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PRICKETT, DAVID JAMES. "BODY CRISIS, IDENTITY CRISIS: HOMOSEXUALITY AND AESTHETICS IN WILHELMINE- AND WEIMAR GERMANY." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1053700766.
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Deshaye, Joel. "Metaphors of identity crisis in the era of celebrity in Canadian poetry." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:8881/R/?func=dbin-jump-full&object_id=92326.
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Steenkamp, Elzette Lorna. "Identity, belonging and ecological crisis in South African speculative fiction." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002262.
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This study examines a range of South African speculative novels which situate their narratives in futuristic or ‘alternative’ milieus, exploring how these narratives not only address identity formation in a deeply divided and rapidly changing society, but also the ways in which human beings place themselves in relation to Nature and form notions of ‘ecological’ belonging. It offers close readings of these speculative narratives in order to investigate the ways in which they evince concerns which are rooted in the natural, social and political landscapes which inform them. Specific attention is paid to the texts’ treatment of the intertwined issues of identity, belonging and ecological crisis. This dissertation draws on the fields of Ecocriticism, Postcolonial Studies and Science Fiction Studies, and assumes a culturally specific approach to primary texts while investigating possible cross-cultural commonalities between Afrikaans and English speculative narratives, as well as the cross-fertilisation of global SF/speculative features. It is suggested that South African speculative fiction presents a socio-historically situated, rhizomatic approach to ecology – one that is attuned to the tension between humanistic- and ecological concerns.
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Olofsson, Marcus. "Identity crisis due to the 9/11 terrorist attack : Analysis of Amir and Changez identity development after 9/11." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-36531.
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Roberts, Stephen Graeme Hugh. "Unamuno in exile, 1924-30 : a writer's crisis of personal identity and public role." Thesis, University of Oxford, 1991. http://ora.ox.ac.uk/objects/uuid:78b7a90d-382c-4211-854e-4726af5a775c.
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This thesis provides a much-needed study of all the major aspects of Unamuno's experience of exile from the Spain of Primo de Rivera (1924-30). It sheds light on the reasons for Unamuno's exile and on his understanding of his public role during exile itself. It shows how Unamuno saw himself at this time as the representative of certain essential Spanish values which he believed were being debased by the Dictatorship of Primo de Rivera, and how he came to feel in Paris that he had a mission to make those values known to his new European audience. A study of this mission helps to illuminate one of Unamuno's more complex exile works, La agonía del cristianismo. The thesis also sheds light on the effects that exile had on Unamuno, both man and writer, showing that he could not function in his usual fashion as a public figure and a writer outside Spain. This state of affairs led to a severe personal crisis which affected the writings he produced in Paris and Hendaye. This thesis has set out to show that Unamuno's exile crisis was principally a writer's crisis. To be able to do this, it has been necessary to set Unamuno's exile works in the context of his lifelong ideas on selfhood, self-creation and writing. It has thus been possible to show how the circumstances of exile forced Unamuno to confront once again his fundamental doubts concerning the effects that playing a public role and writing have on his sense of selfhood. A study of Cómo se hace una novela, the work in which he gives expression to this crisis, serves to reveal how the activity of writing lies at the very heart of his philosophy of self-creation.
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Wong, Catherine Yuen Wing. "Representing Hong Kong in a Borrowed Tongue The Cultural Identity Crisis in Anglophone Hong Kong Literature." Thesis, University of Liverpool, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502240.
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A.L. McLeod's comment on the literature of Hong Kong, a former Commonwealth colony of Britain, represents the consensus that Hong Kong has 'produced no literature'. Also pertinent is his view that Hong Kong has 'no sense of national identity, no cause to follow, no common goal'. The Handover in 1997 represented a new era for Hong Kong as it came under a new sovereign with a new identity. It is now time to rethink the relevance of McLeod's assertion, made some four decades ago. Hong Kong has long been regarded as a 'cultural desert', which is not a favorable environment to create any impetus to cultivate development in culture and arts. However, following reunification with China, Hong Kong is now permeated by a Chinese national identity that is less ambiguous and more legitimate than its former colonial counterpart. Decolonisation has, without a shadow of doubt, provided all Hongkongers with a 'common goal' to anticipate, inducing them to question whether recent history has given Hong Kong a new identity; and, whether there are incentives for claiming it. However, the key question is whether present day Hong Kong has given inspiration and 'calligraphic ink' for Hong Kong literature; in particular, how Hong Kong's new identity has been reflected in literary works. This research relates postcolonial thinking to literature emanating from Hong Kong, its thrust is to dissect and explore the implicit meanings evident in the use of the English language by native Hong Kong writers as they expound the identity of Hong Kong. Does Anglophone writing in these instances express the identity of Hong Kong? Addressing the writings of Hong Kong native Xu Xi (writer of Hong Kong Rose), Agnes Lam (Woman to Woman and Other Poems) and Louise Ho (New Ends, Old Beginnings), the research also considers how such adaptations result collaterally in cultural displacements, diasporic experience and a linguistic identity crisis, which leads to the .consideration of whether a uniquely Hong Kong cultural identity may be said to emerge ex post facto from the postcolonial situation, or whether a hybrid identity existed prior to the political upheaval of 1997. The earlier part of the thesis focuses on the investigation of subjects' nostalgic feelings towards their past. Chapter one provides a general overview of the political situation of Hong Kong that gave rise to a special cultural phenomenon which this thesis examines: the special nostalgia in Hong Kong's memory is due to its unique political situation. It discusses the presentation and the perspective on time taken by the three writers. Identifying Xu Xi as idealistic, Agnes Lam as individualistic and Louise Ho as skeptical, this thesis further consider how these different writers deal with the postcolonial experiences of their time in the perception and construction oftheir identity. One of the major focuses of this thesis is the notion of a postcolonial time sense, that is, the perplexing competition between the time and memory of the coloniser and that of the colonised. The focus of this research then turns to language. Pursuing the idea that language creates a voice and an identity, this thesis considers how these three writers deal with the various languages current in Hong Kong and their opinion on languages which empower and disempower them. The capacity of language to marginalise is one of the focuses of discussion. The study of marginal identity will be revisited in the last chapter and the angle will change to bring into view the marginality that is brought about by space. Another primary area of analysis in this thesis is postcolonial geography. Following on from the discussion of nostalgia, the analysis of this feeling of inertia will extend from time to space and in an examination of the significance of 'homeland' in these postcolonial works. In its conclusion, the thesis explores the procedures which these writers have adopted in constructing a postcolonial identity for Hong Kong by examining their dealings with the displacement brought by migration, colonisation and globalisation, together with the attempted transcendence of physical distance and psychological boundaries.
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Ferguson, Laura. "Dr Jekyll, his new woman, and the late Victorian identity crisis." Thesis, University of Bedfordshire, 2016. http://hdl.handle.net/10547/603522.
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I have written a novel as a prequel and parallel narrative to Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde. The accompanying critical commentary draws on psychoanalytic and feminist perspectives, interpreted for “the complexities of fin‐de‐siècle British society” (Kucich, 2007, p.35), and examines my novel alongside other adaptations of Jekyll and Hyde. Although my work may invite comparisons with Neo‐Victorian novels such as works by Sarah Waters, Michael Cox’s The Meaning of Night (2006) or Michel Faber’s The Crimson Petal and the White (2002), I would argue that it has more in common with Jean Rhys’ Wide Sargasso Sea (1966) and Sophie Gee’s The Scandal of the Season (2008), both of which are prequels respectively to Jane Eyre and The Rape of the Lock. My research explores the potential origins of Jekyll’s decision to divide himself – the psychological roots of “his desire to reveal himself and his desire to conceal himself” (Laing, 1960, p.37). I have used this premise for both a psychoanalytic and a feminist perspective, drawing on the key works of Freud, specifically his writings on the unconscious and in relation to dreams, and Gilbert and Gubar’s seminal text The Madwoman in the Attic. The decision to use these texts as a framework was made using the rationale of two primary perspectives: Stevenson’s novel was inspired by a dream he had, which led me to Freud, whose theories fit so well with the manifestations of the Jekyll/Hyde personae, and whose analytic attention to sex and gender, with the argument that psychological and social forms of gender oppression cause a manufactured and oppressive role for women, is correlative with a feminist approach. Gilbert and Gubar’s critique analyses nineteenth century female writers, and it is my argument that Stevenson’s novel suggests that Jekyll’s rigid beliefs about his ‘other’ can be seen as both a resistance to the feminine within himself, and as an unconscious identification with women who felt suppressed in a patriarchal society and constrained by that society’s rigid gender expectations. This feature of late Victorian culture which Stevenson’s novel appears – on the surface ‐ to actively resist, is symbolised by the anonymous and one‐dimensional female characters within his novel, therefore this narrative motif is the starting point for my novel.
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Cannistraro, Amy. "Voices in Crisis: An Exploration of Masculine Identity in Modernist Narratives." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/644.
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The period following World War I can be characterized in literature by the trauma and changes that promoted crises of masculinity. These crises, however, are not discussed between the men that suffer similar feelings of insecurity and anxiety; not approached as a tension in need of resolution. Exploring the narrative voices of Nick, Jake, Darl and Anse in The Great Gatsby, The Sun Also Rises, and As I Lay Dying, this thesis addresses the ways in which this unspoken phenomenon is essential to the modernist male narrative. I propose that, despite the widespread nature of this phenomenon, it is the voice of the individual – the preoccupations of his consciousness – that is the most appropriate point through which to examine these crises of masculinity.
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Barber, Juliana Bittencourt. "What does a scanner see?: Philip K. Dick's and Richard Linllater's take on identity and identity crisis." reponame:Repositório Institucional da UFSC, 2012. https://repositorio.ufsc.br/xmlui/handle/123456789/158358.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2012.<br>Made available in DSpace on 2016-01-15T14:24:53Z (GMT). No. of bitstreams: 1
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Previous issue date: 2012<br>Abstract : This research presents a comparative analysis between Philip K. Dick s 1977 novel A Scanner Darkly and Richard Linklater s 2006 homonymous film adaptation of it. The focus of this analysis is the theme of postmodern identity, having as a theoretical framework the issues about identity and postmodernism problematized by theorists such a Fredric Jameson and Stuart Hall. This analysis shows how the issue of postmodern identity is ubiquitous both in Dick s novel and in Linklater s film. In order to analyze the issue of adaptation, the ideas of scholars such as Dudley Andrew and Robert Stam, as well as film theorist André Bazin were used. The differences between a novel and a film that narrate the same story are unavoidable. However, what is possible to see in the case of A Scanner Darkly is that the treatment and the emphasis given to the issue of postmodern identity in both works is equivalent. In order to do so, the film takes advantage of the specificities of its medium to represent elements that, due to each medium s nature, cannot be transposed into a film.<br><br>Esta pesquisa apresenta uma análise comparativa entre o romance de Philip K. Dick A Scanner Darkly (O Homem Duplo  1977) e a adaptação cinematográfica homônima feita por Richard Liklater em 2006. O foco desta análise é o tema da identidade pós-moderna, usando como base teórica as questões sobre identidade e pós-modernidade problematizadas por teóricos como Fredric Jameson e Stuart Hall. A partir desta análise, é possivel observar como o tema da identidade pósmoderna é ubíquo e ambas as obras. Para analisar as questões relacionadas a adaptação, foram utilizadas as ideias de acadêmicos como Dudley Andrew e Robert Stam, assim como do teórico André Bazin. As diferenças entre um romance e um filme que narram a mesma história são inevitáveis. Porém, o que é possível ver no caso de A Scanner Darkly é que o tratamento e a ênfase dados ao tema da identidade pós-moderna em ambas as obras é equivalente. Para tanto, o filme utiliza as especificidades do seu meio para representar possíveis elementos que, por conta da natureza de cada meio, não podem ser transpostos para o cinema.
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Ye, Jasmine E. "Identity and Trauma in A Song of Ice and Fire." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/505.
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In George R. R. Martin's magnum opus, A Song of Ice and Fire, the fragmentation of the land mirrors a fragmentation of the self as many of Martin's characters lose their grips on their sense of identity due to the chaos caused by the ongoing civil war in Westeros and ultimately undergo an identity crisis. This thesis seeks to explore the ways in which George R. R. Martin utilizes the identity crisis as an instrument for obtaining a sense of agency and autonomy over oneself, particularly through the lens of trauma.
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Reed, Clare Louise. "Crises of identity in Jewish American lesbian literature from 1979 to the present." Thesis, University of Reading, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.553051.
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This thesis examines the portrayal of Jewish lesbians in American literature since 1979. As well as a study of Jewish lesbian identity, the thesis examines how Jewish identity exists in literature separate from lesbian identity, and vice versa. In this representative sample of texts from the period, several kinds of text are used (fiction, non-fiction, magazine articles and television) to draw conclusions about how Jewish lesbians see themselves, and how they are seen by others. Above all, the complexities and crises in this complex identity will be drawn out and discussed with specific reference to how the identity exists, is permitted to exist, or cannot exist within literature, and by extension, within individuals. These crises often occur around the combination of Jewish and lesbian identities: the acceptance of lesbians within a religion which traditionally forbids same-sex relations, adherence to a religion that is considered by many lesbians and feminists to be patriarchal, and overcoming the paradox of secular Judaism as a comfortable middle-ground from which one can be both Jewish and lesbian. The changes in identity that occur as a result of passing time will also be noted, and how far changing attitudes in America as a whole towards both ethnic and sexual diversity have an effect on personal identity will be another theme of this thesis. Works by Adrienne Rich (1986), Irena Klepfisz (1990), Evelyn Torton Beck (1982), Ruth Geller (1984), Leslea Newman (1988), Elana Dykewomon (2009) and Sarah Schulman (2009) will be studied, as well as the popular Lilitb magazine (1985-1995) and network television shows Friends (1994-2004) and Buffy the Vampire Slayer (1997-2003), demonstrating how far this very specific but highly pervasive identity is part of popular culture as well as the Jewish lesbian community.
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Coetsee, Jarryd. "Separate and warring selves : identity crises in Africa in Shiva Naipaul's "North of South: an African journey"." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2016.
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Thesis (MA (English Studies))--University of Stellenbosch, 2009.<br>ENGLISH ABSTRACT: This project seeks to analyze the representation of identities in Shiva
Naipaul's travel narrative North of South: An African Journey (1978) as
encoded in the binaries of primitive / traditional; civilized / modern; settler /
native; civic / tribal and neo-colonial / liberated. By analyzing this select series
of identities, this project aims to explore the fractured nature of identity as
constructed in the post-colony. It will argue that the identities are rendered
unstable by the ungrounded nature of the post-colonial space in which they
are located. Naipaul concludes his travel narrative by qualifying the postcolonial
situation as an abortion of Western civilization in the trope of
Conrad's Kurtz. Naipaul implies that any identity in Africa is a simulacrum, a
phantom double, a copy of something that was not there to begin with. He
attempts to articulate the diverse cultures that he encounters as though he
were apart from them without recognizing that he is essentially and
inextricably a part of the various cultural articulations themselves. It is easy to
criticize Naipaul, therefore, as a non-starter. With the advantages of hindsight,
however, it is possible for the contemporary reader to recognize these
instabilities as evidence of the post-modern phenomenon in which reality is
not an absolute. As a modernist writer, Naipaul's efforts to understand these
instabilities of identity as an articulation of culture are circumvented by a
Sisyphean struggle wherein he attempts to establish a sense of ontological
alterity in the narrative yet implicates himself, as well as his invocation of
archival literature and hence his ultimate position of disillusionment,
hopelessness and doom.<br>AFRIKAANSE OPSOMMING: Hierdie projek poog om die verteenwoordiging van identiteite in Shiva Naipaul
se reisverhaal, North of South: An African Journey (1978), gekodeerd met die
binere van die primitiewe / tradisionele ; beskaafde / moderne; setlaars /
inheemse; staats / etniese; en neo-kolonialisme / vryheid, te analiseer. Deur
die analise van die gekose reeks identiteite, neig die studie om die gebroke
aard van identiteit in In post-koloniale omgewing te ondersoek, en te redeneer
dat die identiteite bemoeilik word deur die ongegronde natuur van die postkoloniale
ruimte waarin hulle voorkom. Naipaul omvat North of South om die
post-kolonialistiese situasie te kwalifiseer as In aborsie van die Westerse
beskawing in die metafoor van Conrad se Kurtz. Naipaul impliseer dat enige
identiteit in Afrika In simulacrum is, In spookbeeld, 'n kopie van iets wat nooit
was nie. Hy poog om die menigte kulture wat hy ondervind te omskryf asof hy
van hulle verwyder is, sonder om te besef dat hy volledig deel uitmaak van die
geleding van hierdie kulture, en dit is daarvolgens maklik om Naipaul as 'n
mislukking te kritiseer. Met die duidelikheid van In moderne leser se terugblik
is dit wei moontlik om hierdie onkonsekwenthede as bewyse te sien van die
post-modernistiese verskynsel waarin realiteit nie In absoluut is nie. As In
modernistiese skrywer is Naipaul se bemoeienis om hierdie onbestendigheid
van identiteit as 'n omskrywing van kultuur te verstaan belemmer deur 'n
Sisyphiesestryd waarin hy poog om In sin van die andersheid van die aard
van die werklikheid in die storielyn te vestig, maar tog impliseer hy homself
asook sy gebruik van argiefmateriaal, en vandaar sy uiteindelike posisie van
ontnugtering, hopeloosheid en verwoesting.
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Montgomery, Katherine Frances. ""Drear flight and homeless wandering": gender, economics, and crises of identity in mid-Victorian women's fiction." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/6809.
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My dissertation begins with the central crisis of Jane Eyre, in which Jane flees Thornfield Hall after her failed marriage, is unable to find work, and almost dies of exposure and starvation on the moors. She finds herself asking "What was I to do? Where to go? Oh, intolerable questions, when I could do nothing and go nowhere!" I suggest that this passage, and others that echo it in Villette and works by Elizabeth Barrett Browning, Mary Elizabeth Braddon, and George Eliot can be read in terms of early Victorian anxieties over middle-class women's inability to support themselves should they need to. Most literary criticism on women and work focuses on the end of the century, which saw an explosion of the topic in public debate and literature of the time; in my work, I explore how these discussions and anxieties about women's work were developing much earlier than is usually discussed. While the fin-de-siècle figure of the New Woman characteristically moves through urban landscapes in ways that emphasize her independence (alone, on bicycles, on buses, to and from places of work and her own domicile), earlier middle-class Victorian women walk out of domestic spaces that are not their own, and any brief sense of freedom is swiftly followed by a sense of desperation or need. These women wander through economic landscapes in ways that point to their profound state of dependence and their inability to support themselves. Given that women are still, today, the first economic victims of a recession, I am interested in tracing how women writers started responding to this vulnerability almost as soon as it became visible with the establishment of an industrial economy and the rise of the middle class in early- and mid-Victorian England.
While some extant criticism examines Victorian gender and economics in literature on a text-by-text basis, I propose a comprehensive model with four modes for understanding how woman move through economic and physical landscapes in Victorian fiction: 1) in a mode of desperation that points to a fundamental problem with middle-class women's vulnerable economic position (Bronte's Jane Eyre and Villette); 2) in a mode of learning to better understand their limited but relative privilege compared to working-class women (Barrett Browning's Aurora Leigh); 3) in a problematized mode of successful self-reinvention, prompted by economic aspirations, that poses a danger to conventional social hierarchy and therefore marks the woman as errant or evil (sensation fiction, Braddon's Lady Audley's Secret and Aurora Floyd); and 4) in a mode of self-revelation in which a woman comes to realize how her own perpetual state of dependence has affected her choices (Eliot's Daniel Deronda and Middlemarch). Desperation, comprehension, problematic self-invention, revelation: Victorian women's wanderings consistently point to, through the movement of the woman's body, the ways that the woman is an economic subject, perhaps before she is anything else.
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Kenqu, Amanda Yolisa. "The black and its double : the crisis of self-representation in protest and ‘post’-protest black South African fiction." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020835.
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This study explores the crisis of representation in black South African protest and ‘post’-apartheid literature. Conversant with the debates on the crisis of representation in black South African protest literature from the 1960s to the late 1980s, the dissertation proposes a re-reading of the ‘crisis’ by locating it in the black writer’s struggle for an aesthetic with which to express the existential crisis of blackness. I contend that not only protest but also contemporary or ‘post’-protest black South African literature exhibits a split or fractured mode of writing which is characterised by the displacement/unheimlichheid produced by colonialism and apartheid, as well as by the contentious nature of that which this literature endeavours to capture – the fraught identity of blackness. In my exploration of the split or double narratives of Mongane Serote’s To Every Birth Its Blood, K. Sello Duiker’s Thirteen Cents, and Kopano Matlwa’s Coconut, I examine the representation of blackness through the themes of violence, trauma, powerlessness, failure, and unhomeliness/unbelongingness – all of which suggest the lack of a solid foundation upon which to construct a stable black identity. This instability, I ultimately argue, suggests a move beyond an Afrocentric perspective on identity and traditional tropes of blackness towards a more processual, fluid, and permeable post-black politics.
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Klimchak, Amre L. "Being Towards Death of a Salesman." Digital Archive @ GSU, 2005. http://digitalarchive.gsu.edu/english_theses/3.
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Šiaučiulytė, Rūta. "Postmodernistinė asmenybės krizė fantastinėjė literatūroje: P. K. Dicko romanas "Ubikas"." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2005. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2005~D_20050613_212513-96470.
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The common modern concept of the human identity – an individual, integrated ego perception – is no longer adequate to the world of today and tomorrow as it is frayed and changes in a crazy speed. The sure knowledge of the cognizable world, clear apprehension of self confines, roots and being of environment looses it‘s background. The lost of the vital apprehension of the self and the world is the base of the talk on the identity crisis which can have global subsequence as the humanity have lost the old self apprehension and still does not have a new one.
This paper analyzes few problems. The first is the concept of the identity. The notice is taken to the identity treat in the psychological, sociological literature and the causes as well as the outcomes of identity crisis specified in it. The concept and the problem of the postmodern are concurrent: it is negotiable if the postmodern is the cause of identity crisis as well as the possibility of identity crisis being the premise of the postmodern.
For the long time science fiction was and still is the margin of mainstream literature. The postmodern pays a serious attention to the periphery, no account if it is margins of society or culture, or the direct expression of them in the literature. The lively interest in the science fiction is growing as it is treated as the concentrated self-expression of the human. It is quite often compared with the cyber culture as they both conceal human crisis, manias and phobias under the... [to full text]
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Green, Alan Edward Jr. "Altered States of Reality: The Theme of Twinning in David Lynch's Lost Highway." Scholar Commons, 2006. http://scholarcommons.usf.edu/etd/3758.
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As a postmodern director, David Lynch makes films which are innovative, evocative, and uniquely his own. The theme of twinning, in particular, is recapitulated throughout the director's oeuvre; however, it is with Lost Highway that the thematic element he addresses takes center stage. The film's main character Fred Madison (Bill Pullman) is unable to cope with the trauma in his life. After killing his wife and finding himself on death row, he has a parallel identity crisis; he manages a metamorphosis into a younger, virile Pete Dayton (Balthazar Getty). The method which allows this transformation is the psychogenic fugue: a fantasy which creates an alternate reality caused by the subject's refusal to see objective truth(s).
As the plot progresses, there are several more characters who develop alter egos. These other important twinnings include Fred's wife Renee/Alice (Patricia Arquette), Mr. Eddy/Dick Laurant (Robert Loggia), and the Mystery Man played by Robert Blake. Of all the doppelgangers, the Mystery Man is vital to the unraveling of the story; he is an abstraction and can exist in several places at one time. He is a symbolic function of the superego which allows Fred to carry out the mission.
Lynch also uses the Moebius Strip as another tool to interweave reality and fantasy into the plot. The story can have a litany of meanings because of the twist in the strip. It allows overlap in the space/time continuum. The use of this concept is invaluable in applying certain types of analysis to the film. Among others, Jacques Lacan , Sigmund Freud, and Slavoj Zizek are central to defining the film. Lynch shows the audience that fantasy cannot subvert reality. It is only a temporary fix. Fred Madison's twinning is unsuccessful in the end. He is forced to continue riding his own lost highway until another new reality is created.
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Dederer, Teresa L. "A Claiming." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1490631625304669.
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Ferreira, José Ribamar. "A construção da subjetividade na obra de Antonio Tabucchi: Afirma Pereira." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/19747.
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Previous issue date: 2017-02-17<br>This research aims to investigate the construction of subjectivity in Antonio Tabucchi’s novel Afirma Pereira, as well as the writing resources used by the author in the making of a certain type of subject amidst the existential uncertainties in the end of the 1930s, in the context of the Salazar regime. The analytical bias of this study assumes that Antonio Tabucchi proposes, throughout the novel, literature as a form of political resistance, and also the construction of one’s subjectivity in the search of self-affirmation in the middle of Portugal’s totalitarian ideology. Moreover, this research demystifies the ideological discourses that have contributed to the deconstruction of the subjectivity of the subject, such as alienation, self-restraint, and solitude. We furthermore identify in Afirma Pereira the identity crisis of the modern man, who was trapped in his “hegemonic self” and, therefore, alienates himself. Finally, we problematize the appearance of existential problems experienced by the character Pereira in that very troubled period of the history of Portugal, such as anxiety, melancholy, fear, insecurity, solitude, and uncertainties, among other symptoms of that country’s social-historical situation during the Salazarism. Concerning the construction of the subjectivity, the research is based on the reflections of Jean-Paul Sartre, Kierkegaard, Fernando Pessoa, Octavio Paz, and other authors. Through this research, we hope to communicate to the reader that it is indeed possible, from the enunciative voice of Afirma Pereira’s testimony, to elucidate and demystify ideological discourses and ethnocentric paradigms that prevail over people’s consciousness and prevent them from asserting themselves in the world<br>O objetivo desta pesquisa é investigar a construção da subjetividade no romance Afirma Pereira, de Antonio Tabucchi, e quais os recursos de escrita de que o autor se vale para construir certo tipo de sujeito em meio às incertezas existenciais no final da década de 1930, no contexto salazarista. A pesquisa se dá pelo viés da análise de que Antonio Tabucchi traz presente no romance a literatura como resistência política, a construção da subjetividade do sujeito em busca de se autoafirmar em meio as ideologias totalitárias de Portugal; também desmistifica discursos ideológicos que contribuíram para a desconstrução da subjetividade do sujeito bem como: a alienação, o comedimento, a solidão entre outros. Identificamos ainda, no romance Afirma Pereira, a crise de identidade do homem contemporâneo, que se prendeu no seu “eu hegemônico” e por isso se aliena. Por fim, problematizamos a aparição das problemáticas existenciais vivenciadas pela personagem Pereira, naquela fase tão conturbada de Portugal, entre elas: ansiedade, melancolia, medo, insegurança, solidão, incertezas, entre outros sintomas da situação sócio-histórica do país durante o salazarismo. Fundamentam a pesquisa, em relação à construção da subjetividade, as reflexões de Jean-Paul Sartre, Kierkegaard, Fernando Pessoa, Otávio Paz e outros autores. Esperamos, por meio da nossa pesquisa, dizer ao leitor que a partir da voz enunciativa do testemunho do romance Afirma Pereira, é possível sim, elucidar e desmistificar discursos ideológicos e paradigmas etnocêntricos que sucumbem a consciência das pessoas, impedindo-as de se autoafirmar no mundo
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Phung, Huu Hai. "L'identité en crise dans les romans d'Isabelle Hausser." Phd thesis, Université Michel de Montaigne - Bordeaux III, 2012. http://tel.archives-ouvertes.fr/tel-00766155.
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L'identité en crise est le thème majeur des romans d'Isabelle Hausser, particulièrement dans les quatre romans suivants : ''Les magiciens de l'âme'', ''Une comédie familiale'', ''La table des enfants'' et ''Le passage des ombres''. Dans l'univers romanesque de cet auteur, les héros s'interrogent en permanence non seulement sur l'identité de leur entourage mais aussi sur la leur. Ils sont tombés dans une situation angoissante et très perturbée dans laquelle ils découvrent la destruction irrésistible de leur ancienne image d'eux-mêmes, celle dont ils ne doutaient jamais. A partir de ce moment là, la confiance dans l'unité de soi n'existe plus pour ces personnages. Plus que jamais, face à un monde instable et plein de doutes, ces hommes de notre temps ne ''sauront jamais toute la vérité''. Ils sont condamnés à vivre avec la remise en question des certitudes. Alors, l'homme moderne devient parfois pitoyable et mélancolique. D'ailleurs, dans ses romans, Isabelle Hausser souligne remarquablement le processus de la prise de conscience par ses personnages de leur crise identitaire. Elle esquisse aussi l'espoir qu'ils ont de connaître un peu leur identité à travers l'amitié, la musique, et elle suggère une attitude raisonnable : accepter la vie telle qu'elle est. Cette idée pourrait être considérée comme une marque de sagesse dans l'œuvre mélancolique d'Isabelle Hausser.
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Woods, Ashley-Ann Dorn. "Adolescent Transformation In the Short Stories of Carson McCullers." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1196.
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Carson McCullers's neglected short stories "Sucker", "Like That", and "The Haunted Boy" depict stark adolescent crises. Her character analyses dramatize important elements of many theories of adolescent psychology. Each of these stories depicts what happens when something goes horribly wrong in the course of an already difficult stage of life. In "Sucker" two different stages of adolescent development collide. Pete and Sucker go through different psychological adjustments. The two boys discover the difficulties of adolescent romance, hero-worship, peer group formation and exclusion, and power reversal. The narrator in "Like That" struggles with her Peter-Pan complex as she witnesses her sister go through an adolescent romance. She despises - and fears - the changes that adolescence and adulthood bring to her life and her family. "The Haunted Boy" explores the struggles of Hugh as he deals with issues of adult imitation, lack of a strong male role model, peer loyalty, and emotional repression.
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Moot, Dennis. "Visual Culture, Crises Discourse and the Politics of Representation: Alternative Visionsof Africa in Film and News Media." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1596021641358625.
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Israni, Vinita. "The Identity Crisis of Design." Research Showcase @ CMU, 2015. http://repository.cmu.edu/theses/84.
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The general population does not easily understand what design is (and is not) as a discipline. More surprisingly, designers have a hard time articulating the value of design. There is no universal lexicon, unifying institution, or tangible framework for understanding design that currently exists, allowing for many different philosophies, approaches, and definitions of the subjects, each justified in its own right but leading to inconsistent perceptions of the field of design overall.
The purpose of this thesis is to take these inconsistent definitions of design and attempt to create a common understanding. The value of this communication will help broaden the understanding of design as a discipline, in turn providing both monetary and emotional value for designers.
After considerable research with design educators, students, and professionals, the opportunity space to create a framework for methods for reflection and communication arose. The proposed solution, Design Dive, is a 21-day design challenge aimed to help designers (both practitioners and students) better articulate and communicate the nature of their work. The challenge is broken up into a discrete daily activity to be carried out by the participant in less than 10 minutes per day. The activities range in design methods, from defining design as a discipline to defining a more personal definition based on a designer’s trajectory and workflow. The online component provides a platform through which the activities can be documented, shared, compared, and critiqued.
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Nava, Tomas Hidalgo. "Through the Eyes of Shamans: Childhood and the Construction of Identity in Rosario Castellanos' "Balun-Canan" and Rudolfo Anaya's "Bless Me, Ultima"." BYU ScholarsArchive, 2004. https://scholarsarchive.byu.edu/etd/146.
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This study offers a comparative analysis of Rosario Castellanos' Balún-Canán and Rudolfo Anaya's Bless Me, Ultima, novels that provide examples on how children construct their identity in hybrid communities in southeastern Mexico and the U.S. southwest. The protagonists grow and develop in a context where they need to build bridges between their European and Amerindian roots in the middle of external influences that complicate the construction of a new mestizo consciousness. In order to attain that consciousness and free themselves from their divided selves, these children receive the aid of an indigenous mentor who teaches them how to establish a dialogue with their past, nature, and their social reality. The protagonists undertake that negotiation by transgressing the rituals of a society immersed in colonial dual thinking. They also create mechanisms to re-interpret their past and tradition in order to create an image of themselves that is not imposed by the status quo.
In both novels, the protagonists have to undergo similar processes to overcome their identity crises, including transculturation, the creation of sites of memory, and a transition from orality to writing. Each of them resorts to creative writing and becomes a sort of shaman who pulls together the "spirits" from the past, selects them, and organizes them in a narration of childhood that is undertaken from adulthood. The results of this enterprise are completely different in the cases of both protagonists because the historical and social contexts vary. The boy in Bless Me, Ultima can harmoniously gather the elements to construct his identity, while the girl in Balún-Canán fails because of the pressures of a male-centered and highly racist society.
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Agnihotri, Rama Kant. "Crisis of identity : Sikhs in England /." New Delhi : Bahri publ, 1987. http://catalogue.bnf.fr/ark:/12148/cb366834806.
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Putignano, E. "'IL NOSTRO BREVE TEMPO PASSERA QUI'LUOGHI DELL'ADOLESCENZA IN VILDANDEN DI H. IBSEN, ELVEGATEN E BARNET SOM ELSKET VEIER DI C. SANDEL E IS-SLOTTET DI T. VESAAS." Doctoral thesis, Università degli Studi di Milano, 2016. http://hdl.handle.net/2434/399859.
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ABSTRACT
This thesis examines the relationship between adolescent female characters, as represented in the work of three different authors from Norwegian Literature (Henrik Ibsen, Cora Sandel and Tarjei Vesaas), and the particular descriptions of the places inhabited or lands travelled by those characters. From the latter part of the 19th century and throughout the 20th century, childhood and the transition to adulthood have fascinated intellectuals, artists and people of science alike in terms of the wider perspectives offered relating to the process of formation of human identity. None more so than, adolescence – the transitional period between the reality of childhood and that of adulthood. It is a metamorphic, ever-changing period which cannot easily be defined nor labelled; it is characterised by a tumultuous display of contrasting tensions which reflect a vacillating and fermenting identity equilibrium. In short, it is a time of crisis that mirrors the radical revolution within the inner structure of the individual. It causes a heightened creative potential, precisely at a moment when new balances are being forged and refined.
In this thesis it is argued that even in texts written by various authors from different periods, it is possible to discover a common tendency to portray “the places of adolescence” with a similar array of symbols and motives. The landscape hosting the adolescent characters tends to display attributes which correspond to those of the characters themselves. Such places could be called isomorphic, using a notion derived from the field of Anthropological Studies. Ambiguity, paradox and a subversive drift are typical of those spaces. They are unstructured, unstable and ephemeral places that perpetually reformulate their own meaning and identity. Within them, everything is possible – every road can be discovered and taken which can lead towards the very edges of imagination. Those places embody realms of pure possibility, intimately connected to the structure of crisis which is characteristic of the adolescence years. Referring to the works of the psychoanalysts Erikson, Winnicott and Kristeva, an open and metamorphic structure has been postulated – a structure of crisis – for all the literary places where the adolescent subject is free to develop and grow in a creative way. Following Roland Barthes’ theory about the Neutral as that which “outplays the paradigm”, the convention adopted is that such places are considered neutral - ambiguous and rebellious, something that cannot be reduced to a fixed definition. Using a category firstly introduced by Erikson regarding identity structures, other places – which at first can bear some resemblances with those of crisis – are considered rigid and close. In them no real movement is possible and all roads reveal themselves as dead ends.
Analysing Vildanden (1884, The Wild Duck) by Henrik Ibsen, Elvegaten (1924, The Street On the River) and Barnet som elsket veier (1947, The Child Who Loved the Streets) by Cora Sandel and eventually Is-slottet (1963, The Ice Castle) by Tarjei Vesaas, examples of both types of landscapes are revealed, ones of creativity and growth and others of stasis and death.
Referring to Ibsen’s Vildanden, the analysis will focus on the hidden loft where the wild duck is kept in captivity. Although being a real space, the loft is never completely visible to the audience, a detail which triggers the spectator’s and the reader’s imagination. It is a place where fantasy can thrive and where new stories are free to take shape. The creative characteristics within the loft draw an association of imagery with water which holds ambiguous meanings. This place gradually reveals itself as being intimately bound to the young main character’s tragic destiny.
In Sandel’s Elvegaten and Barnet som elsket veier isolated streets and country roads are seen to embody freedom and creativity. They contrast sharply with the busy streets of the bourgeois town, where the individual feels hemmed by social conventions and forced into a pattern which is imposed from the outside. No real inner maturation is possible there.
In Tarjei Vesaas’ Is-slottet two areas are particularly meaningful for the analysis in question : The ice-castle, where one of the two main characters – Unn – gets lost and dies, and the streets which accompany the other character – Siss – first into a state of confusion and isolation and then back to life.
Having tailored relevant methodologies and an original theoretical framework to investigate the nature of similar literary landscapes, future extension using such convention could be applied to analyse works which describe other literary spaces that reflect different crisis points during human development.
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Prickett, David J. "Body crisis, identity crisis homosexuality and aesthetics in Wilhelmine- and Weimar Germany /." Cincinnati, Ohio : University of Cincinnati, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1053700766.
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Kaftan, Eylem. "Identity in crisis Turkish cinema post 1980 /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0015/MQ59178.pdf.
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Bernath, Amy L. "Representations of Identity and the Crisis Triangle." Ohio University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1194525327.
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Rogers, Katina Lynn. "Identity crisis: Modernity and fragmentation (Gerard Gavarry, France)." Diss., Connect to online resource, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1433506.
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Ward, Matthew R. "Identity in crisis : the politics of humanitarian intervention." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/4456.
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This thesis examines the theory and practice of humanitarian intervention in the early post-Cold War era. Taking as its basis US policy towards Somalia, Rwanda and Haiti between 1992 and 1994, it develops a theory of humanitarian intervention based on constructivist and scientific realist principles. Using identity as the organising concept, the thesis examines the meta-theoretical precepts of constructivism and scientific realism, which are developed into a methodology for analysing questions of foreign policy. Incorporating critical insights from sequential path analysis, morphogenetic social analysis - the notion of a dynamic mutual constitution of structure and agency - and constructivist social theory, the case studies provide a useful new means of conceptualising humanitarian intervention as a foreign policy practice through an identity-driven analysis. The findings of the research shed much light on this practice and its future prospects. They also suggest new directions for a scientific realist/constructivist research agenda.
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Boulos, Sarah. "Identity crisis? the writing of England, 1130-1230 /." Tallahassee, Fla. : Florida State University, 2008. http://purl.fcla.edu/fsu/lib/digcoll/undergraduate/honors-theses/341814.
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Kopec, Andrew. "Economic Crisis and American Literature, 1819-1857." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365760287.
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Galpin, Charlotte Amy. "Euro crisis - identity crisis? : the single currency and European identities in Germany, Ireland and Poland." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/5634/.
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This thesis examines the effect of the Euro crisis on the construction of European identities in three case study countries- Germany, Ireland and Poland. Combining a social constructivist approach to European identities with the constructivist and discursive institutionalist literature on ideational change and crisis, it investigates the extent to which the crisis constituted a 'critical juncture' for European identity discourses. Through extensive qualitative frame analysis of political and media discourse at key moments of the crisis, it examines how European identities are constructed through the debates about the crisis. The central argument is that the Euro crisis has had little effect on European identities because actors construct the crisis in their respective national contexts. In doing this, they draw on existing identities and ideas which then 'endogenises' the crisis into the existing national discourses. Where identity change is possible, it is subtle rather than a dramatic shift. Nevertheless, this does not mean that the EU has remained completely unified. Because the crisis generally serves to reinforce, rather than challenge, existing identities, attachments to national sovereignty and old national stereotypes have created or reinforced divisions particularly between northern and southern Europe and core and periphery.
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Galpin, Charlotte. "Euro crisis - identity crisis? : the single currency and European identities in Germany, Ireland and Poland." Thesis, University of Bath, 2014. http://opus.bath.ac.uk/42493/.
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Sheaffer, Lisa. "Identity crisis why do general women's sport magazines fail? /." [Gainesville, Fla.] : University of Florida, 2005. http://purl.fcla.edu/fcla/etd/UFE0011831.
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Peek, Lori Ann. "The identity of crisis: Muslim Americans after September 11." Diss., Connect to online resource, 2005. http://wwwlib.umi.com/dissertations/fullcit/3178351.
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Kim, Jeanna P. "Hong Kong Nostalgia Cinema: Loss, Memory, and Identity Crisis." Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/259.
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This paper observes Hong Kong nostalgia cinema. After the Sino-British Joint Declaration was signed, a tendency of anxiety loomed among the society of Hong Kong. People started to feel nostalgic toward their past and concerned their uncertain future. From the late 80s to mid 90s, nostalgia films were produced as a trend, reflecting Hong Kong's identity crisis of its ambiguous entity and fear of reuniting with its Communist motherland. Based on Hong Kong's historical and cultural backgrounds, my thesis examines the nature of nostalgia through Stanley Kwan's Rouge (1988) and the impact of nostalgia by contrasting John Woo's A Better Tomorrow (1986) and Wong Kar-wai's Days of Being Wild (1990).
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Smither, Devon. "Identity crisis : the nude in 1930s modern Canadian art." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/27693.
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In their unwillingness to fully assimilate or relate the human body to its surroundings, many artists who painted nudes in the 1930s in Canada found their works the subject of censure and moral debate. Rather than becoming the site of praise for a new Canadian sensibility in the visual arts, the nudes painted in this period would not come to be associated with a uniquely Canadian artistic practice, and the genre failed to assume a pivotal place within the canon of Canadian art history. Viewers could not imagine themselves as heroic pioneers in front of a painting like Lilias Torrance Newton’s Nude (1933), or could they see anything distinctly modern and revolutionary in its execution that would allow them to hold up such an image as an example of an inherently Canadian art. The nude in Canada did not incite the admiration of an art-going public who instead came to associate a national art movement with the landscape paintings of the Group of Seven. Censored, debated, praised, and criticized, the nude genre ultimately failed to have the same impact as landscape painting on the visual arts in Canada.
Landscape painting was able to mediate the relationship between the natural world and its human inhabitants in a way not offered by the nude or figurative painting. In 1916, Saturday Night magazine published an article jocularly recounting how the typical Canadian artist was a “husky beggar” who pulled on a pair of Strathcona boots and set off into the woods with a rifle, a paddle, and enough baked beans for three months. Such assertions would lead a critic like Barker Fairley to complain later that, “[N]ot one Canadian in a hundred goes into an art gallery looking for anything but hills and trees and lakes and clouds and flowers and fruit.” Ultimately, the nude was not able to provide a collective viewing position that could embody a national sentiment. It was unable to penetrate the Canadian consciousness in a way that would win it a place alongside the rolling topography and pristine lakes of the Group of Seven.
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Baldini, Gianmarco <1997>. "Crisis Leadership: literature review and qualitative analysis of leadership behaviours in times of crisis." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21417.
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The aim of the thesis is, at an initial phase, to go through the most relevant and existing bibliography regarding the leadership theories and styles. In a later stage, crisis situations and leadership will be analysed, taking into consideration leadership reactions and contributions to past crisis. Different crisis leadership theories will be reported and compared, trying to figure out whether the existence of a leadership behaviour and techniques, already discussed by the available literature, can best contribute to crisis resolution. Consequently, basing on the increasing trend of crisis occurrence during the 21st Century, a qualitative interview will be proposed to some selected leaders operating in national and international contexts with the aim to understand commonalities and differences among adopted behaviours during the ongoing pandemic crisis, that might decree the success, or failure of an organization. In the light of the results obtained, a final reflection will be made on how leaders can best deal with times of change and turbulence within their organisations.
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Deakin, Peter. "Masculine identity in crisis in Hollywood's fin de millennium cinema." Thesis, University of Manchester, 2012. https://www.research.manchester.ac.uk/portal/en/theses/masculine-identity-in-crisis-in-hollywoods-fin-de-millennium-cinema(3dbc0abe-2d83-460b-ae95-bf447f608c3e).html.
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At the turn of the millennium, cultural and gender commentators were announcing that an apocalypse was under way. Men were changing. Patriarchy was crumbling. Masculinity, in short, was in crisis. Inaugurating a collective of ‘masculinity in crisis movies’, this thesis contends that Hollywood cinema also had its own relationship to the millennial crisis in masculinity. A relationship that was in fact so prevalent and extensive, that it came to the tune of 23 titles all released in the fin de millennium moment. Each film replicating the terms of wider cultural discourse, each with a representational concern with the crisis and the apparent ‘masculine malaise’.The thesis also proposes that a dichotomous structure underpinned this cinema in which two altering identity complexes were voiced. On the one side, a presence that is distinctly feminine, where existential suffering is relieved through consumerism and conformity; whilst the other, which vitally is (re)-presented as the ‘preferred’, offered a deeply masculine, often hyper-sexual, anarchic and more violent presence. This thesis will seek to investigate these representations, whilst attempting to place them in a broader macro sphere of American socio-cultural history and commentary.From visceral male anger spectacles like Fight Club (1999) and American Psycho (2000), to ‘New Man’ white collar bashing in Office Space (1999) and American Beauty (1999), this cinema seemed to be in direct dialogue with a larger, and vitally elegiac, commentary on masculinity-in-crisis.By marking key distinctions and comparisons between ‘masculinity-as-experienced’ in socio-cultural and historical readings and ‘masculinity-as-represented’ in textual approaches to the films and their surrounding paraphernalia, this work engages with both the real and reel at the fin de millennium moment. The thesis demonstrates why the concept of a single, fixed and unified ‘authentic’ definition of masculinity may be untenable, and why perhaps this cinema seemed to struggle to avoid essentialism, irony and self-parody as fragmented characters seemed to offer equally fragmented promises of redemption through ‘traditional’ displays of masculinity.What were the origins of the ‘crisis’, and how far was the crisis an actual or primarily a discursive one? Did this cinema help create or propel the crisis rather than sooth it, and how did the representation of ‘schizophrenic’ or ‘bipolar’ masculinity speak to the crisis and its audiences in general? Why did this section of Hollywood cinema decide to re-present these identities and what, if anything, can we learn from them? This research seeks to provide answers to these questions.
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Ross, Jason. "The Declaration of Independence and the crisis of American identity." Connect to Electronic Thesis (CONTENTdm), 2008. http://worldcat.org/oclc/453941683/viewonline.
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Williams, Heather Margaret. "Mallarme and the crisis of metaphysical language." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267666.
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Moyle, Sally. "Identity crisis within the role of the emergency nurse practitioner? : an exploration of autonomy and identity." Thesis, University of the West of England, Bristol, 2018. http://eprints.uwe.ac.uk/32454/.
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Aims: Whilst the Emergency Nurse Practitioner (ENP) role is now well established within urgent care settings in the UK, it has evolved in an ad hoc manner with a range of titles and scope of practice. This study explored the concepts and perceptions around issues of professional identity and autonomy within the role, and identified the factors that contribute (positively or negatively) to a sense of professional identity. The introduction of the national Advanced Clinical Practitioner (ACP) framework is explored in relation to supporting career development and identity. Methods: A qualitative approach was adopted to explore in depth attitudes and perceptions of professional identity amongst a group of ENPs from two different settings; a nurse-led unit and a multi professional Emergency Department. A case study methodology was chosen, and data was collected using focus groups and semi-structured interviews. The data was analysed using the Braun and Clarke (2013) thematic analysis method. Results: The study identified several key factors that influenced the ENPs’ sense of professional identity. These fit broadly into three categories: career structure; education; the role. Participants reported high levels of pride and self-confidence related to the delivery of high quality care and their clinical expertise, and gained job satisfaction from the autonomous nature of the role. Participants also reported feelings of uncertainty, and were less confident in other areas such as relationships with other nurses, the public perception of the role, education and career structure. Discussion: Participants in this study described moving away from their traditional nursing practice and expressed that they felt different to other nurses, although they were clear that they were not a doctor substitute. The work of Bhabha (1994) explores the concept of the ‘third space’, whereby two different cultural systems come into contact and those operating within this space combine elements of both to create something new. This thesis applies this concept to the findings of the study, and suggests that ENPs have adopted a hybrid role that is operating within a ‘third (or hybrid) space’, where new identity is formed. Conclusion: ENPs play an important role within the urgent care setting, and professional identity is an important facet of the role as it relates to autonomy and job satisfaction. This in turn impacts on organisational loyalty and retention. The development of a standardised national framework for the development of the ACP is a welcome development, but will require support from educationalists, employers and commissioners to ensure that all four pillars of advanced practice are developed to ensure the success of the role is fully maximised for both practitioner and employer.
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Kaser, Sandra Earlene 1947. "Exploring identity through responses to literature." Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/288975.
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This dissertation is a teacher research study that focuses on reflection and literature response as a way to explore the identity development of children in my own fourth and fifth grade multiage classroom. I looked at drama, literature discussion, written responses, and visual images to explore how students construct their own identities within a school context. Data sources included audio and video tapes and transcripts, journals, field notes, photographs and student artifacts. The data was analyzed in three ways. The first part of the analysis is a discussion of the categories of students' issues. The second analysis section explores the spaces in the curriculum that allowed these issues to emerge or to be thought about more deeply. The third section of analysis is three case studies presented as photo documentaries. Each case study is an example of one of the three categories of identity construction: integrated, conceptual, and situational. The study speaks for learning experiences that are open-ended and which allow for collaboration, reflection, dialogue and personal response. The power of literature to support such learning experiences as relate to identity construction is evident. Creating space to consider issues of identity construction is to truly value diversity in the classroom.
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Tol, Ugras Ulas. "The Sustainability Crisis Of Alevis." Phd thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/12610507/index.pdf.
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One of the important agendas of Turkey in the 2000s has been the &ldquo<br>Alevi Revival&rdquo<br>. The subject of this thesis, which claims that Alevis are in a search of identity rather than in a period of revival, is the sustainability crisis of the Alevis. Aleviness which has not been mentioned in the political sphere before has now turned into frequently spoken phenomenon. In this &ldquo<br>Open Aleviness&rdquo<br>period Alevis felt themselves more free and relieved and with this sense they started to claim more rights and freedoms. The most important and unexpected consequence of the period for the Alevis is the need for an identification of Aleviness. When Alevis realized the distance they have with Aleviness, they did not adopt different definitions of Aleviness made from different positions. Other identities of Alevis determine what kind of an Aleviness they would become. Nevertheless, while the variety of Aleviness understandings has increased, common points of different approaches have decreased. While Islamic Alevism which is one of the projects aiming at becoming hegemonic tries to sustain the tradition<br>the other one, Political Alevism refers to pressures and assaults of the past. As long as the Alevi elites can generate projects of Alevism which would encapsulate the tradition but differentiate itself from Islam and does not contradict with secularism<br>which could renew the traditional leadership<br>which could define positive elements<br>which have a mechanism of inclusion, and whose members will have the feeling of responsibility the sustainability crisis of Aleviness will deepen.
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Benner, Stephen Thomas. "Collectives in crisis : male bonding in Bertolt Brecht's plays /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488196781734914.
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Painter-Zykmund, Ellen. "The crisis of national identity in Thomas Mann and E.M. Forster." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0001/MQ42088.pdf.
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Blab, Danielle E. "Israeli Identity in Crisis: Cinematic Representations of the 1982 Lebanon War." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23113.
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This thesis engages with the relationship between national identity, security-based narratives, and foreign policy. It focuses on the 1982 Lebanon War as the most controversial in Israel's history because it violated the Israeli societal norm of only fighting wars of self-defence (when there is no alternative to war). Through an examination of Israeli films about the 1982 war – Ricochets, Time for Cherries, Cup Final, Waltz with Bashir and Lebanon – this thesis studies the identity crisis experienced by Israelis after the invasion of Lebanon and the coping mechanisms that helped Israeli society reconcile the war with the security-based narratives that inform collective identity in Israel.<br>Cette thèse a pour objet la relation entre l’identité nationale, les récits sécuritaires et la politique étrangère. Elle se base sur la Guerre du Liban de 1982 en tant que guerre la plus controversée des guerres israéliennes en raison de sa contradiction avec la norme israélienne de seulement mener des guerres de légitime défense (à savoir lorsqu'il n'y a aucun autre recours que la guerre). À travers un examen des films israéliens qui traitent de la guerre de 1982 – Ricochets, Time for Cherries, Cup Final, Waltz with Bashir et Lebanon – cette thèse discute de la crise identitaire vécue par les Israéliens à la suite de l'invasion du Liban et s’intéresse aux stratégies d'adaptation qui ont aidé la société israélienne à réconcilier la guerre avec les récits sécuritaires qui font partie de la construction de l'identité collective israélienne.
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Lambertson, Kristen. "Mariko Mori and Takashi Murakami and the crisis of Japanese identity." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/1244.
Full textAbstract:
In the mid-1990s, Japanese artists Mariko Mori (b. 1962) and Takashi Murakami (b. 1967) began creating works that referenced Japanese popular culture tropes such as sexuality, technology and the idea of kawaii, or cute. These tropes were associated with emerging youth cultures instigating a “soft rebellion” against social conventions. While emancipated female youths, or shōjo, were criticized for lifestyles based on the consumption of kawaii goods, their male contemporaries, the otaku were demonized for a fetishization of kawaii girls and technology through anime and manga, or animation and comic books. Destabilizing the nation’s patriarchal theory of cultural uniqueness, or nihonjinron, the youth triggered fears of a growing infantilized, feminized automaton ‘alien’ society during Japan’s economically tumultuous 1990s.
In response to these trends, Mori and Murakami create works and personae that celebrate Japan’s emerging heterogeneity and reveal that Japan’s fear of the ‘alien within’ is a result of a tenuous post-war Japanese-American relationship. But in denoting America’s position in Japan’s psyche, Mori’s and Murakami’s illustration of Japan as both victim and threat encourages Orientalist and Techno-Orientalist readings. The artists’ ambivalence towards Western stereotypes in their works and personae, as well as their distortion of boundaries between commercial and fine art, intimate a collusion between commercialization, art and cultural identity. Such acts suggest that in the global economy of art production, Japanese cultural identity has become as much as a brand, as art a commodity.
In this ambivalent perspective, the artists isolate the relatively recent difficulty of enunciating Japanese cultural identity in the international framework. With the downfall of its cultural homogeneity theory, Japan faced a crisis of representation. Self-Orientalization emerged as a cultural imperative for stabilizing a coherent national identity, transposing blame for Japan’s social and economic disrepair onto America. But by relocating Japanese self-Orientalization within the global art market, Mori and Murakami suggest that as non-Western artists, economic viability is based upon their ability to cultivate desirability, not necessarily authenticity. In the international realm, national identity has become a brand based upon the economies of desire, predicated by external consumption, rather than an internalized production of meaning.