Partant de l’observation et de l’étude expérimentale (réalisée en Master 2) de situations de maladie d’Alzheimer débutante avec association d’une amnésie hippocampique, d’une anomie et d’une apraxie constructive pour l’espace projectif (syndrome S3A), nous proposons que la cooccurrence des troubles cognitifs et psychopathologiques peut être liée à une rigidification de la fonction symbolique, à savoir la réduction de l’empan de substitution d’un signifié par des signifiants. Nous examinons cette hypothèse à propos des troubles cognitifs en partant de la définition de la fonction symbolique (ou sémiotique) par Piaget. Nous l’étendons aux aspects psychopathologiques en partant de la symbolisation et de ses transformations. La notion de distance symbolique est évoquée à titre de dénominateur commun à tous ces processus, cible de la rigidification de la fonction symbolique. Elle pourrait être liée aux perturbations de la mémoire de travail, entraînant :_ Proactivement, une déstructuration des éléments attributionnels dans le réseau sémantique élargi, contribuant à la genèse des troubles cognitifs._ Rétroactivement, du fait de l’érosion des mécanismes secondaires, l’activation de phénomènes archaïques - dont l’angoisse de non représentation – et des défenses attenantes. Quelques implications psychothérapiques sont envisagées. / Starting from the observation and experimental study of Alzheimer's disease early situations with association of hippocampal amnesia, anomia and constructive apraxia for projective space (S3A syndrome), we propose that the co-occurrence of cognitive and psychopathological disorders may be linked to a stiffening of the symbolic function, namely the reduction of the span of substitution of a signified item by signifiers. We examine this hypothesis about the cognitive impairment on the basis of the symbolic function as defined by Piaget. We extend it to psychopathological aspects starting with the symbolization and its transformations. The concept of symbolic distance is mentioned as a common denominator for all these processes, as a target for the stiffening of the symbolic function. It could be related to working memory impairment, causing:_ Proactively, a destructuration of atributional elements in the “broad semantic network”, contributing to the genesis of cognitive impairment._ Retroactively, because of the erosion of secondary mechanisms, an activation of archaic phenomena - including the anxiety of non-representation - and of the archaic defenses.Some psychotherapeutic implications are considered.

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À la fois procédé artistico-littéraire et réflexion intellectuelle, la mise en abyme est une des stratégies de création favorites du romancier Umberto Eco. Certains auteurs ont utilisé cette technique uniquement pour de créer de « simples » jeux de miroirs (comme c’est le cas des Nouveaux Romanciers). Chez Umberto Eco, la mise en abyme est destinée à faire saillir aussi bien l’intelligibilité que la structuration de l’oeuvre. Elle est un principe récursif de la génération de figures et de formes narratives fractales : elle est pour ainsi dire le raisonnement servant comme base dans la création d’un univers romanesque par excellence autoréflexif. Selon une représentation très succincte (mais essentielle), la mise en abyme est ce dispositif narratif consistant à insérer un (ou plusieurs) récit(s) dans le Récit, qui, en reproduisant les caractéristiques de ce dernier va (vont) l’illustrer, l’expliquer et mettre en évidence le/les thème(s) de l’oeuvre. / An artistic and literary procedure and, at the same time, an intellectual reflexion, mise en abyme is one of the favorite strategies of creation of the novelist U. Eco. Certain authors have used this technique just to create "simple" games of mirrors (such as the French writers called "Nouveaux Romanciers"). In the case of Umberto Eco, mise en abyme is destined to emphasize both the intelligibility of his work, as well as its being structured in multiple layers of narrativity. We reckon that this is the recursive principle, serving at the generating of fractal shapes and characters: this is therefore the reasoning laying at the foundation of creating a fictional universe self-reflective par excellence. If we want a very concise (but essential) representation, we will say that the mise en abyme is that device consisting of the insertion of one or many more stories into The Story, which, by reproducing the characteristics of the latter, provides us with an explanation and will shed light on the theme / themes of the work.

Proposer l'existence de théories infantiles de la mort suppose de considérer la mort, au même titre que la sexualité, comme un organisateur psychique. Toutefois, si elle oriente le désir, il n'est pas aisé d'accéder à ses effets sur le sujet. Le sujet se supporte d’une certaine dénégation face à la finitude de l'être afin de ne pas succomber à l'impossible de la mort. Cet impossible se manifeste par un gel du désir du fait de la crainte de la mort ou, à l'inverse, face à l'horreur qui se manifesterait d'une vie qui rejaillirait indéfiniment. Le démenti qu'émet le sujet transite par un tressage entre ses théories infantiles de la mort. Nous en proposons trois, "la théorie du retour dans le sein maternel", "la théorie de la survivance" et "la théorie du meurtre et de la loi du talion". Au-delà de ce triple rapport à la mort qu'offrent les théories, le sujet peut se définir par une position alternative, celle de l'entre-deux-morts, afin de ne pas céder sur son désir. / Think about childhood theories of death supposes to consider death, in the same way as sexuality, as a psychic organizer. However, if death directs the desire, it is not easy to notice its effects on the subject. The subject bears itself of a certain denial in front of finiteness of being so that he does not succumb in to the impossible of death. This impossible shows itself by a frost of desire because of deaths fear or, by contrast, in front of the horror which would show itself from a life which would spatter infinitely. The subject’s denial passes by a plaiting between its childhoods theories of death. We propose three of them, “the return in the mother's breast theory”, “survival theory” and “murder and the lex talionis theory”. It is here that reappear the childhood theories of death according to the events crossed by the grown-up subject. Taking in consideration one’s mortal condition is necessary to desire, as much as it is to cover it. So, beyond this triple relationship with death that childhood theories offers, it could be a position in which the subject would pass, between - two deaths,  in order to not give in to the desire.

This thesis is basically an exegetical work investigating the Abraham narrative (Gen 11:27-25:11) in Genesis in a sense of a text-centered approach, which aims to the Sitz im Text not to reconstruct the early Sitz im Leben of the narrative. In other words, this study seeks primarily to interpret the final form of the narrative as the locus of revelation. Taking the adages ‘no text is an island,’ ‘let the text speak for itself’ as its point of departure, this study focuses on the question how the individual episodes in the Abraham narrative are played by texts in Genesis and in the larger literary units in the Pentateuch. In this vein, the work examines the narrative through careful attention to literary and rhetorical features such as narrative structure, recurring themes and motifs, allusion (or foreshadowing), wordplays, points of view, plot, and characterization by attempting to analyze and describe its structure and the semantics of the arrangement of source material in the pericope of the narrative. For it is believed that the literary tools used by the author (or the final composer) to establish continuity and link various constituent parts together in a unified literary composition. Seen within such a context, two methodological approaches in this study will be offered promise for discovering possible the narrative function of the Abraham cycle: intertextuality and the composition criticism. The former provides the compositional tactics mapped out by the author (or the final composer) for the recognition of narrative literary context of the Abraham narrative within the macro-structure and the micro-structure of the Pentateuch. While, the latter asks the right questions to discover textual correlations between the narrative and the rest of texts in Genesis and in the Pentateuch. As a result, this approach to the narrative reveals a distinct compositional strategy, which is to convey the author’s (or the final composer’s) theological considerations clearly and persuasively. Methodological peculiarities for reading the Abraham narrative are considered in chapter 1. Chapter 2 is to examine in detail of the inner literary arrangement of the Abraham narrative in the narrative frame of Genesis and the Pentateuch. It is followed by a discussion of the inner textual integrity of logic, and syntax of the narrative in chapter 3. The intertextual relationships between the pericope and the remaining texts in the Pentateuch will be explored by syntactically examining of the texts at semantic and thematic level. The theological considerations of the narrative proceed by these scrutinized intra/inter-textual examination of the texts. The final chapter, chapter 5, summarizes some of the advantages of applying the method to the narrative and some exegetical suggestions in terms of pre-critical angle. Please cite as follows: Hong, KS 2007, An exegetical reading of the Abraham narrative in Genesis : semantic, textuality and theology, PhD thesis, University of Pretoria, Pretoria, viewed yymmdd < http://upetd.up.ac.za/thesis/available/etd- etd-05262008-155326> / Thesis (PHD)--University of Pretoria, 2009. / Old Testament Studies / unrestricted

In this study, a semiotic point of view of selected literature written by ‘coloured’ writers is examined, using some of the semiotic theories of Jurij M. Lotman, one of the leading Soviet semioticians of the school of Tartu. Selected theories of Lotman are applied to ‘coloured’ literature. These include an examination of poetic language (based on Lotman’s theory of a primary and secondary modelling system), the iconicity of the text, the aesthetics of identity and opposition, the distinction between text and extra-text, and the relationship that exists between the extra-text, culture and code. The literary texts chosen for analysis are works by three contemporary ‘coloured’ writers, namely Adam Small, Peter Snyders and Robert Pearce, who have all contributed poetry, prose and drama to Afrikaans literature in general, and original Afrikaans literature in particular. The selected dramas are Joanie Galant-hulle (Small 1978), Political Joke (Snyders 1983) and Die Laaste Supper in Marabastad (Pearce 1988b)*. These writers’ works span approximately three consecutive decades and their work can be examined for commonality and differences. The three chosen dramas were written five years apart respectively; yet they reveal thematic similarities. The dramas also feature a common ‘deviant’ language code used by ‘coloured’ people and discussed in this study as original Afrikaans. This code, which is juxtaposed with standard Afrikaans, is one of the basic areas of interest that motivated the choice of subject for this study. The primary objective of this study is to examine the differentiation that Lotman makes between the various sign systems that operate in natural language (the primary modelling system) and poetic language (a secondary modelling system), and to determine whether these sign systems can be detected and are functional in ‘coloured’ literature. In addition, an investigation is made of the iconicity that operates in poetic language (which, according to Lotman, is the basis for differentiation), and to ascertain whether iconicity occurs in these examples of ‘coloured’ literature and to what extent it influences meaning. In the process, intratextual relations within the poetic text were scrutinised to establish whether the manipulation of language, devices and codes raises any particular expectation in the poetic text, and also to detect whether oppositionally constituted code-systems which set up their own patterns of expectation within the syntactic and lexical levels of the poetic text clash with and contradict prior expectations. In addition, an analysis has been made to determine whether a new understanding of the texts can be reached, based on Lotman’s aesthetics of identity and opposition, and to what extent the reader is forced to collaborate in the modelling process of the texts when the reader’s expectations are undermined by an aesthetics of opposition. The study has successfully corroborated and substantiated all the selected aspects of Lotman’s theory. The differentiation that Lotman makes between the primary and secondary language model is demonstrated especially by the iconicity that operates in poetic language. Examples are abundant in the selected literature and are conspicuous, especially through the manipulation of the language, devices and codes employed by the authors to defamiliarise objects so that they transcend their familiar characteristics and perceptions, and sometimes signify a totally new concept. In this way, readers’ expectations are subverted and they are invited to collaborate in the modelling process of the texts. These techniques are also an integral part of both the text and the extra-text, and their presence justifies Lotman’s claims that the meaning of a literary text cannot be understood outside its cultural or historical context. In retrospect, it can be argued that this research has opened up some additional avenues for an analysis of meaning in ‘coloured’ literature. / Dissertation (MA (English))--University of Pretoria, 2004. / English / unrestricted

Communication campaigns by major organizations in the field of development have been heavily dependent on humanitarian photography to motivate and attract donors. This genre of photography serves its purpose by informing, surprising and attracting the attention of a broad audience. It captures real life and real problems people in need have to deal with in remote areas of the world. This paper delves into the use of visual semiotics in the context of humanitarian photography and for the purpose of fund-raising by case study research of recent communication campaigns as implemented by major players in the field such as the International Committee of the Red Cross, the Global Fund to Fights AIDS, Tuberculosis and Malaria, Doctors without Border, CARE and Save the Children. The purpose is to identify key issues which allow for the elicitation of a sign framework specific to the fund-raising genre and its idiosyncratic use of visual signs in photography based on a broad theoretical basis of semiotics. The analysis focuses on the content and methods of signification of photography in each case study. The effectiveness of humanitarian photography and important aspects of its function is discussed in the scope of its use as a communication medium for development.

出版於一九七七年的《鬼店》為史蒂芬‧金的第三部小說，探索的為恐怖文學裡其中一種刻畫，鬼故事。雪倫‧A‧拉塞爾給了一項令人信服的理由，何以她認為《鬼店》是一則鬼故事：「在鬼故事中，恐怖的來源來自於通常出沒某個特定地點的邪惡靈魂。」然而，《鬼店》不僅僅是一部單純的鬼故事小說，根據克萊爾‧韓森與史蒂文‧布拉姆的看法，《鬼店》是一宗可從精神分析角度切入的語言學習與退化案例。 在第一章「導論」裡，我提出本文論點：能否透過清楚說出與理解能力完成符徵(signifier)與符指(signified)的連結，決定了傑克與丹尼各自的命運。第二章「方法論」由我在本文中所用的方法構成，本章說明我如何運用席格蒙‧弗洛伊德的伊底帕斯情結(Oedipus Complex)、雅克‧拉岡的想像界(Imaginary Order)、象徵界(Symbolic Order)、實存 (The Real)、語言作為大他者的論述(Language as the Discourse of the Other)、縫合點(Points de Captions)。第三章欲探討的是傑克與丹尼的伊底帕斯情結，傑克的殞落可追溯至他的童年時期，丹尼的生存則可以他的現況加以分析。第四章「似乎他的生命全靠學習閱讀才得以維持」討論丹尼如何藉由語言學習，從想像界前進到象徵界並打破托倫斯家庭特有的父子關係循環，丹尼漸漸地學習如何連結符徵與符指，清楚地說出與理解這些符指及背後的符徵為丹尼鋪了一條歧異的路，透過這條路丹尼得以存活並成長。第五章「理性的蟄伏」將探討全景飯店如何藉由大他者/小他者的論述(The Discourse of the Other/ the other)誘惑傑克，也探討傑克的瘋狂如何藉由象徵界退化至想像界表現出來，我也會藉由瘋狂的其中一種症狀，不能掌握縫合點：越來越不能連結符徵與符指的情形闡述傑克如何變得偏執於並合理化自己的不當行為，例如殺掉他的妻兒。在第六章「結論」，我將簡述前面五章的要點，幫助讀者釐清本文的宗旨。 / The Shining (1977), Stephen King’s third novel, explores one of the horror genre’s characterizations, the ghost story. Sharon A. Russell gives a convincing reason why she considers The Shining a ghost story: “In the ghost story the origin of the horror comes from evil spirits who usually haunt a specific location.” However, The Shining is not merely a simplistic ghost story. According to Claire Hanson and Steven Bruhm, The Shining is a case of language acquisition and regression from a psycho-analytical perspective. In Chapter One, “Introduction,” I issue my thesis statement that aptitude for articulation and intelligence of the signification determines each of Jack’s and Danny’s destinies. Chapter Two, “Methodology,” consists of the methodology I employ in the analysis of The Shining. That is, how I apply Sigmund Freud’s and Jacques Lacan’s theories, Frued’s Oedipus complex, and Lacan’s three orders, language as the discourse of the Other, and points de caption to this study of The Shining. The exploration of the Oedipus complex for Jack and Danny is Chapter Three’s subject matter. Jack’s downfall can be traced back to his own childhood, and Danny’s survival can be studied in terms of the exploration of his own status quo. In Chapter Four, “As though His Life Depended on Learning to Read,” I discuss Danny’s progression from the imaginary order into the symbolic order and breaking away from “the wounded father-son cycle” (Davenport) in terms of his increasing acquirement of language. That is to say, Danny learns to decipher the signifiers and to make significations between the signifiers and the signifieds. Articulation and intelligence of such signifiers pave a divergent way for Danny as a survivor and an adult in the story.” In Chapter Five, “The Sleep of Reason,” I elaborate upon how the Overlook entrances Jack by means of the discourse of the Other/evil other and how Jack’s insanity can be manifested in terms of his regression from the symbolic order into the imaginary order. I will take advantage of one of the symptoms, failing in the grasp of points de captions, increasingly failing to catch the interdependent relationship between the signifier and the signified, to expound how Jack becomes paranoid and self-justified in his wrongdoing and misbehavior, such as to murder Danny and Wendy in conformity to the former caretaker’s indication. In Chapter Six, “Conclusion,” I summarize the previous points to help the readers further understand the thesis’ purpose.

Le sujet de ce travail, c'est le De constructione d'Apollonios Dyscole, le premier traité de syntaxe de l'antiquité, et en particulier son premier livre, étudié par rapport au livre XVII de constructione des Institutions grammaticae de Priscien, qui s'est inspiré d'Apollonios au début du VIe siècle ap. J.-C. Le texte grec, imprimé selon l'édition réalisée par G. Uhlig en 1910, à l'occurence modifiée à cause de choix ecdotiques différents de ceux du philologue allemand, est suivi par sa première traduction en langue italienne ; de plus, pour permettre une comparaison avec le traité latin, on a imprimé et traduit en italien les passages correspondants du livre XVII de Priscien. Le commentaire a pour but d'expliquer les choix critiques, mais une attention particulière est aussi dédiée à l'ordre des parties du discours établi par Apollonios et à leurs rapports avec la tradition grammaticale grecque et latine, même sur papyrus. En ce qui concerne Priscien, on a transcrit - pour les parties traduites - le manuscrit Vaticanus lat. 3313, qui permet d'améliorer, ne fût-Ce que dans le détail, le texte de l'édition de Hertz (1855-1859). Textes et traductions sont précédés par une introduction qui, après un excursus sur la méthode analogique d'Apollonios, examine les rapports entre grammaire et philosophie, en particulier stoïcienne et platonicienne, à fin de montrer qu'il n'est pas possible de corriger Apollonios par Priscien et Priscien par Apollonios : l'arrière-Plan néoplatonicien de Prisicen ne semble pas agir chez Apollonios, qui vécut quatre siècles avant. Enfin, on a retracé l'histoire de la tradition manuscrite et des éditions modernes des deux traités De constructione. / The subject of this research is the De constructione by Apollonius Dyscolus, the first treatise on syntax written in classical antiquity, and in particular its first book, studied in comparison with the book XVII de constructione of the Institutiones grammaticae by Priscian, who looked back to Apollonius at the beginning of the VI century. The Greek text, printed according to the edition by G. Uhlig (1910), sometimes modifed because of different textual choices, is followed by its first Italian translation ; furthermore, to allow a comparison with the latin treatise, the corresponding passages of the book XVII by Priscian have been printed and translated too. The commentary aims to explain the critical choices, but particular attention has also been paid to the order of the parts of speech set by Apollonius and to their relationship with Greek and latin grammatical tradition, also on papyrus. With respect to the translated sections of Priscian, a new manuscript, the Vaticanus lat. 3313, has been transcribed ; this made it possible to improve, although only in the details, the text of the edition by Hertz (1855-1859). Texts and translations are preceded by an introduction which, after an excursus about Apollonius' analogical method, analyses the relationship between grammar and philosophy, especially Stoicism and Platonicism, to show that it is not possible to correct Apollonius through Priscian through Apollonius : Priscian's Neoplatonic background seems not to be active in Apollonius, who lived four centuries earlier. Finally, this work offers a short history of manuscript tradition and of modern editions of the two treatises De constructione.

Secondary World: The Limits of Ludonarrative is a series of short narrative animations that are a theoretical treatise on the limitations of western storytelling in video games. The series covers specific topics relating to film theory, game design and art theory: specifically those associated with Gilles Deleuze, Jean Baudrillard, Jay Bolter, Richard Grusin and Andy Clark. The use of imagery, editing and presentation is intended to physically represent an extension of myself and my thinking process and which are united through the common thread of my personal feelings, thoughts and experiences in the digital age.