Behind the paravent: a study of Konrad Bayer's dramatic texts

This thesis is a study of Konrad Bayer's dramatic texts. It has evolved out of various attempts to read those texts, some filed and some more successful. It does not claim to be authoritative or complete, since the nature of Bayer's texts, as will become clear in the course of the ensuing chapters, means that they resist such an interpretation. To accept this was an important prerequisite for the writing of this thesis, but a difficult one to fulfill because for the Bayer commentator it constitutes a certain acceptance of defeat even before one begins. Chapter 1 will begin by providing some introductory information about Konrad Bayer, including details of his life and his membership of the Wiener Gruppe, a formative phase in his development as a writer. It will also consider the historical and cultural climate of 1950s Austria that provided the backdrop for Bayer's literary work. The phenomenon of the Wiener Gruppe will then be examined against the background of preceding experimental movements, for the purpose of situating Bayer's work historically and artistically. The aim of this historical and artistic survey is to prepare for the confrontation with Bayer's texts that makes up the other chapters of the thesis. Chapter 2 will constitute a close textual study of one of Bayer's dramatic texts using criteria from the field of text linguistics. Such a study will offer an entry point into Bayer's texts and will supply material which will form the basis for the interpretative investigations of the chapters that follow it. Chapter 3 will consider the influence of language and the individual. In chapter 4 the figure of the Lion of Belfort, a recurring figure in Bayer's dramatic texts, is discussed. The final chapter of this thesis will examine the recurring motifs of violence and cannibalism and will consider them in terms of the findings of preceding chapters.

Northern Ireland, America and the emerging church movement: Exploring the significance of Peter Rollins and the Ikon collective

The Emerging Church Movement (ECM) is a primarily Western religious phenomenon, identifiable by its critical ‘deconstruction’ of ‘modern’ religion. While most prominent in North America, especially the United States, some of the most significant contributors to the ECM ‘conversation’ have been the Belfast-based Ikon Collective and one of its founders, philosopher Peter Rollins. Their rootedness in the unique religious, political and social landscape of Northern Ireland in part explains their position on the ‘margins’ of the ECM, and provides many of the resources for their contributions. Ikon’s development of ‘transformance art’ and its ‘leaderless’ structure raise questions about the institutional viability of the wider ECM. Rollins’ ‘Pyrotheology’ project, grounded in his reading of post-modern philosophy, introduces more radical ideas to the ECM conversation. Northern Ireland’s ‘Troubles’ and ‘marginal’ location provides the ground from which Rollins and Ikon have been able to expose the boundaries of the ECM and raise questions about just how far the ECM may go in its efforts to transform Western Christianity.