This practical thesis consists of a cycle of five paintings. These paintings are large-format, painted with acrylic paint. As for form and content, these paintings represent a figurative expression of the importance of personal, everyday rituals in the relationship of two people. The accompanying theoretical part focuses on the foundations of the practical part. It explains topics such as ritual, ritualised behaviour and intimacy; it also includes a chapter on everydayness in art, namely painting.

After the invasion of Iraq and the destruction of Saddam regime in 2003, the US administration undertook the complete remaking of Iraq as a national-state. The initial steps of the US administration were the quasi eradication of the old Iraqi State. Then, this nation-building endeavor has been based on a federal constitution promoting an Ethno- sectarian power sharing and the attempt to transform what was once a centralized economy into a comprehensive market driven society. However, the post-2003 period had been marked by the rising of identity politics, the constant delegitimisation of the new political order and successive episode of massive violence. Obviously, the question of violence and its apex in 2006-2007, is central to understand the post-2003 period in Iraq. For the first time in Iraqi history, waves of ethno-sectarian violence seriously challenged the possibility of a common life for all the diverse components of the Iraqi society. The Iraqi nation seemed to have been consumed in an existential conflict between components and communal identifications once relatively integrated. Therefore, there is a need to render an analytical account of the aggressive rise of identity politics, the outbreak of violence and finally the episodes of civil war in 2005-2007 in Iraq. This study aims to answer these questions by tracking the different political and social processes that have been at play during the American occupation of Iraq and that lead to the events of 2005-2007. In order to do so, I will consider the dynamical relations that link political institutions, violence and self-identifications in regard to the Iraqi society and Iraq as a National State. This research is built as a case study based mostly on qualitative analysis and the collection of empirical data, interviews, and fieldwork observations as well as primary and secondary sources. I set out to identify actors and processes and determine a complex chain of reactions (a trajectory) that led to the current state of affairs in Iraq. This trajectory could be summarized in few sentences: The destruction of the old Iraqi State and the brutal implementation of Neo-liberal rationality and re- regulations policies by the US occupation ended into a dystopian economy and the creation of an "absent state" (Davis, 2011). Since its very first day, this US lead nation-building endeavor has been flawed by a complete lack of legitimacy and its substitution with coercion by the US and the New Iraqi "State" security apparatus. Meanwhile, the imposition and the institutionalization of Ethno-sectarian affiliations as a principle of political legitimacy contributed to transform the different communities of Iraq into main avenues for access and control of scarce economic and political resources. In a way, US occupation and new Iraqi elites were deflecting the political question of right following a movement similar to what Mamdani and Brown describe as a "Culturalisation of Politics" (2004, 2006). The result was a failure to establish a legitimate and functional political and economic order. This led to the rise of a System of Violence, organized around networks of violence. Within the System of Violence, Culturalisation of Politics would be translated into Culturalisation of Violence. This would contribute to the sectarianisation of space in Baghdad and other localities of Iraq, as well as "manufacturing" (Gregory, 2008) and essentialising sectarian representations and identifications within the society.

Collective memory has recently become one of the most explored topics in the social sciences and has led to the emergence of a separate and independent subdiscipline called memory studies. The thesis investigates the awakening of collective memory in two borderlands of Central Europe: the former Sudetes region in the Czech Republic and the southern part of former East Prussia in Poland. The thesis provides an overview of the current theories about collective memory with a focus on the interactional and visual character of the studied phenomenon. In line with this, the thesis presents, discusses, and elaborates on research conducted in the two borderlands in 2016 and 2017. The aim of the research was to study the role and form of collective memory (shared remembrance) in ethnic, cultural, and historical borderlands. The contributions of the thesis are both methodological and theoretical. Firstly, the discussed research revealed that between particularly family-based communicative memory and official, institution-generated cultural memory, there is ritualised communicative memory, maintained through interactions among members of the borderland community (community of memory). Secondly, the thesis contributes to various studies within the interactionist paradigm and proves the usability of Goffman's...

Submitted in partial fulfillment of the requirements for the degree of Master of Technology : Fine Arts, Durban University of Technology, Durban, South Africa, 2014. / The motivation for this research results from the notion that art-making is a regenerative enriching process that can counteract the sense of dislocation that one suffers as a consequence of depression. The study has two objectives: to open a discourse around the transformative function of art for a person suffering depression; and challenge notions of dominant constructed ideals of normality by presenting alternative realities of the performative mind. From the earliest memories of my life, I knew I did not fit in, I was not part of the crowd. Depression has been my companion ever since I can remember. The intention for this self-study is to interrogate the ways in which art can become a self-actualising process in coping with depression. The content for this research deals with narratives of the mind, that is, my understanding of who I am. I have therefore, positioned myself as the pivot for this research, drawing on authentic personal experiential knowledge. This autobiographical phenomenological study is thus a self-reflexive exploration addressing concepts of difference and belonging in relation to social constructs of acceptability. The study looks at contemporary concepts of multiple selves, relationality and the application of therapeutic methodologies within art practice. Art-making becomes games of truth, mind games that offer alternative realities and possibilities for the construction of complex, multi-faceted narratives as dialogues between the self and the inner critic. Of importance is the concept that self is not a fixed conclusive notion but one that continues to unfold, shift and become a multi-layered construct. These new narratives examine how creativity enables or creates a sense of belonging or re-positioning of one’s states of mind. The overall intention of the art-making process is its potential for transformative self-recovery processes – the re-construction of who we are, rather than how we are perceived. This research thus examines the notion of belonging in this world through body/land enactments of ritualised behaviour. The body as metaphor investigates rites of passage as the re-tellings of one’s story within specific body/site/space relationships. The ideal of connection to site is central as a means of renewal and recovery – these performative relationships become the creative meaning-making processes of locating or positionality. In support of these ideas and concepts, the work of Ana Mendieta, Magdalena Abakanowicz and Suzanne Lacy are considered in relation to ideals of positionality and as reflecting each artist’s ethics or paradigms of equality. Artworks are examined against the notion of locating oneself within social contexts. The aim is to question the intention and outcomes of art-making as social function in dealing with issues of marginalisation and stigma. Performativity, personal writings/reflections and memory drawings are the quintessential tools of my art-making. The written psychological renderings and unravellings of my mind, questionings that are both reflexive and critical, are intentionally presented in dialogical, conversational and direct modes. This personal tone aims to allow a scope into my mind – it is my perspective from the inside, my voice, my personal understanding of the potential of art as a metaphorical process of transformation. Lacy asserts that the artist becomes a witness, reporter and analyst for socio-culturally biased concerns; a performance gives public articulation and permission to speak out loud, gives voice to internal dialogues, reveal information that requires questioning and that personal individual experience has profound social implications. Lacy believes that it is an innate human need to reflect on the meaning of one’s life and one’s work (2010:176-177). Central to the findings of this study, are both the transgressive and transformative functions of art. / M