Bibliography: leaves 266-281. This study of representations of Aboriginality focuses on representations produced by non-Aboriginal people and is concerned with both fictional and non-fictional representations. The focus is on popular texts, categorised according to three representational strategies: primitivisation, problematisation, and spiritualisation of texts, such as the New Age or Christian texts that emphasise the religious or the numimous. The study is concerned with the ways in which these texts use Aboriginality to promote positions, ideas and values that are external or even antithetical to Aboriginal interests.

In Australia, family storytelling and religion, the traditional sources of shared stories, are in decline. Stories are increasingly sourced from books, television, film and the internet. But the research suggests that whilst the sources of stories have changed over time, from family and bible stories to books, radio, television and film, the role of those stories has been constant. It has been argued that there is an important connection between an individual?s perception of their own place in the world, their understanding of what constitutes a good life and how to live it, and their ability to empathise with the lives and problems of others (MacIntyre, 1981; Taylor, 1989; Aristotle, 1996; Kearney, 2002). The research indicates that this core bundle of values, attitudes and beliefs is commonly derived from the stories to which individuals are exposed from an early age. Access to stories with which the individual can personally identify and which are familiar to and shared with those around them is crucial in establishing a satisfactory self-narrative (Polkinghorne, 1988), and to the individual's ability to communicate it successfully through the process of triple mimesis (Ricoeur, 1991/1980). Of crucial importance is access to sharable stories which resemble significant aspects of the recipient's own life and circumstances. Respondents who had endured personal difficulties were more likely to accept their circumstances and live successful lives when they had been able to identify with a story describing a similar problem and its credible resolution. However, individuals who had been unable to identify with a public story and establish a satisfactory self-narrative were more likely to be socially dysfunctional. The research also indicates a correlation between exposure to word-based stories at an early age, and the later development of imagination and ambition. People who only experienced visual stories in their early years appeared less articulate, less able to imagine things beyond their own experience, and were less ambitious in their career aspirations. Australia is an increasingly diverse nation, with a wide and growing variety of cultures, beliefs and circumstances represented in the population. It is argued that to maintain the social health of such a diverse community Australia requires an equally wide variety of public stories to ensure that all sections of the community can find a suitable reflection of their lives and circumstances. / thesis (PhDBusinessandManagement)--University of South Australia, 2005.

Bibliography: leaves 266-281. / 281 leaves : ill. ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / This study of representations of Aboriginality focuses on representations produced by non-Aboriginal people and is concerned with both fictional and non-fictional representations. The focus is on popular texts, categorised according to three representational strategies: primitivisation, problematisation, and spiritualisation of texts, such as the New Age or Christian texts that emphasise the religious or the numimous. The study is concerned with the ways in which these texts use Aboriginality to promote positions, ideas and values that are external or even antithetical to Aboriginal interests. / Thesis (Ph.D.)--University of Adelaide, Dept. of English, 2001

<p>The aim of the dissertation is to understand the playing of computer games based on its own conditions, and questions are asked such as what is the meaning constructed around playing and themselves as players, what is the social construction of playing and how can playing computer games be understood from the perspective of youth culture? A basic interest in the thesis is to contribute to the understanding of Bildung in an informal context outside the institutions, activities and genres that traditionally stand for Bildung.</p><p>The empirical investigation that forms the basis of this thesis i in the form of presence at various LANs and interviews with players. The research perspective includes a hermeneutic point of departure and playing computer games is interpreted and understood from three perspectives: playing computer games as a meaning of Bildung (play and mimesis), as social meaning (friendship and community) and as cultural (style).</p><p>The results demonstrates that playing computer games is something the player does to relax, to have fun and it makes the time that passes meaningful. For dedicated players, playing computer games is a longing for community. To be a member of a community provides the opportunity to become someone in relation to the others. To participate in the community of players is a way to achieve understanding about how one is expected to behave in a larger community, that is to say society. The players are not much interested in clothes and fashion. Alcohol and other drugs are disapproved. Not stealing from others in the LAN, helping each other and sharing both knowledge and material things are also ways of expressing style. </p><p>Playing computergames is Bildung and the experiences and insights wich playing can provide should have a place in a vision regarding Bildung in our time. The teachers and the school should make use of the free-time experiences that young people take with them to school.</p>

<p>Sarah Kane’s first play Blasted (1995) has often been read in a normative and biographical way by critics, authors and previous researchers. This essay makes a supplementary close reading of Blasted from gender and genealogical perspectives and utilizes theoretical works by Judith Butler, Luce Irigaray and Michel Foucault. My study makes clear that the characters different positions in language and talk create and maintain a power imbalance between them. Efforts to change and develop one’s individual position in language and talk are being made throughout the play since it is the only way to bring about a change in the social power structure. A fact that in turn also subsequently punishes those efforts. By analyzing the tools of representation, Kane points out a direct link between a violent power imbalance in a couples relationship and the violence of a war zone. In Blasted, it is revealed how violence in a private situation is mirrored in a situation of public violence and how the public violence, in turn, crawls back to the private zone and there repeats itself. By forcing one of the main characters to regress back to the infancy of language and from there alter the ability to act within the framework of human interrelations, Kane demonstrates how a change in social structures can be made, and as is shown in this essay, this indicates that a knowledge of how the social structures are being maintained and how they in turn can be disarranged, is what is required to create an opportunity for change.</p>

This thesis investigates some motifs in the fiction of Québec writer Anne Hébert (1916-2000), largely by exploring interesting affinities with notions in the philosophy of Luce Irigaray (1930-). The main focus is on the young female characters and their way to adulthood in three of Hébert’s books: her first novel, Les chambres de bois (LCB, 1958) and two of her later works, Aurélien, Clara, Mademoiselle et le Lieutenant anglais (AC, 1995) and Est-ce que je te derange ? (ECD, 1998). The study also addresses the situation of the male characters and the difficulties which confront them within a phallocentric order. It is argued that a comparison with features of Irigaray’s thought can shed light both on the emancipatory and the conservative tendencies in the novels. In particular, it is Irigaray’s notion of mimesis that proves to be fruitful for a deeper understanding of the female protagonists in the analysed works, but her specific use of the Oidipus complex, and her vision of a culture of sexual difference, also give important clues for the interpretation of both male and female figures in Herbert’s texts. With regard to LCB, it is shown that it is only when the female protagonist consciously positions herself as a reflection of male desire, as a mimetic figure, that substantial change comes about. In AC the female character is an incarnation of “utopian mimesis” and represents a new order. In ECD the female protagonist functions as a manifestation of a “symptomatic mimesis” and thereby becomes a catalyst for the revelation of the repressed sensibility of the male subject. Irigaray’s reading of the Oidipus complex is used to evince the utopian tendencies in AC, but also to explore how the male characters of all three works are stuck in a denied repetition of their childhood, which leaves little room for change. Irigaray’s vision of a culture of sexual difference provides a comprehensive picture of a place towards which all three novels can be seen to aim.

Sarah Kane’s first play Blasted (1995) has often been read in a normative and biographical way by critics, authors and previous researchers. This essay makes a supplementary close reading of Blasted from gender and genealogical perspectives and utilizes theoretical works by Judith Butler, Luce Irigaray and Michel Foucault. My study makes clear that the characters different positions in language and talk create and maintain a power imbalance between them. Efforts to change and develop one’s individual position in language and talk are being made throughout the play since it is the only way to bring about a change in the social power structure. A fact that in turn also subsequently punishes those efforts. By analyzing the tools of representation, Kane points out a direct link between a violent power imbalance in a couples relationship and the violence of a war zone. In Blasted, it is revealed how violence in a private situation is mirrored in a situation of public violence and how the public violence, in turn, crawls back to the private zone and there repeats itself. By forcing one of the main characters to regress back to the infancy of language and from there alter the ability to act within the framework of human interrelations, Kane demonstrates how a change in social structures can be made, and as is shown in this essay, this indicates that a knowledge of how the social structures are being maintained and how they in turn can be disarranged, is what is required to create an opportunity for change.

Edition commerciale de: Diss. : Berlin : 1995/96. / BA en BAS sans concours. Références bibliographiques p.[307]-321 et index.

Habilitationsschrift--Freie Universität, Berlin, 1976. / Includes bibliographical references (p. 342-347) and index.

Given the expansion of multimedia technology and proliferation of moving projections on the theatre stage in the 21st century, this thesis examines how a virtual or projected character can appear to be present without a physical body on the stage. This study is grounded in the theories of effet de présence (effect of presence) as elaborated by Josette Féral, but also uses other theories to look at how productions can create such an effect for virtual characters. Specifically, this thesis examines the character’s relationship with the real, framing devices and actions of the characters. The specific examples of Rwanda 94 (Groupov), La Belle et la Bête (4D Art) and Les Aveugles (UBU CC) are used as case studies in order to focus on these techniques. Partant de l’intégration des nouvelles technologies et la prolifération des projections vidéo au sein des scènes théâtrales du 21e siècle, cette thèse examine les techniques par lesquel les personnages projeté peut sembler présent en l’absence d’un corps physique visible. Cette réflexion est basée sur l’effet de présence, concept élaboré par Josette Féral, ainsi que d’autres théories et examine comment un effet de présence est constitué pour ces personnages virtuels en considérant leur relation au réel (mimesis), les dispositifs de cadrage dans lesquels ils s’inscrivent de même que leurs actions. Cette analyse sera menée à porter de avec trois étudies de cas : Rwanda 94 (Groupov), La Belle et la Bête (4D Art) et Les Aveugles (UBU CC).