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The Great Proletarian Cultural Revolution of China (the Cultural Revolution)from 1966 to 1976 is considered an unprecedented political and social upheaval in Chinese modern history. Model Plays were produced as the core of the Cultural Revolutionary propaganda in an effort to promote a new discourse of political and cultural ideology of and for the worker-farmer-soldier class. As images of heroic proletarian revolutionary women were expansively represented onstage, conventional gender norms and boundaries were challenged. This paper assesses the "woman" messages carried by Model Plays and the vision of Chinese women's liberation they depicted on the Cultural Revolutionary theatric stage. By analyzing images of Model woman characters in Model Plays, the author argues that these model plays and operas offer an idealized vision of Chinese women's emancipation and to certain extent serve as an empowering influence on women's social practice in real life during the Cultural Revolution; on the other hand, however, they reveal a central tension in the Chinese revolutionary discourse with respect to gender: women could be re-conceived as heroes, public actors fighting fearlessly for collective goals, yet these women heroes seemly could only take form in the absence of private ties: family bonds, marriage, and motherhood. So while there is something "new" and, perhaps, even liberating in these newly imagined women characters, the form they take falls short of truly reconfiguring gender relations in Chinese society.

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In "Badiou, Political Nihilism, and a Small-Scale Solution", I argue that Badious presentation of politics, exclusively on a large scale that of the nation-state betrays his underlying set-theoretic ontology. The consequence of presenting politics on this scale is that political events, opportunities for genuine political engagement, are extremely rare. This leaves potential political actors with little reason to believe they will have the opportunity to engage in politics. The absence of meaningful engagement, along with Badious unique conception of truth, gives rise to the problem of political nihilism. But, just as sets are both composed of sets and couched within others, situations too should be viewed as scalable. Re-presenting politics on a multiplicity of scales overcomes the worry about nihilism, while better capturing the real complexity and texture of political commitments.

The Great Proletarian Cultural Revolution of China (the Cultural Revolution)from 1966 to 1976 is considered an unprecedented political and social upheaval in Chinese modern history. Model Plays were produced as the core of the Cultural Revolutionary propaganda in an effort to promote a new discourse of political and cultural ideology of and for the worker-farmer-soldier class. As images of heroic proletarian revolutionary women were expansively represented onstage, conventional gender norms and boundaries were challenged. This paper assesses the "woman" messages carried by Model Plays and the vision of Chinese women's liberation they depicted on the Cultural Revolutionary theatric stage. By analyzing images of Model woman characters in Model Plays, the author argues that these model plays and operas offer an idealized vision of Chinese women's emancipation and to certain extent serve as an empowering influence on women's social practice in real life during the Cultural Revolution; on the other hand, however, they reveal a central tension in the Chinese revolutionary discourse with respect to gender: women could be re-conceived as heroes, public actors fighting fearlessly for collective goals, yet these women heroes seemly could only take form in the absence of private ties: family bonds, marriage, and motherhood. So while there is something "new" and, perhaps, even liberating in these newly imagined women characters, the form they take falls short of truly reconfiguring gender relations in Chinese society.

After the American Revolutionary War Hannah Webster Foster wrote a new form of the epistolary novel that was based on the life and death of the poet Elizabeth Whitman. Foster's novel The Coquette performs a type of interiority for its audience that is paradoxically public. This novel fills in the gap of missing female biography and autobiography by using the prevailing conventions of fiction to craft a subversive, political identity for marginalized female citizens.

The Great Proletarian Cultural Revolution of China (the Cultural Revolution)from 1966 to 1976 is considered an unprecedented political and social upheaval in Chinese modern history. Model Plays were produced as the core of the Cultural Revolutionary propaganda in an effort to promote a new discourse of political and cultural ideology of and for the worker-farmer-soldier class. As images of heroic proletarian revolutionary women were expansively represented onstage, conventional gender norms and boundaries were challenged. This paper assesses the "woman" messages carried by Model Plays and the vision of Chinese women's liberation they depicted on the Cultural Revolutionary theatric stage. By analyzing images of Model woman characters in Model Plays, the author argues that these model plays and operas offer an idealized vision of Chinese women's emancipation and to certain extent serve as an empowering influence on women's social practice in real life during the Cultural Revolution; on the other hand, however, they reveal a central tension in the Chinese revolutionary discourse with respect to gender: women could be re-conceived as heroes, public actors fighting fearlessly for collective goals, yet these women heroes seemly could only take form in the absence of private ties: family bonds, marriage, and motherhood. So while there is something "new" and, perhaps, even liberating in these newly imagined women characters, the form they take falls short of truly reconfiguring gender relations in Chinese society. / Arts, Faculty of / Sociology, Department of / Graduate

Juche philosophy, the reigning ideology of North Korea, has governed the country for over half a century. All realms, including politics, economy, society and culture, in North Korea are ruled by Juche philosophy. North Korean music has also been strongly influenced by the philosophy. It is regarded as a perfect tool to indoctrinate the philosophy to the public. This study aims to interrogate how North Korean music has been transformed under Juche philosophy and the perception of the North Korean governors about music, by examining the political platforms and rules set by the North Korean government for musicians and music associations and the specific features in the music that can be identified as being influenced by the Juche philosophy. Although the dissertation restates much of the existing research on the topic, it is one of the first academic works that provides with the detailed analysis on North Korean music (specifically the Moranbong band) of the current Kim regime. The Revolutionary Opera Sea of Blood and the Moranbong band embody Juche philosophy. Sea of Blood is one of the most representative musical pieces created during the Il-Sung Kim and Jung-Il Kim regimes. The opera contains an anti-Japanese plot and emphasises the autonomous (Juche) spirit and socialism. The Moranbong band has played the role of spokesman for the Jung-Eun Kim regime. All the reaction of the North Korean government against internal and external political issues is shown in concerts of the band. It is no exaggeration to say that all the arias and songs performed in the opera and the band concerts contain political messages. In this dissertation, the musical structure and characteristics of the opera and the band are thoroughly analysed to illustrate the relationship between North Korean music and Juche philosophy. / Dissertation (MMus)--University of Pretoria, 2016. / Music / MMus / Unrestricted

Magister Artium - MA / This study was initiated, in the first place, by the dearth of analyses available on black consciousness in South Africa. The studies that do exist are usually to be found i~ the form of a chapter or two in a work on general black protest politics. This leaves virtually no room for a detailed analysis of the philosophy, and consequently, a few quotes by Biko, followed by general comment constitutes the most frequent form of "analysis". No theoretical framework is given and neither are the logical sequences in Biko's work analysed. This dissertation sets out to make a contribution to the existing academic analyses of black consciousness. In attempting to do this, various obstacles have had to be overcome.The most important obstacle has been the assertion that the black consciousness philosophy ostensibly precludes itself from objective analysis by whites. Consequently, the author has endeavoured to evaluate the philosophy from a theoretical framework which has been compiled from elements which characterise black consciousness ideal approach of black consciousness to society.as. This implies that any subjective inclinations which the author may have, are largely blocked from detracting from the essence of the. The theoretical framework according to which black consciousness is analysed is a IImode'" of a revolutionary philosophy.

Due to the recent war in Iraq, the Middle East has once against jumped to the forefront of everyone's mind. The world has been focused on Iraq and Iran for a decade now because Iran has established a strong foothold in Iraqi life since the toppling of Saddam Hussein. However, in order to understand this issue and attempt to solve it, an extensive study must be made of all the reasons that Iran is succeeding where the United States has not. The purpose of this thesis is to explore the historical influence that Iran, particularly the Iranian Revolutionary Guard Corps (IRGC), has had on Iraq since its creation. The Iranian Revolutionary Guard Corps has taken over its home country and a historical analysis will chronicle its rise. Case studies of Iran and Iraq will be used to understand the geopolitical, military, economic, and religious reasons for the IRGC's ever-increasing influence. Previous studies and news coverage have only focused on one issue at a time; however, it is rare to find a study which combines all the reasons. This thesis will not only compile an analysis of these reasons, but will also explore and suggest what steps or policies Iraq can adopt in order to prevent it from being a puppet to other world powers.