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1
Barreto, Eduardo. „"Hamlet" and Marginality“. FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/1859.
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This research aims to explore the place of marginality (or that which is not the immediate focus of narrative) in the context of the play and through the examination of the characters of Fortinbras and Horatio, in William Shakespeare’s Hamlet. The intended outcome is to encourage diversified perspectives and approaches to the play by focusing on the marginal themes and/or characters.
The chapters address the characters of Fortinbras and Horatio; the first inverts the protagonist/foil relationship by reading Hamlet as a foil to Fortinbras, while the second uses Freud’s “The Uncanny” as a way to understand Horatio’s role in the play, as its uncanniest phenomena. Both are marginal to the text, but both are significant to the understanding of the text.
Essentially, the objective is to encourage readings of the play, and of narratives, that appreciate the complexity of marginality, in order to broaden the language for future research.
2
Woods, Elizabeth Ruggles. „Marginality in Appalachian professional women“. Thesis, Virginia Polytechnic Institute and State University, 1986. http://hdl.handle.net/10919/101337.
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This research examined a sample of first generation professional women from the Appalachian region with the goal of description and exploration of issues related to their professional lives. Data from 20 intensive interviews were organized around an expanded version of Park's (1928) concept of marginality which yielded three major foci: (1) self definitions of marginality; (2) consequences of marginality; and (3) adaptive strategies of the marginal person.
A continuum conceptualization of marginality emerged from the data with four categories of self-definition: (1) essential marginality; (2) situational marginality; (3) occasional marginality; and (4) non-marginality. Three major types of consequences, social, professional, and personal were experienced; and adaptive strategies of the active intentional, reactive intentional and non-intentional types were employed by the subjects.
The data suggested possible relationships between type of job held-- especially whether in a male dominated field--and types as well as degree of marginality experienced. Also, degree of marginality appears to have some relationship to consequences experienced and, in turn, to adaptive strategies employed by subjects.
This research contributes to the literature by expanding the existing concept of marginality into a continuum and using this new conceptualization as a framework for the analysis of first generation professional women from the Appalachian region.M.S.
3
Nikolova-Houston, Tatiana Nikolaeva. „Margins and marginality : marginalia and colophons in south Slavic manuscripts during the Ottoman period, 1393-1878 /“. Austin, Tex. : The University of Texas, 2008. http://www.lib.utexas.edu/etd/d/2008/nikolovahoustond21244/nikolovahoustond21244.pdf#page=3.
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4
Chan, Su-pin, und 陳淑彬. „Marginality in Yu Kwang-Chung's poetry =“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B30420702.
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5
Scott, Jessica A. „Southerned: queer marginality in two souths“. Doctoral thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/29472.
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The metropolis has featured prominently in queer theory, cultural productions and advocacy work as the ideal site of queer life (Massad, 2002; Gray, 2009; Herring, 2010). Because of the concentration of resources in the metropole and discursive investments in locating ‘outof-the-way places’ (Tsing, 1993) at a temporal and geographic distance from metropolitan centres, I argue that queer organising in ‘out-of-the-way places’ is ‘southerned’. In other words, work that happens at the geographic margins continues to be rendered unrecognisable in a metric of ‘rights’, generated in a specific location and projected as ‘universal’. This dissertation is an account of the way that ‘discursive formations’ (Foucault 1972) shape the context for queer presence and work in ‘out-of-the-way places.’ The ethnographic work presented here was conducted in the United States South and South Africa over a period of two years, during which I collected and analysed public presentations and semi-structured in-depth interviews thematically and with discourse analysis. Through field work in two ‘souths’, the analysis presented here is situated in relation to a body of theoretical work that is interested in spatial and temporal politics of sexuality that frame ‘out-of-the-way places’ as inhospitable to queer existence. The hegemonic discourses of ‘rights’ generated in the metropole renders the kinds of work and existence carried out by queer bodies in ‘out-of-the-way places’ illegible. Queer work is ongoing in ‘out-of-the-way places’. This dissertation seeks to understand how that work is shaped both by the contexts in which the work unfolds and by the metronormative demands placed on what working queerly is supposed to look like. The research concludes that the complexities of queer existence and queer work in the ‘two souths’ represented here must be understood on their own terms rather than through the reductive lens of expectations and interpretations projected from the metropole. In order for queer work to thrive in ‘out-of-the-way places’, historical and contemporary issues that are residues of colonial legacies of resource extraction, violence, exploitation, environmental degradation and restricted access to a range of things not reducible to the metronormative rubric of ‘rights’ must be addressed.
6
Peelo, M. T. „Marginality of the experience of women undergraduates“. Thesis, Lancaster University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.234616.
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7
Otomo, Ryoko, und 大友涼子. „Centring marginality: gender issue on confessional writing“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31950693.
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8
Kuznetsov, A. Yu, und V. A. Chernienko. „Marginality in the context of European integration“. Thesis, Видавництво СумДУ, 2005. http://essuir.sumdu.edu.ua/handle/123456789/21688.
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9
Hemmig, Christopher T. „Peripheral Agents: Marginality in Arab Folk Narrative“. The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1245358153.
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10
Otomo, Ryoko. „Centring marginality : gender issue on confessional writing /“. [Hong Kong : University of Hong Kong], 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13787573.
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11
Kapoor, Sucheta. „Voices in the Text : Interpreting marginality in Flaubert“. Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.517172.
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12
Yang, Shu-Yuan. „Coping with marginality : the Bunun in contemporary Taiwan“. Thesis, London School of Economics and Political Science (University of London), 2001. http://etheses.lse.ac.uk/1631/.
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This thesis is concerned with how the Bunun, an Austronesian speaking indigenous people of Taiwan, deal with changing historical conditions brought about mainly, but not solely, by colonialism. I explore how the Bunun engage and negotiate with the state, the Han-Chinese and Christianity; how a colonised people like the Bunun sustain an active role in their relationships with powerful others; and how they 'cope' with - read, endure, work through, break apart and transcend - the predicaments of marginality. I do not approach these questions by reconstructing a bounded Bunun tradition, and see how this tradition is influenced and transformed by the impact of external forces. Instead, I examine the subtle and complex ways in which the past, the state, and the Bunun culture itself are constructed in the present. I also criticize the romanticized notion of resistance which has dominated the studies of marginality, and the implicit assumption that we can only find the agency of the colonized under the rubric of resistance. Rather, I explore the various possible ways in which the Bunun can create 'agentive moments', a shift in the sense of oneself being acted upon by the world to a subject acting upon the world, for themselves. In attempting to understand how the Bunun can play an active role in making and transforming the world in which they live, I do not forget that their effort may fail and at times they experience themselves as powerless, displaced and lost. To exclude or erase such experiences is to adopt an anodyne view of history which denies the violent and destructive aspects of colonialism. The studies of death and the decline of spirit mediumship demonstrate vividly how the Bunun cope with the loss of life and power, and how such experiences contribute to the ways in which they understand and comment on their own existence at a particular historical moment. By taking into serious account the sense of powerlessness, loss, and displacement, I aim to convey the affective qualities of the Bunun's living experience which give the sense of a period, that is, what Raymond Williams (1977) calls 'structures of feeling'. I suggest that 'structures of feeling' are powerful expressions and evocations of how the Bunun experience the history of their colonisation, which give shape to local historical consciousness.
13
Leung, Nim-ming, und 梁念明. „A study of marginality in Ann Hui's films“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952719.
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14
Watson, Alex. „Romantic marginality : annotation in British literature, 1794-1818“. Thesis, University of York, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.441054.
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Bonnick, Lemah. „The racial structuring of educational marginality, 1960-1985“. Thesis, University College London (University of London), 1993. http://discovery.ucl.ac.uk/10018908/.
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This research explores the concept of race in the construction and penetration of educational arrangements for Afro-Caribbean children. Existing research during the 1960s and 1970s on multiculturalism fails to acknowledge the educationai mandate offered by the coercive power of race in the construction of Afro-Caribbean children's identity ln schools. In this thesis, the concepts of disconnection, reconstitution, affirmation and contested legitimacy provide a theoretical framework for understanding the educational marginalisatlon of Afro- Caribbean pupils. Part I establishes the context of marginalisation through competing conceptions of race. The concept of disconnection Is applied to review formulations of race which endow it with an all-embracing power so that it neutralises all other ideological forces. Part I provides the framework for examining the scope of race in defining the educational agenda and the mechanisms for disseminating racial forms of education. Part II and Part III trace the mechanisms which promote the objectification of race in education. It examines the early context of the racial objectification in education policy for children of New Commonwealth origin drawing upon the literature on race and official government reports to assess the impact of the politicization of race in education. The concept of reconstitution is used to analyse the dominant cultural deficit models which serve as an explanation of the position of Afro-Caribbean pupils in the education system. Reconstitution refers to the process by which race is converted into culture and the stigmatisation of culture is used to explain the under achievement of Afro-Caribbean children in school. In Part III the concept of affirmation is also developed in an empirical analysis of LEA policy documents in the early 1980's, which aim to institutionalise particular racial forms of education. Part IV addresses the nature of the consensus, contestation and legitimation of racial forms of education. The politics of LEAs are examined in terms of their attempts to structure new modes of consensus through multiculturalism and anti-racism. The debate between multicultural and anti-racist education and the challenge of the New Right are analysed using the concept of contested legitimacy.
16
Gorodyskaya, O. N. „Marginality as the present human's way of being“. Thesis, Національний технічний університет "Харківський політехнічний інститут", 2019. http://repository.kpi.kharkov.ua/handle/KhPI-Press/48562.
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17
Leung, Nim-ming. „A study of marginality in Ann Hui's films“. Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22200150.
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18
Lantz, Elise. „Des marginalités encadrées : étude des rapports au handicap dans différentes configurations associatives du monde du cirque contemporain français“. Thesis, Montpellier 1, 2014. http://www.theses.fr/2014MON14001.
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Le monde du cirque contemporain, qui a émergé en France à la fin des années 70, et qui a toujours entretenu une certaine marginalité, révèle les rapports ambivalents qu'entretient notre société à l'égard du handicap. Nous avons adopté une approche relationniste du handicap pour réaliser une étude exploratoire quantitative, puis une étude qualitative de onze associations circassiennes. Nous avons mis à jour quatre types de rapports à la différence : certaines associations organisent un Regroupement et Mise à distance des différences, qui sépare les personnes qui ont des limitations de capacités intellectuelles des autres pratiquants, par la création d'un véritable secteur de cirque spécialisé; une majorité d'associations accepte également la participation de personnes qui ont peu d'incapacités dans des pratiques de cirque normalisées, par un processus d'assimilation, traduisant une hiérarchisation des comportements; dans certaines associations professionnelles, quelques artistes aux corps hors-normes sont mis en avant, par leurs différences corporelles créatives; seule une des associations étudiées propose une forme originale de participation, acceptant des personnes ayant tous types de capacités et incapacités pour des pratiques inclusives, révélant une mixité créative. Le cirque contemporain a ainsi mis en place un secteur spécialisé, qui reproduit le détour ségrégatif organisé par les secteurs médico-sociaux et psychiatriques. Il propose un simulacre d'intégration hors du monde du handicap, tout en instituant une mise à distance de la différence. Cette participation au processus de ségrégation est masquée par la mise en avant d'artistes ayant des incapacités motrices et l'utilisation créative de leurs différences corporelles, à condition qu'ils démontrent un contrôle exceptionnel du corps. Une unique association combine l'organisation de pratiques inclusives et le rejet affirmé de sa propre institutionnalisation. Pour les autres, ni le statut associatif, ni la posture de marginalité, ne produisent des formes originales de participation pour les personnes ayant des limitations de capacités. On assiste à une polarisation du rapport à la norme, la marginalité « négative » des personnes « handicapées » – au sens d'un manque de contrôle des comportements – est encadrée par une prise en charge globale alors que la marginalité« positive » des différences corporelles est encadrée comme une œuvre, par une mise en piste spectaculaire, symbole de la marginalité renouvelée du cirque contemporainThe contemporary circus emerged in France during the late 70s and so far it has taken up a marginal position. Itsframework reveals the ambivalent relationship between society and disability.A research approach in which disability is the result of interaction between individuals and their environments wasadopted. We conducted a wide angle quantitative study about circus associations throughout France, followed by aqualitative study centered on eleven circus associations. We established four relationship patterns with respect todissimilarities: some associations organize a Clustering and segregation, that separates people with intellectual disabilitiesfrom other participants, with the creation of a specialized circus programs; a majority of associations also accepts theparticipation of people who carries low impact disabilities in normalized circus practices, by a process of assimilation,reflecting a Behavioral prioritization ; in associations that regroup professional performers, few artists with unconventionalbody types are emphasized by their Creative corporal dissimilarity ; only one among all organizations studied offers anoriginal pattern of participation, where people with all types of abilities and disabilities are united in inclusive practices, bythe virtue of a creative mosaic.Contemporary circus has established specialized programs that reproduce the segregation utilized in the medicosocialand psychiatric sectors. It proposes a simulated integration aimed to the world outside of the disability, whileestablishing a distancing of the difference. Recurrent highlighting of artists with physical disabilities that creatively usestheir corporal differences and demonstrates exceptional body control masks this participation in the process of segregation.A single organization combines inclusive practices and affirmatively rejects its own institutionalization. For others,neither association status nor the posture of marginality produces original forms of participation for people withdisabilities.Norm is polarized: “Negative” marginality of the “disabled” – those that have a lack of behavioral control – isframed by a global care, while the “positive” marginality of corporal differences is framed as a fine art piece by spectacularstaging, the symbol of the renewed marginality of the contemporary circus
19
Parrish, MarDell C. „An analysis of concepts of marginality in adult education“. Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/26585.
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Concepts of marginality have found popular use in the field of adult education. Unfortunately indiscriminate usage of the term marginality has left too much latitude for misapplication, misinterpretation and misunderstanding. Clark was first to use the term, marginality, to denote a particular concept in the field. In his doctoral organizational case study, "Adult Education in Transition: A Study of Institutional Insecurity," University of California--Los Angeles, 1956, Clark identified a transition by the Adult Education Branch of the Los Angeles School System from a state of existence wherein traditional educational values prevailed to a state wherein the adult education schools had assumed a service orientation subservient to community demands.
Clark's initial concept of marginality was developed to denote the final status of the Branch resulting from this transition. His subsequent uses of the term departed from denoting the status of an adult education subunit in relation to other subunits within a common parental educational school system to include other organizational and non-organizational applications.
Clark was inconsistent in applying the term marginality and strayed from its application in his doctoral case-study-in-depth to describe the status of the Adult Education Branch of the Los Angeles School System. He also used marginality to denote the status of various other adult education subunits, including that of adult education administrative agencies, classes, departments, enterprises, schools, school programs, programs in general, a bureau, and professional administrators' society. Additionally, concepts of marginality were used by Clark in his dissertation to describe the low status of adult education administrators, functions, activities, programs, and a subunit organizational position.
This thesis links Clark's initial concept to dictionary definitions, discusses problems in assessing and validating marginality within organizational contexts, establishes a typology for classification of usages within the literature, and pursues concept clarification and differentiation. Definitions are stated for (1) values marginality, (2) practice marginality, (3) autonomous extra-organizational marginality, (4) autonomous organizational marginality, (5) intra-organizational
marginality, (6) human system marginality, (7) administrator system marginality, (8) client system marginality, (9) organizational system marginality, (10) organizational microsystem marginality, (11) organizational macro-system marginality, (12) organizational multiple subunit micro-system marginality, (13) organizational multiple subunit macro-system marginality, and (14) for the generic label applicable to organizational system marginality concepts--inter-system marginality.
Suggestions for future research are also presented.Education, Faculty of
Educational Studies (EDST), Department of
Graduate
20
Allan, Joan. „Images of marginality in the fiction of Beverley Farmer /“. Title page and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09AR/09ara417.pdf.
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21
Ng, Yuen-fun Fanny, und 吳婉芬. „The Hong Kong secondary school music curriculum: constructing marginality“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31237587.
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22
Sharma, Rama. „Marginality, identity and politicisation of the Bhangi community, Delhi“. Thesis, Keele University, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.329060.
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23
Regan, Ethna Mary. „Protective marginality : human rights as a dialectical boundary discourse“. Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615072.
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Kim, Ha-Eun Grace. „Marginality in post-TRC texts : storytelling and representational acts“. Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6789.
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Thesis (MA (English))--University of Stellenbosch, 2011.ENGLISH ABSTRACT: As a society that is only in its adolescence as a democracy, South Africa faces massive inequalities, both politically and socially. Within this context, Fanie du Toit of the Institute for Justice and Reconciliation urges us to remember that “nation-building in our young democracy requires opportunities for South African voices to be heard, particularly those from the margins of society, so often excluded, ignored or forgotten” (1). This thesis thus focuses on story-telling and representational acts of the marginalized in post-Truth and Reconciliation Commission (TRC) texts. The term “post-TRC” is an indication of the framework I use to explore the poetics and politics of representation, as well as the past‟s impact on contemporary South Africa. In my overview of the TRC, I focus not on actual testimonies, but on the space provided for the marginalized to speak, as well as methodologies and techniques of representation that stem from the TRC process. Antjie Krog's Country of My Skull (1998), which mimics and expands on the TRC's work, sets the platform for my discussion as Krog incorporates many of the victims' testimonies into her narrative. In my second chapter, I explore the tension between advocacy and appropriation as various factors influence Krog's act of representation. In Chapters Three and Four, the complexities of representation are investigated in four post-TRC texts which feature a protagonist who is either represented as marginalized, or who engages with marginalized individuals. In Chapter 3, I turn to the homeless and the foreigner in Jonathan Morgan and the Great African Spider Writers' Finding Mr Madini (1999), and Phaswane Mpe's Welcome to Our Hillbrow (2001). In Finding Mr Madini, Jonathan Morgan consciously employs a framework for interacting with the homeless that draws on processes of the TRC, and turns away from representing others towards providing a space for self-representation. Welcome to Our Hillbrow highlights the power of narrative in effecting marginalization or belonging, while demonstrating the fluidity of the identities of the self and the stranger. In Chapter Four, I look at novels featuring youth protagonists to investigate how genre and literary form shape representation. Using Patricia Schonstein Pinnock's Skyline (2000) and K. Sello Duiker's Thirteen Cents (2000), texts which evoke and deviate from the Bildungsroman form, I explore the ways in which these protagonists navigate their fragmented urban spaces. I also end with these novels to see what kind of future awaits these young people in which the marginalized have (not) been given a space to speak. All these protagonists grapple with the complexities of representation in various ways, as they create stories of self and others to restore a sense of home or belonging in contemporary South Africa. Furthermore, the past is shown to be implicated in the present as colonial and apartheid structures of domination and marginalization are shown to still play a significant role in shaping people's interaction with each other. At the same time, the collective indeterminacy of these texts' endings signals openness to the future, as well as the unfinished nature of the past.
AFRIKAANSE OPSOMMING: As demokrasie staan Suid-Afrika nog in sy kinderskoene. Die Suid-Afrikaanse samelewing staar daarom omvangryke ongelykhede, beide polities en sosiaal, in die gesig. Met hierdie konteks in gedagte noop Fanie du Toit van die Instituut vir Justisie en Versoening ons om in ag te neem dat “nasie-bou in ons jong demokrasie geleenthede vir Suid-Afrikaanse stemme, veral dié wat deur die samelewing gemarginaliseer, en sodoende dikwels uitgesluit, geïgnoreer en vergeet is, vereis” (1). Hierdie verhandeling fokus dus op vertelling en die voorstellingshandelinge van die gemarginaliseerdes in post-Waarheid en Versoeningskommissie-tekste. Die term “post-WVK” vorm die basis vanwaar ek die poëtiese en politieke aspekte van voorstelling, maar terselfdertyd ook die verlede se impak op die hedendaagse Suid-Afrika, ondersoek. In my oorsig van die WVK fokus ek nie op getuienisse nie, maar eerder op die ruimte vir seggenskap wat vir die gemarginaliseerdes daargestel is. Ek neem ook metodieke en tegnieke van voorstelling wat vanuit die WVK-verwikkelinge spruit in oënskou. Antjie Krog's Country of My Skull (1998) wat die WVK se werk weergee en bepeins, maar ook daarop voortbou, verskaf die basis vir hierdie bespreking aangesien Krog menigte slagoffers se getuienisse in haar boek vervat. Ek ondersoek verder die spanning tussen voorspraak en toe-eiening aangesien verskeie faktore haar voorstellingshandeling beïnvloed. Die daaropvolgende twee hoofstukke ondersoek die ingewikkeldhede van voorstelling in vier post-WVK-tekste. Hierdie tekste word telkens gekenmerk deur 'n protagonis wat óf self gemarginaliseer is, óf met gemarginaliseerde individue omgaan. In Hoofstuk Drie ondersoek ek die daklose en die buitelander in Jonathan Morgan en The Great African Spider Writers se Finding Mr Madini (1999), en Phaswane Mpe's Welcome to Our Hillbrow (2001). In Finding Mr Madini maak Jonathan Morgan doelbewus van 'n benadering, in pas met en beïnvloed deur WVK-werkinge, gebruik om met die daklose om te gaan. Hiermee beweeg hy dan weg van die voorstelling van ander na die skepping van 'n ruimte vir self-voorstelling. Welcome to Our Hillbrow plaas weer klem op die mag van vertelling om marginalisering, maar ook samehorigheid te bewerkstellig, terwyl dit ook die onstabiele aard van die identiteite van die self en die vreemdeling illustreer. In Hoofstuk Vier ondersoek ek romans met jong protagoniste om te toon hoe genre en literêre vorm voorstelling beïnvloed. Deur van Patricia Schonstein Pinnock's Skyline (2000) en K. Sello Duiker's Thirteen Cents (2000), tekste wat aan die Bildungsroman-genre herinner, maar ook daarvan afwyk, gebruik te maak, verken ek die maniere waarop hierdie protagoniste hul stedelike ruimtes reël en betree. Verder sluit ek met hierdie romans af ten einde te sien wat die toekoms, waarin die gemarginaliseerde seggenskap gegun is, al dan nie, vir hierdie jongmense inhou. Al hierdie protagoniste worstel op uiteenlopende maniere met die ingewikkeldhede van voorstelling. Dit is duidelik aangesien hulle stories van self en ander skep om 'n sin van tuiste en samehorigheid in hedendaagse Suid-Afrika te bewerkstellig. Die verlede blyk verder in die hede verwikkel te wees aangesien koloniale- en apartheidstrukture van onderdrukking en marginalisering steeds 'n betekenisvolle rol in die aard van mense se interaksie met mekaar speel. Terselfdertyd dui die kollektiewe onbepaaldheid van hierdie tekste se aflope op 'n oopheid vir die toekoms en die onafgehandelde aard van die verlede.
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Baughan, Lynn. „Drama in further education : a study in cultural marginality“. Thesis, University of Warwick, 1990. http://wrap.warwick.ac.uk/106900/.
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This study is an attempt to explore and explain tensions and anomalies associated with the role of Drama in Further Education. An initial intuitive framework suggests that there may be a natural antithesis between the expressive ideology of Drama and the instrumental ideology of Further Education. The frameworks proposed for the exploration include cultural reproduction theory, whilst Drama is perceived as carrying the dilemmas and contradictions of its marginal status. A two-by-two dichotomy is proposed which combines an analysis of Further Education milieu as potentially 'transparent' or 'opaque', and the role of Drama as potentially 'instrumental' or 'expressive'. The study moves accumulatively through three case studies. The first is an historical case assessing the extent, through two representative contrasting periods, to which the problems of Drama in Further Education can be said to reflect wider tensions and ambiguities pertaining to the role of Drama in culture at large. The second case study examines whether the legacy of Further Education is one of historical uncertainty and confusion, and whether Drama has responded in a consistent way to the cross-fire of ideas, interests and rhetorics of justification that it has found itself caught in. The third case study is an in-depth ethnography portrayal of the vicissitudes of Drama in a single institution, Sutton Coldfield College of Further Education, placed against a preliminary city-wide perspective concerning Further Education provision in Birmingham. As a contribution to theory, the thesis seeks tentative generalizations from multi-site and cross-time case studies in several areas, including cultural reproduction theory, modified to take account of sub-cultural tensions, and the moral behaviour and practical gambles associated with marginal subject areas in hostile milieu. It also takes an interactionist perspective on the ploys and strategies by which participants in the contested areas manage the problems of their potentially deviant identities, an account in which the collaborators and fifth columnists have their places. A final consideration is the extent to which the forces of social control in the colleges operate by hegemonic consent or by coercion in seeking to curb and contain Dramatic activity.
26
Gourgey, Hannah Susan. „Symbloic matters : rhetoric, marginality and the pathos of identity /“. Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004414.
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Ng, Yuen-fun Fanny. „The Hong Kong secondary school music curriculum : constructing marginality /“. Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19884576.
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Neiders, Inese A. „A comparison of the elite and marginal pioneers of American psychology : their occupational socialization, achievements and recognition /“. The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487259580262665.
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Mitropolous, Maria. „Regimes of truth: Documentary photography in the margins“. Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/106899/1/T%28CI%29%2082%20Regimes%20of%20truth.pdf.
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This thesis consists of two parts. The first is a series of photographic essays documenting the lived experience of a woman who is HIV positive and a group of young females who are socially marginalised. The written component attempts to underlabour in a philosophical sense for the artistic/creative element of the thesis. That is, it seeks to take on a range of theoretical issues that cluster around the practice of documentary photography. By clarifying these issues the thesis endeavours to act as a stimulus to artistic practice and also to explain and introduce that practice to a wider audience.
Among the theoretical ISsues addressed is the ontological status of the documentary photograph. Here, the thesis draws upon Roy Bhaskar's Critical Realism to suggest a rational alternative to postmodernist scepticism and naive realism.
The thesis also takes on a range of ethical problems. Most important of these is the question whether the relationship between the photographer and her subject is inherently exploitative. The thesis attempts, in this case, to unite Emmanuel Levinas' philosophy of the Other with a Critical Realist Ethics. Here, the thesis advances a novel differentiation of the Other and combines this with the Critical Realist notion of ontological depth. The argument of the thesis is that the nature of the contract between the photographer and her subject depends on which Other the subject is regarded as. In addition, the thesis explores the social and gender dimensions of documentary photography concentrating in particular on the Farm Security Administration photography in America in the 1930s, and the radical self-imaging of the British photographer Jo Spence and the Pop Star Madonna.
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Carrée, Roland. „Gosses d'Italie : les représentations d'une enfance marginale dans le cinéma italien des années 1990 et 2000“. Thesis, Rennes 2, 2013. http://www.theses.fr/2013REN20052.
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Les années 1990 et 2000 sont une période cruciale pour le cinéma italien, qui connaît une certaine renaissance après avoir traversé une situation très délicate. Durant cette période, certains cinéastes se font remarquer pour leur tendance, selon différentes manières, à représenter une enfance marginale, à la fois porteuse de problèmes liés à la péninsule, mais également d’un avenir possiblement meilleur. Ces personnages d’enfants marginaux bénéficient d’un traitement différent de ceux du néoréalisme, notamment sur un plan esthétique. Le travail effectué sur les regards de ces enfants participe de leur marginalité, mais suggère également une légère interaction, des interrogations, des jugements, ou encore une certaine impossibilité de réconciliation avec le monde. La plupart de ces films se concentre en outre sur la question d’un imaginaire enfantin (plus précisément : le jeu et le rêve) régulièrement mis à l’épreuve du réel, et qui existerait parallèlement au monde des adultes, indifférents. Ces films suggèrent ainsi la marginalité des enfants, petits et grands (car les « adultes-enfants » sont aussi très présents dans cette période du cinéma italien), dans une société qui se soucie peu de leur sort ; mais aussi leur capacité à surmonter ces problèmes pour continuer à mener leur vie, grandir, etpeut-être pouvoir assurer des jours meilleurs à une Italie en manque de (re)pèresThe 1990s and 2000s were crucial years for Italian cinema and witnessed a relative rebirth following a very critical phase. During that period, a few filmmakers became known for their habit of depicting marginal children confronted with problemscharacteristic of their country and heralding a hopefully better future. They are characters that are handled in a way that differs from that of neorealism, especially on an aesthetic level. The filmmakers’ attitude to the children’s gaze forms part of what defines their marginality but also suggests a degree of interaction, questioning, judgment, or even some difficulty of coming to terms with the world. Most of the films focus on the issue of childhood imagination – more specifically play and dreams – regularly put to the test of reality and existing in parallel with the world of the adults, who are indifferent to it. Thefilms thus suggest the marginality of children of all ages – the child-adult being very much a character of this period of Italian cinema – in a society that does not seem to care about their fate. They also suggest their ability to overcome their problems and to go on living their lives, growing up and perhaps changing the course of Italian society for the better at a time when it is in need of directions
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Tyrer, Gwyneth Ruth. „The Welsh farming community : marginality and the Welsh rural experience“. Thesis, Lancaster University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.493259.
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The research is concerned with understanding the context that led to a series of protests by the Welsh farming community. The study involved conducting semi-structured, structured and unstructured interviews in South and Mid Powys and Gwynedd. Non-participant observation was also incorporated, as was the local knowledge gained from the researcher residing in Mid Wales throughout the majority of the study.
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Jakovljevic, Rastko Stevan. „Marginality and cultural identities : locating the bagpipe music of Serbia“. Thesis, Durham University, 2012. http://etheses.dur.ac.uk/3544/.
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This dissertation examines the gajde (bagpipe) music tradition of Serbia in the context of the increasing marginality of such cultural identities (i.e. musician, performer) over the period of rapid modernisation since 1945. It is argued that the process of marginalisation of gajde music in the second half of the twentieth century reached a critical point where social and ideological developments intertwined and resulted in radical changes to the cultural and musical identity of this tradition. The gradual decline in the number of the gajde performers, contextual changes, political influences and the dissolution of traditional values led to a stage where a once central and popular musical practice became marginalised and relocated into relative cultural obscurity. In this project the employed concepts of marginality and identity are derived from a range of sociological and anthropological sources and perspectives, including Bhabha (1994), Sennett (1974, 2008), Lee (1995), and Rice (2007). The research into the process of marginalisation itself, as a dynamic category, has served to generate a theoretical dialogue between ethnomusicological and sociological discourses, the individual experiences of the performers of gajde music, fieldwork data, and other relevant sources that include archival materials and personal statements. The articulation of distinctive features of this musical tradition, such as the technical features of the music-making process itself, performance practice and its function in different localities, formal characteristics of the music, its expressive potential, and the kinds of meanings attributed to it, provide a space for discussion and understanding of the fundamental characteristics of this music and its context. This also serves to raise a wider range of issues regarding musical identities and their location within culture. It is the argument of this dissertation that the concept of marginality offers a way of understanding identities that are in a state of flux, particularly in the collision between tradition and modernity. It examines the kinds of fundamental meanings that traditional music creates, for example in relation to nature, and it follows significant aspects of the music-making process as a distinctive type of human creativity, regarding music as a specific craft. This study also provides a space for understanding the broader social, cultural and political conditions in which gajde practice developed, identifying the polarities that arise between the traditional and the modern, the shifts between centres and margins, and the politics that have informed these processes.
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Betta, Chiara. „Silas Aaron Hardoon (1851-1931) : marginality and adaptation in Shanghai“. Thesis, SOAS, University of London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264713.
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Savage, Emily N. „Marginality and the experience of images in late medieval England“. Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/16719.
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This thesis re-examines the art historiography of margins and marginality. It has long been recognized that the phenomenon of the marginal - characterized by hybrid forms, and playful scenes of secular subjects - occurred not only on the manuscript page, but also on textiles, maps, furniture, documents, and even within and upon the exterior of the most sacred structures in Christendom. The late Michael Camille argued that in the medieval world these margins were liminal spaces, where artists and patrons explored and defined social relationships through the visual representation of the "other." Camille and those who followed him painted a picture of a highly stratified, stagnant society, in which images reflect the homogenous worldview of a patriarchal elite. The "others" he described were the socially marginalized peoples of the medieval world, and they naturally included women. I argue that this approach not only simplifies the often complex relationships between patrons, artists, and audiences in the creative process, but also denies agency to the viewer. In this thesis, I present three case studies involving women and marginal art that both complicate and contradict this argument. The first case study analyzes three misericords with a shared enigmatic iconography, and demonstrates not only that the presumed audience for these pieces was broader than commonly assumed, but also that the wheelbarrowed woman offered more than a condemnatory vision of medieval femininity. In the second case study, I examine how the social, political, and economic factors impacting late medieval towns gave rise to the image of the dishonest alewife in hell, and consider how such a marginal character operated on a monumental scale in the Last Judgment mural. The final case study focuses on a book of hours with a prolonged production period, and reveals how several female patrons physically manipulated both its pages and margins in the service of spiritual and material desires. Working with concepts developed by theorists such as Alfred Gell, Catriona Mackenzie, and Michel Foucault, this thesis resituates agency in our interpretation of the marginal arts.
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Verrill, Lucy. „Later prehistoric environmental marginality in western Ireland : multi-proxy investigations“. Thesis, University of Edinburgh, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536230.
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This thesis assesses the environmental marginality of a site at the Atlantic fringe of the British Isles, occupied at various points throughout prehistory. Palaeoclimatic proxy records from the North Atlantic show that climatic fluctuations have occurred in the mid- and late-Holocene, at amplitudes likely to be perceptible to human communities. Coincident environmental changes occurred to affect the development of landscapes via vegetation change and pedogenesis. The degree to which prehistoric agricultural economies were vulnerable to these external fluctuations is tested in this thesis. The archaeological complex at Belderg Beg, Co. Mayo, Ireland, consists of a sub-peat stone-built field system of the sixth millennium cal. BP, a Middle Bronze Age roundhouse and adjacent areas of ridge-andfurrow cultivation. By the time of Bronze Age occupation, blanket bog already covered a significant proportion of the landscape. A combination of on- and off-site investigation strategies included AMS 14C dated sediment stratigraphic analyses, palynology, soil micromorphology, peat humification and geochemistry. Results show that peat initiation occurred during Neolithic agricultural occupation, at c. 5465 cal. BP. The initial woodland assemblage was a combination of typical upland and lowland tree types, and had been subjected to disturbance. The economy was primarily pastoral but with an arable component. Abandonment occurred at c. 5375 cal. BP, and woodland regenerated rapidly. Neolithic abandonment occurred several centuries prior to the spread of blanket peat over the fields. Peat spread upslope at an average rate of c. O.385m/cal. yr. The Bronze Age archaeological remains probably represent several discrete phases of occupation, associated with intensive arable agriculture which included soil amendment strategies, and ceasing in the mid-second millennium cal. BP. Geochemical analysis failed to support previous hypotheses that a vein of copper ore 2km distant was exploited during the Bronze Age. The results from this investigation add to a growing corpus from western Ireland suggesting a clear pattern of Early and Middle Neolithic sedentism and mixed agriculture, followed by abandonment until reoccupation in the Early Bronze Age. As the Neolithic field system at Belderg Beg was apparently smaller and less regular than that at nearby Ceide Fields, it may represent an economically marginal site in terms of core-periphery relationships. Abandonment occurred during a phase of relative climatic aridity and it is concluded that soil deterioration and erosion was probably a factor in the demise of agriculture. The Bronze Age occupation is more difficult to characterise in terms of economy, but the gradual contraction of intensive agriculture suggests that again, soil quality rather than direct climatic shifts was the limiting factor and that the location eventually became environmentally marginal for an economy including significant cereal production.
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Nadiruzzaman, M. D. „Cyclone Sidr and its aftermath : everyday life, power and marginality“. Thesis, Durham University, 2012. http://etheses.dur.ac.uk/5261/.
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This PhD research is about power struggle and marginality in peoples’ everyday life in the aftermath of the cyclone Sidr. This research explores how everyday vulnerabilities of a coastal community, which is ignored in the powerful knowledge framing, limit peoples’ ability to withstand a cyclone. It reiterates the idea that the conditionality, which makes an individual, a group or a community susceptible to a natural event, is a legacy of our engagement with the environment and, thus, scrutinise our knowledge on that particular event. From a theoretical interest in environment-society studies, my work strives to understand affected communities’ quotidian experiences of their livelihoods, after being affected by Cyclone Sidr, through rebuilding, relief support, access to natural resources in land, water and forest, alternative income opportunities, patron-client networks, and local power dynamics. The whole research is based on an ethnographic account in three proximate villages, Gabtola, Mazer Char and Sonatola Model Village, adjacent to the Sundarbans. This research examines the following research questions – i) How are communities’ everyday livelihoods, mediated through their broader societal, political and economic networks, informing their ability to cope with a cyclone event, and thus connected with cyclone knowledge?; ii) How are the complex interface of environmental change, livelihood options and power dynamics reciprocally linked with cyclone rhetoric?; and iii) Whose views are reflected in the development of cyclone knowledge and practice in Bangladesh? Being a native Bengali speaker, knowing local dialects, having previous work experience of academic research on disadvantaged and rural communities, power dynamics and development, I was in an advantageous position to carry out this highly sensitive work. This research contributes to the idea of vulnerability and resilience by portraying the importance of considering local power dynamics in shaping environment-society relationship. In addition, this research also enlightens on local development and economic aspects through unpacking issues in regard to relief and rehabilitation, fishing and forest use. These theoretical contributions, reciprocally, back up methodological underpinnings of it. More importantly, this research explores the interface of cyclone, power and livelihoods and echoes voices of marginal people with a view to them having their space in policies.
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Redfern, Paul. „There goes the neighbourhood : gentrification and marginality in modern life“. Thesis, London School of Economics and Political Science (University of London), 1992. http://etheses.lse.ac.uk/1292/.
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Gentrification is the term applied to the process whereby middle-class people move into working class areas in the inner city, either residential areas, or old warehouses or sweatshops. This thesis seeks on the one hand to explain gentrification as the consequence of the development of domestic technologies, and on the other to understand it as a metaphor rooted in the characteristic experience of marginality in modern life. Debate over the causes of gentrification have polarized around two themes: that gentrification is the consequence of the rise of a new middle class heralding the onset of a post-industrial or post-modern society; or that gentrification is just another example of the contradictions underpinning capitalist development (in this case, the contradiction between the value of a building and the value of the land on which it sits - the rent gap hypothesis). This thesis argues that the falling cost of domestic technologies such as washing machines and vacuum cleaners has made it possible to bring the value of housing services which can be supplied by a Victorian house into line with the value of the housing services provided by the most modern house. Gentrification is then explained as a consequence of the middle classes taking advantage of the opportunity offered by these developments. In contrast to the explanations currently dominating the gentrification debate, this thesis therefore argues that gentrifiers gentrify because they can, and not because they have to. Consequently, the explanation of gentrification has nothing to do with questions of class, nor indeed of gender. Gentrification is a transient, not a cyclical phenomenon, and would have occurred whether the process was carried out entirely by women or entirely by men. The currently dominant explanations of gentrification argue that gentrifiers gentrify because they have to as they are subject to forces beyond their control: the rise of post- industrial society; or the reappearance of accumulation crises in capitalist urban development. These explanations are then left with the problem, not of explaining the existence of gentrification in those inner-city areas where it does occur, but in explaining its absence from all those other inner-city areas in which it does not occur, since they are couched in such general terms that they could apply to every member of the middle classes or to every inner city area, not just those associated with gentrification. These explanations of gentrification therefore over-estimate its quantitative significance, also. The fact that this over-estimation occurs is however of great interest. Using arguments derived from Robert Park and Raymond Williams, this thesis suggests that the reason for this is that gentrification touches on many characteristic insecurities of modern life. Gentrification therefore has resonances far wider than its quantitative significance would suggest. 'Gentrification' is a metaphorical expression, derived from 'gentry', the rural landowning classes. Gentrification can best be understood, therefore, in terms of attempts to realize an Arcadian (and class) vision of the 'country': a stable retreat in the very heart of the everchanging and often threatening 'city'. Insofar as gentrification represents a particular strategy for dealing with a universally experienced condition, the study of gentrification illuminates the way we live now.
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Iacob, Raluca. „Projecting peripheries : allegories of marginality in post-communist Romanian cinema“. Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/6951.
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This thesis addresses aspects of Romanian society and cinema, by analyzing post-communist films through the perspective of marginality. The central hypothesis of this study refers to the ways in which films illustrate conditions of post-communist Romanian society, as they consider representations of the periphery through the angle of allegories of marginality. Following a long tradition, especially in literary studies, where it refers to the overt insertion of symbolic meanings, allegory refers in this study to a less noticeable delivery, by using a postmodern interpretation of the concept. This translates to detecting a latent meaning in films, by interpreting them in a broader context pertaining both to the film's circumstances (production, distribution and reception), and to the broader framework of the film's content. What connects post-communist Romanian films is a concern for matters of marginality, as they focus on dissensions in society, intergenerational conflicts, youth and limited opportunities of social movement, and the use of satire as a way of handling the bleak conditions of life. Aiming to provide a realistic representation of post-communist life, new wave Romanian films focus on the mundane reality of everyday life. The films discussed in this thesis expand beyond the scope of the new wave, and present a diversity of aesthetic approaches and relating perspectives on allegory—from distinct to obscure—defined by the contextual conditions of post-communism.
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VITTURINI, ELIA. „The Gaboye of Somaliland: Legacies of Marginality, Trajectories of Emancipation“. Doctoral thesis, Università degli Studi di Milano-Bicocca, 2017. http://hdl.handle.net/10281/180856.
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A partire da una ricerca etnografica condotta tra il 2014 ed il 2015 nella città di Hargeisa, capitale della Repubblica del Somaliland (Somalia), la tesi illustra la traiettoria storica di trasformazione di una forma di marginalizzazione socio-politico-economica di cui sono oggetto i Gaboye, un agglomerato di gruppi minoritari locali. Tale marginalizzazione veniva descritta da autori di epoca coloniale (viaggiatori, studiosi, funzionari coloniali) come segregazione di “casta”. L’oggetto in questione apre squarci analitici sia su importanti snodi storici di mutamento sociale che hanno interessato l’area – quali i processi migratori che determinarono l’espansione urbana nell’area ed altre trasformazioni del tessuto economico occorse a partire dall’epoca coloniale – sia su temi e strumenti concettuali su cui antropologi e storici si interrogano in relazione ad altri contesti africani (e non solo), quali la relazione tra status ascritti, segregazione professionale, esclusione dagli scambi matrimoniali e stratificazione sociale.Drawing on fieldwork conducted in 2014 and 2015 in Hargeysa, the capital of the Republic of Somaliland (Somalia), the dissertation presents the historical and ethnographic reconstruction of the social position held by a cluster of minority groups. They have a much lower population than the other Somalilander genealogical groups and are instantly identified as being subject to certain forms of discrimination such as marriage segregation and being associated with occupational tasks despised by the rest of society. The most common denomination applied to them, across all Somali territories, is Gaboye. The main objectives of this research are to define the dynamic contours of this form of marginality and to reconstruct how it gradually lost the attributes of a social institution. Scholars and travellers of the colonial period defined this institution in terms of ‘caste’ because it implied the integration of ascribed status, notions of ritual impurity, occupational and marriage segregation. The analysis examines the trajectories of emancipation and the plastic ways of being at the ‘margins’ of political institutions and of economic networks that have affected the lives of the Gaboye from the colonial period until today. This historical and ethnographic investigation encompasses a range of aspects of the social, political and economic life of the people of the north-western Somali territories, the first of which is the urbanisation waves that started in the 1920s in the British Protectorate of Somaliland, and their implications for local populations. The subsequent ones are the transformations of ‘traditional’ institutions such as the co-contribution to blood compensation and the establishment of their genealogical group leadership, the different forms of inhabiting urban areas in the post-colonial and the post-civil war periods, the transformations of urban based businesses intended either as economic sectors or objects of social representations and finally the connections between contemporary forms of transnational migration and the reproduction of economic vulnerability.
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Скрипник, М. А., und Л. Я. Фльорко. „Периферійність буття як сутність маргінальної особистості“. Thesis, Сумський державний університет, 2013. http://essuir.sumdu.edu.ua/handle/123456789/31259.
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Сократ, увівши в філософію ціннісний аспект загальних моральних ідей, цим поставив питання про універсальні засади буття людської одиниці. Універсальні моральні ідеї як надцінності людського життя постали для філософа підвалиною поведінки та вчинків кожної людини зокрема і, насамперед, самого себе.
При цитуванні документа, використовуйте посилання http://essuir.sumdu.edu.ua/handle/123456789/31259
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Thurston, Naomi. „On the fringes of the Chinese Academy : constructing marginality in Sino-Christian studies“. Thesis, University of Wales Trinity Saint David, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683086.
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Deer, Lesley. „The repetition of difference : marginality and the films of Hal Hartley“. Thesis, University of Newcastle Upon Tyne, 2000. http://hdl.handle.net/10443/141.
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Hal Hartley is prominent within the recent rise of the independent film-making movement in America. This thesis is centred around the issues of repetition, difference and marginality which characterise his films. Marginality inhabits Hartley's position as an American independent who makes a European art-house style of film. He is an auteur who articulates his influences through his reference to Godard. Marginality is also the dominant characteristic of those who people Hartley's films. Difference, which is marginality pushed to its greatest extent, is further imposed upon Hartley's characters. It is interposed through Hartley's concern with repetition, in which the degree of formal repetition becomes so high that difference is forefronted. This thesis asserts that the essential difference in Hartley's films lies in gender. After an introduction which engages with the issues highlighted above, Chapter I contains a literature review which serves both to delineate critical opinions on Hartley, and to demonstrate the lack of sustained material which this thesis hopes to go some way towards redressing. Chapter II's taxonomy emphasises the consistency of Hartley's concern with repetition. It establishes both the formal repetition, linear and cyclical, which structures Hartley's films, and the behavioural repetition which his characters exhibit. Chapter III extends the taxonomy by applying theories of repetition to Trust. It uses Deleuze to engage with the tensions between the linear and cyclical modes of formal repetition in the film. An analogy with minimalism introduces difference into this repetition. Finally, the chapter examines Matthew's marginality and crisis of masculinity, embodied within the compulsion to repeat passive behaviour, in light of Freud's theories on repetition. Chapter IV extends male marginality into the interrogation of Thomas' criminality in Amateur. It is a criminality largely instituted through parodic generic reference. Thomas' amnesia does not allow him either to repent or to escape the reputation through which his criminality is perpetuated. Religion, notably the figure of Redeemer, is introduced as a means to bring about Thomas' redemption. The film's engagement with the resonances of pornography problematises both the Redeemer, Isabelle (who is both Virgin and Whore) and wider gender issues. Chapter V extends the concern with pornography, which defiles the ecstatic experience of writing characteristic of Henry Fool's shamanic figures. The film questions Henry's status as a criminal who refuses to repent. The blurring of legal and moral judgement in the film suggests an analogy with the genre of a morality play. Without repentance, redemption occurs though forgiveness and trust. The pornographic, which in invoked but never seen, serves to interrogate gender positioning in relation to it. Chapter VI examines female agency, with The Unbelievable Truth's Audry ostensibly exerting control over her commodification. Audry is not as able to control her commodification as much as the film suggests. She loses her ideals through the sale of images of herself. The film attempts a Godardian engagement with the problem of the commodified female image. It does so without showing the images of Audry, resisting their inherently exploitative nature and not allowing them to become pornographic by eliciting viewing pleasure. Yet by not showing these images, Hartley increases their coding as objects of desire. He does not escape the problems of the auteur using female images. Chapter VII concerns Simple Men, a film which seeks to make reparation for the exploitative use of women by placing women as the film's necessary centre. However, in alluding to male-centred genres, Hartley's film displaces women into the margins of male scenarios, reducing them both to function and difference in relation to men. Rather than the problems of femininity, the film engages with the troubled masculinities which its genre invokes. Chapter VIII reprises repetition in light of Hartley's wider questioning of gender. Applying formal and behavioural theories of repetition to Flirt, the chapter asks: What is the difference in Hartley's repetitions? Since Flirt's repetitions involve the gendering of masochism as female, and mark femininity as the essential difference, it can retrospectively be asserted that it is gender that is the key difference, the ultimately signified, of Hartley's repetitions. It is with this that the thesis concludes by drawing together the central themes of Hartley's films. These include male marginality, and its association with troubled masculinities, and the problematic associations of pornography with the objectification and commodification of women. Although marginality extends across gender boundaries within Hartley's films, it is ultimately women who are more fundamentally marginalised by them. This is brought about through the association of the difference which inhabits repetition with femininity.
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Higbee, William Edward. „Marginality and ethnicity in French cinema of the 1980s and 1990s“. Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364416.
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SOUZA, NAYHD BARROS DE. „DRIFTING LIVES: MARGINALITY, SENSITIVITY AND IMAGES OF URBAN IN OZUALDO CANDEIAS“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=32658@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Este trabalho investiga, por meio da análise do filme A Margem (1967), dirigido e roteirizado por Ozualdo Candeias, cineasta ligado à experiência criativa da Boca do Lixo, as sensibilidades e imagens do urbano construídas pela obra. Em meio a isso, busca-se entender como a experiência da marginalidade encontra-se figurada pelo mundo fílmico e pode orientar nosso olhar para diferentes vivências da cidade. A partir do diálogo entre o cinema e o saber histórico, pretende-se refletir sobre a problemática da modernidade e dos processos de modernização representados pela narrativa, no diálogo com as imagens do urbano e com a figura do marginal que vaga pelas beiras da metrópole. O filme dialoga com o imaginário sobre o urbano de seu tempo e desenvolve também um ponto de vista singular sobre a experiência urbana, suas tensões, fissuras e fragilidades. Em um primeiro momento, é entendido a partir da dimensão de objeto artístico, enredado em uma teia de relações que vão desde seu contexto de produção, incluindo as relações com o que viria a ser chamado de cinema marginal, até suas conexões com outras tramas narrativas do Cinema e da Literatura. No segundo capítulo, a partir da análise de sequências do filme, persegue-se as sensibilidades construídas pela obra, constituída por uma profunda conexão entre melancolia, amor e loucura. A ideia é perceber como esses afetos redimensionam as imagens de urbano e nos levam, inclusive a concluir a dimensão alegórica do filme. Por fim, no terceiro capítulo, conclui-se a análise da obra, apontando diferentes visões de cidade que conformam a experiência do homem urbano, representado pelo sujeito à margem perdido entre a vida e a morte, que vaga melancolicamente entre uma metrópole monstruosa e uma margem redentora.
This work investigates, through the analysis of the film A Margem (1967), directed and scripted by Ozualdo Candeias, a filmmaker linked to the creative experience of Boca do Lixo, the sensibilities and images of the urban constructed by the work. In this way, it is sought to understand how the experience of marginality is figured by the cinematic universe and can guide our look at different experiences of the city. From the dialogue between cinema and historical knowledge, we intend to reflect on the problematic of modernity and the processes of modernization represented by the narrative, in the dialogue with the images of the urban and with the figure of the marginal who wanders along the borders of the metropolis. The film dialogues with the imaginary about the urban one, elaborated in the time in which it was conceived and also develops a singular point of view on the urban experience and its tensions, fissures and fragilities. At first, the film is understood from its dimension of artistic object, entangled in a web of relations, ranging from its context of production, including the relations with what would come to be called marginal cinema, until Its connections with other narratives of Cinema and Literature. In the second chapter, from the analysis of the sequences of the film, the sensibilities constructed by the work are pursued, constituted by a deep connection between melancholy, love and madness. The idea is to understand how these affections resize urban images and take us to conclude the allegorical dimension of the film. Lastly, in the third chapter, the analysis of the film is concluded, pointing out different visions of city that conform to the experience of the urban man, represented by the subject at the margin, lost between life and death, that wanders melancholically between a monstrous metropolis and a redemptive margin.
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Scraton, Phil. „Unreasonable force : class, marginality and the political autonomy of the police“. Thesis, Lancaster University, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.292084.
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Walter, Charles S. „Intentional marginality reviewing Comboni missionary formation through the lens of culture /“. Theological Research Exchange Network (TREN), 1999. http://www.tren.com.
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WARNER, JUDITH ANN. „MARGINALITY AND SELECTIVE REPORTING: ETHNIC AND GENDER ISSUES IN THE PRESS“. Diss., The University of Arizona, 1987. http://hdl.handle.net/10150/184227.
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A preliminary theoretical framework for analyzing the role of the press in the public process of defining important social issues and labeling of politically marginal minorities is developed. This theory employs the concept of newsworthiness and stresses the effect of the social organization of news work as a factor in press gatekeeping and agenda setting. It is the object of our research to demonstrate that the "objective" perspective of the news media is, in actuality, a biased one which is imbalanced and slanted towards representation of dominant group interests. Two cases, illegal Mexican immigration, and the 1984 Ferraro-Bush campaign, are analyzed to determine how reporting practices result in imbalanced coverage. Our empirical analyses of news content on these issues will show that a favorable rate of access to the press for dominant group, rather than minority group representatives exists. As a result, news coverage of undocumented Mexican workers and the 1984 woman vice-presidential candidate was imbalanced.
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Baussmann, Maya. „Die Nutzungsordnung des öffentlichen Raumes zur Auflösung von Strassennutzungskonflikten durch den Aufenthalt sozialer Randgruppen im Stadtbereich /“. Köln : Deutscher Städtetag Berlin, 2005. http://books.google.com/books?id=TWfaAAAAMAAJ.
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Verchot, Barbara Estelle. „Creating marginality and reconstructing narrative reconfiguring Karen social and geo-political alignment /“. Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002045.
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Diyab, Halla. „Crossing the margin : minorities and marginality in the drama of Tennessee Williams“. Thesis, University of Leicester, 2008. http://hdl.handle.net/2381/7824.
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The thesis examines the development of the concept of minority in the plays of Tennessee Williams, as it transforms from minority as the identity of a certain group in his early plays, into an experience of marginality. In The Glass Menagerie (1945), A Streetcar Named Desire (1947) and Suddenly Last Summer (1958) Williams' characters experience self-confinement within the body, which categorises them as identifiable minorities. Three versions of The Night of the Iguana will be pivotal in this thesis; the 1961 three-act version of Iguana finds the 'interior space' of the characters' confinement in conflict with 'the exterior space'. In Williams' later plays, including Kingdom of Earth (1968), In the Bar of a Tokyo Hotel (1969) and Small Craft Warnings (1972), the concept of marginality becomes more abstract, concerning the characters' interaction with one another to create a space of liberation. The thesis defines this space as 'the circle of 'one-ness' which is formed between two marginalized characters who come together in order to be liberated from their own confinement. Over the course of these plays Williams widens this dramatic circle to operate on a collective level of unity that includes two or more characters. The thesis ends with a discussion of Vieux Carré (1977), where Williams succeeds in dramatising the unity of these characters with the image of the loving God, and offering a return to the self as the source of salvation and liberation. By reading Williams' dramatic texts in relation to his use of stagecraft, including the visual and aural images, stage directions and the characters' movements on the stage, as well as their spoken words, the thesis aims to present a new framework for the study of Williams' dramatic work.