindezi yabesilisa, ngaphansi kwama-discourse okuhlinzwa okungajulile ukushintsha ukubukeka, kanye nokwakha ithiyori ebandakanya ukubona izinto ngendlela ethize, engikuchaza njengezwi okuyilo elifanele le-feminism, kwisimo sosiko esiphila ngaphansi kwaso samanje - okuyindlela abantu abazibuka ngayo ezingqondweni ngendlela engekho obala. Ngigcizelela ukubuyela kwithiyori kaKristeva, kanye nokuthi abantu babhoke indlobana ngezindlela eziphansi, okuyinto ayiphakamisayo yenkambiso yokwazi okulungile nokungalunganga (ethical approach). Naphezu kwalokho, ngiveza izwi elibonisa ukubhoka indlobana kwabesimame ngendlela engekho sobala - izwi elifaka inselele kuma-norm okubhozomelwa ngumqondo wokulawula kwabesilisa, kanti futhi leli zwi aligcinanga nje kuphela umumo wabesimame ngendlela ejwayelekile njengowesimame wesenshuri yamashumi amabili-nanye ngokugcizelela kwimboni yohlinzo olungajulile lokuzishintsha ukubukeka, kanye nendlela lokhu okuyisihibe ngayo – ngokusho kukasonkondlo waseNingizimu Afrika, u-Antjie Krog. Imibhalo yezinkondlo zikaKrog ezinobungcweti yiyo eyenze ukwakha kwami kabusha ithiyori. Ngokusebenzisa ithiyori kaKristeva ye-semanalysis, ngibonisa ngokwethiyori ukuthi umsebenzi kaKrog uqambe okweqele ngaleya kwizihibe zomthetho kubaba kanye nezindlela zokwenza izinto zibukeke ngendlela evamile noma zingavamile. Nangaphezu kwalokho, ngifakela i-"originary attachment" njengokwenza ukuthi kube kwesinye isimo, iphuzu likaKristeva ku-chora kanti isiphakamiso sami se-"originary ideal" sifaka inselele kusigcizelelo sikaKristeva ngamagremu efonethiki ngaphansi kwesimo esigcizelela umfanekiso ngasohlangothini lobaba. Ngokusebenzisa ukuhlaziya kukaLouise Viljoen kumsebenzi kaKrog kanye nocwaningo lukaBridget Garnham ngokuvela kwama-discourse ohlinzo olungajulile ukuzishintsha ukubukeka njengesisekelo, ngase ngethula imibhalo yezinkondlo zikaKrog njenge-discourse yokuphikisa ama-discourse e-"moral" yama-discourse ohlinzo olungajulile lokuzishintsha ukubukeka, elixhaphaza abantu abagugayo ngeminyaka eyishumi yesibili kwisenshuri yamashumi amabili-nanye. Naphezu kwalokho, ngisebenzise ithiyori kaKristeva kumapharagramu kwimibhalo yezinkondlo zikaKrog, ngaphazamisa imibono yokuphatha kwabesilisa equkethwe kuma-discourse ohlinzo ulungajulile ukuzishintsha ukubukeka. Ukuqhubekela phambili, nginwebe ithiyori kaKristeva ngesimiso se-negativity ukwethula ukuhumusha kabusha umoya wokuzihlambulula ngokuzidalula otholakala kwizinkondlozikaKrog, ukuwukunweba amandla umbono kaFaucault wamandla okuthi abantu bazibone ngenye indlela kanye nephuzu likaButler wlkuthi into engavamile engaphandle ibonwe njengento efanele, kanye nokwamukela umzimba ogugayo kwinkondlo ye- Verweerskrif/Body Bereft (Krog 2006). / English Studies / D. Litt. et Phil.(Theory of Literature)

This dissertation is a report on how Tom Lanoye, a contemporary Flemish author who explores themes of social relevance, deconstructs the sexual identity of his characters within the context of a postmodernist culture. The manifestation of this deconstruction process is described within those theoretical paradigms of Michel Foucault and Judith Butler that link sexual identity and social mores. For the purpose of this research Tom Lanoye‘s ‘Monster’ Trilogy was selected. Set against the backdrop of Belgium society during the late nineties of the twentieth century and highlighting the moral downfall of the Deschryver patriarchy, Lanoye’s novels address an assortment of contemporary gender and social political issues in his trilogy. These include the following: political corruption; incest; homosexuality; racism; the sexual abuse of minors; the relation between language and identity, volatile childrenparent relationships; the subversion of gender norms and sexual transformation. / In hierdie verhandeling word verslag gedoen van die wyse waarop Tom Lanoye as hedendaagse eksponent van die Vlaamse versetprosa die seksuele identiteit van sy karakters binne die konteks van 'n postmodernistiese verwysingsraam dekonstrueer. Die manifestasie van hierdie dekonstruksieproses word beskryf binne die teoretiese paradigmas met betrekking tot die verband tussen seksuele identiteit en maatskappy van Michel Foucault en Judith Butler. Vir die doel van hierdie ondersoek is Lanoye se 'Monstertrilogie' geselekteer. Gesitueer teen die agtergrond van die Belgiese maatskappy in die laat negentigerjare van die twintigste eeu en gefokus op die morele ondergang van die Deschryver-patriargie, sny Lanoye se trilogie 'n verskeidenheid van aktuele gender-en sosio-politieke kwessies aan. Hierdie kwessies sluit in: politieke korrupsie; bloedskande; homoseksualiteit, rassisme; die seksuele misbruik van minderjariges; die verhouding tussen taal en identiteit; onbestendige ouer-kind-verhoudings; die ondermyning van gendernorme en die kwessie van seksuele transformasie. / Afrikaans and Theory of Literature / M.A. (Afrikaans)