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Huat, Robert Chia Cheng. "Organizational analysis as deconstructive practice." Thesis, Lancaster University, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333259.
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Loman, Lilia. "Suicide-authors : a deconstructive study." Thesis, University of Nottingham, 2005. http://eprints.nottingham.ac.uk/30977/.
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The purpose of this thesis is to problematize the relationship between suicide and the author. On the basis of a deconstructive approach, it will study the effect of the self-inflicted death of the writer, namely the emergence of a dual figure, the "suicide-author". To deconstruct the suicide-author, this thesis will combine theoretical issues with examples taken from authors who killed themselves, including texts written by the suicides and by their survivors. Such texts will be referred to as "memorial texts" and will constitute a key element in the deconstruction of the figure of the author, namely his/her "posthumous persona". The thesis is divided into two parts. Part I, comprising the first three chapters, will propose an anti-teleological theorizing of suicide, followed by a study of the role of memorial texts in the deconstruction of the figure of the suicide author and a problematizing of Roland Barthes's concept of the "death of the author" in the context of the multiplicity of deaths of the suicide-author. In Chapter Two, the study of memorial texts will be developed in conjunction with analysis of selected examples, such as Yukio Mishima, Mario de Sa-Carneiro, Vladimir Mayakovsky, Sergei Esenin, Raymond Roussel, Walter Benjamin, Anne Sexton, and Virginia Woolf. Also divided into three chapters, Part II is dedicated to an extended analysis of the thesis' case study, namely Sylvia Plath. Rather than focusing on Plath's suicide as an individual unique case, the second part aims at extending and complementing the discussion of the issues previously proposed. Of particular interest is the magnifying of such issues offered by the mythical aura of the Plath case. Chapter Four deals with the "voice of the other", the deconstruction of Plath's image by the living, including both those who had known her in person and the so called "anonymous witnesses" to her suicide, namely critics, journalists, et al. Chapter Five focuses on the "voice of the deceased", as emanating from Plath's writings. Finally, Chapter Six analyses the Plath-Hughes dialogue, with attention to Hughes's particular role in the deconstruction of her posthumous persona.
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Bojesen, Emile. "Where meaning stops and communication begins." Thesis, University of Winchester, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.549640.
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This thesis presents possibilities of meaning and communication in the light of the deconstructive thinking of Jacques Derrida. The central claim of the thesis is that meaning and communication are not only possible in deconstructive thinking but that their complex and contradictory relationship with one another is at the heart of that thinking. Deconstruction will be posited as an applied understanding of the generative (that is, lived) processes of meaning and communication. Deconstruction, the thesis argues, is not, as has hitherto been suggested, a process which undermines or negates the possibility of meaning or communication. Rather, the thesis concludes that provisional possibilities of meaning are contextually resigned acts of faith, whilst faith in the impossibility of future communication is the sense of faith. Where meaning stops and communication begins is where deconstruction's faith in impossibility makes that future possible. The thesis highlights six specific contexts within which meaning and communication are provisionally and generatively explored: Derrida's writing on meaning and communication; Derrida and Jean-Luc Nancy's meaningful and communicative congruities; S0ren Kierkegaard's impossible marriages; John Cowper Powys's 'marriage'; the 'realities within reality' of the 'Stonehenge' chapter of Powys's A Glastonbury Romance; and, the author's own conceptions of 'act of faith' and 'sense of faith' employed in line with the previous contexts read through John Llewelyn's 'imagination'. These six contexts are underpinned by five principal questions: what is communication? what is meaning? who or what communicates? who or what means? and, where does meaning stop and communication begin?
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Avanoglu, Ayse Serap. "Veiled Islam: A Deconstructive Sufi Formation." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614393/index.pdf.
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This thesis describes and analyzes the practice of Sufism in a contemporary setting in Ankara from the insider point of view. The research deals critically with various approaches to Sufism in the field of anthropology, and introduces the Sufi scene in Turkey. The subject of the study is a Sufi formation which eludes categories in the field of Sufism, presenting close master/disciple relationships instead of institutional structures and normativity, and avoiding dichotomies such as modern/traditional, sacred/profane or unity/multiplicity. The research focuses on the interaction between its lack of form and the content of this particular Sufi practice, on the levels of the individuals and the group, and contextualizes it within the tradition of Islam. It also analyzes the processes of change occurred in the formation and within individuals during the time with the master and after his death. Plurality, respect for individual and cultural differences, deconstruction of existing categories &ndashsuch as being, religion, the self, power and hierarchy-, ambiguity, the processuality and the open-endedness of experience and signification processes are important characteristics of the formation. Participants in the ethnographic research are restricted to the educated middle-class members of the formation. The applied method of research is Multi Grounded Theory enriched with the phenomenological mode of interviewing and collaboration of the members of the formation.
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Anderson, Marlene Evangeline. "A deconstructive analysis of Plato's Phaedrus." CSUSB ScholarWorks, 1991. https://scholarworks.lib.csusb.edu/etd-project/742.
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Roden, David. "The metaphysics of the deconstructive text." Thesis, Cardiff University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395988.
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Roughley, Alan Robert. "Finnegans wake as a deconstructive text." Thesis, University of British Columbia, 1986. http://hdl.handle.net/2429/27520.
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This dissertation considers Finnegans Wake as a deconstructive writing that exemplifies many of the textual operations that the French critical theorist Jacques Derrida attempts to define through his use of such "undecidable" terms and "non-concepts" as "difference," "dissemination,"
"trace," and "grafting." It argues that the Wake operates much like the "bifurcated writing" and "grouped textual field" that Derrida identifies as the only possible site for a deconstructive engagement of the terms and concepts of the Western metaphysical tradition, the tradition
that Derrida terms phallogocentrism. The Wake has been an important text in the critical formulations of many contemporary theorists, and, as Derrida has recently acknowledged, his own theories of dissemination and deconstruction have been considerably affected by the Wake during the twenty-five to thirty years that he has been learning to read it. In drawing on Derrida's theories to analyze the Wake, this dissertation utilizes Derrida's terms to "re-mark" in Joyce's text, the disseminative textual operations that Derrida has marked as operative in the texts of the history of philosophy and in "so-called literary" texts like Finnegan’s Wake. In a certain sense, it renders unto Joyce's text that which has always already belonged to it.
Drawing on Derrida's investigation of speech and writing, the dissertation
considers the Wake's identification of itself as a fusion of speech and writing that requires a "speechreading" on the part of its readers. It supports this consideration by employing Umberto Eco's semiotic methodology to trace the network of metonymic lexemes by which the Wake identifies itself as a writing for the ear as well as the eye. Next it analyzes the Wake's tenth chapter as a chapter that exploits the formula 1+2+3+4=10 and produces a writing that operates as an arithmetical
textual machine which problematizes the traditional concepts of presence and being and which also works towards dislodging the phallogocentric organization of writing with such hierarchically organized binary terms as male/female and central/marginal.
In order to illustrate how the Wake disseminatively disrupts the binary terms by which phallogocentrism dominates thought, speech, and writing, the dissertation also considers how Joyce's text functions in an Intertextual relationship with some of the writings of Blake and Shakespeare. It does this by analyzing how the Wake dismantles some of the philosophical paradigms operating in the Blake and Shakespeare texts and takes important signifiers from those texts in order to set them to work as signifiers of signifieds that are radically different from those in the texts of Blake and Shakespeare.Arts, Faculty of
English, Department of
Graduate
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Gladston, Paul. "Art history after deconstruction : is there any future for a deconstructive attention to art historical discourse?" Thesis, University of Nottingham, 2004. http://eprints.nottingham.ac.uk/12638/.
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Over the past two decades institutionally dominant art history has been strongly influenced by the theory and practice of deconstruction. While many art historians have embraced deconstruction as a productive means of unsettling and remotivating standard forms of art historical discourse, others have raised concerns over what they see as a widespread departure from the most basic tenets of art historical discourse; that is to say, not only the belief that there is a circumscribed category of aesthetic experience (art), but also that it is possible to arrive at a truthful representation of the relationship between works of art and the circumstances of their production and initial reception (history). Moreover, many of those same commentators have railed against the way in which this departure can be understood to have suspended any sense of a stable, structural connection between a historical is and a present ought; in other words, the notion that a truthful understanding of past events has the potential to inform ethico- political activity in the here and now. Our intention here is to problematize this apparent schism by demonstrating that art historical discourse has drawn the very possibility of its continuing conceptuality since Antiquity from a chronic and, for the most part, unconscious deconstructive interaction between the signifying ‘texts’ of art history and what might be seen as the various material, social and intellectual forces pertaining to the wider historical ‘contexts’ of their production and reception. Thus, we will have attempted to show that deconstruction is indivisible from continuing discursive attempts to arrive at a ‘truthful’ understanding of the past. In addition to this we will also attempt to show - with reference both to the writings of Jacques Derrida and a Duchampian inheritance in the visual arts - that it is possible to develop deconstructive forms of historical narrative through which we might engage critically with questions of ‘ethico- political’ value.
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Macleod, Catriona. "Deconstructive discourse analysis: extending the methodological conversation." SAGE Publications Ltd, 2002. http://hdl.handle.net/10962/d1007877.
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Discourse analysis is increasingly becoming a methodology of preference amongst qualitative researchers. There is a danger, however, of it being viewed as a bounded and uncontested domain of research practice. As discourse analysis is inextricably linked with theoretical issues, it is a dynamic practice that is constantly in a process of revision. In this paper I reflect on some of the conceptualisations undergirding the notion of discourse – conceptualisations that have important implications in terms of how the practice of discourse analysis proceeds. I highlight some of the dualisms that may plague discourse analysis, and offer some solutions to these. Finally, I outline the deconstructive discourse analysis that I utilised in my doctoral work. The purpose of the latter is not to provide a recipe of methodology, but to illustrate how elements of various theorists’ work (in this case Foucault, Derrida and Parker) may be profitably drawn together to perform specific discourse analytic work.Rhodes University
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McKenzie, Mary Virginia. "Gertrude Stein's 'Melanctha' : a feminist and deconstructive approach." Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/67856/.
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This dissertation provides specific feminist and deconstructive approaches to Gertrude Stein's 'Melanctha', the second and longest story of Three Lives. These approaches outline the contradictions of a text caught between nineteenth-century conventions about sex and race and twentieth-century preoccupations with aesthetics. The individual readings of the text in four chapters are not mutually exclusive; indeed, they are united by a discussion of gender, identity and female sexuality. Each chapter is concerned with demonstrating how Stein's attempts to write her radical views about identity and sexuality are undermined by he difficulty of finding an appropriate space for these views in this early text. Moreover, the final chapter demonstrates that Stein's use of race, which is politically naive and racist, has profound implications for critics who want to claim this story as Stein's first modern text. Chapter One provides a reading of Stein's challenge to dominant discourses of gendered identity and mimesis through the trope of the marginal and the "metaphoric lesbian". Chapter Two extends Chapter One into the realms of deconstruction and Jacques Derrida, showing how Stein's concepts of gender and identity prefigure those ofDerrida. Chapter Three moves on to a cultural materialist discussion of'Melanctha' through the trope ofthejlaneuse, and discusses Melanctha's positional challenge to discourses of public and private spaces for men and women at the tum-of-the-century. Finally, Chapter Four continues the cultural materialist reading through an analysis of'Melanctha' against two African-American texts in order to bring to the reader's attention the problems of a text which Stein claims was her 'negro' story. These readings are diverse, but brought together, as I have said, through a discussion of gender and identity. More importantly, the final reading of this story, in Chapter Four, draws together the assumptions made in Chapters One, Two and Three in order to demonstrate that this text cannot be read innocently. Stein's bigoted views about race must be addressed if we are to come to a more definitive conclusion about where we place this text ethically, and if we can really accord it the place it has so far occupied in the Canon.
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Howard, Leigh. "Stain Upon the Silence: Samuel Beckett’s Deconstructive Inventions." TopSCHOLAR®, 1991. http://digitalcommons.wku.edu/theses/1427.
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In recent years, deconstruction theory has emerged as a key method for exploring public address, organizational culture, and literary discourse. Deconstruction theory encourages tearing apart hierarchy and established order to gain insights about the artifact being studied. Furthermore, the theory questions surface or superficial messages and encourages the reader to explore signals hidden below the surface. Deconstruction discounts context and places faith in experience.
Using the early plays of Samuel Beckett, this research explores deconstruction as a method to create messages. This new perspective transports deconstruction from a set of theoretical concepts into basic assumptions that enhance communication. This study suggests that deconstructive inventors use processes previously associated with deconstructive criticism to reveal their own beliefs. Furthermore, this study correlates deconstructive invention with rhetorical tropes – metonomy, synecdoche, metaphor, and irony – to create depiction-based persuasion, which asks the rhetor to suspend logic and evoke emotional response.
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Zeng, Hong. "A deconstructive reading of Chinese natural philosophy in poetry." online access from Digital dissertation consortium, 2002. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3070928.
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Chen, Ming-Chu. "The body politic in gendered techoscience : a deconstructive interpretation /." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487951214941284.
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Wigley, Mark. "Jacques Derrida and architecture the deconstructive possibilities of architectural discourse /." Online version, 1986. http://bibpurl.oclc.org/web/29991.
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Critchley, S. J. "The chiasmas : Levinas, Derrida and the ethics of deconstructive reading." Thesis, University of Essex, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.384509.
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Kim, Kisoo. "Kant and the fate of aesthetic experience a deconstructive reading /." Diss., Online access via UMI:, 2007.
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Naor, Rachel A. "Suzan-Lori Parks's The America play and its deconstructive ontology." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002404.
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Echeverri, Daniel Ricardo. "Application of the Deconstructive Discourse as a Generative Thinking Framework." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1399283791.
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Nixon, Nicola C. "The unnamable text : a deconstructive reading of Beckett’s The unnamable." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25479.
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Traditional criticism of Samuel Beckett's The Unnamable has sought to establish a universal "truth" or unified consciousness behind the dispersive nature of the text, and consequently readings of the novel have been both reductive and inadequate. Because Beckett's text distorts and displaces traditional narrative tools, and the Western metaphysical tradition from which they arise, criticism concerned with the upheaval of tradition is more appropriate for reading The Unnamable. The thesis takes three different textual positions in the text--the question of beginnings and endings in the text, the problematic of the subject (the proliferation of the "I" versus a concept of the unified consciousness), and the notion of propriety in the concept of the proper name--and engages in textual play with the text. By using certain modified methods of what we might provisionally call "deconstruction," the readings open the metaphors in the text, and examine the nature of the distortion
of tradition that Beckett achieves? the readings are productive rather than reductive. The thesis is more concerned with enacting the upheaval of The Unnamable, and is less concerned with describing the textual ruptures or arriving at any fixed meanings or conclusions, for that would be to remain strictly within the tradition that Beckett and the decontructors attempt to dislodge.Arts, Faculty of
English, Department of
Graduate
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Hurst, Andrea Margaret. "A logos of difference: the Kantian roots of Derrida's deconstructive thinking." Thesis, University of Port Elizabeth, 1999. http://hdl.handle.net/10948/d1015554.
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This study concerns a contemporary articulation of the age-old limit/possibility (truth/scepticism) contest in Western metaphysics. Traditional `either/or' logic advises that scepticism is a necessary consequence of the assailability of truth; hence the concerted effort in the history of philosophy to preserve the possibility of truth against any flicker of uncertainty. Here, it is argued that contemporary thinking sees the possibility of `absolute' truth lose its ground. However, a concomitant shift to a `logos of difference' averts the consequence of scepticism. Thus, the justification for this study could be articulated in terms of the imperative, if a cardinal moment in contemporary thought is to be sustained, to understand this shift in logos, work through its implications and learn to live with its effects. In this respect, an attempt is made throughout to situate and interpret Derrida's `deconstructive thinking' as exemplar. Derrida's thinking finds roots (not without signs of insurrection) in Kant's `Copernican revolution,' construed as the first shift towards the contemporary logos in question. Here, Kant refuted the postulate of an independent `world' by demonstrating that `reality' was the result of a cognitive order imposed on what `exists' by the rational subject. Knowledge, therefore, depended not on matching statements with pre-existing `things,' but on knowing the `rules' that determined how an object had to be if it was to be known at all. Kant maintained that certain, objective knowledge was possible, due to the completeness and universality of the forms of intuition and the categories of the understanding. Kant's `Copernican revolution' provided the opening for a second shift inaugurated by the so- called `linguistic turn.' Here, thinkers contested what Kant took for granted; namely that `constitutive interpretations' (cognitions/concepts) formed a `reality' independently of language. The basic premise underpinning the `linguistic turn,' therefore, is that language (signification) and `reality' are inseparable. Henceforth, the possibility of final, enduring `constitutive interpretations' whose `truth,' in principle, is discoverable, depends on whether or not the language which mediates human rationality can form a complete and universal system. This question resurrects the very limit/possibility debate (in the form of a structuralism/postmodernism stand-off) that Kant thought he had resolved in mediating between rationalist and empiricist extremes. In contemporary terms, philosophers who, bound by either/or logic, wish to avoid the sceptical trap of `anything goes' postmodernism, must assume that language (signification) can form a complete and universal system. However, in his deconstructive readings of Husserl, Saussure and `structuralism,' Derrida demonstrates the untenability of this assumption. At the same time, he shows that the sceptical `alternative' may be avoided by recognising the limitations of `either/or' logic. Again, Derrida's thinking may be traced to Kant's; this time to his analysis of the `first antinomy.' In accordance with Kant's analysis here of what is ultimately the logic of `complex systems' (Cilliers), Derrida offers a `logos of difference,' which skirts the strictures of structuralism while avoiding the trap of postmodern scepticism by accommodating both moments of limit and possibility in an indissoluble interplay.
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Abdelrahman, Akmal H. H. "Compositional structures in mural design : towards a site-specific deconstructive mural methodology." Thesis, University of Bedfordshire, 2009. http://hdl.handle.net/10547/133549.
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Murals have been the formal visual interpretation of the cultural, social and political life of all ages. Throughout they have been consistently combined with their architectural setting, for example, in ancient Egyptian tombs, in Renaissance churches and on the external walls of buildings in Mexico in the twentieth century. This is a central feature of mural painting. However many contemporary murals do not integrate with their architectural settings, in other words, do not fulfil the site-specificity of the architectural spaces for which they were made. This means that the most important aspect that distinguishes murals from other types of painting is absent. I studied and analysed a number of murals produced in the Italian Renaissance, Baroque and Rococo as this particular period is considered to be not only one of the most significant in the history of art but also a period in which painting and architecture were very closely allied as practices. In particular the radical developments in painting of pictorial space took place along side the developments in architecture. I argue that Renaissance murals could be described, using the terminology of contemporary art, as site-specific art. By identifying the relationship between pictorial space, architectural space and compositional structure I was able to test, through my own practice, the importance of these relationships in understanding the site-specificity of the compositional structure of murals. To address the issue of sitespecificity in murals, I investigated and developed a set of compositional structures through my mural practice that could be applied in the design, execution, and teaching of contemporary mural design. I have developed the notion of a deconstructive method of mural design in which the illusory space of the mural derives its compositional structure from the architectural space in which it sited. I have applied it, tested it and refined it through the execution of a number of hypothetical and live mural commissions. I believe that the approach to the study and practice of mural design I have developed from the perspective of a practice lead researcher contributes to the furtherance of mural design as both a profession and field of study. In particular the identification of compositional structures in mural design and the proposal of a deconstructive method contributes to our understanding of what a mural is as well as current notions of site-specificity in contemporary art.
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Naor, Rachel A. "Suzan-Lori Parks’s The America Play and Its Deconstructive Ontology." Scholar Commons, 2007. https://scholarcommons.usf.edu/etd/422.
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I intend to showcase Suzan-Lori Parks's repetitious, supplemental virtuosity, which is a testament to the fluid, indeterminate condition of her concepts. I seek to demonstrate that in textualizing the quality of absence in the written dialogue, Parks's The America Play becomes uniquely deconstructive. For indeed, through the absent "presence" of an historically mythified president and a gravedigger's skewed identity, the play becomes a stage for splinters of historicized, differentiating, repeating signifiers that supplement, even as they redefine, their referential signified. Performing deconstructive thinking, Parks's textuality is accommodated by a content through which she calls attention to the structures of metaphysics in our discourse, stressing our inability to erase them, and our need to question them through continual self-reflexive thinking. I hope to show that Parks's genius is apparent in her unique mastery of language. This kind of mastery is revealed through her drama's connection to conceptual possibilities, which are hypostatize, staged through the materiality of her drama's textual configuration. In consciously imbuing her pages with representational temporal spaces akin to Derrida's différance, Parks shows how the supplemental perpetuity of metaphysical signification phenomenally attests to the conceptual, idealized absence it supplements. I speak here of idealization that underlies the structural signified, always already a supplemented absent, which carries metaphoric trappings of phenomenological substance in a form of the signifier, returning through a morphemic ideality in the assuredness of its infinite return. I read Park's intent in The America Play as inherently deconstructive because Parks dramatizes the enigma of the trace; that is, the enigma of its impossible, yet, relentless repetition. In examining the trace and its historical "genesis" through the Idea in the Kantian sense, I will show how Parks's Rep & Rev, repetitions and revision, textually performs its impossible repetition, which is always metaphysical. In self-reflexively showing the impossibility of metaphysical presences, Parks establishes a need for a persistent practice of deconstructive interrogation, questioning self-assured, metaphysical, dogmatic thinking.
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el-Marraghi, Maha. "Jamal Al-Ghitani's Kitab Al-Tajalliyat (the Book of Theophanies): a Deconstructive Discourse." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=108827.
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The purpose of this thesis is to analyze Kitab al-Tajalliyât (The Book of Theophanies), a trilogy by the contemporary Egyptian author Jamal al-Ghitani. I will be situating my analyses within the context of contemporary Arab discourse about the relationship between al-turath (tradition) and al-mu'asara (modernity). ln his experimentation with narrative strategies, al-Ghitâni constructs his works in a relationship of "hypertextuality" to conventional forms of discourse that constitute part of the Islamic turâth. In Kitab al-Tajalliyat, he parodies the genre of sufi epistles, with specifie evocation of the discourse of Muhyi al-Din Ibn 'Arabi (1165-1240). [...]L'objet de cette thèse est d'analyser le Kitab al-Tajalliyat (Le Livre des Théophanies), une trilogie de l'auteur égyptien contemporain Jamâl al-Ghitani. Mon analyse se situe dans le contexte du discours arabe contemporain sur les rapports entre al-turath (la tradition) et al-mu'asara (la modernité). En jouant sur les stratégies narratives, al-Ghitâni construit ses oeuvres en relation "hypertextuelle" avec les formes traditionnelles du discours formant une partie du turath islamique. Dans le Kitab al-Tajalliyat, il parodie le genre de l'épître soufie, évoquant plus particulièrement le discours de Muhyi al-Din Ibn 'Arabi (1165-1240). [...]
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Watson, Lauren Pamela. "Contingencies and masterly fictions : deconstructive dialogues in/between Dickens, contemporary fiction and theory." Thesis, Lancaster University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.444642.
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Chatelion, Counet Patrick. "John, a postmodern Gospel : introduction to deconstructive exegesis applied to the fourth Gospel /." Leiden : Brill, 2000. http://catalogue.bnf.fr/ark:/12148/cb390539434.
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Smith-Parris, Penny. "Towards a deconstructive ethics an economic sacrifice and the logic of the gift /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5661.
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Thesis (M.A.)--University of Missouri-Columbia, 2008.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on July 8, 2009) Includes bibliographical references.
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Kakoliris, Gerasimos. "An impossible project : Derrida's deconstructive reading as 'double' reading: the case of 'Of grammatology'." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369354.
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Sörensen, Susanne. "In Splendid Isolation : A Deconstructive Close-Reading of a Passage in Janet Frame's "The Lagoon"." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-6090.
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In reading the literary criticism on Janet Frame's work it soon turns out that Frame was deconstructive before the concept was even invented. Thus, deconstruction is used in this essay to close-read a passage in the title story of her collection of short stories, The Lagoon (1951). The main hierarchical dichotomy of the passage is found to be the one between "the sea" and "the lagoon," in which the sea is proven to hold supremacy. "The sea" is read as an image of the great sea of English literary/cultural reference whereas "the lagoon" is read as an image of the vulnerably interdependent, peripheral pool of it, in the form of New Zealand literary/cultural reference. Through this symbolic and post-colonial reading the hierarchical dichotomy between "the sea" and "the lagoon" is deconstrued and reversed. In the conclusion, a post-colonial trace of Maori influence displaces the oppositional relation between "the sea" and "the lagoon."
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Carkner, Jason T. "Throwing Development in the Garbage: A Deconstructive Ethic for Waste Sector Development in Nairobi, Kenya." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/23786.
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The WM sector in Nairobi is a failure. Collection rates are deplorable, regulations go unenforced and the municipal landfill is desecrating the environment and killing neighbouring slum dwellers. This paper focuses on the exclusion and marginalization of the slums adjacent to Nairobi’s landfill, Korogocho and Dandora, and uses a post-structuralist theoretical framework to conceptualize a just response to these exclusions and theorize an inclusive approach to waste policy in Nairobi. Building on the work of Jacques Derrida, I present a ‘deconstructive ethic’ for development that is dedicated to mitigating and overcoming the production of alterity, and reintegrating excluded communities and knowledges into the sites of knowledge and policy creation. This ethic is used to formulate a five-part response to the conditions of exclusion experienced in Korogocho and Dandora, and to engage these populations in finding participatory solutions to the city’s waste problem.
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Fawcett, Barbara. "Theorising postmodernism, feminism and disability : : a qualitative and deconstructive study of disability amongst disabled people." Thesis, University of Manchester, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.488227.
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Watkin, Christopher Mark. "Deconstructive phenomenology? : rethinking the ontological in Maurice Merleau-Ponty, Paul Ricœur and Jean-Luc Nancy." Thesis, University of Cambridge, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.614366.
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Van, Niekerk Marthinus Christoffel. "Shakespearian play deconstructive readings of The merchant of Venice, the tempest, Measure for measure and Hamlet /." Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-11092004-115656/.
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Abouchaar, Velasquez Alberto. "The recent language of teacher education at the Universidad Nacional de Colombia : a deconstructive discourse analysis." Thesis, University of Exeter, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.407269.
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Beiranvand, Amin. "Racial Conflict in the United States of America : A Deconstructive Perspective on Native Speaker by Changrae Lee." Thesis, Högskolan Dalarna, Engelska, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:du-4956.
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Written about the time of the Golden Venture incident, Chang-rae Lee’s Native Speaker makes a particular reference to that incident, whereby implying that particular immigrants, on the grounds of their racial identities, are mistreated and considered as aliens by some Americas. While some whites discriminate against immigrants, there is widespread ethnic tension between Korean Americans and African Americans. Significantly, racial conflict between Koreans and blacks and the racist attitude of some whites toward immigrants are mirrored in the relationship between the Korean-American protagonist Henry and his American wife Lelia. That is, due to their different racial identities they do not understand each other and they always argue. However, toward the end of the novel, Henry and Lelia come to understand each other. While ethnic conflict between Koreans and blacks and certain whites’ discriminatory attitudes toward immigrants is serious one, the novel suggests the unimportance of racial identity. In other words, the novel concludes that there is no discriminatory treatment of immigrants and, in fact, every one is a native Speaker in America. In the novel there is no message of how racial conflict could be resolved. However, this essay suggests that by investigating how the tension between Henry and Lelia is resolved, one could suggest a solution for the ethnicity problem in America and in real life.
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Juskevicius, Patrick. "The Other as Deconstructive Phenomenon: Understanding Levinas' Hyperbolic Descriptions in Autrement qu’être ou au-delà de l’essence." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37955.
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This monograph addresses the problem of Emmanuel Levinas’ hyperbole in his work Autrement qu’être ou au-delà de l’essence. In this text, he claims to provide a phenomenological description of the encounter the Other, yet his descriptions are deliberately hyperbolic and therefore do not seem to actually be descriptive at all. To address this problem, I propose that we can understand his hyperbole as descriptive if we understand that the subject’s encounter with the Other is a deconstructive experience. Deconstruction, which consists of both the faithful reading of a situation and the determinate destabilization of that reading, aligns with Levinas’ claim that the Other overthrows consciousness, but further explains why such an overthrow is only rarely felt in ordinary experience. Understanding the hyperbole as descriptively accurate while rarely felt will then offer a positive obligation for the subject in respect of being responsible for the Other.
Cette monographie aborde le problème de l’hyperbole de Emmanuel Levinas dans son oeuvre, Autrement qu’être ou au-delà de l’essence. Dans ce texte, il prétend fournir une description phénoménologique de la rencontre de l’Autrui, pourtant ses descriptions sont délibérément hyperboliques et ne semblent donc pas du tout être descriptives du tout. Pour aborder ce problème, je propose que nous puissions comprendre son hyperbole comme descriptive si nous comprenons que la rencontre du sujet avec l’Autrui est une expérience déconstructive. La déconstruction, qui comprend à la fois la lecture fidèle d’une situation et la déstabilisation déterminée de cette lecture, s’accorde avec l’affirmation de Levinas que l’Autrui renverse la conscience, mais explique en outre pourquoi un tel renversement n’est que rarement ressenti dans l’expérience ordinaire. Comprendre l’hyperbole comme descriptive précise alors que rarement ressenti offrira alors une obligation positive pour le sujet en ce qui concerne la responsabilité pour-l’Autrui.
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Arinc, Cihat. "Postcolonial ghosts in new Turkish cinema : a deconstructive politics of memory in Dervis Zaim's 'The Cyprus Trilogy'." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/16081/.
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Postcolonial intercommunal violence on Cyprus and its after-effects have been studied extensively in the social sciences and humanities over the past five decades. However, the cinematic representations of the postcolonial condition in Cyprus have not yet received significant critical recognition. This dissertation is a response to the scarcity of scholarship on cinematic representations of the postcolonial history of the island. By analysing cinematically recreated and visualised ghostly matters of interethnic strife and post-conflict situation in Cyprus, I want to contribute to the current debates on the politics of postcolonial memory in Cyprus. My discussion focuses specifically on a film trilogy by the Turkish-Cypriot art house film director Dervis Zaim, ‘The Cyprus Trilogy’: Mud (Çamur, 2003), Parallel Trips (Paralel Yolculuklar/ Ta parállila monopátia [Τα παράλληλα μονοπάτια], codirected with Panicos Chrysanthou, 2004), and Shadows and Faces (Gölgeler ve Suretler, 2011). This trilogy is the most remarkable set of critical films about the partition of the island that have been produced in post-Yesilçam Turkish film history. My analysis of Zaim’s film trilogy departs from the assumption of the primacy of the phenomenological experiences of the postcolonial Cypriots over geopolitical and macro-historical explanations. The reading of Dervis Zaim’s works about the intercommunal civil wars in postcolonial Cyprus raises the question of the haunting/hauntedness. Therefore, this Ph.D. thesis addresses hauntological themes such as disjointed time, memory, historical justice, haunting, visor effect, voice, silence, ghost story, haunted house, haunted body, and the absent other that appear persistently in the films. Throughout this thesis, the spatial/temporal, vocal/narrative, and embodied/disembodied aspects of Zaim’s film trilogy are discussed, drawing primarily upon a Derridean hauntology. Building a theoretical bridge between hauntology and postcolonial cinema, the relationship between postcolonial memory, film, and haunting is examined in the context of Cyprus. This thesis concludes by discussing the extent to which Dervis Zaim and his spectral realist films have achieved the deconstruction of postcolonial memory through challenging both the imperialist and nationalist structures imposed by dominant discourses.
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Mathews, Ben. "Australian laws ascribing criminal responsibility to children: The implications of an internal critique, postmodern insights, and a deconstructive exploration." Queensland University of Technology, 2002. http://eprints.qut.edu.au/15805/.
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Derived from centuries-old English laws, Australian laws ascribe criminal responsibility to children according to their age and their assumed level of understanding of the rightness and wrongness of certain acts. This project first charts the creation and development of the English and Australian positions. Then, using insights from postmodernity and the idea of deconstruction, the law is critically assessed to reveal practical, theoretical and moral limits in the law's attempt to do justice. The justifiability of the current Australian legal positions is questioned by demonstrating the law's internal inconsistencies, by revealing the law's historical and philosophical preferences, and by contrasting the law's restricted ambit of inquiry with contemporary knowledge from other disciplines including developmental psychology and sociology.
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Canto, Silva Héctor del. "The room above the junkshop in nineteen eighty-four : an approach from non-places theory and a deconstructive analysis." Tesis, Universidad de Chile, 2012. http://repositorio.uchile.cl/handle/2250/110898.
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Informe final de Seminario de Grado para optar al grado de Licenciado en Lengua y Literatura InglesasFacultad de Filosofía y Humanidades
George Orwell is most popularly known because of his novels dealing with the issue of totalitarian governments or states: Animal Farm and Nineteen Eighty-Four. The former, deals with the topic by means of satire; while the latter, deals with it by means of a dystopia. Orwell‟s dystopia, which is the novel to be studied in this graduate thesis paper, is set in London, in the year 1984. It has been more than twenty-five years form that date, however the threats of a state of that kind and, the worst all, the many reflections of the novel in our society have not disappeared, nor, perhaps, diminished. In the following work, I will study the issue of places and non-places in Nineteen Eighty-Four. Evidently, it is not my intention to analyse all places and non-places present in this novel but mainly one, which is, from my perspective, the room Winston rents to the fake antique dealer. For this purpose, I will analyse selected passages and episodes from the object novel of this thesis, Orwell‟s Nineteen Eighty-Four, especially those that relate with Winston‟s experiences in the city and the room.
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Jangblad, Jukic Anna. "Can Humbert be Trusted with the Telling of His Tale?A Deconstructive Study of Binary Oppositions in Vladimir Nabokov’s Lolita." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-23002.
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In Lolita, Humbert is obsessed with the 12-year-old Lolita. It is a vulgar and disturbing story which raises questions about morality and ethics. With a sophisticated and elegant narrative, Humbert manages to draw attention to language rather than to his actions. Through fancy prose style Humbert covers up and hides his horrible actions. His verbal game serves to manipulate his readers to accept Humbert´s feelings and actions and sympathize with him. Humbert´s narration is very persuasive and the reader is easily fooled to concentrate on what he says rather than what he does. In this essay deconstructive method is used to analyse Lolita. The study shows how binary oppositions are used in Lolita and what effect they have on the reader´s comprehension of the text. The study presents a number of incongruities in Humbert´s telling of the story and therefore the essay argues that Humbert cannot be trusted with the telling of his tale.
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Hjersing, Charlotte. "Representations of Clarissa and Septimus in Virginia Woolf’s Mrs Dalloway : A deconstructive approach combined with aspects of feminist and psychoanalytical criticism." Thesis, Högskolan Dalarna, Engelska, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:du-4172.
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Onstott, Wilson Wright. "Articulation as an Act of Futility: A Deconstructive Exploration of Textual Articulation as It Functions within a First-Person Narrative Structure." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etd/2198.
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The inability of language to convey complete meaning and truth is a central point of address for much post-structuralist literary theory and criticism. When these theories are applied to a first-person narrative structure, whether it is a work of fiction or non-fiction, certain specific incongruities arise. When a narrative seeks to recall certain events, a presupposed reexamination takes place as the narrative unfolds text comes into being. If a narractice is contructed in this way then the intent of the text then is to convey comprehensive meanings or truths of those cataloged experiences. According Deconstructive Theory, it is language's inherent nature to resist ultimate meaning. This focus on the articulation of truth is futile because meaning, like language, is always already in a state of fragmentation. This project explores five individual works from different literary traditions-ranging from the canonical to the relatively obscure. The works exhibit various approaches to articulation; including varying degrees of self-definition, personal fiction, and narrative movement toward inarticulation.
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Richardson, Joanne. "'The pleasures of merely circulation' : the interpretive anthropology of Clifford Geerts and the 'postmodern' anthropology of James Clifford : a deconstructive reading." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/30811.
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In this dissertation I attempt to explicate Jacques Derrida's strategy of deconstruction and, through a deconstructive reading of Clifford Geertz's interpretive anthropology and James Clifford's 'postmodern' anthropology respectively, to show its relevance to the discipline of anthropology in general. The following is a skeletal outline of how I set about this endeavour.
In my Introductory chapter, I attempt to indicate the way in which the notion of logos or presence has dominated Western philosophy from its inception in ancient Greece up to and including the present day. As Derrlda utilizes it, the term •presence' has to do with the assumption of and desire for the existence of a self-certain and self-identical basis for all extant phenomena and is manifested in such notions as truth, meaning, God, self, concept and so on. Because it is always defined as self-sufficient and self-identical, wherever it operates, presence entails the suppression of difference and otherness. In Chapter Two, I offer an explication of Derrida's strategy for exposing and delimiting presence as it manifests itself through and throughout Western conceptuality, paying particular attention to his work on undecidability. Briefly, this has to do with arguing that concepts, as such, are always already originarlly doubled and hence, Aristotelian logic notwithstanding, are both possible (as effects of undecidabllity) and Impossible (as self-sufficient and self-identical ideas). This calls radically into question our assumptions about the nature of conceptuality and indicates the way in which these assumptions ensure the repression of difference and otherness. In Chapter Three, I look at the phenomenological (Husserl) and hermeneutic (esp. Heidegger, Gadamer, Ricoeur) background of contemporary interpretive and •postmodern' anthropology and, in so doing, attempt to show that it is premised upon an assumption of presence. In Chapter Four, I offer a deconstructive reading of certain works by Clifford Geertz and by James Clifford respectively, and attempt to show that their unrecognized dedication to an assumed notion of presence prevents them from seeing the repressive/oppressive nature of their chosen conceptuality. And, finally, in my concluding chapter, I argue that Geertzian interpretive anthropology and Cliffordian 'postmodern' anthropology are two sides of the same old coin and that, with respect to the latter's work, the term 'postmodern' is a misnomer. I further argue that Western conceptuality is, by definition and in principle, both repressive and oppressive and that, this being the case, anthropology must either reexamine
and re-evaluate its most basic assumptions or, failing that, resign itself to perpetuating the inherited legacy of a ruthless metaphysics.Arts, Faculty of
Anthropology, Department of
Graduate
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Franzén, Martin. "Deconstructing Aldous Huxley’s Brave New World’s Ambiguous Portrayal of the future." Thesis, Karlstads universitet, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-70827.
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This research presents a deconstructive analysis of Aldous Huxley’s 1932 novel Brave New World. As a literary work, it is most commonly considered a dystopian visualisation of the future of modern civilisation. This essay reveals a more ambiguous reading of Brave New World by deconstructing and presenting the aspects of the novel which pertain to the classification of the novel as both dystopian and utopian simultaneously. This conclusion of ambiguity is presented to negate any notion that the novel can be classified as a definitive representation of either a utopian or a dystopian portrayal of the future.
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Tatlock, Melissa S. "From Titanic to Star Wars : a Derridean deconstructive analysis of the minimization of violence in the 25 top grossing films of all-time /." Halifax, N.S. : Saint Mary's University, 2009.
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Kennedy, Alexander. ""See that boy" : looking at boys and men through art and theory : queer theory and practice deployed as a deconstructive and strategic method for art historical enquiry." Thesis, University of Glasgow, 2003. http://theses.gla.ac.uk/5386/.
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This thesis continually encircles desirable objects and theories of desire in art history and queer theory, in order to understand and locate this procedure within art historical interpretation. This thesis works in the theoretical space between queer theory and the discipline of art history, using the work of Jasper Johns and Robert Rauschenberg tactically, to demonstrate that iconology falters here, as does any easy reliance on categories of sex, gender and sexuality to interpret their work. From the early 1990’s many art historians working in gay and lesbian studies attempted to employ deconstructive vocabularies in order to continue iconological investigations into the work of ‘late modernist’ art – including artists such as Johns and Rauschenberg – for very clear and laudable political reasons. I argue that this project mainly relied on essentialist and reductive assumptions concerning the sexed and gendered subject in order to explore the suppression of abnormal sexualities in relation to an artist’s work. I question that project here in the art historical texts I cite, and temper that analysis with deconstructive/queer theories of subjectivity. In this text I ask many questions that are central to my role as a queer art historian, questions that, in the ‘post modern moment’ of realisation revel in what Butler calls the “valorisation of unrealisability”. I do not look for a foundational justification for my project, which would be counter to my thesis, which argues that the a posteriori creates the a priori of ontology. I only hope to difference arguments that create reductive, totalising (as well as heterosexist and misogynistic) views of the art objects and the projects of art history, arguments that make the methodologies of art history into an inert mathematics.
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Cobb, Kirsi. "A woman on the border : a feminist-structuralist-deconstructive reading of the character of Miriam in Exodus 2:1-10; 15:20-21 and Numbers 12:1-16." Thesis, Bangor University, 2011. https://research.bangor.ac.uk/portal/en/theses/a-woman-on-the-border-a-feministstructuralistdeconstructive-reading-of-the-character-of-miriam-in-exodus-2110-152021-and-numbers-12116(1b5a21a5-81d8-4ce1-a222-b36687a31d72).html.
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Miriam is a character within the Hebrew Bible who is surrounded by conflicting descriptions. On the one hand, she is Moses' sister, a leader and a cult-musician (Exodus 2:4,15:19-20); on the other hand she is a rebel and an example of ritual uncleanliness (Numbers 12: 1-16). Amidst such a wide variety of views we wish to produce a reading, a 'counter-voice', in order to illustrate how the description of Miriam as a subservient female/ a rebel is both established as well as questioned in the three texts chosen for the present study (Exodus 2: 1-10; 15:20-21; Numbers 12:1-16). We approach this endeavour with the aid of feminist, structuralist and deconstructive aims. The stand of poststructuralist feminism is stated to be the vantage point brought to bear upon the texts under analysis with specific interest given to any issues related to the treatment of Miriam and/or other female character(s) within the passages. Structuralist critique is used in order to establish a normative reading of the texts in question with the aid of more traditional research, which is then questioned by the means of deconstructive critique in order to illustrate how the depiction of Miriam in the first reading is at tension with the one uncovered in the limits and inconsistencies of biblical texts. Through the above observations we wish to portray Miriam as a woman who constantly breaks through any predisposed characterisations imposed on her by the biblical text and/or previous interpretations. We present her as a 'woman on the border', disturbing the perceived stability of male domination in the texts in which she appears.
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Maguina, Marco. "Deconstructing LEED." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21800.
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This paper presents an analysis of data supplied by the US Green Buildings Council on the credits achieved by 117 LEED-certified commercial and institutional buildings. The paper quantifies several relationships, among others it explores the correlation between building energy performance, water consumption and the overall amount of points the projects has achieved. The paper also attempts to identify which credits are not usually selected by type of project, ownership, certification level and climate zone.
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Ospina, Álvarez Juan Sebastián. "Conversações hipervisuais: vamos falar sobre olhares masculinizados?" Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8267.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The present thesis intercrosses the visual cultures studies and the gender studies, having as object of analysis six encounters which made up the NarrATIVIDADES extension project. Genders Lab and narratives, which happened in November and December 2015, March and April 2017, in addition to the narratives produced by the people who committed themselves to the registered design from the School of Visual Arts (FAV) at the Pro-rector of Extension and Culture (PROEC) from the Federal University of Goiás (UFG). Masculinities in this study are treated as cultural constructs that are supported by the variety of speeches to operate in societies. For this reason, after reports of several visualities are problematized, these constructs of discipline and control that not only relate to the scope of the affective-sexual, but also to the domain of symbolic production. In this sense, this research craved analyze the possibilities and deconstruction strategies of visualities on masculinities and masculinization of looks, this from hypervisuals talks, works with memories and narratives produced by the group of students and teachers on the main subject of research: objectification and women hypersexualization, especially black women and black men; invisibility of the non heteronormative identities and androcentrism in using audiovisuals and media devices. The methodological approach nicknamed and used in this process corresponds to the hypervisual conversations that consist in an expansion of a narrative research expansion from works with visualities and countervisualities. To better comprehend the proper use of the term ‘hypervisuals’ are threshed, throughout the text, discussions around the concept of visual, visual images, the visualities, the countervisualities, the scopic regimes and many other terms of the studies of visual cultures. Since it’s a study linked to the Line of Image Cultural Research of image and Mediation Processes, this research outlines also the use of hypervisual narratives as possible to develop pedagogical processes with deconstructivist bias.
A presente tese entrecruza os estudos das culturas visuais e os estudos das relações dos gêneros, tendo como objeto de análise seis encontros que compuseram o projeto de extensão NarrATIVIDADES. Laboratório de gêneros e narrativas, os quais aconteceram em novembro e dezembro de 2015, março e abril de 2017, além das narrativas produzidas pelas pessoas que se vincularam ao projeto inscrito desde a Faculdade de Artes Visuais (FAV) ante a Pró-reitora de Extensão e Cultura (PROEC) da Universidade Federal de Goiás (UFG). As masculinidades neste estudo são tratadas enquanto construções culturais que têm como suporte os mais variados discursos para operar nas sociedades. Por este motivo, a partir dos relatos sobre múltiplas visualidades são problematizados esses construtos de disciplinamento e controle que não referem só ao âmbito do afetivo-sexual, mas também ao domínio da produção simbólica. Nesse sentido, esta investigação almejou analisar as possibilidades e estratégias de desconstrução das visualidades sobre as masculinidades e a masculinização dos olhares, isto a partir das conversações hipervisuais, trabalhos com memórias e as narrativas produzidas pelo grupo de estudantes e docentes sobre as temáticas principais da pesquisa: objetualização e hipersexualização das mulheres, principalmente das mulheres negras, e dos homens negros; invisibilização das identidades não heteronormativas e androcentrismo no uso de aparelhos e mídias audiovisuais. A abordagem metodológica alcunhada e usada neste processo corresponde às conversações hipervisuais que consistem em uma expansão da pesquisa narrativa a partir de trabalhos com visualidades e contravisualidades. Para compreender o uso do termo hipervisual são trilhadas, ao longo do texto, discussões em torno do conceito do visual, das imagens visuais, das visualidades, das contravisualidades, dos regimes escópicos e tantos outros termos caros aos estudos das culturas visuais. Por se tratar de um estudo vinculado à Linha de Pesquisa Culturas da Imagem e Processos de Mediação, esta investigação delineia, também, a utilização das narrativas hipervisuais como possível forma de desenvolver processos pedagógicos com viés desconstrutivista.
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Alexander, Lucy. "The ambiguities of empowerment : a deconstructive approach to the adult education work of Edward Roux in the 1930s and 1940s and its implications for present conceptions of learner materials for adult basic education and training (ABET)." Master's thesis, University of Cape Town, 1999. http://hdl.handle.net/11427/9064.
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Bibliography: p. 173-182.This research is an attempt to understand the ambiguities of empowerment inherent in transactions between educators and adult learners studying at a basic level. Through analysing the case study of Edward Roux's text-based adult education intervention for Africans in South Africa in the 1940's, some conclusions on the resultant power arrangements were drawn. These interpretive conclusions were applied comparatively to a set of adult basic education texts in use in South Africa in the 1990's. The research addressed itself to selected biographical events from Roux's life, as well as to a set of theoretical texts written by Roux about adult education and a set of pamphlets called The Sixpenny Library, intended for mass distribution to adult readers. The texts were analysed using a postmodern discourse analysis methodology. Having identified five recurrent discursive formations in the texts, it was proposed that these discourses could be intertextually read as constituting an individualised construction by Roux of the Enlightenment meta-narrative. The genealogy of the meta-narrative was analysed, the subjectification of the adult learners was asserted and an interpretation of the arrangements of power within the educational transaction was proposed. The primary findings were made on the basis of the case study: it was concluded that Roux was committed to the Enlightenment ideal which he constructed in terms of Western educational and cultural norms. By conflating education with social remediation and rationalism, he proposed that education in its own right had socially . redemptive power and that it would even result in equality. The potential impact of the intervention in subjectifying adult learners and their resultant disempowerment was analysed and some general trends were noted. Roux's intervention suggested a deep but unrealistic conviction that the acquisition of knowledge had the potential to alleviate the social deprivations that Africans suffered under conditions of post-colonial racial capitalism. Unconsciously Roux conflated the promise of empowerment with the acquisition of a set of basically Western rationalist cultural values and beliefs, without recognising the identity which he constructed for the educator and the attendant disempowerment which the learners may have experienced. The secondary stage of the research comprised the application of the claims identified in Roux's case study to three comparable genres of Adult Basic Education and Training texts of the 1990's; the presence of similar assumptions in these transactions was assessed and continuities and changes were identified. Some general conclusions were drawn regarding the nature of adult education transactions and the potential for a postmodern consciousness to alter the arrangements of power within educational transactions for adults was discussed. The limitations of the study in terms of learner responses was acknowledged and avenues for further research were identified. An attempt was made to bring into focus some of the uncertainties operative at a global level within adult education, while addressing issues of power between educator and learner in the field of basic adult education in South Africa.
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Devine, Lauren. "Policing parents : a deconstructive examination of schematic state interference into private life with special reference to assessment of families deriving from the state's duty to 'safeguard' children under the provisions of the Children Acts 1989 and 2004." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3915/.
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The relationship between the state and citizens can give rise to legal and moral tension when the state interferes into private life in order to fulfil its statutory duties. An important statutory area where the state has such powers occurs in the Children Acts 1989 and 2004. These Acts inter alia confer powers on local authorities to undertake surveillance and assessment of private family life in order to identify and assess children who may be ‘in need’ of services, ‘at risk’, or suffering significant harm. The thesis argues that these powers enable the state to police private family life in order to ensure parents' compliance with prevailing child welfare ideology. Child welfare discourse dominates and mediated debate over the measures used by local authorities to police parents, claiming these state powers are necessary to protect children from harm. The thesis challenges these claims. The justification for 'child protection' and 'safeguarding' is critically examined from post-modem theoretical, statistical and doctrinal law perspectives. Areas of imbalance in current law and practice are identified and these are linked in the conclusion to focus upon the fundamental flaws in the current position. This offers the possibility of more integrated debate that challenges the orthodoxy and suggests fundamental revision of the current policy.