In this thesis I explore the social construction of sexuality and sexual dysfunction. Interviews were undertaken with 20 sex therapists practising in Aotearoa/New Zealand in order to elicit accounts of contemporary sex therapy practice in the local context. Using a feminist poststructuralist lens, I explicate and critically examine the dominant discourses informing the construction of sex therapy, and heterosexual sexual relations, and what these discourses enable and constrain. I draw attention to some of the assumptions embedded in the construction of the sexual dysfunctions in the Diagnostic and Statistical Manual of Mental Disorders (DSM-IV-TR, APA, 2000), and in accounts of sex therapy practice, examining the ways in which these are based on taken-for-granted norms of (hetero)sexuality and highlighting the differently enabled gendered sexual subjectivities they (re)produce. Although there are nine sexual dysfunctions identified in the DSM-IV-TR, all of which I briefly outline in Chapter Four, I restrict my focus in the analytical chapters to the conceptualisation and treatment of vaginismus, orgasm difficulties in women, discrepancies in desire and, relatedly, the gendering of desire through powerful sociocultural discourses and representations. I pay particular attention to the implications of these for heterosexual women’s sexuality. I also explore some of the generic concepts that dominate the construction of therapy at a broader level than that of sex therapy alone, arguing that while these offer some useful ways of framing therapy they also constrain therapy practice in important ways. Through a critical review of the sex therapy literature and accounts of practice from those interviewed, I contend that contemporary sex therapy tends to reify dominant cultural and sexological norms rather than challenge them. My analyses show that the dominant discourses informing constructions of sex therapy and heterosexual sexual relations produce particular types of sex as normal whilst marginalizing sexual acts or practices that fall outside of such restrictive parameters. In particular, I argue that the genital-coital-orgasm construct that is hegemonic within sex therapy restricts possibilities for alternative erotic pleasures and possibilities amongst heterosexuals whilst contributing to the invisibilization of sexual identities other than heterosexual. Accounts of sex therapy practice that were able to contest such framings are also highlighted. Because these came from sex therapists drawing on radical feminist or feminist poststructuralist discourses, I suggest that these discourses offer important possibilities for a deconstructive (sex) therapy practice that is able to challenge an often inequitable sexual status quo. Attention is also drawn to the significant constraints which act to restrict clients’ choices and possibilities for sex therapists to practise in more critically questioning ways. I conclude this thesis with an ‘invitation to reflection’ where I briefly discuss some deconstructive approaches that I have found useful for developing ongoing reflexive analysis of my own taken-for-granted assumptions in the area of sexuality, and for aiding my thinking about therapeutic practices that support my political and theoretical commitments and that attend to some of the issues outlined in this thesis. / Whole document restricted, but available by request, use the feedback form to request access.

In this thesis I explore the social construction of sexuality and sexual dysfunction. Interviews were undertaken with 20 sex therapists practising in Aotearoa/New Zealand in order to elicit accounts of contemporary sex therapy practice in the local context. Using a feminist poststructuralist lens, I explicate and critically examine the dominant discourses informing the construction of sex therapy, and heterosexual sexual relations, and what these discourses enable and constrain. I draw attention to some of the assumptions embedded in the construction of the sexual dysfunctions in the Diagnostic and Statistical Manual of Mental Disorders (DSM-IV-TR, APA, 2000), and in accounts of sex therapy practice, examining the ways in which these are based on taken-for-granted norms of (hetero)sexuality and highlighting the differently enabled gendered sexual subjectivities they (re)produce. Although there are nine sexual dysfunctions identified in the DSM-IV-TR, all of which I briefly outline in Chapter Four, I restrict my focus in the analytical chapters to the conceptualisation and treatment of vaginismus, orgasm difficulties in women, discrepancies in desire and, relatedly, the gendering of desire through powerful sociocultural discourses and representations. I pay particular attention to the implications of these for heterosexual women’s sexuality. I also explore some of the generic concepts that dominate the construction of therapy at a broader level than that of sex therapy alone, arguing that while these offer some useful ways of framing therapy they also constrain therapy practice in important ways. Through a critical review of the sex therapy literature and accounts of practice from those interviewed, I contend that contemporary sex therapy tends to reify dominant cultural and sexological norms rather than challenge them. My analyses show that the dominant discourses informing constructions of sex therapy and heterosexual sexual relations produce particular types of sex as normal whilst marginalizing sexual acts or practices that fall outside of such restrictive parameters. In particular, I argue that the genital-coital-orgasm construct that is hegemonic within sex therapy restricts possibilities for alternative erotic pleasures and possibilities amongst heterosexuals whilst contributing to the invisibilization of sexual identities other than heterosexual. Accounts of sex therapy practice that were able to contest such framings are also highlighted. Because these came from sex therapists drawing on radical feminist or feminist poststructuralist discourses, I suggest that these discourses offer important possibilities for a deconstructive (sex) therapy practice that is able to challenge an often inequitable sexual status quo. Attention is also drawn to the significant constraints which act to restrict clients’ choices and possibilities for sex therapists to practise in more critically questioning ways. I conclude this thesis with an ‘invitation to reflection’ where I briefly discuss some deconstructive approaches that I have found useful for developing ongoing reflexive analysis of my own taken-for-granted assumptions in the area of sexuality, and for aiding my thinking about therapeutic practices that support my political and theoretical commitments and that attend to some of the issues outlined in this thesis. / Whole document restricted, but available by request, use the feedback form to request access.

Text in Afrikaans / This study investigates postcolonial aspects of the prose oeuvre of André P. Brink, with specific reference to his historiographical texts `n Oomblik in die wind, Houd-den-Bek, Die eerste lewe van Adamastor, Inteendeel, Sandkastele and Donkermaan. The texts can be described as links in a textual history of South Africa: a history corresponding to the official version, revisioning it in an imaginative way. The texts also criticize political (mal)practices, and the pre-colonial, colonial and postcolonial social contexts of the country are critically scrutinized. The texts offer suggestions for a new political dispensation. Since the seventies the Brink oeuvre has developed a multi-dimensional postcolonial approach. Aspects of post-colonialism, post-structuralism, magical realism and feminism as articulated in the texts, are analyzed and interpreted. Brink's investigation of problems concerning historiography, and the relation between history and fiction, comprised an important aspect of the research leading to this report. / Afrikaans and Theory of Literature / D.Litt. et Phil

This is a monograph on the South African artist Diek Grobler. The aim is to contextualise the artist‟s oeuvre up to 2009 and to explore the visual metaphors in his art. Grobler has a fascination for stories. He blends tales of traditional Western mythology, African mythology, Christian religion, folklore and magical realism into narrative artworks. Through visual metaphors the artist comments on the everyday human dramas that surround him – be they political, social, psychological or cultural. Furthermore, he adds an element of surprise to his sketches of human drama, by infusing them with irony and humour. My research reflects the diverse nature of Grobler‟s oeuvre as it investigates works from various artistic genres such as painting, sculpture, illustration, performance art, avant-garde theatre and animation. It also examines a blend of different artistic media such as ceramics, oil paint, gouache, pastels, scraperboard, earthenware, 2D computer animation, puppetry, and stop-motion animation. / Art History, Visual Arts and Musicology / M.A. (Art History)

Selves and Others: The Politics of Difference in the Writings of Ursula Kroeber Le Guin has two founding premises. One is that Le Guin's writing addresses the political issues of the late twentieth century in a number of ways, even although speculative fiction is not generally considered a political genre. Questions of self and O/other, which shape political (that is, powerinflected) responses to difference, infuse Le Guin's writing. My thesis sets out to investigate the mechanisms of representation by which these concerns are realized. My chapters reflect aspects of the relationship between self and O/other as I perceive it in Le Guin's work. Thus my first chapter deals with the representations of imperialism and colonialism in five novels, three of which were written near the beginning of her literary career. My second chapter considers Le Guin's best-known novels, The Left Hand of Darkness (1969) and The Dispossessed (1974), in the context of the alienation from American society recorded by thinkers in the 1960s. In my third chapter, the emphasis shifts to intrapsychic questions and splits, as I explore themes of sexuality and identity in Le Guin's novels for and about adolescents. I move to more public matters in my fourth and fifth chapters, which deal, respectively, with the politicized interface between public and private histories and with disempowerment. In my final chapter, I explore the representation of difference and politics in Le Guin's intricate but critically neglected poetry. My second founding premise is that traditional modes of literary criticism, which aim to arrive at comprehensive and final interpretations, are not appropriate for Le Guin's mode of writing, which consistently refuses to locate meaning definitely. My thesis seeks and explores aporias in the meaning-making process; it is concerned with asking productive questions, rather than with final answers. I have, consequently, adopted a sceptical approach to the process of interpretation, preferring to foreground the provisional and partial status of all interpretations. I have found that postmodern and poststructuralist literary theory, which focuses on textual gaps and discontinuities, has served me better than more traditional ways of reading / English Studies / D. Litt. et Phil. (English)

À l’orée des années soixante, la performance a cherché à imposer un art de l’action éphémère que n’entraverait aucun type de médiation, qu’il soit symbolique (la distance acteur/spectateur), technique (les médias), ou même linguistique (le langage, les signes). Enjeu de nombreux débats entre les années 1960 et 1990, ces tentatives ont trouvé de multiples formulations théoriques s’appuyant sur les outils du poststructuralisme en particulier, mais aussi sur des cadres de pensée différents, directement hérités du modernisme de Greenberg. On explore ici les étapes et enjeux de ce croisement, jusqu’à la rupture apportée dans les années 1990 et 2000 où les débats théoriques, toujours dirigés par des schémas poststructuralistes, redonnèrent une place centrale aux médiations, tout particulièrement au document. Or, la figure importante de la pratique artistique qu’est devenu le document depuis les années soixante s’avère mettre en question l’ontologie traditionnelle de la performance, orientée sur l’événement, autant que son épistémologie, qui valorise l’expérience directe. La prise en compte des dimensions instrumentales et artistiques du document nous conduit à réviser la poïétique traditionnelle de la performance et les théories de la communication qui lui sont liées, et à repenser par là même l’opposition entre objet et événement qui fonde la définition de la performance. C’est ainsi qu’on interroge le rapport de celle-ci à l’inscription, pour la redéfinir comme un art irréductible à son contexte d’exécution et travaillé en profondeur par la reproduction et la représentation, au travers notamment de l’étude de certaines figures exemplaires, Allan Kaprow, Chris Burden ou Tino Sehgal. / On the edge of the 1960’s, performance looked after imposing an art of ephemeral action that no kind of mediation would impede, be it symbolic (the distance between actor and spectator), technical (the medias), or even linguistical (language, signs). Those attempts led to numerous discussions between the 1960’s and the 1990’s, and have found numerous theoretical formulations using particularly the tools of poststructuralism, but also frames of thought directly inherited from Greenberg modernism. We explore here the stages and issues of this cross-over until the break of the 1990’s and 2000’s where the theoretical debates, always using poststructuralist schemes, gave a central role to mediations, particularly to the document. Documents have become an important figure of artistic practice since the 1960’s and turned out to question the traditional ontology of performance, based on the event, as well as its epistemology that promotes live experience. We try to consider the instrumental and artistic dimensions of the document ; this leads us to revise the traditional poetics of performance and theories of communication that are related to it, and to consider anew the opposition between object and event on which the definition of performance is based. Thus, we question the links between performance and inscription, redefined as an art that is irreducible to its context of execution and worked in depth by reproduction and representation, through the study of certain figureheads : Allan Kaprow, Chris Burden or Tino Sehgal.

This thesis will be focused on the analysis of the basic types of the female artificial movie characters - the beings connecting "femininity" (humanity) and technology. These characters holds the external female sexual signs or the characteristics stereotypically perceived as female (e.g. cyborg/cyborg woman, android woman, robotess). My issue will be examinated from the perspective of postmodern approach to the process of shaping their bodies and identities in relation to the narrative movie structure. The characters will be divided into categories based on their dominating physical and "social" function in the story. The subsequent identification and interpretation of physicality, identity and relations with other characters of the narrative will be based not only on principles of semiotic analysis, but will take into account especially the approach of postmodernism. The main theoretical basis for this paper will be the theory of poststructuralism and so called post theories - a theory of posthumanism, transhumanism and cyberfeminism.

The thesis focuses on the analysis of the basic types of the film characters portraying artificial women: creatures who combine "femininity" (humanity) and technology, and who show female sexual characteristics or features that are stereotypically perceived as female-like (e.g. female cyborgs, female androids, female robots). The characters are analyzed and approached from the perspective of postmodern philosophy and post-theory studies; the forming of their body and identity is analyzed on the account of the narrative. The aim of the thesis is to explore whether the film representations of female cyborgs are similar to real cyborgs in the sense that they bring liberalization from the point if view of posthumanism and cyberfeminism, or whether they can only be perceived as the prime form of the Foucaltian body-as-machine, i.e. perfectly controllable precise technicist bodies which are created by the current power dispositions. The characters are divided into four categories, based on their predominant physical and "social" functions: a sexbot, a domesticated artificial woman, a destructive artificial woman and an emotional/intelligent artificial woman. The following identification and interpretation of the body, identity, relationships and the narrative structures are based on the theoretical...

My dissertation thesis seeks to explore some specific social aspects of the dialogue between traditional Chinese art and thinking and Czech art scene after the February1948, when the Communist party took power in former Czechoslovakia. I am mainly interested in the problematic of inspiration from traditional Chinese calligraphy and Daoist philosophy on Czech painting, visual poetry and literature in the 1950s and 1960s. I will argue that the appropriation of selected Chinese philosophical and artistic themes helped Czech artists, working under the communist repression, to express their innermost human emotions in relation to home, culture, freedom, and one's artistic and human destiny. The communist regime meant to many artists the end of their official artistic career. Life in seclusion outside the main political and social streams became for some of them an opportunity to display pent-up feelings of affinity with the life stories of the ancient Daoist thinkers. In this context, focus is primarily placed on an analysis of several distinctive visual and literary works by Czech leading artists of the period, especially on the selected works by the visual artists Emil Filla, Jiří Kolář, Vladimír Boudník, Jan Kotík or Zdeněk Sklenář and the novelist Bohumil Hrabal (1914 - 1997) and his world famous...

The thesis focuses on the analysis of the basic types of the film characters portraying artificial women: creatures who combine "femininity" (humanity) and technology, and who show female sexual characteristics or features that are stereotypically perceived as female-like (e.g. female cyborgs, female androids, female robots). The characters are analyzed and approached from the perspective of postmodern philosophy and post-theory studies; the forming of their body and identity is analyzed on the account of the narrative. The aim of the thesis is to explore whether the film representations of female cyborgs are similar to real cyborgs in the sense that they bring liberalization from the point if view of posthumanism and cyberfeminism, or whether they can only be perceived as the prime form of the Foucaltian body-as-machine, i.e. perfectly controllable precise technicist bodies which are created by the current power dispositions. The characters are divided into four categories, based on their predominant physical and "social" functions: a sexbot, a domesticated artificial woman, a destructive artificial woman and an emotional/intelligent artificial woman. The following identification and interpretation of the body, identity, relationships and the narrative structures are based on the theoretical...