No description available.

No description available.

No description available.

<p>Predmet doktorskog umetničkog rada &bdquo;Uloga sećanja u izgradnji identiteta&ldquo; je analiza procesa dramatizacije sećanja. Rad obuhvata teorijsko istraživanje sećanja, kao i načina za njegovu inscenaciju, s jedne strane, a sa druge umetničko istraživanje ličnog i kolektivnog sećanja povezanog s periodom odrastanja u specifičnom društvenom i istorijskom kontekstu Jugoslavije, prema kojem se, u datom trenutku, kroz pozorišnu predstavu, uspostavlja odnos.</p> / <p>The subject of doctoral art work &quot; Role of remembrance in identity formation&quot; is the analysis of the process of dramatization of memory. The thesis<br />includes theoretical research concerning memory, as well as the means for staging it, and, on the other hand - artistic research of the personal and collective memory connected to a period of growing up in a specific social and historical context of Yugoslavia towards which a relationship is established through a theater performance, at a specific given moment.</p>

Nesta dissertação, o exame de An Artist of the Floating World, de Kazuo Ishiguro, adota a espacialidade como vetor interpretativo do romance. Ao considerarmos o espaço como um dado estruturante sobre o qual outros elementos narrativos se apóiam e se desenvolvem, apontamos alguns modos de tratamento do espaço na literatura para verificar as formas de sua consecução na obra. Embora o processo de rememoração do narrador protagonista envolva diferentes camadas temporais e espaciais, observamos a existência de um espaço primordial, a partir do qual todos os demais espaços são desdobrados, atuando como uma fonte de sentidos para as experiências vividas pelo protagonista. Pautada por sobreposições espaciais cujas camadas estabelecem relações de complementaridade, a narrativa cria um adensamento na significação dos eventos, dos conflitos e dos papéis vividos pelos personagens. Por meio de tais relações e na perspectiva das considerações críticas de Luis A. Brandão, Georges Poulet e Michel Foucault, buscamos analisar o espaço que rege este romance em suas funções e características heterotópicas. / This dissertation examines An Artist of the Floating World by Kazuo Ishiguro through the category of space. Spatiality is considered a structuring element over which other narrative aspects develop. Some literary ways of space treatment are pointed out in order to verify how they function in this novel. The existence of a primordial space, through which all the other narrative spaces are unfolded, is observed as a source of meanings for the protagonists experiences, even though his process of remembrance implies different levels of time and space. Oriented by spatial superposition, whose levels establish complementary relations, the narrative creates a density of meanings, conflicts, and characters roles. Scrutinizing these relations and considering the critical approaches presented by Luis A. Brandão, Georges Poulet, and Michel Foucault, this dissertation analyses the space that rules this novel in its role and heterotopic features.

Bedarf es eines neuen Gedenktages der Vertriebenen in Deutschland? Die deutsche Regierung meint Ja. Auf ihre Initiative hin wurde die Entschließung "60 Jahre Charta der deutschen Heimatvertriebenen – Aussöhnung vollenden" im Februar 2011 angenommen. Dieser Gedenktag soll der 5. August sein, also jener Tag, an dem 1950 die "Charta der deutschen Heimatvertriebenen" in Stuttgart angenommen wurde. Der Entschluss traf im Bundestag auf den Widerstand der Opposition – aber auch auf scharfe Kritik in Polen.

No description available.

Nesta dissertação, o exame de An Artist of the Floating World, de Kazuo Ishiguro, adota a espacialidade como vetor interpretativo do romance. Ao considerarmos o espaço como um dado estruturante sobre o qual outros elementos narrativos se apóiam e se desenvolvem, apontamos alguns modos de tratamento do espaço na literatura para verificar as formas de sua consecução na obra. Embora o processo de rememoração do narrador protagonista envolva diferentes camadas temporais e espaciais, observamos a existência de um espaço primordial, a partir do qual todos os demais espaços são desdobrados, atuando como uma fonte de sentidos para as experiências vividas pelo protagonista. Pautada por sobreposições espaciais cujas camadas estabelecem relações de complementaridade, a narrativa cria um adensamento na significação dos eventos, dos conflitos e dos papéis vividos pelos personagens. Por meio de tais relações e na perspectiva das considerações críticas de Luis A. Brandão, Georges Poulet e Michel Foucault, buscamos analisar o espaço que rege este romance em suas funções e características heterotópicas. / This dissertation examines An Artist of the Floating World by Kazuo Ishiguro through the category of space. Spatiality is considered a structuring element over which other narrative aspects develop. Some literary ways of space treatment are pointed out in order to verify how they function in this novel. The existence of a primordial space, through which all the other narrative spaces are unfolded, is observed as a source of meanings for the protagonists experiences, even though his process of remembrance implies different levels of time and space. Oriented by spatial superposition, whose levels establish complementary relations, the narrative creates a density of meanings, conflicts, and characters roles. Scrutinizing these relations and considering the critical approaches presented by Luis A. Brandão, Georges Poulet, and Michel Foucault, this dissertation analyses the space that rules this novel in its role and heterotopic features.

This dissertation examines the potential dependence of praxis upon poiesis. The relation between praxis and poiesis, or action and work, is complicated by the conflicting qualities and principles of each. This tension, however, illuminates the human being as free and worldly. It is therefore concluded that praxis and poiesis form an interdependent tension that is potentially mediated by the faculty of judging and care for the world. Chapter 1 serves as an introduction to the framework and significant elements of Arendt's overall project. It begins with an elucidation of the philosophical bias against politics that Arendt critiques. The rest of the chapter explores the unique characteristics and principles that Arendt attributes to each respective activity of the vita activa. This chapter enables the reader to grasp the significance of the differences that Arendt accentuates between activities, as well as the specific characteristics and principles of action and work. Chapter 2 introduces the potential dependence of action upon the capabilities of the work activity. It centres on the relationship between action, the condition of plurality, the public space of appearance, and the durable, fabricated world. The durable world provides both a shared context and shared concern for potential action and the realisation of plurality. But this is problematic considering the extent to which the durable world arises through fabrication. This suggests that action is subordinate to the faculty of work. The problematic implications of such a relationship are further analysed, with a focus on the principles that inform homo faber's view of the world in general, and the relation between this sensibility and public spaces of appearance in particular. The contradictory principles of work and action, and yet the significance of work in building a durable world, will come to light. Chapter 3 explores further the extent of the relationship between action and world. The aim is to provide an exegesis of Arendt's notion of amor mundi, or love for the world, coupled 132 with her emphasis on the frailty of action. Amor mundi illuminates actors' concern with the world as a space for appearance and as a durable world. However, the extent to which political actors may effectively care for the world is brought into question. The faculties of promisemaking, forgiveness, and remembrance are examined as 'solutions' to the frailty of action. But remembrance once again suggests a dependence of action on work. The chapter concludes with a discussion on the relationship between praxis and poiesis in light of the role of remembrance and the tension between freedom and permanence. Chapter 4 builds on the claim that praxis and poiesis must be rethought in terms of an interdependence that reflects the nature of human being as free and worldly. It is argued that it is specifically in the faculty of judgment that this interdependence is mediated. The role of the disinterested spectator is therefore introduced and its relevance in both praxis and poiesis investigated. This faculty emphasises the importance of spectators who judge all appearances on the basis of beauty and meaning, and out of a concern for the world as a durable public space. The relation between judgment, action, and work also illuminates the condition of the human being as free and worldly, and the capacity to care for the world through the activities of both beginning and preserving. / Dissertation (MA)--University of Pretoria, 2011. / Philosophy / unrestricted

<p>This study considers the pedagogical significance of mourning and remembrance in the context of the commemorative culture surrounding the “9/11” attacks on America, which have stimulated recent explorations of what it might mean to commit to ethical remembrances of the dead. Critical of “9/11” memorial discourses that provide justifications for heightened “homeland” security and military mobilization in the “War on Terror,” this project not only addresses the educative force of memorial-artistic responses in creating meaning out of mass deaths, but also dissociates the concept of the public memorial as foremost an apparatus of the state, private corporations, and other institutions which seek to use memorials towards amnesiac or ideological objectives. Analyses of the memorial responses addressed in this project unpack how particular modes of remembering “9/11” and its victims are themselves reflections upon the meanings and objectives of collective remembrance. The project first explores the “September 11^th Families for Peaceful Tomorrows” organization and how it negotiates the ways public sentiment is mobilized “in the name of” victims and their families. Through an analysis of Art Spiegelman’s <em>In the Shadow of No Towers</em>,<em> </em>I examine the capacity of graphic narrative to bear witness to traumatic events and speak to their legacies in non-hegemonic ways. Lastly, the project explores how Samira Makhmalbaf’s film <em>God, Construction and Destruction</em> calls for the re-evaluation of strategic memorial practices that risk reducing “9/11” remembrance pedagogies to universalizing modes of remembrance that further subjugate already marginalized communities. Stimulated by such memorial responses that interrogate conventional practices and assumptions of collective remembrance, the project argues that the public remembrance of “9/11” is a crisis of and for education: that is, an important occasion to seek and call for modes of remembrance and sites of pedagogies that foster an openness to the critical and transformative force of historical trauma.</p> / Doctor of Philosophy (PhD)