Academic literature on the topic 'Postructuralism'

The purpose of the research paper is to disclose the manifestation of micropolitics in curriculum development. The objectives of the research are: 1) to analyze scientific literature by presenting the main concepts; 2) to discuss how they help to develop a curriculum. The novelty is that the research is based on the postructuralism theory, where micropolitics is not only a resistance, but also a novelty, in this case self-education. The research method is hermeneutic review of literature. It is important to understand the meaning and importance of individual texts, which, in turn, can be seen as parts of the whole body. The analysis of scientific literature revealed that the main concepts are the following: rhizome, assemblages, the strata, and micropolitics. Self-education should be implemented through rhizomatic learning, observation of self-education, creation of new learning territories and a favourable micro environment.

This essay seeks to bring Reinhold Niebuhr into the postructuralist dialogue in order to suggest that his writings are far more constructive about the human predicament. The essay begins by presenting eleven positions commonly taken by poststructuralists. It then examines similarities between Niebuhr and postructuralist thinkers in their interrogation of the Enlightenment to expose the illusions of reason and progress and in their exposure of the Marxist philosophy of history as a false teleology that dramatizes truth and freedom emerging triumphant from conflict and struggle. Instead of posing postructuralist constraints and incarceration, however, Niebuhr's theology and philosophy of history offer indeterminate potentialities for freedom. Whereas the poststructuralists fetishize systems and structures, Niebuhr believes in the possibilities of human agency. And while Foucault presents us with a theory of oppression without an oppressor, Niebuhr seeks to show how power issues from ourselves, from the sin-prone ego that prevents consciousness from rising to knowledge of the motives for its own actions. The essay argues, finally, that in Niebuhr power and morality meet in one, with a suspicious glance at the disavowal of power and the pretensions of morality, and with responsibility for the use of power remaining within mind, will, and conscience.

The relation between subject and object in contemporary societies is a key concern of much postmodernist literature, authors often denouncing the superfluous pervasiveness of material culture in our lives and our absurd dependence on the artificial systems of meaning that we project on the world of things.The antihumanism that is commonly identified with postmodern culture finds a congenial formulation in Postructuralist theories, which consider meaning not as an absolute concept, but always arising of a web of signs that interrelate; the key issue is that for most Postructuralist thinkers –among them Jean Baudrillard and his definition of the ‘hyperreal’– these codes on which culture is founded always precede the individual subject, annihilating all prospects of human agency.Postmodern authors like Thomas Pynchon, Don Delillo or William Gibson foster the debate on the nature of those underlying structures, and offer manifold portraits of these frail, commodified, and antihuman subjectivities that are very often the product of progress

This essay focuses on the repeated rhetorical moves through which the third wave autobiographical subject seeks to be real and to speak as part ofacolhctive voice from the next feminist generation. Given that postmodernist, postructuralist, and multi-culturalist critiques have shaped the form and the content of third wave expressions of the personal., the study is ultimately concerned with the possibilities and limitations of such theoretical analysis for a third wave of feminist praxis.

The overlooked pervasiveness of chronie sores on the bodies of Beckett's characters offers new explanations for both the disappearance of a realistic setting – one located in a specific place and time – in his first "mature" works (Watt through the 'Trilogy' and early plays) and his use of repetition. Using statements about memory in Proust as evidence, this essay demonstrates that epidermal eruptions (like cysts), because their pains are repetitious, lead Beckett's characters to dull their sensory perceptions, resulting in a perception of a dulled world. Finally, these sores suggest an alternative understanding of repetition in Beckett's texts to that of postructuralist readings.

Abstract. This paper discuss about gender and sexuality in popular literature by doing comparative studies of Indonesian literary works and Japanese literary works. In Indonesian literature, there is a genre called ‘sastra wangi’ (fragrant literature) that has emerged since Ayu Utami’s first novel Saman published in 1998 two weeks prior to Suharto’s fall, and in 2001 Ayu Utami’s next Larung was published. Those two novels represent the ‘sastra wangi’ genre. The label of ‘sastra wangi’ refers to somewhat disapproving term, because for the writer like Ayu Utami the freedom of expression is everyone’s right, including the discussing about sexuality. Meanwhile in Japanese literature and populer culture, there is a genre called ‘yaoi’ which illustrating a homesexual relation between male. ‘yaoi’ genre can be found at many artworks, such as manga, anime, novel, and film. The anime Junjou Romantica is one of the artwork represented the ‘yaoi’ genre. This paper is aim at showing how discourse in novel Saman, Larung, and anime Junjou Romantica are represented through the narration and character’s expression, are those the discourses express the ‘woman freedom’, and then are there any parallelism between ‘sastra wangi’ genre and ‘yaoi’ genre. By using comparative method with postructuralism feminist (postfeminism) perspective, it is found those novels Saman, Larung, and anime Junjou Romantica showing many discourses through portraying the character’s expression and thier narration. The discourses in novel Saman and Larung are conveying the criticism of phallocentris’values, such as denying a marriage's value and destabilizing heterosexual relation by doing free sex and homosexual attitude. From all the main character which portrayed in novel Saman, Larung, and Junjou Romantica, we can see the same discourses reveal the expression of woman freedom from male’s domination. Keyword: Yaoi genre, Fragrant literature, Junjou Romantica, Postfeminism

Wife (1975) is a novel ostensibly about immigration, but it is also about gender, ethnicity, and power. Bharati Mukherjee's well-known essay, "An Invisible Woman" (1981), describes her experience in Canada as one that created "double vision" because her self-perception was put so utterly at odds with her social standing (39). She experienced intense and horrifying racism in Canada, particularly in Toronto, and claims that the setting of Wife, her third novel, is "in the mind of the heroine...always Toronto" (39). Mukherjee concludes the article by saying that she eventually left Toronto, and Canada, because she was unable to keep her "twin halves" together (40). In thinking about "mixing," Mukherjee’s work provides entry points into "mixed" or interlocking structures of domination; the diasporic female subject in Mukherjee’s Wife struggles to translate this powerful "mix" in her attempt to move across and within national borders, feminisms, and cultural difference. "An Invisible Woman", in many ways, illuminates the issues that are at stake in Mukherjee's Wife. The protagonist Dimple Dagsputa, like Mukherjee, experiences identity crisis through the cultural forces that powerfully shape her self-perception and deny her access to control of her own life. I want to argue that Wife is also about Dimple's ability to grasp at power through the connections that she establishes between her mind and body, despite the social forces that attempt to divide her. Through a discussion of Dimple's negotiations with Western feminisms and the methods by which she attempts to reclaim her commodified body, I will rethink Dimple's violent response as an act of agency and resistance. Diasporic Feminisms: Locating the Subject(s): Mukherjee locates Wife in two very different geographic settings: the dusty suburbs of Calcutta and the metropolis of New York City. Dimple’s experience as a diasporic subject, one who must relocate and find a new social/cultural space, is highly problematic. Mukherjee uses this diasporic position to bring Dimple’s ongoing identity formation into relief. As she crosses into the space of New York City, Dimple must negotiate the web created by gender, class, and race in her Bengali culture with an increasingly multiple grid of inseparable subject positions. Avtar Brah points out that diaspora is useful as a "conceptual grid" where "multiple subject positions are juxtaposed, contested, proclaimed or disavowed" (208). Brah points to experience as the site of subject formation; a discursive space where different subject positions are inscribed, repeated, or contested. For Brah, and for Mukherjee, it is essential to ask what the "fields of signification and representation" are that contribute to the formation of differing subjects (116). Dimple’s commodification and her submission to naming in the Bengali context are challenged when she encounters Western feminisms. Yet Mukherjee suggests that these feminisms do little to "liberate" Dimple, and in fact serve as another aspect of her oppression. Wife is concerned with the processes which lead up to Dimple’s final act of murder; the interlocking subject positions which she negotiates with in an attempt to control her own life. Dimple believes that the freedom offered by immigration will give her a new identity: "She did not want to carry any relics from her old life; given another chance she could be a more exciting person, take evening classes perhaps, become a librarian" (42). She is extremely optimistic about the opportunities of her new life, but Mukherjee does not valourize the New World over the Old. In fact, she continually demonstrates the limited spaces that are offered on both sides of the globe. In New York, Dimple faces the unresolved dilemma between her desire to be a traditional Indian wife and the lure of Western feminism. Her inability to find a liveable place within the crossings of these positions contributes to her ultimate act of violence. At her first party in Manhattan, Dimple encounters the diaspora of Indian and Pakistani immigrants who provide varying examples of the ways in which being "Indian" is in conversation with being "American." She hears about Ina Mullick, the Bengali wife whose careless husband has allowed her to become "more American than the Americans" (68). Dimple quickly learns that Amit is sharply disapproving of women who go to college, wear pants, and smoke cigarettes: "with so many Indians around and a television and a child, a woman shouldn’t have time to get any crazy ideas" (69). The options of education and employment are removed from Dimple’s grasp as soon as she begins to consider them, leaving her wondering what her new role in this place will be. Mukherjee inserts Ina Mullick into Dimple’s life as a challenge to the restrictions of traditional wifehood: "Well Dimple...what do you do all day? You must be bored out of your skull" (76). Ina has adopted what Jyoti calls "women’s lib stuff" and Dimple is warned of her "dangerous" influence (76). Ina engagement with Western feminisms is a form of resistance to the confines of traditional Bengali wifehood. Mukherjee, however, uses Ina’s character to demonstrate the misfit between Western and Third World feminisms. Although the oppressions experienced in both geographies appear to be similar, Mukherjee points out that neither Ina nor Dimple can find expression through a feminism that forces them to abandon their Indianess. Western feminist discourse has been much maligned for its Eurocentric construction of a monolithic Third World subject that ignores cultural complexity. Chandra Talpade Mohanty’s "Under Western Eyes" (1988) is the classic example of the interrogation of this construction. Mohanty argues that "ethnocentric universality" obliterates the differences within the varied category of female (197), and that "Western feminist writings on women in the third world subscribe to a variety of methodologies to demonstrate the universal cross-cultural operation of male dominance and female exploitation" (208-209). Mukherjee addresses these problems through Ina’s struggle; Western feminisms and their apparent "liberation" fail to provide Ina with a satisfying sense of self. Ina remains oppressed because these forms of feminism cannot adequately deal with the web of cultural and social crossings that constitute her position as simultaneously "Indian" and "American." The patriarchy that Ina and Dimple experience is not simply that of the industrialized first world; they must also grapple with the ways in which they have been named by their own specific cultural context. Mohanty argues that there is no homogenous group called "women," and Mukherjee seems to agree by demonstrating that women's subject positions are varied and multi-layered. Ina’s apparently comfortable assimilation is soon upset by desperate confessions of her unease and depression. She contrasts her "before" and "after" self in caricatures of a woman in a sari and a woman in a bikini. These drawings represent, "the great moral and physical change, and all that" (95). Mukherjee suggests, however, that the change has been less than satisfactory for Ina, "‘I think it is better to stay a Before, if you can’...’Our trouble here is that we imitate badly, and we preserve things even worse’" (95). Ina’s confession alludes to her belief that she is copying, rather than actually living, a life which might be empowering. She has been forced to give up the "before" because it clashes with the ideal that she has constructed of the liberated Western woman. In accepting the oppositions between East and West, Ina pre-empts the possibility of being both. Though Dimple is fascinated by the options that Ina represents, and begins to question her own happiness, she becomes increasingly uncomfortable with the absolutes that Ina insists upon. Ina’s feminist friends frighten Dimple because of their inability to understand her; they come to represent a part of the American landscape that Dimple has come to fear through her mediated experience of American culture through the television and lifestyle magazines. Leni Anspach’s naked gums, "horribly pink and shiny, like secret lips, only more lecherous and lethal, set themselves up as enemies of decent, parsimonious living" (152). Leni’s discourse threatens to obliterate any knowledge that Dimple has of herself and her only resistance to this is an ironic reversal of her subservient role: "After Leni removed her cup Dimple kept on pouring, over the rim of Leni’s cup, over the tray and the floating dentures till the pregnant-bellied tea pot was emptied" (152). Dimple’s response to the lack of accommodation that Western feminism presents is tied to her feeling that Ina and Leni live with unforgiving extremes: "that was the trouble with people like Leni and Ina who believed in frankness, happiness and freedom; they lacked tolerance, and they abhorred discussions about the weather" (161). Like Amit, Ina offers a space through her example where Dimple cannot easily learn to negotiate her options. The dynamic between these women is ultimately explosive. Ina cannot accept Dimple’s choices and Dimple is forced to simplify herself in a defence that protects her from predatory Western feminisms: I can’t keep up with you people. I haven’t read the same kinds of books or anything. You know what I mean Ina, don’t you? I just like to cook and watch TV and embroider’...’Bravo!’ cried Ina Mullick from the sofa where she was sitting cross legged. ‘And what else does our little housewife do? ‘You’re making fun of me,’ Dimple screamed. ‘Who do you think you are?’ (169-170. Dimple lacks the ability to articulate her oppression; Ina Mullick can articulate it but cannot move outside of it. Both women feel anger, depression, and helplessness, but they fail to connect and help one another. Mukherjee demonstrates that women from the Third World, specifically those who come into contact with the diaspora, are not homogenous subjects; her various representations of negotiation with processes of identity constitution show how different knowledges of self are internalized and acted out. Irene Gedalof’s recent work on bringing Indian and Western feminisms into conversation proceeds from the Foucauldian notion that these multiple discursive systems must prevail over the study of woman or women within a single (and limiting) symbolic order (26). The postcolonial condition of diaspora, Gedalof and other critics have pointed out, is an interesting position from which to begin talking about these complex processes of identity making since it breaks down the oppositions of South and North, East and West. In crossing the South/North and East/West divide, Dimple does not abandon her Indian subject position, but rather attempts to keep it intact as other social forces are presented. The opposition between Ina and Dimple, however, is dissolved by the flux that the symbol "woman" experiences. This process emphasizes differences within and between their experiences in a non-hierarchical way. Rethinking the Mind/Body Dichotomy: Dimple’s Response This section will attempt to show how Dimple’s response to her options is far more complex than the mind/body dichotomy that it appears to be upon superficial examination. Dimple’s body does not murder in an act of senseless violence that is divorced from her mental perception of the world. I want to rethink interpretations like the one offered by Emmanuel S. Nelson: "Wife describes a weak-minded Bengali woman [whose]...sensibilities become so confounded by her changing cultural roles, the insidious television factitiousness, and the tensions of feminism that, ironically, she goes mad and kill her husband" (54-55). Although her sense of reality and fantasy become blurred, Dimple acts in accordance with the few choices that remain open to her. In slowly guiding us toward Dimple’s horrifying act of violence, Mukherjee attempts to examine the social and cultural networks which condition her response. The absolutes of Western feminisms offer little space for resistance. Dimple, however, is not a victim of her circumstances. She reclaims her body as a site of inscription and commodification through methods of resistance which are inaccessible to Amit or her larger social contexts: abortion, vomiting, fantasies of mutilating her physical self, and, ultimately, through using her body as a tool, rather than an object, of violence. These actions are responses to her own lack of power over self representation; Dimple creates a private world in which she can resist the ways her body has been encoded and the ways in which she has been constructed as a divided object. In her work on the body in feminist discourse, Elizabeth Grosz argues that postructuralist feminists such as Luce Irigaray, Helene Cixous, and Judith Butler conceptualize female bodies as: "crucial to understanding women’s psychical and social existence, but the body is no longer understood as an ahistorical, biologically given, acultural object. They are concerned with the lived body, the body insofar as it is represented and used in specific ways in particular cultures" (Grosz 18). In emphasizing difference within the sexes, these postructuralist thinkers reject the Cartesian dualism of mind and body and do much for Chandra Talpade Mohanty’s project of considering the ways in which "woman" is a heterogenously constructed and shifting category. Mukherjee presents Dimple’s body as a "social body": a "social and discursive object, a body bound up in the order of desire, signification and power" (Grosz 18-19). Dimple cannot control, for example, Amit’s desire to impregnate her, to impose a schema of patriarchal reproduction on her body. Yet, as I will demonstrate, Dimple resists in ways that she cannot articulate but she is strongly aware that controlling the mappings of her body gives her some kind of power. This novel demonstrates how the dualisms of patriarchal discourse operate, but I want to read Dimple’s response as a reclaiming of the uncontrollable body; her power is exercised through what Deleuze and Guattari would call the "rhizomatic" connections between her body and mind. Their book, A Thousand Plateaus (1980), provides a miscellany of theory which, "flattens out the relations between the social and the psychical," and privileges neither (Grosz 180). Deleuze and Guattari favour maps and rhizomes as conceptual models, so that all things are open, connectable, and subject to constant modification (12). I want to think of Dimple as an assemblage, a rhizomatic structure that increases in the dimensions of a multiplicity that changes as it expands its connections (8). She is able to resist precisely because her body and mind are inseparable and fluid entities. Her violence toward Amit is a bodily act but it cannot be read in isolation; Mukherjee insists that we also understand the mental processes that preface this act. Dimple’s vomit is one of the most powerful tropes in the novel. It is a rejection and a resistance; it is a means of control while paradoxically suggesting a lack of control. Julia Kristeva is concerned with bodily fluids (blood, vomit, saliva, tears, seminal fluid) as "abjections" which necessarily, "partake of both polarized terms [subject/object, inside/outside] but cannot be clearly identified with either" (Grosz 192). Vomiting, then, is the first act that Dimple uses as a means of connecting the mind and body that she has been taught to know only separately. Vomiting is an abjection that signifies Dimple's rhizomatic fluidity; it is the open and changeable path that denies the split between her mind and her body that her social experiences attempt to enforce. Mukherjee devotes large sections of the narrative to this act, bringing the reader into a private space where one is forced to see, smell, and taste Dimple’s defiance. She initially discovers her ability to control her vomit when she is pregnant. At first it is an involuntary act, but she soon takes charge of her body’s rejections: The vomit fascinated her. It was hers; she was locked in the bathroom expelling brownish liquid from her body...In her arrogance, she thrust her fingers deep inside her mouth, once jabbing a squishy organ she supposed was her tonsil, and drew her finger in and out in smooth hard strokes until she collapsed with vomiting (31) Dimple’s vomiting does contain an element of pathos which is somewhat problematic; one might read her only as a victim because her pathetic grasp at power is reduced to the pride she feels in her bodily expulsions. Mukherjee’s text, however, begs the reader to read Dimple carefully. Dimple acts through her body, often with horrible consequences, but she is resisting in the only way that she is able. In New York, as Dimple encounters an increasingly complicated sociocultural matrix, she fights to find a space between her role as a loyal Indian wife and the apparent temptations of the United States. Ina Mullick’s Western feminism asks her to abandon her Bengali self, and Amit asks her to retain it. In the face of these absolutes, Dimple continues to attempt her resistance through her body, but it is often weak and ineffectual: "But instead of the great gush Dimple had hoped for, only a thin trickle was expelled. It gravitated toward the drain, a small slimy pool full of bubbles. She was ashamed of it; it seemed more impersonal than a cooking stain" (150). Mukherjee asks us to read Dimple through her abjections--through both mind and body (not entirely distinct entities for Mukherjee)--in order to understand the murder. We must gauge Dimple's actions through the open and connectable relationships of body and mind. Her inability to vomit "pleasurably" signifies a growing inability to locate a space that is tolerable. Vomiting becomes a way for Dimple to tie her multiple subject positions together: "Vomiting could be pleasurable; thinking of all the bathrooms she had vomited in she felt nostalgic, almost middle-aged" (149). This moment at the kitchen sink occurs when Leni and Ina have fractured her sense of a stable Indian identity. In an interview, Mukherjee admits that Dimple’s movement to the United States means that she begins to ask questions about her oppression; she begins to ask herself questions about her own happiness (Hancock 44). These questions, coupled with Leni and Ina’s challenging presence, leads to Dimple to desire a reconnection and a sense of control. Undoubtedly, Dimple’s act of murder is misguided, but Mukherjee sensitively demonstrates that Dimple has very little choice left. Dimple does not simply break down into a body and mind that are unaware of their connections, rather she begins to operate on several levels of consciousness. Shen Mei Ma interprets Dimple’s condition as schizophrenic, and explores this as a prominent trope in Asian diaspora literatures. She uses R.D. Laing’s classic explanation of schizophrenia as a working definition: The term schizoid refers to an individual the totality of whose experience is split in two main ways: in the first place, there is a rent in his relation with his world, and, in the second, there is a disruption of his relation with himself...Moreover, he does not experience himself as a complete person but rather as ‘split’ in various ways, perhaps a mind more or less tenuously linked to a body, as two or more selves, and so on (Ma 43) Ma analyses this condition (which can be seen, like gender and race, as a socially constructed state of being), as a "defense mechanism" against an unbearable world; the separation in space and memory that the diasporic subject experiences results in a schizophrenic, or divisive, tendency. I agree with Ma's use of Laing's definition of schizophrenia in the sense that this understanding is certainly more useful than Emmanuel Nelson's insistence on Dimple's "madness." Reading Dimple's response with an interest in Deleuze and Guattari's conceptual rhizomes, however, leads me to resist using a definition that is linked to mental illness. This may be a prominent trope in Asian diaspora literature, but it is also necessary, and perhaps more useful, to recognize that Dimple's act of violence and her debatable "madness" are ultimately less important than reading her negotiation as a means of survival and her response as an act of resistance. Many critics interpret the final act of murder as "an ironic twist of Sati, the traditional self-immolation of an Indian wife on the funeral pyre of her husband" (Ma 58). This suggestion draws up Dimple’s teenage desire to be like Sita, "the ideal wife of Hindu legends" who walks through fire for her husband (6). The violence perpetrated against women who naturalize Sita’s tradition is wrenched into an act in which Dimple is able to exercise some control over her fate. The act of murder is woven with the alternate text of industrial/commercial culture in a way that demonstrates Dimple’s desperate negotiation with the options available to her: The knife stabbed the magical circle once, twice, seven times, each time a little harder, until the milk in the bowl of cereal was a pretty pink and the flakes were mushy and would have embarrassed any advertiser, and then she saw the head fall off - but of course it was her imagination because she was not sure anymore what she had seen on TV and what she had seen in the private screen of three A.M. (212-213) The tragedy of this conclusion surely lies in the events that are left unsaid: what is Dimple’s fate and how will society deal with her violent choice? Ma’s article on schizophrenia points to the most likely outcome--Dimple will be declared insane and "treated" for her illness. Yet my reading of this act has attempted to access a careful understanding of how Dimple is constructed and how this can contribute to rethinking her violent response. Dimple's mind is not an insane one; her body is not an uncontrollable, hysterical one. Murder is a choice for Dimple--albeit a choice that is exercised in a limited and oppressive space. "Mixing" is an urgent topic; as globalization and capitalist homogenization make the theorization of diaspora increasingly necessary, it is essential to consider how gendered and raced subject positions are constituted and how they are reproduced within and across geographies. This novel is important because it forces the reader to ask the difficult questions about "mixing" that precede Dimple’s act of spousal violence. I have attempted to address these questions in my discussion of Dimple’s negotiations and her resistance. Much has been written about this novel in terms of Dimple’s "split," but very few critics have tried to examine Dimple’s character in ways that penetrate our limited third person access to her. Mukherjee’s own writing in "An Invisible Woman" suggests the urgency of rethinking characters like Dimple and the particular complexities of immigration for non-English speaking housewives. Mukherjee’s relative position of privilege has given her access to far more choices than Dimple has, but notably, she avoids turning Dimple’s often suicidal violence inward. Instead, Mukherjee shows how the inward is inescapable from the outward: in murdering Amit, the violence Dimple perpetrates is, after all, a rearticulation of the violence from which her limited subject position cannot completely escape. Footnote: In thinking about Dimple's response, it is important to note that, of course, her actions and her words are always conditioned by the position that she has naturalized. Gayatri Chakravorty Spivak's "Can the Subaltern Speak?"(1988) argues that the subaltern subject cannot "speak" because no act of resistance occurs that can be separated from the dominant discourse that provides the language and the conceptual categories with which the subaltern voice speaks (Ashcroft et al 1998 217-218).The violence of Dimple's response must be seen as an ironic subversion of a television world that enforces patriarchal norms. References Ashcroft, Bill, Gareth Griffiths and Helen Tiffin. Key Concepts in Postcolonial Studies. London: Routledge, 1998. Brah, Avtar.Cartographies of Diaspora - Contesting Identities. London: Routledge, 1996. Deleuze, Gilles and Felix Guattari. A Thousand Plateaus - Capitalism and Schizophrenia. Minneapolis: U of Minnesota P, 1980. Gedalof, Irene. Against Purity - Rethinking Idenity With Indian and Western Feminisms. London: Routledge, 1999. Grosz, Elizabeth. Volatile Bodies - Toward a Corporeal Feminism. Bloomington: Indiana UP, 1994. Ma, Sheng-mei. Immigrant Subjectivities in Asian American and Asian Diaspora Literatures. Albany: State U of NY P, 1998. Mohanty, Chandra Talpade. "Under Western Eyes: Feminist Scholarship and Colonial Discourses." Colonial Discourse and Postcolonial Theory: A Reader. Laura Chrisman and Patrick Williams, eds. NY: Harvester Wheatsheaf, 1993: 196-220. Mukherjee, Bharati. Wife. Toronto: Penguin, 1975. -- "An Invisible Woman." Saturday Night 1981, 96: 36-40. Nelson, Emmanual S. Writers of the Indian Diaspora - A Bio-Bibliographical Critical Sourcebook.Westport, Conn.: Greenwood, 1993. Spivak, Gayatri Chakravorty. "Can the Subaltern Speak?" Colonial Discourse and Postcolonial Theory: A Reader. Laura Chrisman and Patrick Williams, eds. NY: Harvester Wheatsheaf, 1993: 196-220.

This critical inquiry in curriculum studies uses poststructuralist and Deleuzian rhizomatic approaches alongside an original 'picturing' methodology. The author genealogically maps historical and contemporary curriculum theorising to deconstruct curriculum 'development' and foreground currere (curriculum reconceptualising). In performing Deleuzian philosophy, his proposed c u r a reimagines curriculum via currere to envision generatively living-learning

Over the course of history, many cross-cultural efforts have been made to understand better the form and function of male same-sex behaviour. Initial naming exercises evaluated the sexual actions taken, and categorized these behaviours as expressions of crime, sin and disease. Various historical accounts note that it was in fin-de-siècle Germany and England, however, that several concepts were developed for the first time to encapsulate male same-sex behaviour, and to identify the type of men engaging in such conduct, in a more tolerant way. Operating within the taxonomic impulse of the eighteenth century, sexology — the scientific study of sexualities and sexual preferences that were considered to be unusual, rare, or marginalized — spurred the development of these new concepts. In the aim of better understanding humans through scientifically evaluating, quantifying, and labelling their sexual form and function, sexology moved male same-sex behaviour beyond the notions of crime, sin and disease. This thesis argues that the key works of sexologists Karl Heinrich Ulrichs (1825-1895), Károly Mária Kertbeny (1824-1882), Henry Havelock Ellis (1859-1939) and Magnus Hirschfeld (1868-1935) were instrumental to the theoretical endeavour of reclassifying male same-sex behaviour. These four sexologists operated within the parameters of what Foucault calls scientia sexualis: the machinery needed for producing the truth of sex via confessional testimony. Through their own confessional testimony, and testimony collected from other men with same-sex behaviour, Ulrichs, Kertbeny, Ellis and Hirschfeld deemed same-sex behaviour to be a phenomenon based on congenital conditions and one which manifested itself in the form of an inherent sex/gender misalignment. While this behaviour was uncommon, it was not abnormal due to its biological origin. Same-sex behaviour was simply an anomaly of sorts — one specific and rare form of attraction on a spectrum of possibilities. This rationalization of same-sex behaviour differed greatly from the work of other sexologists of the time who evaluated same-sex behaviour to be symptomatic of crime, sin and disease like degeneration theorist Richard von Krafft-Ebing. In arguing that same-sex behaviour developed naturally prior to birth, Ulrichs, Kertbeny, Ellis and Hirschfeld empowered men with same-sex behaviour to negotiate new identities for themselves outside of crime, sin and disease. This discursive rebranding of same-sex behaviour is an example of what feminist postructuralism labels as reverse discourse. In order to negotiate new identities for themselves and others with congenital same-sex behaviour, Ulrichs, Kertbeny, Ellis and Hirschfeld developed four specific concepts. These terms are: Urning (1865), homosexualität (1869), sexual inversion (1897), and third sex (1914). While these examples of reverse discourse were operationalized within restrictive conceptualizations of gender expression, they moved away from classifying same-sex behaviour as temporary acts to classifying those engaging in this behaviour as a specific species of people. This transition from sexual act to personage has been elaborated upon most famously by Michel Foucault in The History of Sexuality, Volume 1 (1978/1990).

Dissertação de Mestrado em Relações Internacionais - Estudos da Paz, Segurança e Desenvolvimento apresentada à Faculdade de Economia
Desde o fim da Guerra Fria, a Indústria Militar Privada cresceu exponencialmente em número de empresas e presença em cenários de conflito internacional, principalmente na figura das Empresas Militares Privadas. Contudo, a presença de agentes privados no fornecimento do uso da força não é fato inédito na seara das guerras e conflitos intra ou interestatais. Até ao fim do século XIX, a prestação de serviços militares por civis organizados isoladamente ou companhias de mercenários é um fenómeno comum na vida das entidades estatais. É a partir do século XX que o mercenarismo não só cai em desuso como é ativamente rechaçado pelas Relações Internacionais e Direito Internacional. Porém, no período pós Guerra Fria, há um (res)surgimento de Empresas Militares Privadas e do protagonismo de corporações nas forças armadas ocidentais. Simultaneamente a este ressurgimento de serviços militares privados, o cenário político-económico ocidental passa por um período de consolidação do neoliberalismo como ideologia hegemónica. Logo, o objetivo do presente estudo trabalho é analisar as causas do retorno aos serviços militares e de segurança no contexto dos conflitos internacionais, através de uma análise pós-estruturalista da história do uso privado da força, bem como da ascensão do neoliberalismo no sistema político económico ocidental e a relação entre ambos. Com auxílio de instrumentos como a desconstrução e arqueologia, bem como do conceito de governamentalidade, é possível a realização de uma análise que não visa estabelecer respostas objetivas, mas antes analisar o tema levando em consideração as questões temporais, políticas e sociais relevantes, assim como o papel da linguagem na consolidação de supostos conhecimentos objetivos.
Since the end of the Cold War the Private Military Industry has grown exponentially both in number of companies and in their presence in international conflicts, mainly in the figure of Private Military Companies. However, the use of force by private contractors is not novel in the history of war and inter or intrastate violent conflicts. Until the end of the XIX century, the provision of military services by civilians in a singular capacity or as companies of mercenaries is commonplace. It is only in the XX century that mercenarism is no longer a viable option and is actively rejected by the fields of International Relations and International Law. After the Cold War, there is a resurgence of Private Military Companies and a larger protagonism of corporations in western armed forces. Simultaneously to the (re)birth of Private Military Companies, the western political and economic scenario is going through a period of consolidation of the neoliberal hegemonic ideology. Therefore, the objective of our study is to analyse the causes of the resurgence of private military and security services in the context of international conflicts through a poststructuralist approach of the history of the private use of force, as well as the rise of neoliberalism in the West’s political and economic system and the relation between both. Through instruments such as deconstruction and archeology, as well as the concept of governmentality, it is possible to analyse the subject without searching for objective answers, but to better understand the subject considering temporal, political and social as contingencies, and also the role of language in the consolidation of supposedly objective knowleges.

Bien qu’elle ne constitue en rien une pratique marginale, la révision, en tant que relecture et modification d’une traduction existante dans le but d’une nouvelle édition, a suscité jusqu’à maintenant très peu d’intérêt en traductologie. La retraduction, activité avec laquelle elle entretient de nombreux liens, a quant à elle souvent été abordée comme le résultat de simples schémas monocausaux, fondés sur la défaillance ou sur l’évolution des normes. Le présent mémoire, à partir de l’analyse comparative de la trilogie Mémoire du feu (publiée pour la première fois chez Plon en 1985 et 1988) — traduction française de Memoria del fuego, d’Eduardo Galeano (1982, 1984 et 1986) — et de sa révision (publiée chez Lux en 2013), démontre plutôt la multiplicité des facteurs sous-tendant le processus de révision et la nécessité d’étudier leurs interactions. Notre étude de cas, alliant une analyse textuelle, une étude contextuelle et un travail de terrain, révèle l’influence significative des pratiques, des positions idéologiques et des conceptions des agents tant sur l’entreprise d’une révision que sur son déroulement.
Revision, conceived here as the rereading and modification of an existing translation prior to a new edition, although it does not constitute in any way a marginal practice, have received very little interest from translation studies scholars. Retranslation, with which it shares many characteristics, has generally been conceived as the mere result of monocausal models, either based on ‘ʻdéfaillanceʼʼ or the evolution of norms. This master’s thesis, based on a comparative analysis of the trilogy Mémoire du feu (first published by Plon in 1985 and 1988) — French translation of Memoria del fuego, written by Eduardo Galeano (1982, 1984 and 1986) — and its revised edition (published by Lux in 2013), reveals the multiplicity of factors shaping the revision’s process and the relevance of studying their interactions. Our case study, combining textual and contextual analysis as well as field work, demonstrates the significant influence of agent’s practices, ideological stances and conceptions on the undertaking and realisation of a revised edition.

This is a study of the constitution of adolescents' identity through authentic assessment experiences in my Grade 8 homeroom English class in a rural school in Nova Scotia, Canada. It combines postructuralist theory with practitioner research and examines how young people, through authentic assessment, constitutioned identities in my classroom to be assessed.

Using a framework of feminism and poststructuralism, this thesis aims to interrogate the utilisation of the body as a contested site of struggle for meaning in contemporary theatre dance in South Africa. "Both feminism, as a politics, and dance, as a cultural practice, share a concern for the body" (Brown, 1983: 198). A feminist analysis of dance can offer a tool to interrogate the dominant discourses of gender and race that surround and permeate both the female and male body in contemporary theatre dance. The body is not a neutral site onto which cultural codes and conventions are inscribed, as the dancer's body is always marked in the physical sense of gender and race. This thesis aims to decode the body and examine how the discourses of gender and race are embodied by the moving body on stage - specifically in the South African (KwaZulu-Natal) context. By a feminist appropriation of the poststructural endeavour, this research will look at how the body, as discourse, can be interrogated to examine how the interconnected discourses of gender and race surround and permeate the moving body. The utilisation of a poststructural paradigm will aid in the examination of how the dominant discourses of gender and race are hegemonically imposed onto the body. Poststructuralism also offers an understanding that there exist counter-discourses that have the ability to resist the dominant discourses of gender and race. This notion becomes important to the study of contemporary theatre dance as an art form. This thesis will examine how South African (Durban-based) contemporary theatre dance choreographers explore the body's potential to be subversive in performance. The thesis will focus on the body's ability to interrogate the discourses that operate in its surroundings and permeate its lived reality.
Thesis (M.A.)-University of Natal, Durban, 2000.

The tutorial is a sequential course of philosophy. The article considers the questions of philosophy of science and the history of philosophy, ontology, epistemology, ethics and aesthetics. The course is designed taking into account the achievements of analytical philosophy, phenomenology, hermeneutics, postructuralism and other major philosophical issues of the day. Uses the theory of conceptual transduction. Special attention is paid to the relationship of philosophy to Economics and management. The course is carefully calibrated in the didactic relation. Each paragraph ends with the conclusions, and test, by a reference list. For students of higher educational institutions, primarily economists and managers. Of interest to a wide circle of readers.