Academic literature on the topic 'Transformation of melancholy and alienation'

This research aims to analyzehow the poem “Pasar” in “Fragment Malam –Setumpuk Soneta” by Wing Kardjo reflects and critiques urbanizationand how its intertextual connections with Charles Baudelaire’s “Le Cygne II” in “Les Fleurs du Mal” and Arthur Rimbaud’s “Métropolitain” in “Illuminations” serve as hypograms. Despite Kardjo's significance in modern Indonesian poetry, no studies have explored his poems' engagement with French literature. Through intertextual analysis using Kristeva's framework and comparative studies, it wasfound that Kardjo's poem and French poets share the same themes of modernizationand its impacts. The findings demonstrate that Kardjo’s “Pasar” resonates with Baudelaire's and Rimbaud's poems andrecontextualizesthem within the Indonesian socio-cultural landscape ofthe New Order Era. Theanalysis reveals three primary intertextual themes shared with both Baudelaire's and Rimbaud’s poems: (1) urban transformation, (2) critique of modernization, and (3) nostalgia and melancholy for the past. The themes like (1) loss and displacementand (2) alienation are drawn from Baudelaire’s work,while the theme of industrializationechoes Rimbaud’s poetry. This intertextual study in a transcultural context enhances the understanding of modernity in Kardjo’s work anddemonstrates the French influences that shaped Indonesian poetry.

Clear Light of Day by Anita Desai is one of many novels that visibly exposes an individual’s, a family's, and a nation’s miseries surrounding India’s Partition in 1947. In course of Sharma Sunanda’s stay at Lawley Road in Old Delhi she meets in turn a number of the Das family. Using a non-linear narrative, the story can move from olden times through the present to reflect on the breakdown of society, family, and emotional experiences followed by gradual recovery. The family’s struggles with historical injustices as well as questions of personal agency and the unspoken battles that they have had to face is thus vividly portrayed in all its complexity. From loneliness and resentment, Bim has passed through acceptance and her journey represents the strength to continue. Across the novel are strewn memory, identity, and themes of postcolonial displacement: while at the same time examining gender dynamics especially in Bim’s resistance to patriarchal norms. Desai focuses on how people and families cope with struggles from the past, a way of portraying a sense of sad fatalism which runs through her best-known works. With clear, natural art and a silence that remains in the end, we can only say that Clear Light of Day is a sensitive story about forgiving others, trying to make peace in a world of conflict and overcoming adversity. This paper attempts to redress the balance by demonstrating how Anita Desai portrays the transformation of melancholy and alienation into hope within the Das family. The results of this research should be to investigate how to move from forgiving oneself and remembering past lives, or in other words, aid that stage along by which all is not done in process. We must never let our pasts limit our movements. This novel is read in the light of such things. Symbolizing rebirth, this paper seeks to suggest that Desai’s novel may be viewed as aesthetically parallel to other great poetic works in which human suffering yields transformation and renewal.

Images of alienation in young adult fictions are common, arguably because they mirror the cultural discourses around adolescence as displaced between two (constructed) 'knowable' states: childhood and adulthood. The connection between displacement and melancholy in texts for young adults provides a vast array of narrative symbolism that often blurs reality and fantasy as knowable versus unknowable states respectively. Sonya Hartnett's approach to adolescent introspection and states of melancholy-depression is often confrontational and her (critically acclaimed) young adult fiction interleaves often destructive narratives of incest, familial violence, murder and suicide with contemporary and historical landscapes.'The Ghost's Child' (2007), is a fictionalized and historicized account of individual alienation and sadness whereby, melancholy and depression serve as powerful forces (of lossdesire) able to induce spectral presences in the life of the protagonist in ways that allow fantasy to become a means to negotiate loss and combat alienation. The overt psychological dimensions of the narrative are obviated through images of melancholy, madness, abjection and death. This paper initiates a discussion of the text's psychoanalytic connotations through the ideas of both Freud and Kristeva. However, in order to question if/how the narrative moves beyond the traditional parameters that construct melancholy as either a clinical pathology or a useful literary/aesthetic device, melancholy is also discussed through the ideas of Gilles Deleuze. The incorporation of Deleuze's work enables a way to re-think conventional representations of the melancholic as an essentially abject and marginalised subject position.

The beginning of the XXI century is marked by a rethinking of many issues, one of which is the phenomenon of the earth. The latter was in the center of the discourse of socio-economic, socio-political, philosophical and environmental problems of our time. The history of mankind is the history of relations between the system «man – earth», characterized by ambivalence. Ukrainian philosophical paradigm has always gravitated to the space of human existence, actualizing the problem of human responsibility. However, it is the classics of Ukrainian literature that most acutely identified the problem of human relations with the earth.According to the analysis of scientific literature, the interaction of man and the earth is considered as a practical relationship, as a sacred relationship and as a condition for the formation of the worldview. These modes are considered in the plane of absolutization of the unit approach. The earth as a phenomenon is connected with the social and individual consciousness, but the earth is not considered as a socio-cultural phenomenon. This situation demonstrates the need for a polyparadigm methodology.More and more researchers note that the preservation of human existence can no longer be provided solely by increasing the material and technical base. It means that mankind should assimilate corresponding values of the attitude to the Earth. We are talking about overcoming the alienation of man from the earth as a consequence of the formation of technical civilization. One of the ways, according to the researchers, is the recognition of the sacred nature of the earth.The attitude of man to the earth as to his «body» is embodied in existentials: project, purpose, freedom, responsibility, hope, fear, etc. Architectonics of the earth is a symbol of the house where the person feels harmony with the world around. This approach overcomes the opposition of «man – earth/nature» and forms different models of human behavior. Man presents himself through the attitude to the earth: the processes of socialization, cultural identification, etc. It is the consideration of this principle that is an important methodological basis for the construction of a new system of interaction «man – earth». The destruction of this connection is felt by man at the level of existential experience. A striking example of the formation of a new paradigm of understanding the phenomenon of the Earth is the «Earth Charter». The earth appears as a multilevel phenomenon, where a person acts as a carrier of certain theoretical and practical ideas. At the same time, the earth is a space of human activity. The return to the categories of «beauty», «joy», «melancholy» indicates the beginning of the transformation of the paradigm of thinking. We witness the deviation from the idea of maximum benefit. These categories open new facets of earth existence and possibilities of their comprehension. Thus, turning to the metaphor «body» of the Earth outlines the possibility of creating an ontological image of the earth, and special attention is paid to the problem of actualization of those technologies corresponding to the essence of the earth.

This paper analyses how alienation in Saul Bellow’s Herzog (1964) results in madness and wisdom at the same time. Following this, the researcher will firstly examine the background of alienation and its silent assumptions by highlighting the following features: the search for truth, the marginalization, and the mental paralysis of the hero, Herzog. In line with the findings achieved at this stage, the researcher will secondly study how alienation scrupulously traces Herzog’s madness and wisdom, considering the relationships between alienation, on the one hand, and melancholy, oblivion and escapism, on the other hand. In the second part of this essay, the researcher will argue how madness is reflected in terms of wisdom and sanity. It is the wisdom of the marginalized intellectual in modern American society. Seen from this perspective, alienation and madness are argued to have satirical and allegorical dimensions as they entail reciprocal relationships with wisdom and sanity. The conclusion the researcher seeks to achieve is that when Herzog attempts to bypass and deconstruct the amoral ethics of modern American culture, he unexpectedly goes through various shifts from his being alienated, disregarded, rejected, mad and ultimately wise. Foucault’s (1967) and Deleuze’s (1968) concerns over the issues of madness and alienation prove to be an insightful theoretical platform in this paper.

The paper deals with the connection between melancholy and trauma in Andrić’s story Mustafa Madžar. The occurrence of two medically established conditions proves to be a semantically fruitful ground for observing the psychic and somatic signs that the subject man- ifests cyclically. The character of Mustafa in the work is viewed through the modernist prism of internal destructiveness, which is directly related to external entities: early separation from the family, life in seclusion, war, and mythical heroism. In this way, the avant-garde character of Mustafa is interpreted through the prism of anticipation of early youth and through the prism of emotional old age and psychological disorder, crime, and the final trauma that ends the possibility of salvation. Melancholy is thus transposed into trauma, trauma into crime, and crime into absolute suffering as Mustafa’s final end. The work tries to show the chronology of events and the possibility of dissolving Andrić’s subject to the time before the crime, which is the time of initial trauma, and through the image of forced alienation, which is the begin- ning of melancholy in the hero.

I offer a re-evaluation of Freudian melancholy by reading it in-conjunction with Merleau-Ponty’s analysis of phantom limbs and Marcel Proust’s involuntary memories. As an affective response to loss, melancholy bears a strange, belated temporality (Nachträglichkeit). Through Merleau-Ponty’s analysis of the phantom limb, I emphasize that the melancholic subject remains affectively bound to a past world. While this can be read as problematic insofar as the subject is attuned to both the possibilities that belong to the present and the impossibilities that belong to the past world, I turn to Proust whose writings on involuntary memory indicate a way of taking up these futural (im)possibilities. I focus the discussion on the narrator’s involuntary memory of his grandmother after her death to highlight the creative transformation of his melancholy.

A movie may mirror a person's experiences in life and is not just for amusement. Movies include moral lessons that viewers may learn from. It educates us about attitudes, behaviors, language, culture, and culture. It's simple for individuals to appreciate movies visually as literary. Melancholy is appropriately examined utilizing the alienation idea based on the movie's plot. Human alienation was at first a social phenomenon in contemporary life (Darma, 1995 in Efendi, 2005). Social psychology refers to this as alienation. According to Melville's 1996 short story "About Bartleby," alienation is a type of self-separation from everyone and everything, including other people (Bloom, 2009). The alienated emotion toward anything, including internal and exterior components, is the complexity of estrangement in and of itself. This could incite someone to be antagonistic toward other individuals or society. The purpose of this study was to identify the ways in which Justine, the main character in the film Melancholia, was alienated. The article utilizes some of the earlier research on melancholia that has been conducted by a small number of academics in order to analyze the film. This research was produced under the auspices of the alienation theory. This research fell under the heading of literature philosophy. The Lars von Trier film Melancholia, which was released in 2011, served as the study's main source of information. Analyzing the presence of alienation in the film involved observing, transcribing the screenplay, and categorizing the conversation in accordance with the subject of alienation. A type of mental disease in humans called alienation is defined by emotions of being foreign or weird to others, to nature, the environment, God, and even to oneself. Alienation is discussed in connections with oneself, other people, society, objects/nature, and capitalism in Lars von Trier's film Melancholia. The social lives of those who don't take care about their families' or children's issues are criticized in this movie. They don't express any emotional existence; only physical existence

One hundred and sixty years ago (December-January 1855) British naturalist Alfred Russel Wallace and his teenage assistant Charles Allen spent New Year Eve at Rajah James Brooke’s mountain cottage on Gunung Peninjau in Sarawak. It was a melancholy holiday. Allen has just announced his decision to remain in Sarawak and train as a teacher in the Anglican mission school, and this left Wallace in something of a bind. A skilled collecting assistant would be essential in Wallace’s future destinations of the Moluccas and Papua, where he could potentially collect less common insect species and the rare and valuable Bird-of-Paradise. Although he had regularly upbraided Allen for his carelessness and laziness he now lacked a trained assistant for his subsequent journey1. Fortunately for Wallace they took along Ali, a Malay cook of about 15 years ofage to the mountain retreat. Ali would eventually accompany Wallace for almost his entire trip into the Dutch-controlled portion of the Malay Archipelago.

Long before the publishing of Verlaine's Poetes maudits , it has been written and thought, in various circles and contexts, that writers of genius were doomed to an unhappy life. Nevertheless, it was only about 1760--1770 that the conditions allowing for the emergence of a myth of the unhappy writer were gathered. This myth affirms the christlike vocation of the author and associates greatness to unhappiness. This thesis seeks to understand this mythical phenomenon within a historical perspective. The first part recounts the three principal families of topoi associated, before 1770, to authorial unhappiness. These three series are those of melancholy, poverty and persecution. In the chapters concerning these topoi, the objective is to bring to light their specificity and also the representations and the exempla that they call to mind. Moreover, the goal is to identify the connections that are at work, in discourses, between melancholy and genius on the one hand, poverty and truth on the other hand, and finally persecution and merit. Even if one can't already consider that these various discursive connections are sufficient to build a mysticism of the unhappy man of letters, they still can be studied, in their context, for what they are: a pool of topoi where the writers would soon draw some discursive materials, and from which this myth will get its historical acceptability, its obviousness. The second part of the thesis is devoted to the study of this obviousness. After Rousseau, some believe that unhappiness is inseparable from genius, and that literary vocation is a curse spelled on the poet. From then on, the object of study is not anymore to follow each topos as if it was a separate thread, but instead, to see how all this acquires the value of commonplace (lieu commun ) between 1770 and 1840, in addition to imposing itself as an horizon of meaning. The last chapter and the epilogue show that the myth lives on, during the second half

This thesis is ‘about’ two places. Firstly, it is about Town A, which is a milieu located in South-East Northumberland (UK). Town A was once culturally and socio-economically defined by its coalmining industry. Town A’s last remaining mine closed around thirty years ago; at which point Town A became de-industrialised. Town A’s de-industrialisation, and subsequent, on-going transition from an industrial into a post-industrial economy and culture ‘frames’ this work and its dialectics. Secondly, this research is about Gym D, which is a gym that is located in Town A. Gym D attracts the areas’ ‘hard core’ (as distinct from casual) body-building community. Steroid use is rife among the gym’s close-knit community. This thesis proposes that three typologies of working class males have co-evolved and currently co-exist in Town A and use Gym D. These typologies, as I have labelled them, are the Drifters’, the Changers’ and the Traditionalists’. The three groups have all been ‘constructed’ by different cultural habitus’ that have entered and now operate in Town A. The Drifters’ are all consensually unemployed. The Drifters share an anti-work ethic, and rely upon the Welfare state’s benefit systems for their survival. The Drifters constitute Town A’s ‘Chav’, ‘underclass’ culture and masculinity. In contrast, the Changers are all embourgeoised individuals, who aspire to be ‘middleclass’, global, yuppie men. The Changers dress and act differently to other users of Gym D and also socialise in Newcastle’s ‘fantasy spaces’, instead of the ‘rough’ spaces in and around Town A. The Changers all work in white-collar, post-industrial jobs; many of them have been to university. The Changers have thus successfully assimilated into the North-East’s emerging post-industrial economy. Simultaneously, the Traditionalists’ manage to retain Town A’s ‘traditional’, coalmining, artisan identity and lifestyle; despite such becoming increasingly obsolete. The Traditionalists’ all endeavour to perform ‘proper’, ‘hard’ (blue collar) jobs; and continue to live and act as the Town A miner stereotypically did, particularly during their leisure lives. Epistemologically, this work does three things. Firstly, this work examines the contrasting ways that the three typologies of life identified in this research: 1) experience a disjunction in their lives between ‘how things are’ and ‘how things should be’; 2) work/labour (or fail to work), 3) spend money/buy commodities. By so doing, this work considers how relevant the theories of anomie, alienation and commodity fetishism are to users of Gym D today. I consider how the ‘mass sadness’ that afflicts my participants’ lived experiences can be accounted for and contextualised by the theories. Secondly, this work considers how my participants’ ‘gym labour’ and ‘commodity bodies’ relates to their experiences of anomie, alienation and commodity fetishism. I ask ‘does my participants’ involvement with Gym D alleviate or extend their psycho-social depression’? Thirdly, this work considers how the ‘commodity bodies’ that my participants’ have constructed in Gym D relates to their existences and identities at a semiotic level. I suggest that my participants’ modified bodies act as communicative devices in their existences, which denote metaphoric and social information about my participant groups’, within their distinctive, subjective cultural experiences. This thesis is a product of the phenomenological tradition. Its arguments are substantiated by a series of qualitative interviews and a period of ethnographic fieldwork that I conducted ‘on’ my participants.

Cette thèse propose de mettre en rapport les enjeux soulevés par la thèse de la philosophe Judith Butler concernant la « mélancolie du genre » et l’œuvre autobiographique d’Hélène Cixous, travaillée depuis ses commencements par la question du deuil et de la différence sexuelle/genre. Dans ce travail, nous souhaitons montrer en effet que la démarche philosophique théorique de Judith Butler, qui relit les thèses freudiennes sur le deuil, la mélancolie et la formation du moi en montrant l’importance de la perte au cœur de l’identité sexuelle, trouve des résonances dans le travail d’écriture et de réécriture « autobiographique » d’Hélène Cixous. L’écrivain reconfigure de fait la notion classique d’autobiographie, tout son œuvre vie étant marqué par un mouvement fondamental qui consiste à reconnaître les deuils et les séparations ayant donné naissance à l’écriture, un mouvement qui consiste, autrement dit, à créer une archive de l’autre. La thèse comporte deux parties : la première partie théorique explique les enjeux qui sous-tendent la « mélancolie du genre » pensée par Judith Butler et les effets de cette mélancolie sur le corps et la sexualité ; les notions de travestissement et de performativité sont revisitées à partir des notions psychanalytiques d’identification et d’incorporation. Puisque la mélancolie du genre est le résultat de la non-reconnaissance des premiers attachements homosexuels, la nécessité de repenser le rapport au maternel, du point de vue féminin plus particulièrement, est posée ; les notions de sémiotique (Julia Kristeva) et de chôra (Jacques Derrida/ Julia Kristeva) ouvrent ici la voie et nous invitent à penser la mère du côté du mouvement et de l’altération, de la plasticité (Catherine Malabou). La seconde partie propose une traversée de l’œuvre d’Hélène Cixous, depuis Dedans (1968) jusqu’aux toutes récentes fictions analysées à partir de la question du deuil et de la notion freudienne de la substituabilité des objets. Sont examinées les formes de substitutions des pertes inaugurales que sont pour l’écrivaine le deuil du père et le deuil de l’Algérie, substitutions qui passent d’abord et avant tout par le travail signifiant. La question de l’humain est abordée par la figure de l’enfant mongolien, dont la naissance quarante ans avant son entrée dans l’œuvre est venue faire vaciller toutes les divisions caractérisant habituellement le sujet (féminin/masculin, humain/animal, vivant/mort), y compris celle, capitale, entre né et non-né. La notion d’incorporation mélancolique est également mobilisée pour explorer les métamorphoses et nombreuses transfigures animales de l’écrivaine, qui mettent en avant la plasticité du vivant mais non moins sa fragilité. Incontournable, la question de la mère et du maternel chez Cixous est analysée dans son rapport à l’écriture et à la langue : lieu de mouvement, support de transformation et de transsubstantiation mais aussi contenance, la langue chez Cixous fait mère<br>This thesis proposes to make a link between the issues raised by Judith Butler regarding « gender melancholy » and Hélène Cixous’ autobiographical work, which has dealt from the start with the question of grief and sexual difference/gender. Our wish is to show how Judith Butler, in revisiting Freud’s theories on grief, melancholy and the formation of the ego, points out the importance of loss at the heart of sexual identity and finds resonance in Hélène Cixous’s « autobiographical » writings and rewritings. The writer, in fact, reconfigures the classical notion of what an autobiography is; her/his life-work is under the influence of a fundamental impulse seeking to identify the losses and separations which gave birth to the writing;an impulse which consists, in other words, in creating an archive of the other. The thesis is made up of two parts: the first part explains the issues underlying Judith Butler’s « gender melancholy »and the effects of this melancholy on body and sexuality; the concepts of transvestism and performative utterance are revisited based on notions of psychoanalytical identification and incorporation. The necessity to rethink the maternal relationship, especially from a feminine perspective, is posited. Notions of semiotics (Julia Kristeva) and of chôra (JacquesDerrida/Julia Kristeva) open the way and invite us to consider the mother from the angle of movement and modulation, of plasticity (Catherine Malabou). The second part offers a cross-section of Hélène Cixous’ work, starting from Dedans (1968) right up until her latest fiction, analyzed from the point of view of grief and the Freudian notion of the substitutability ofobjects. The initial losses, which for the writer mean mourning for a father and for Algeria, take on the form of substitutions which are found above all in the work of the signifiers. The human question is broached by the figure of the Down syndrome child whose birth forty years prior to appearing in the literary work, has come and put off balance the divisions which normally characterize the subject (feminine/masculine, human/animal, living/dead), including the crucial division between born and unborn. The notion of melancholic incorporation is also used to explore the metamorphoses and many animal transfigures of the writer, which highlight the plasticity of the living as well as its fragility. The unavoidable question of the mother and the maternal in Cixous is analyzed in its relation to writing and language: a place of movement, material for transformation and for transubstantiation, not to mention countenance. Language for Cixous enacts the mother

My first exposure to Brecht and his theories was as a high school drama student. One of our year twelve assessment tasks was to write and perform our own Brechtian drama using three or more alienation techniques. I wrote a piece about Religion and Fundamentalism, an issue that I felt strongly about at the time. By carefully following my teacher’s instructions and adhering to the assessment criteria I received a VHA. I concluded from this experience that political theatre could be made by following a simple recipe and combining key ingredients. As my knowledge of theatre and my own creative practice developed I came to understand the great complexity of Brechtian theory and the extreme difficulty of creating effective political theatre, that is, theatre that changes the world. Brecht’s theories have been so thoroughly absorbed into contemporary theatre practice that we no longer identify the techniques of Epic Theatre as necessarily political, nor do we acknowledge its radical origins. I have not yet seen a professional production of a Brechtian play but I’ve absorbed on countless occasions the brilliant reinterpretations of Brecht’s theories within the work of contemporary dramatists. My approach to creating political drama is eclectic and irreverent and I’m prepared to beg borrow and steal from the cannon of political theatre and popular media to create a drama that works, a drama that is both entertaining and provocative. Hoods is an adaptation for young audiences of my original play Kingswood Kids (2001). The process of re-purposing Kingwood Kids to Hoods has been a long and complex one. The process has triggered an analysis of my own creative practice and theory, and demanded an in-depth engagement with the theories and practice of key political theatre makers, most notably Brecht and Boal and more contemporary theatre makers such as Churchill, Kane, and Zeal Theatre. The focus of my exegesis is an inquiry into how the dramatist can create a theatre of currency that challenges the dominant culture and provokes critical thinking and political engagement in young audiences. It will particularly examine Brecht’s theory of alienation and argue its continued relevance, exploring how Brechtian techniques can be applied and re-interpreted through an in-depth analysis of my two works for young people, Hoods and Children of the Black Skirt. For the purposes of this short exegesis I have narrowed the inquiry by focusing on four key areas: Transformation, Structure, Pretext, Metatext.

My first exposure to Brecht and his theories was as a high school drama student. One of our year twelve assessment tasks was to write and perform our own Brechtian drama using three or more alienation techniques. I wrote a piece about Religion and Fundamentalism, an issue that I felt strongly about at the time. By carefully following my teacher’s instructions and adhering to the assessment criteria I received a VHA. I concluded from this experience that political theatre could be made by following a simple recipe and combining key ingredients. As my knowledge of theatre and my own creative practice developed I came to understand the great complexity of Brechtian theory and the extreme difficulty of creating effective political theatre, that is, theatre that changes the world. Brecht’s theories have been so thoroughly absorbed into contemporary theatre practice that we no longer identify the techniques of Epic Theatre as necessarily political, nor do we acknowledge its radical origins. I have not yet seen a professional production of a Brechtian play but I’ve absorbed on countless occasions the brilliant reinterpretations of Brecht’s theories within the work of contemporary dramatists. My approach to creating political drama is eclectic and irreverent and I’m prepared to beg borrow and steal from the cannon of political theatre and popular media to create a drama that works, a drama that is both entertaining and provocative. Hoods is an adaptation for young audiences of my original play Kingswood Kids (2001). The process of re-purposing Kingwood Kids to Hoods has been a long and complex one. The process has triggered an analysis of my own creative practice and theory, and demanded an in-depth engagement with the theories and practice of key political theatre makers, most notably Brecht and Boal and more contemporary theatre makers such as Churchill, Kane, and Zeal Theatre. The focus of my exegesis is an inquiry into how the dramatist can create a theatre of currency that challenges the dominant culture and provokes critical thinking and political engagement in young audiences. It will particularly examine Brecht’s theory of alienation and argue its continued relevance, exploring how Brechtian techniques can be applied and re-interpreted through an in-depth analysis of my two works for young people, Hoods and Children of the Black Skirt. For the purposes of this short exegesis I have narrowed the inquiry by focusing on four key areas: Transformation, Structure, Pretext, Metatext.

For many years, Sweden has had a reputation for having a comprehensive and women friendly welfare state. However, as in many other European countries during the past few decades, the organization and governing of welfare has undergone profound changes. Through interviews with social workers and the application of theories of governmentality, this thesis analyzes the expressions and consequences of such current organization and governing. One result is that the introduction of meticulous documentation practices of social workers contact with clients, regulate their interaction and constitute a control over both client and social worker. Another result is that the current organization fragments labor and awards more authority to managers, which functions to produce loyalty to the organization and management, rather than clients. This is expressed in demands not to voice protest, as it is said to create a bad mood. It is also expressed in demands to spend as little as possible on clients; short duration of treatment, preference for outpatient treatment and by making it difficult to receive financial support. This austerity is legitimized through the intermeshing of different ideals; budget awareness, evidence that supports short and outpatient treatment and that clients in order to change their course of life should to be allowed or coerced into taking individual responsibility. Another important finding is that the current governing and organization of social work produce distance and detachment, and thus discourage caring subjects. This is a complex process in which an assemblage of different techniques and rationalities undermines the cultivation of a relationship between social worker and client. 1) The ideal of evidence-based practice favors rigid methods over a flexible and holistic approach. 2) Ideals of rationality, closely connected to notions of masculinity and professionalism, value objectivity and devalue and deter the surfacing of emotions. 3) Meticulous practices of documentation reduce the amount of time available to meet clients. 4) Ideals and particular methods designed to promote individual responsibility in clients legitimize social workers distancing themselves from clients’ dependency and needs. 5) A division of labor, in either assessment or treatment, reduces time spent with clients for those who work with assessment and ultimately engage in the rationing of resources. 6) Standardized digital templates, installed to aid in assessments, regulate and proceduralize interactions with the client. 7) Austerity, heavy workloads, individualized responsibility and stress further accentuate distance, as detachment becomes a means to cope with arduous working conditions. The transformation of social work described above produces alienation and a fragmentation of social workers’ collective subjects. Simultaneously, an ethos of caring makes some social workers work extra hard to provide for clients, which ultimately covers for flaws in the system. Although such an ethos of caring allows for the further exploitation of social workers, it is also understood as a means of resistance, which in turn also forms the basis for organized resistance.<br>Sverige har ett internationellt rykte för att ha en omfattande och kvinnovänlig välfärd. Även om riktigheten i en sådan uppfattning sedan länge ifrågasatts har på senare år, likt i många andra Europeiska länder, det svenska välfärdssystemet genomgått en omfattande förändring i avseende på dess räckvidd, men också dess organisering och styrning. Fokus för denna studie är just denna organisering och styrning, och mer specifikt, hur detta påverkar ett av välfärdens kanske mest centrala område: socialt arbete. Genom att intervjua socialarbetare undersöks i denna studie uttryck för och konsekvenser av en sådan förändring, bland annat genom att undersöka hur könsbundna föreställningar och förväntningar är sammanflätade med det sociala arbetets organisering och styrning. I studien konstateras att socialarbetare erfar att deras arbete genomgått omfattande förändringar, vilket kopplas ihop med både organiseringen och styrningen av det sociala arbetet. Detta uttrycks både i de ideal som kringgärdar arbetet men också i dominerande arbetssätt. En sådan förändring är införandet av  omfattande dokumentationsprocedurer av socialarbetarens arbete och kontakt med klienter, vilket medför att kontakten med klienterna blir ytligare. Dokumentationsprocedurerna utgör också en sorts kontroll av både klienterna och socialarbetarna själva. En annan förändring som konstateras är att nya organisationsmodeller och en förändrad ledarskapskultur skapar förväntningar på socialarbetarna att vara lojala med organisationen och ledningen snarare än klienterna. Bland annat utrycks detta genom förväntningar att inte protestera och skapa dålig stämning på arbetsplatsen, men också genom uttalade krav att spendera så lite resurser som möjligt på klienterna; korta behandlingstider, öppenvårdsalternativ och orimligt hårda krav för att få ekonomiskt bistånd. Detta legitimeras genom sammanväxningen av flera olika ideal; budgetmedvetenhet, att klienter inte mår bra av långa institutionsvistelser, men också att klienterna ska tillåtas eller bör tvingas att klara att sig själva. Ett av studiens huvudresultat är att den nuvarande organiseringen och styrningen av socialt arbete skapar avstånd och likgiltighet. Genom flera sammankopplade ideal och arbetssätt styrs dagens socialarbetare till att bry sig mindre om de klienter de möter. På så sätt undermineras förutsättningarna för framväxten av en djup relation mellan socialarbetare och klient; 1) Idealet och kravet att socialarbetare ska arbeta utifrån evidens, det vill säga metoder och förhållningssätt som i speciellt utformade utvärderingsmodeller visat sig ha effekt, gör att väl strukturerade och rigida metoder ges företräde. Denna instrumentalisering underminerar ett flexibelt, relationsorienterat och helhetsfokuserat sätt att arbeta. Dessutom gör evidensidealets fokus på enskilda individer och avgränsade utvärderingstider att mer samhällsinriktat kritiskt och långsiktigt inriktat arbete undermineras. 2) Ett rationalitetsideal, tätt sammanbundet med föreställningar om professionalitet och maskulinitet, värderar objektivitet och förmågan att frikoppla socialarbetarens egna känslor från sitt arbete. Detta maskuliniserade professionsideal innebär att empati och solidaritet med klienten undergrävs. 3) Omfattande krav på olika former av dokumentation av det sociala arbetet gör att tiden som socialarbetaren har till sitt förfogande för att besöka och att ha möten med klienten blir knapp. 4) Ett allmänt samhällsideal kring individuellt ansvar och en särskild arbetsmetod (motiverande samtal) som många socialarbetare förväntas lära sig, framhäver klientens eget ansvar för och vilja till förändring. Detta legitimerar ett avståndstagande från klientens behov av hjälp och stöd enligt logiken  ”du måste klara detta själv”. 5) En vanligt förekommande uppdelning av socialarbetarnas arbetsuppgifter i en så kallad beställar-utförarmodell gör att vissa socialsekreterare arbetar med hjälp och stöd, medan andra arbetar med bedömningar av klienters behov. De senare, som också har inflytande över resurstilldelning, blir med en sådan organisering av arbetet alltmer frikopplade från den stödjande och hjälpande verksamheten och kontakten med klienten. 6) Standardiserade digitala bedömningsinstrument, skapade för att på ett likvärdigt sätt bedöma klienters behov och dokumentera det sociala arbetet, reglerar och instrumentaliserar kontakten med klienter. 7) Tunga arbetsbördor, individualiserat ansvar och stress, bidrar ytterligare till att skapa avstånd och likgiltighet eftersom det för vissa utgör ett sätt att genomleva en ohållbar arbetssituation. En allmän åtstramning av socialtjänstens resurstilldelning förstås som en viktig orsak till behovet av att skapa ovan distansmekanismer. Men distansen hänger också ihop med en tendens till ett återupplivande av en tidigare dominerande förståelse av marginalisering och sociala problem; där människors nöd ses som ett utslag av dålig karaktär och ett resultat av dåliga individuella val. De förändringar av det sociala arbetets premisser som beskrivits ovan gör att socialarbetarna alltmer görs främmande inför sitt arbete – de alieneras. Detta främmandegörande uttrycks genom att inte kunna identifiera sig med arbetet självt, sina kollegor eller med sig själv. Ett sådant främmandegörande underminerar, eller fragmentiserar, både relationen till klienten, men också en känsla av gemenskap med andra socialarbetare. En gemenskap som kan utgöra ett ”vi” och ligga till grund för att ställa krav, protestera och göra motstånd mot avhumaniserande ideal och reformer. På så vis är främmandegörandet inte bara en konsekvens av dagens organisering och styrning, utan också något som fyller en viktig funktion för en sådan styrning och organisering, och genomförandet av en allmän åtstramning i socialpolitiken. Samtidigt som dagens organisering och styrning av socialt arbete är främmandegörande, slår vissa socialarbetare knut på sig själva och arbetar extra hårt för att täcka upp för systemets brister och krympande resurser, för att trots det svåra läget ändå försöka ge det stöd som de upplever att klienten behöver. Ett sådant historiskt förankrat femininiserat omsorgsideal, dvs känslor av ansvar och empati inför behövande och en ilska inför oförrätter, utgör därmed på samma gång grund för en fördjupad exploatering av socialarbetarna, och ett vardagligt motstånd mot rådande system. I ett läge när flera upplever att kollegialiteten som grund för motstånd på arbetsplatserna underminerats, utgör ett sådant omsorgsideal samtidigt också grunden för organiserat motstånd utanför arbetsplatsen, bortom chefernas insyn, kontroll och härskartekniker. Medan nuvarande styrningssystem underminerar ett visst sorts motstånd, uppstår samtidigt grunden för nya.

Mon projet de thèse démontre le rôle essentiel que tient la mélancolie dans les comédies de Shakespeare. J’analyse sa présence au travers de multiples pièces, des farces initiales, en passant par les comédies romantiques, jusqu’aux tragicomédies qui ponctuent les dernières années de sa carrière. Je dénote ainsi sa métamorphose au sein du genre comique, passant d’une représentation individuelle se rapportant à la théorie des humeurs, à un spectre émotionnel se greffant aux structures théâtrales dans lesquelles il évolue. Je suggère que cette progression s’apparent au cycle de joie et de tristesse qui forme la façon par laquelle Shakespeare dépeint l’émotion sur scène. Ma thèse délaisse donc les théories sur la mélancolie se rapportant aux humeurs et à la psychanalyse, afin de repositionner celle-ci dans un créneau shakespearien, comique, et historique, où le mot « mélancolie » évoque maintes définitions sur un plan social, scientifique, et surtout théâtrale. Suite à un bref aperçu de sa prévalence en Angleterre durant la Renaissance lors de mon introduction, les chapitres suivants démontrent la surabondance de mélancolie dans les comédies de Shakespeare. A priori, j’explore les façons par lesquelles elle est développée au travers de La Comedie des Erreurs et Peines d’Amour Perdues. Les efforts infructueux des deux pièces à se débarrasser de leur mélancolie par l’entremise de couplage hétérosexuels indique le malaise que celle-ci transmet au style comique de Shakespere et ce, dès ces premiers efforts de la sorte. Le troisième chapitre soutient que Beaucoup de Bruit pour Rien et Le Marchand de Venise offrent des exemples parangons du phénomène par lequel des personnages mélancoliques refusent de tempérer leurs comportements afin de se joindre aux célébrations qui clouent chaque pièce. La mélancolie que l’on retrouve ici génère une ambiguïté émotionnelle qui complique sa présence au sein du genre comique. Le chapitre suivant identifie Comme il vous plaira et La Nuit des Rois comme l’apogée du traitement comique de la mélancolie entrepris par Shakespeare. Je suggère que ces pièces démontrent l’instant où les caractérisations corporelles de la mélancolie ne sont plus de mise pour le style dramatique vers lequel Shakespeare se tourne progressivement. Le dernier chapitre analyse donc Périclès, prince de Tyr et Le Conte d’Hiver afin de démontrer que, dans la dernière phase de sa carrière théâtrale, Shakespeare a recours aux taxonomies comiques élucidées ultérieurement afin de créer une mélancolie spectrale qui s’attardent au-delà des pièces qu’elle hante. Cette caractérisation se rapporte aux principes de l’art impressionniste, puisqu’elle promeut l’abandon de la précision au niveau du texte pour favoriser les réponses émotionnelles que les pièces véhiculent. Finalement, ma conclusion démontre que Les Deux Nobles Cousins représente la culmination du développement de la mélancolie dans les comédies de Shakespeare, où l’incarnation spectrale du chapitre précèdent atteint son paroxysme. La nature collaborative de la pièce suggère également un certain rituel transitif entre la mélancolie dite Shakespearienne et celle développée par John Fletcher à l’intérieure de la même pièce.<br>My dissertation argues for a reconsideration of melancholy as an integral component of Shakespearean comedy. I analyse its presence across the comic canon, from early farcical plays through mature comic works, to the late romances that conclude Shakespeare’s career. In doing so, I denote its shift from an individual, humoural characterization to a more spectral incarnation that engrains itself in the dramatic fabric of the plays it inhabits. Ultimately, its manifestation purports to the cyclical nature of emotions and the mixture of mirth and sadness that the aforementioned late plays put forth. The thesis repositions Shakespearean melancholy away from humoural, psychoanalytical and other theoretical frameworks and towards an early modern context, where the term “melancholy” channels a plethora of social, scientific, and dramatic meanings. After a brief overview of the prevalence of melancholy in early modern England, the following chapters attest to the pervasiveness of melancholy within Shakespeare’s comic corpus, suggesting that, rather than a mere foil to the spirits of mirth and revelry, it proves elemental to comic structures as an agent of dramatic progression that fundamentally alters its generic make-up. I initially consider the ways in which melancholy is developed in The Comedy of Errors and Love’s Labor’s Lost, as an isolated condition, easily dismissible by what I refer to as the symmetrical structure of comic resolution. In both plays, I suggest, the failure to completely eradicate melancholy translates into highly ambiguous comic conclusions that pave the way for subsequent comic works, where melancholy’s presence grows increasingly cumbersome. Chapter three reads Much Ado about Nothing and The Merchant of Venice as prime dramatic examples of the phenomenon by which prominent comic characters not only fail to offer a clear cause for their overwhelming melancholy, but refuse to mitigate it for the benefit of the plays at hand. The melancholy found here creates emotional loose ends from which a sense of malaise that will take full effect in later comedies emanates. In the next chapter, As You Like It and Twelfth Night are held as a landmark in Shakespeare’s treatment of comic melancholy. The chapter suggests that these plays complete the break from individual melancholic characterization, which no longer seem suitable to the comic style towards which Shakespeare progressively turns. Consequently, the final chapter undertakes an analysis of Pericles and The Winter’s Tale to demonstrate the fact that, in his concluding dramatic phase, Shakespeare returns to the comic taxonomies of melancholy in order to foster more forceful, lingering emotional impacts as a form of dramatic impressionism, a relinquishing of details in favour of more powerful emotional responses. In a brief coda, I read The Two Noble Kinsmen as the culmination of the dramatic treatment in melancholy in Shakespeare, where the spectral wistfulness that characterized the late plays reaches a breaking point. I suggest that the play bears witness to a passing of the torch, as it were, between the Shakespearean dramatization of melancholy and the one propounded by Fletcher, which was to become the norm within subsequent seventeenth-century tragicomic works.

碩士<br>東吳大學<br>英文學系<br>101<br>With his grotesque style, Kafka demonstrates an absurd world in his novels. By means of metamorphosis—a writing technique, Kafka dissects modernity into loneliness, despair, fear and identity confusion caused by alienation. Based on the relations among self, others and society in Metamorphosis, this thesis will conduct literary investigations into three forms of transformations: physiology, psychology, and economy. In his work “The Tattooer”, Japanese writer Junichiro Tanizaki vividly portrays the overwhelming power of art. Seikichi, the tattooer, surrenders himself to this power, experiencing self-alienation from his past, achieving and losing his value of being. Through the spider tattoo, Seikichi helps the female protagonist to become a woman, forcing her to be mature. Although the girl does not change at all in appearance, spiritually, she transforms from a geisha-to-be into a femme fatale whose character is in accordance with the spider. That manifests the psychological transformation “prompted” by the tattoo and moreover, reinforces the reverse of gender and sado-masochistic relationship between Seikichi and his client. Likewise, in “A Stick”, Kobo Abe employs the same technique to transform a human being into a substance so that he can further disclose the alienated destiny modern people have to encounter in reality. By the idea of “punishment” to the stick, the writer retrospects human’s negative attitude toward life when facing the dilemma of existence then further expresses his positive and active attitude in a deal with the issue of alienation. Through different forms and different degrees of metamorphoses, the above mentioned writers discuss the questions of existing condition, freedom and outlet for emotion in consideration of alienation, showing their great concerns to human destiny, life significance and humanistic spirit as well as their endless pursuit of the profound value for the existence.

This research traces the developments in Europe that led to a rush for foreign missions i different parts of the world, with specific reference to South Africa. It describes the operations of the Swiss missionaries in South Africa from 1873 to 1975. This study also evaluates the motives for the evangelization of the African masses, and contradictions th existed in the relations that missionaries had with proselytes during the period under review. The sterling contributions of black evangelists in this period are demonstrated. It cannot be denied that the Swiss missionaries did a lot of good to the indigenous populac of South Africa-the importance of their services at Lemana Training Institution (1906) and Elim Hospital (1899) are indelibly inscribed in our historiography. They should also applauded for their response to the plight of the Shangaans, who had for reasons unkno to the researcher been by-passed by other missions during the "scramble for mission fields". But the missionaries also had their shortcomings, for instance their failure to ind the state to remove capital punishment from the statute books. They may nonetheless stil continue to be used by the present government of South Africa to assist in carrying the social transformation process forward.<br>Educational Studies<br>M. Ed. (History of Education)

AbstractBasutoland came under British rule in the late nineteenth century. By the 1930s, the Territory’s transformation into a labour reserve for South Africa’s mines decimated its food production, impoverished its population and brought about a TB epidemic. The mines paid uneconomic wages and refused to pay compensation for occupational injury. In addition to those repatriated with tuberculosis or silicosis, the mines produced such a steady stream of sick and injured workers that mine accidents constituted the largest single cause of disability amongst men of working age.Swaziland was the smallest of the three protectorates. Land alienation to white settlers under British concessions meant that by the early 1930s, the territory produced only a fifth of its food needs. As in the other HCTs, tax collection and occupational lung disease posed serious problems. However, commercial agriculture and large deposits of asbestos generated local employment and foreign exchange and made Swaziland less dependent on migrant wages.In each of the HCTs, migrant workers faced even greater barriers in accessing compensation for occupational injury than black South Africans did. No circulars or instructions on the subject had been issued, miners were unaware of their rights, local officials did not understand the application process and travel to Johannesburg for medical examinations was not feasible for men who were dying. In all, the lack of medical capacity, the ongoing refusal to pay pensions to injured miners and the systematic failure to collect health statistics made the extent of the risk invisible. While the situation improved somewhat after independence, the mining industry continued to displace the burden of disability onto households and local communities.

The introductory chapter addresses both the prevalence of melancholy within Shakespearean comedy as well as the extensive revisions of relevant philosophical discourses that the genre undertakes. It initially charts out the history of the dual melancholic traditions that emerge out of Antiquity (and traces their revisions through the Middle Ages before providing an account of their development in Renaissance treatises that conflate medical and literary aspirations. In doing so, the chapter draws out the various principles that will inform Shakespearean comedy’s depiction of melancholy. The chapter then offers a survey of Shakespearean comic criticism that draws attention to its shortcomings in lieu of a sustained melancholic treatment. The chapter concludes with a preliminary outlining of modern, psychoanalytical engagements with melancholy and its related concepts that highlights the upshot of Shakespeare’s transformation of melancholy.

The chapters attest to the mutual transformation of comedy and melancholy that Shakespeare develops. considers the ways in which early Shakespearean comedies interrogate established conceptions of english melancholy such as lovesickness, mourning and interiority. Both The Comedy of Errors and Love’s Labour’s Lost apply pressure on these melancholic expressions by developing them within explicitly comedic settings. The chapter underscores the critique that Shakespearean comedy performs in reworking such philosophical notions, which culminates in the ambiguously happy resolution put forth. In both plays, there exist parallel efforts to neutralise and rehabilitate melancholic characters. The humour is not easily purged away through medical expertise, nor is it ultimately celebrated as a sign of interiority. There remains a perceptible sense of doubt as to whether characters eventually do away with the melancholy they express. Love’s Labour’s Lost in particular, with the jarring announcement of the King’s death, suggests that the melancholy of early comedies shatters established classification. In its initial form, the chapter suggests, Shakespearean comedy already rejects traditional definitions of melancholy.

This chapter introduces Tin Pan Alley, early twentieth-century popular music publishing. Its mature style paired witty, conversational but courtly lyrics with concise, dramatic melodies conducive to jazz performance. The standard refrain structure (ABAC) often had a rhythmic quickening and rhymed couplet near the end. The study’s corpus is eight songs, much performed yet little appreciated, analyzed, or researched. Innovation in the genre was communal. Song histories reveal many obscure people shaping each work’s elements, challenging the auteurist approach. Collective innovation factors include: generalized genres; specific cycles; and performance tradition, oral and aural. These ballads reveal the growth of the personal, intimate, and internal in jazzy songs. The discussion introduces, defines, and traces early history of two terms, the “torch song” and “crooning.” A sketch of related contemporary trends includes: the transformation of blue ballads into blues proper; spirituals popularized by soloists; cabarets and small theatres; psychoanalysis; and telephone, radio and the electronic microphone, relating to R. Murray Schafer’s concept of schizophonia. The “crooning” label highlights the connection of popular ballads and the lullaby, linking to psychology, particularly the work of Dr. John Diamond. Pivotal crooners include Tommy Lyman and Bing Crosby.

The transformation of capitalism into a new socio-economic state formation modern discussion about the forms of alienation acquires a special character. The new social reality shows emergence of new forms of alienation not only in the economic sphere of society, but also forms of alienation that have arisen in other spheres of public life. The materials of modern scientific publications draw attention to the need for a careful study of human existence in the context of new forms of relationship between the individual and society.

In the article, the author considers the influence of new advertising media on the establishment of public space and the transformation of the urban environment of Yekaterinburg. Though popular in Europe, the sociocultural phenomenon Ambient media remains insufficiently studied in contemporary Russia. Ambient advertising has the ability to change the usual urban space in a special way, overcoming environmental alienation and modelling the environment into a comfortable and safe one, therefore developing the public life of the city, making it attractive and creating ‘places of attraction’ for city dwellers. The author carried out an in-depth interview with representatives from the advertising community in Yekaterinburg (N = 22) to research into expert views on unconventional media, and to study expert appraisal of how the new form of advertising communication, Ambient media, impacts the urban environment of Yekaterinburg. The interviewed experts were specialists in advertising and marketing. Main occupation: advertising project management, creative strategies, outdoor ads, event-marketing, PR with a status of an advertising agency or department in the city of Yekaterinburg. Gender profile: 50% males, and 50% females; all aged between 27 and 50. Our study has revealed that advertisement experts regard Ambient media to be a very promising tool in terms of their professional practice, including in regards to the transformation of ambient urban space. Respondents note a correlation between the propagation of Ambient- objects in the city and public space formation. Non-standard media can fill the city with new meanings of freedom and creativity, helping to overcome feelings of alienation and creating new comfortable and safe spaces that people recognise as ‘their own’. Ambient-objects are moreover a source of pride for various social groups of citizens, as they contribute to the formation of a new image of Yekaterinburg: a unique, modern art centre, a city of freedom and creativity.

The article analyzes the problems of methodological construction of the ontological and ontic framework of the phenomenon of existential terrorism in the context of possible changes in the subordination and institutional potential of modern Russian society. The agenda includes the state of affairs in the modern educational environment in the aspect of its dynamic transformation towards the digitalization of the educational process and the associated possible loss on the part of teachers and students of their own individuality. This question is explicated in the paradigmatic orientation of the Marxist approach in relation to the loss of a person's true self and in the paradigmatic orientation of the neo-Freudian approach in relation to the ability of a person to carry out collective cooperation in the professional sphere. Terminologically, the article is made possible in the conditions of dialectical identifications of Platonism and Hegelianism, while the question of the correlation of the level of existential freedom, the ontic orientation of fear and the extroversion of existential terrorization is explicated in the theoretical generalizations of J. Bataille, J. Deleuze and J. Baudrillard.

The rise of an ostensibly customer-centred corporate culture in the 1980s recogised the importance of “knowing the customer”. As a result, customer information systems and associated practices of marketing, customer segmentation, and customer accounting have become significant elements in corporate customer-focus strategies. This paper discusses a range of ethical considerations that flow from the use of customer information systems and critically examines these systems in their organisational and social context. It is well-recognised that customer information systems give rise to concerns of privacy, but this paper raises perhaps more important ethical issues that relate to organisational transformation and significant links to issues of access, equity, alienation, and social exclusion.

This paper focuses on a collection of eight loosely connected stories written by the Iranian dramatist and author Gholamhossein Sa‘edi under the title of The Mourners of Bayal (1963). In the fourth story, which is the basis for the scenario of the celebrated Iranian New Wave film, The Cow (1969), the narrator relates the puzzling case of a farmer who has turned into his cow as a result of having lost it unexpectedly. The ominous transformation of Mash Hassan into his cow in Sa‘edi’s narrative is a prophetic reflection on the problem of sovereignty in Iran, positioned on the peripheries of global modernity, a US military base in the final stages of the Vietnam war and one of the major oil-producing states. This paper investigates the rise of melancholy as a response to the crisis of Iranian sovereignty during the Second World War and its aftermath. The melancholic crisis of Iranian society in its encounter with modernity defined itself in opposition not only to the political sovereignty of the monarch that represented it but also an opposition to the imperialist tendencies of global modernity. It uses the language of centrality– peripherality to reflect on the position of Persian fiction on the periphery of the global field of shifting political and cultural hegemonies in the post-WWII period. While the melancholic subject position in The Mourners of Bayal points to an inverted dialectical power relationship, it also reveals the entanglements of histories of capitalism and imperialism in the creation of North-South global order in the postwar period.

Although increasingly recognized as sound baseline research to inform the operational level of spatial urban planning, e.g. urban management plans, little research has yet focussed on fringe-belt analysis in the strategic level of spatial urban planning. In general, strategic urban planning dominantly involves quantitative and economically biased modes of scenario analysis. Qualitative analytical approaches, such as provided by morphogenetic analysis, are usually being excluded. This paper aims to discuss the role of fringe-belt analysis in spatial scenario planning. Within the framework of a fringe-belt analysis, a plural scenario case study is carried out in the former industrial region of Eindhoven, The Netherlands. Multiple roles of the present urban fringe-belt composition in the anticipated processes of future transformation of the urban region are explored, as well as the potential internal modification processes within its fringe-belts themselves. Research outcomes are related to the current strategic vision of the city and urban region, and the opportunities for an integrated strategic scenario approach are investigated. A pro-active approach towards fringe-belt modification is suggested as efficient urban development strategy, for example, channelling the increasing pressure of intensification of land-use (controlled fringe-belt alienation), or, creating social and economic value by means of fringe-belt adaptation. Results contribute to the debate on fringe-belt development and future transformation in the case of former industrial and post-industrial cities and urban regions, and more specifically, on the distinctive character and role of radial fringe-belts, radial fringe-belt corridors and radial fixation lines, within the changing spatial configuration of the social and economic urban stratification.

The rapid development of Chinese cities in the past three decades has caused the transformation of the structure of historical urban spaces, resulting in the fragmentation of historical environment and the blurring of historical pattern. This study proposes to use the epistemology of historical prescriptiveness to recognize the characteristics of urban historical environment, so as to effectively protect the city as a whole. Historical prescriptiveness refers to the spatialtemporal correlation effect in the process of urban historical environment change, which makes the current historical elements of the city present as a whole with hierarchy, structure and system. This kind of epistemology is most prominent in ancient maps. The schema-symbol relation can express the paradigm of traditional structure, the schema-symbol choice can express the order of multiple symbols, and the schema-symbol intention can express the meaning of camp city culture. Based on these potential criteria, this study summarizes the logical relations and existing forms of the old and new elements in urban space, and then explores the historical prescriptive content. The specific content of historical prescriptiveness is embodied in the following aspects: the implicit control of the historical pattern in spatial positioning, the transformation and recognition of historical elements in evolutionary comparison, and the inheritance and continuation of urban memory in the extraction of connotations. Taking the ancient city of Shipu in Zhejiang as an example, the study explores the characteristics of the ancient city of Shipu from three aspects: the succession of Haiphong’s fortification and city-port structure, the alienation of the texture of the ancient towns and streets of Jiangnan, the rejuvenation of the city with the reappearance of culture in eastern Zhejiang. Based on this case, this study proposes a holistic conservation idea of historical city in the modern context of "space and time compression".

Elena Logunova1Master of Urban Planning, Post-graduate student, 1Department of Urban Design and Planning, School of Architecture and Design, Siberian Federal University Address: 79 Svobodny pr., 660041 Krasnoyarsk, Russian Federation E-mail: ikukina@inbox.ru , el.lgnv@yandex.ruScientific adviser: Pd.D., Professor - I. V. Kukina Keywords: fringe-belt, Siberia, urban morphology, fixation lineConference topics and scale: Tools of analysis in urban morphologyThe fringe-belt concept is one of the most important concepts in urban morphology which provides a possibility to analyze existing urban layout. Urban fringe-belt phenomenon in cities of Siberia hitherto was poorly investigated. Thus, it constitutes an extremely broad research area.Phases and processes of formation, transformation and alienation in urban fringe-belts examines at the case of Krasnoyarsk from the 17th to mid 20th centuries. Krasnoyarsk was founded as a military stockaded town in 1628 during the first period of Siberia development and experienced several historical stages in the process of urban growth.Relation of changes in fringe-belts structure and political and socio-economic contexts is evidently at all periods of their physical formation. Natural fixation lines (topographic features, body of big river, and development of small river valley) and man-made fixation lines (city walls, railway corridor) influenced to the formation and evolution processes of fringe-belts and urban fabric generally. Railway was a turning point in the city expansion and contributed to overcoming of the power natural fixation line as the Yenisei river. Unlike the urban core, right bank of Krasnoyarsk formed as a linear city with specific fringe belts.Detailed analysis of Krasnoyarsk city plan indentifies several morphological units separated by fringe-belts. These fringe-belts are characterized by distinctive road network, variety of land-use units and heterogeneous forms in plan. It presents difficulties for reconstruction projects of modern city. An approach for renovation of these territories needs to depend on urban morphology methodology. ReferencesConzen M. P., Kai Gu, Whitehand J. W. R. (2012) ‘Comparing traditional urban form in China and Europe: a fringe-belt approach’ Urban Geography, 33, 1, p. 22–45.Whitehand J.W. R, Morton N. J. (2003) ‘Fringe belts and the recycling of urban land: an academic concept and planning practice’, Environment and Planning B: Planning and Design, volume 30, p.819- 839. Ünlü T. (2013) ‘Thinking about urban fringe belts: a Mediterranean perspective’, Urban Morphology 17 (1), p. 5-20.

This report investigates how Windrush Square, a public space in London (UK) is experienced by people from diverse demographic backgrounds, and how these everyday interactions and tensions shape experiences of social cohesion and alienation. This space was selected as a case study as it captures the underlying tensions of the UK’s colonial past and its continuing impact in the present day. We first conducted three expert interviews to shed light on the role of the Greater London Authority in public space governance, landscape design and wellbeing of migrant populations, and community-led neighbourhood planning With the help of a local organisation, Friends of Windrush Square, we then conducted two focus groups (LABs I and II) with stakeholders of Windrush Square at the Black Cultural Archives, a space located in the heart of Windrush Square which played a significant role in the social history of Brixton residents and the transformation of the Windrush Square. We adopted a co-participatory approach in our research using pre-prepated question cards to co-produce ideas and solutions for best practice in Windrush square and the surrounding local community. Four main themes emerged from our labs: (1) Culture, heritage and commemoration, (2) Community oversity and ownership, (3) Everyday dynamics, and (4) Events. These themes intersected with each other to provide a meaningful and complex insight into the ways that we can disconnect from public spaces. We offer policy recommendations for increasing social cohesion and contributing to de-radicalisation processes drawn from our desk research, expert interviews, and LAB I and II findings