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Dissertations / Theses on the topic 'Aesthetics and ethics'
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Shaw, Sarah. "Seventeen : ethics and aesthetics." Thesis, Northumbria University, 2014. http://nrl.northumbria.ac.uk/23587/.
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My practice-led research in Creative Writing consists of composing a novel closely focalised through three members of a dual-heritage family in Suffolk in 2004 after the teenage daughter is diagnosed with leukaemia. ‘Seventeen: Ethics and Aesthetics’ explores the question: what are the tensions between truth, kindness and the form and poetics of the novel? My critical reflection considers techniques used to convince the reader, and my attempts to represent unconscious psychic processes of the novel’s protagonists in relation to trauma fiction. The aim of the research programme has been to discover the appropriate form for a novel in which characters are paramount. My research methodology has consisted of revising repeated drafts in order to imagine and articulate the points of view of the novel’s protagonists: Rosie, a mixed-race teenager who has a vivid sense of the ridiculous, who wants to separate herself from her family and mix with her friends; Jay, her White mother, who works in anti-racist education and has ambitions as a photographer, together with a tendency to embrace New Age ideas; and Mel, Rosie’s stepfather, who runs an independent cinema, who never intended to be anyone’s father but finds himself caught up in loving Rosie. The novel is about the language and voices used, and about how the relationships between the characters change as a result of Rosie’s illness and impending death. Writing a commentary has informed the discipline of editing and revision. My completed critical reflection recounts decisions made on ethical or aesthetic grounds, while attempting to relate the research to cultural preoccupations in the study and composition of novels. The originality of this contribution to knowledge consists of fiction that focalises three original characters. A claim to originality may also be made in relation to my work on metaphor, metonymy and the unconscious.
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Ali, Zulfiqar. "Ethics as aesthetics : Michel Foucault's genealogy of ethics." Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/35118/.
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Armstrong, Kevin Anthony. "Aesthetics/ethics, two modern views." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ37936.pdf.
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Hofmeyr, Augusta Benda. "Ethics and aesthetics in Foucault and Levinas /." Nijmegen : Faculty of philosophy, 2005. http://catalogue.bnf.fr/ark:/12148/cb40087927b.
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MacLeod, Kathryn Dawn. "Transgressing words and silence : aesthetics, ethics and education." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/33789.
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This thesis explores the relationship between ethics, aesthetics and education, using the limit case of art created in response to the Holocaust, and argues that art is not autonomous: The theme of the Holocaust speaks directly to the question of art’s relationship to moral, political and educational purpose. Guided by the philosophy of Maxine Greene, Jean-Francois Lyotard, and Immanuel Kant, this thesis focuses on three works by artists who have addressed the Holocaust in their work: writer Primo Levi, filmmaker Claude Lanzmann, and sculptor Rachel Whiteread. Lyotard’s aesthetic and political theories, based on his reading of Kant’s Critique of the Power of Judgment, link the practice of contemporary art to a postmodern ethics; his key concepts of the différend, the event and the sublime provide a basis for my analysis of how the each of these artworks works.
Art that attempts to explore the aporia of the Holocaust faces specific issues: the role of beauty and redemption; the relationship between art and the real; the impact of trauma on memory and representation; and the nature of testimony. Each of the artworks addresses these challenges: Whiteread’s sculpture explores the reality and materiality of absence; Lyotard’s film reveals the traces and gaps in memory and history; and Levi’s memoir highlights the power and frailty of art and communication.
Understanding the nature of contemporary art provides insight into art’s value and purpose. Art’s ethical obligation lies in its relationship to the real: If art can address the aporia of the Holocaust, then it is valuable, necessary and important in our culture. Art creates new ways of seeing and responding to the world, and has the ability to transform. At the same time, art’s distance from the real always limits its efficacy. Art educates not merely through formal means uncovered in the classroom, but because it engages its audience in reflective judgment, in making meaning while at the same time questioning the ability to do so.
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Johnston, Jennene Louise Hooper. "Angels of desire subtle subjects, aesthetics and ethics /." View thesis, 2004. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20050527.155421/index.html.
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Kovach, Vanya. "Judgement as play: revealing analogies between aesthetics and ethics." Thesis, University of Auckland, 1993. http://hdl.handle.net/2292/2488.
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This thesis is about the similarities of process between aesthetic experience and ethical judgement. I claim that in both cases the activity is best described as a type of play in which elements interact in mutual adjustment and transformation. This conception of play has its roots in Kant's aesthetic theory. Describing aesthetic experience as play results in emphasis on three central characteristics. These characteristics become the basis of constraints on judgement. In the case of ethical judgement these are important because they save from subjectivism a moral theory, particularism, which relies on individual judgement rather than moral rules. Seeing the activity of judgement as play suggests a conception of the outcome of judgement as picturing. This conception helps to make sense of reason-giving within the particularist model. A further analogy with the grounds of aesthetic qualities is used to illuminate the problem of justifying the values put into play. These values are ultimately defended in terms of their relationship to human flourishing. Perennial problems for theories based on human flourishing are avoided by my account because prescriptions for action are not derived from the characterisation of flourishing but from the process of individual judgement which values based on flourishing merely inform. One positive effect of adopting my model of judgement as play is the reduction of problems concerning the motivation to act on ethical judgements.
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Toyoda, Mitsuyo. "Approaches to Nature Aesthetics: East Meets West." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3305/.
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Nature aesthetics is examined as an approach to environmental ethics. The characteristics of proper nature appreciation show that every landscape can be appreciated impartially in light of the dynamic processes of nature. However, it is often claimed that natural beauty decreases if humans interfere into nature. This claim leads to the separation of human culture and nature, and limits the number of landscapes which can be protected in terms of aesthetic value. As a solution to this separation, a non-dualistic Japanese aesthetics is examined as a basis for the achievement of the coexistence of culture and nature. Ecological interrelationships between human culture and nature are possible by means of an aesthetic consciousness in terms of non-hierarchical attitudes.
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Fritsch, Ryan. "The ethics of imagination: Levinas, Aesthetics and Poiesis in uTOpia." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=95124.
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Before Al Gore's 2005 documentary "An Inconvenient Truth" ignited general public concern for the worsening environmental crisis, artists played a crucial role in both exemplifying ecological concerns and in building alternative living and social arrangements. They did so with a sense of "creative responsibility" that formal political and legal institutions seemed incapable of harnessing or acting upon. This thesis looks at how such activist aesthetic movements occurring simultaneously in Toronto and Windsor, Ontario, unleashed a form of "constituent imagination" at once critical, constructive and apparently more responsible than our traditionally "official" systems of responsibility. As these movements crystallized into a contemporary form of utopian thinking characterized by anti-foundationalism, aestheticism, and a deep sense of interconnected responsibility to "invisible others," it is argued that these movements are best understood and analyzed through the ethical philosophy of Emmanuel Levinas. By concretely situating and assessing long-standing limitations within Levinas' philosophy in terms of these activist movements, including the relationship between Levinas' aesthetic and ethical theory, his applicability to globalized scales of political responsibility, and the boundaries of his legal proximity and aesthetics of judgment, the thesis uncovers an "ethics of imagination" that brings Levinas into 21st century law and politics as an an-archic means of conceptualizing the world otherwise within the everyday.Avant d'Al Gore en 2005 documentaire "Une vérité qui dérange" enflammé intérêt général du public pour l'aggravation de la crise de l'environnement, les artistes ont joué un rôle crucial dans les deux illustrant les préoccupations écologiques et dans la construction de logemnt de rechange et des dispositions sociales. Ils l'ont fait avec un sentiment de "responsabilité créatrice" que les institutions politiques officielles et juridiques semblait incapable d'exploiter ou de s'en servir. Cette thèse examine comment les militants de ces mouvements esthétiques qui se produisent simultanément à Toronto et à Windsor en Ontario, a déclenché une forme de «l'imagination constituante» à la fois critique, constructive et apparemment plus responsable que notre tradition "officielle" des systèmes de responsabilité. Comme ces mouvements cristallisé en une forme contemporaine de la pensée utopique caractérisée par anti-fondationalisme, esthétisme, et un profond sens des responsabilités reliées aux "autres invisibles», il est soutenu que ces mouvements sont mieux comprises et analysées par la philosophie éthique d'Emmanuel Levinas . Par concrètement situer et d'évaluer les limitations de longue date dans la philosophie de Levinas en fonction de ces mouvemens activistes, y compris la relation entre la théorie esthétique et éthique de Levinas, son applicabilité à des échelles mondialisé de la responsabilité politique, et les limites de sa proximité juridique et l'esthétique de arrêt, la thèse révèle une «éthique de l'imagination» qui apporte Levinas en 21e siècle, le droit et la politique comme un moyen an-archique de conceptualiser le monde «autrement» dans le quotidian.
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Palladino, Mariangela. "Toni Morrison's late fiction : an investigation into ethics and aesthetics." Thesis, University of Strathclyde, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.510673.
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Yang, Julianne Qiuling Ma, and 楊秋凌. "Towards a cinema of contemplation: Roy Andersson's aesthetics and ethics." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50162810.
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Considered one of Northern Europe’s most renowned art film directors to date, Swedish filmmaker Roy Andersson has been hailed by critics and art cinemagoers alike for his unconventional visual and narrative style. Marked by his use of long, static shots filmed in wide-angle and deep focus, Andersson’s “tableau aesthetic” is intimately linked to his idea that films, like other art forms, can have an important function in contemporary society: to provoke social and moral awareness in its audience. Aiming to counter what he considers a “fear of seriousness” and a dearth of critical contemplation in modern society and media, Andersson uses his films and his distinct tableau aesthetic to explore the key social, political and philosophical issues of our times: the human condition, the problems of modernity, and the lingering legacy of past historical traumas.
This dissertation presents a study of Andersson’s aesthetic and thematic concerns. The central thesis is that his films continue and innovate key stylistic and ideological tendencies associated with modernist painting and theatre. The introductory chapter serves to justify why Andersson’s work represents a “modernist structure of feeling.” Besides giving an overview of the key ideas, themes and stylistic techniques that mark his films, the introduction explains the humanistic philosophy that is central to not only his aesthetic and thematic concerns, but also his approach to filmmaking itself. The topics that emerge from this introduction – including the function of Andersson’s distinct tableau aesthetic, the thematic richness of his films, and his position within contemporary Nordic cinema and global art cinema – serve as points of departure for the thesis proper.
Chapter 1 focuses on Andersson’s tableau aesthetic, its relationship to his overall tableaux narrative structure, and the influences of pictorial arts and earlier cinematic trends on his style. The chapter discusses the director’s justification for the tableau aesthetic and narrative structure, and what it may tell us about the limits of conventional narrative cinema, and cinema’s relationship to the other arts.
Chapters 2-4 explore three of the central themes in Andersson’s work: the human condition, the critique of modernity, and the lingering legacy of past historical traumas. Chapter 2 focuses on the human condition as a theme in You, the Living (Du Levande, 2007) and compares the film thematically and stylistically to the Theatre of the Absurd. Chapter 3 analyzes Songs from the Second Floor (Sånger från andra våningen, 2000) and its critique of the Swedish welfare state, modern institutions and ideologies. Meanwhile, Chapter 4 looks at the changing ways that Andersson has artistically rendered the topic of historical traumas during the course of his career. In the concluding chapter, Andersson and his films are discussed within the wider contexts of the Swedish film industry and global art cinema.
This dissertation, then, has a two-fold aim: to illuminate the thematic and stylistic richness of Andersson’s much under-researched films, while also critically exploring how his films may move us towards a cinema of contemplation.published_or_final_version
Comparative Literature
Master
Master of Philosophy
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Phillips, Andrea. "Walking into trouble : the ethics and aesthetics of the pedestrian." Thesis, University College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406481.
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Breel, Astrid. "Conducting creative agency : the aesthetics and ethics of participatory performance." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/64138/.
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The current vogue for experiential performance in contemporary theatre has led to a rise in interactive, immersive and participatory approaches that focus on creating work that attempts to involve and respond to the audience as individuals. This development has in turn led to an interrogation and redefinition of aesthetics, for instance in Claire Bishop's Artificial Hells (2012), which examines spectatorship in participatory art. This thesis examines the aesthetics and ethics of participatory performance and argues that agency is fundamental to both. The research builds on Gareth White's Audience Participation in Theatre: Aesthetics of the Invitation (2013) and develops the discourse on participation by proposing a contextual understanding of agency that differentiates between the act and the experience of it. The main research question of this thesis is: How does participatory performance operate as an aesthetic form? The thesis also examines how participation implicates ethics and the way that agency becomes both an aesthetic and ethical concern. In answering the main research question, the thesis also considers ways to analyse and evaluate participatory performance that take into consideration the different contexts of the participant's (inside) experience and (outside) observation of their decisions and contributions. This research has taken a mixed-methods approach to enable a comprehensive response to the research question and employs audience research (implemented on three case studies) and practice-based research. Alongside these, the thesis draws on enactive and embodied cognition (Johnson, 2007; Gallagher and Zahavi, 2008; Fuchs and De Jaegher, 2009) to provide a nuanced perspective on agency, intersubjectivity and experience. The aesthetics of participation, and model for the analysis of participatory performance, I propose in this thesis focus on four key aesthetic elements: the intersubjective relationships between performer and participant (as well as between participants); the participant's embodied experience of doing within the performance; the creative contribution they make; and the demand characteristics of being a participant.
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Wardle, Huon Oliver Blaise. "Examining aesthetics and ethics in a pragmatic context, Kingston, Jamaica." Thesis, University of Cambridge, 1994. https://www.repository.cam.ac.uk/handle/1810/272781.
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Malecka, Joanna. "The ethics, aesthetics and politics of Thomas Carlyle's 'French Revolution'." Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8182/.
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‘The Ethics, Aesthetics and Politics of Carlyle’s French Revolution’ examines the work of Thomas Carlyle as a crucial aesthetic intervention in the modern reception of the French Revolution in Europe. It interrogates the prevalent critical constructions of Carlyle’s work and finds them to proceed predominantly from the Whig historical agenda, structured around such key nineteenth-century concepts as utilitarianism and civilisational and moral progress. Within this critical framework, Carlyle’s largely conservative cultural stance and Christian spirituality are hardly allowed any creative potential and, ever since the famous fabrication of James Anthony Froude who depicted Carlyle as ‘a Calvinist without the theology’, they have been perceived as artistically-stunted, irrational, and out of touch with the nineteenth-century political, social and cultural realities. In examining Carlyle’s involvement with German Romanticism on the one hand, and with contemporary British periodical press on the other, this thesis proposes a more comprehensive reading of Carlyle’s politics, aesthetics and spirituality in an attempt to represent his radically open, catholic and indeed cosmopolitan artistic agenda which taps into the Scottish Enlightenment concept of rationality, Calvinist scepticism towards nineteenth-century progressivism and acute perception of evil in this world, and post-Burkean Romantic aesthetics of the sublime. We chart the aesthetic movement from Carlyle’s early dialogue with Schiller and Goethe to ‘The Diamond Necklace’, Carlyle’s first artistic rendition of the French pre-revolutionary scene, delivered as a (Gothic) moral tale and anticipating The French Revolution (a historical work that uniquely employs the Gothic genre within historical narrative, arguably unparalleled in British post-Burkean Romanticism). The critical reception of The French Revolution in Britain is examined, with special attention paid to the highly unfavourable review by Herman Merivale in The Edinburgh Review, in order to challenge the Whig line in Carlylean criticism and to expose the fundamental artistic, political and moral disagreement between Carlyle and Merivale. Carlyle’s Calvinist stance sees both Merivale’s and Thomas Babington Macaulay’s facile exorcism of the categories of good and evil from their historical agendas as irrational given the recent French terror (which, in Carlyle’s reading, released its demons precisely through such a botched ethical deal). Similarly, I highlight Carlyle’s close dialogue with John Stuart Mill both in their correspondence, and in the publications in the London and Westminster Review, while I argue that this intellectual exchange is crucial for the reading of The French Revolution as a text challenging Mill’s utilitarianism, and written within the institutional framework of the contemporary periodical press. Finally, Carlyle is seen to make capital of the concepts of Gothic and sublime, introduced by Edmund Burke and popularised by the Anti-Jacobin Review in Britain, by applying them directly to the French mob in search of a new spiritual tongue for his times (a move that even a nineteenth-century radical liberal thinker such as Mill sees as politically, if not artistically, far too subversive and revolutionary). Creative non-conclusiveness and playful deconstruction of the prevalent post-revolutionary narratives of 1789 characterise Carlyle’s deeply spiritual and artistically-sophisticated text, which, in an orthodox Christian reading, rejoices in the messy, dark and complex residue of human history, through which Christian providence acts in mysterious and unexpected ways that do not allow for any simple, de-mythologised reading.
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Kuzma, Andrew J. "Theo-dramatic ethics| A balthasarian approach to moral formation." Thesis, Marquette University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10102835.
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What role does beauty play in our moral formation? What difference does the perception of beauty make to the way we live our lives? In order to answer these questions, I look to the twentieth-century Catholic theologian, Hans Urs von Balthasar. Relatively little has been written about Balthasar’s ethics. He is, perhaps, best known for his retrieval of beauty as a transcendental property of being. Balthasar, though, never set down an extended account of his ethics or moral theology. While he had no explicit ethic, he certainly thought that his theology could be lived. The Theo-Drama, for instance, discusses the implications that the perception of beauty has for Christian life.
I do not intend to present “Balthasar’s ethics.” Instead I will offer a “Balthasarian ethic.” Drawing from his theological aesthetics and dramatics, I will outline the morality implicit in his theology: a Balthasarian theo-dramatic ethics. We can see this kind of ethic at work, I contend, in some of Balthasar’s lesser-known works on Christian life. I will then go beyond Balthasar to consider how we might put this moral formation into practice in the possibility of living out Christian pacifism in the nation-state and in our treatment of non-human animals.
This dissertation points to the convergence of method and performance. The method of theo-dramatic ethics can never be distilled to a set of abstract rules or terms. We can do so artificially in order to better express what makes performances of the good beautiful. But it is the performance, not the method, of theo-dramatic ethics that we find enrapturing. Being formed by performances of beauty better enables us to recognize and express new forms of beauty. My thesis is that recognizing beauty as the foundation of moral formation affirms the formational power of the Christian tradition as well as that of new experiences and practices because in both cases we are responding to beauty.
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Felstead, Kenneth Desmond 1945. "The metaphysical grounds for the modern relationship between aesthetics and ethics." Monash University, School of Literary, Visual and Cultural Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/8648.
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Fedorova, Kseniya. "New media and performance: Aesthetics and ethics of the technological sublime." Connect to online resource, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1442970.
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Alexander, Tamar. "The pious sinner : ethics and aesthetics in the medieval Hasidic narrative /." Tübingen : J. C. B. Mohr (P. Siebeck), 1991. http://catalogue.bnf.fr/ark:/12148/cb35773207d.
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Nedeljkovic, Marijana. "Kiš's vigilance : ethics as aesthetics in the prose of Danilo Kiš." Thesis, University of Westminster, 2016. https://westminsterresearch.westminster.ac.uk/item/q0808/ki-s-vigilance-ethics-as-aesthetics-in-the-prose-of-danilo-ki.
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This thesis offers a reading of the late Yugoslav writer Danilo Kiš by looking at how a particular tradition of European aesthetics and ethical philosophy (namely Levinas and Blanchot) can be compared to Danilo Kiš’s poetics. Beyond critically evaluating Kiš, I am to make connections between ethics, literature and philosophy. The major objective of my thesis is to argue that ethical is embedded as aesthetical in Kiš’s poetics as both Blanchotian and Levinasian understanding of ethics, i.e. as a non-dialectical and non-intentional movement from ‘I’ to the ‘other’ in the midst of passivity of dying (which is for both Blanchot and Levinas ‘other’ death). The thesis demonstrates that there are a number of strands in Levinas’s and Blanchot’s thought that, while differently expressed, can also be traced at work in Kiš’s writing, and which can, as such, help to elucidate certain crucial aspects of the latter. Taking into consideration Kiš’s obsessive writing on the violence of the last century – both left and right – I argue that what permeates his prose is death as both possibility and a radical impossibility consequent upon the il y a, a crucial philosophical concept in Levinas’s ethical philosophy and Blanchot’s literary ‘theory’. For this reason, the thesis aims to assert that what permeates Kiš’s prose is what Critchley terms ‘atheist transcendence’: the burden of responsibility for the death of the other human radically excludes theodicy. My research is significant in so far as conceptualisations of death to be found in continental European philosophy have hardly been directly juxtaposed with those found in Kiš’s prose. Since according to Blanchot, literature’s demand is always ambiguous and as such it exposes us to the question of being, in my thesis I analyse how this refusal of language to cease the tension of pluralism operates in Kiš’s prose as the ethical.
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Hernandez, Maria C. "Ethics and Aesthetics in Contemporary Basque Narrative: Three Portrayals of Terrorism." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1553613721523236.
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Coates, Adrian. "Everyday aesthetic existence and discipleship: exploring the connections between aesthetics, faith and ethics in being human and becoming Christian." Doctoral thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/30398.
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The aim of this project is to provide a theological basis for the practice of discipleship in the world as a form of aesthetic existence. The study is framed by Dietrich Bonhoeffer’s cryptic call for a recovery of Søren Kierkegaard’s notion of aesthetic existence in being Christian, set against the backdrop of their mutual concern for the captivity of the church to Christendom. In addition to the contribution by Kierkegaard (discipleship as poetic living) and Bonhoeffer (Christian living as polyphonous this-worldly celebration of Christological reality), three further key intellectuals have been selected, each of whom contributes an important dimension to understanding everyday aesthetic existence as discipleship. Drawing from contemporary neuropsychological findings, Iain McGilchrist’s research points to the fundamental role that aesthetic existence plays in being human and relating to the world. Graham Ward’s work builds on this by highlighting that embodied and affective engagement with the world both plays a significant role in faith formation and concomitantly frames ethical life by conjoining praxis and poiesis through incarnational living. Aesthetics is not to be disconnected from action, as Nicholas Wolterstorff elucidates, but is best understood in light of social practice, playing a narratival role toward specific teloi, however implicit this may be. Ultimately, this study concludes that a liturgical orientation to all of life rightly orders the formative power of aesthetic existence in service to the Word and world, thereby contributing to discipleship, as opposed to the aestheticized creation and sustenance of virtuality.
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Ednie-Brown, Pia Hope, and pia@rmit edu au. "The aesthetics of emergence." RMIT University. Architecture and Design, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080804.161628.
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Principles of design composition are commonly understood to pertain to geometrical systems for arranging parts in assembling a formal whole. Connection to socio-cultural 'meaning' and relevance arguably occurs primarily via the assumed divinity or universality of these systems. In the contemporary architectural world, where explicitly held beliefs in fundamental, geometrically defined principles or values have dissipated, guiding principles of composition appear to be obsolete. This seems particularly true in relation to work that highlights process - or change, responsiveness, interactivity and adaptability - since this implies that the composition remains in flux and unable to be grounded in the composition of form. While processually inflected architecture (referred to here as 'processual architecture'), has been an active field since at least the 1960s, it has been significantly developed since design experiments involving digital computation intensified in t he 1990s. For this field of work, both highly celebrated and criticised as superficial or unethical, any connection to 'meaning' or value that might be offered by principles of composition would appear especially lost. This thesis reviews, counterpoises and reorients these assumptions, arguing a case for the value of processual architectural that has not been previously articulated. After the last 10 to 15 years of digital experimentation, it is clear that digital technology in itself is not the primary issue, but simply part of a complex equation. The thesis articulates this 'equation' through the model of emergence, which has been used in the field with increasing prominence in recent years. Through both practice-based research and theoretical development, a processually inflected theory of composition is proposed. This offers pathways through which the potential of processual architecture might be productively developed, aiming to open this field of work into a deeper engagement with pressing contemporary socio-political issues. The thesis demonstrates how the cultivation of particular modes of attention and engagement, found to hold an implicit but nevertheless amplified significance within processual architecture, make it possible to develop an embodied awareness pertaining to an 'ethico-aesthetic know-how'. This know-how is acquired and matured through attention to the affective dimensions that arise through design activity. The thesis highlight aspects of design process and products that are routinely suppressed in architectural discourse, generating new insights into the importance of affect for design process, design products and the relations between them. The ethical dimensions of such an approach become especially poignant through the explicit connection made between design activity and the practices of everyday life. Relationships between architecture and the social become re-energised, in a radically alternative manner to the social agendas of modernism or the more literary critiques of post-modernism. Through detailed discussions of the specific, local conditions with a series of design projects I have undertaken, I argue how and why close attention to the affective dimensions of design process offers new and productive ways to approach research through design practice. This offers a response to the calls for new 'post-critical' forms of research through empowering both sides of a previously held divide: theory and practice.
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Pellecchia, Diego. "Aesthetics and ethics in the reception of Noh theatre in the West." Thesis, University of London, 2011. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.549590.
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Arguing that fundamental aesthetic elements of Noh are deeply imbued with ethical qualities, the thesis describes how, throughout the different socio-economic scenarios that marked the transition of Japan and the West to new phases of modernity, Noh became part of an international debate on theatre and ethics. Since the beginning of the twentieth century, European practitioners such as Yeats, Pound, Copeau and Brecht sought to ‘restore’ theatre by returning to ideals of honesty and spirituality that were thought to be lost as a consequence of the rise of bourgeois materialism. The promotion of Noh in Japan and its reception abroad was appropriated both by right and left wing political discourses that provided contrasting and converging interpretations of its theory and practice. With the advent of ‘interculturalism’ Noh was inscribed in a renewed ethical rubric, and became part of a return to the ‘spiritual’ dimension of Asian theatre by practitioners such as Yoshi Oida and Eugenio Barba. However, today Noh is still enmeshed in misconstructions that limit its understanding: drawing on historical research and ethnographic fieldwork, this thesis uses ethical criticism (Carroll, Cooper, Gaut) and Watsuji Tetsurō’s thought in order to analyse past and present reception of Noh, shedding light on the inextricability of the aesthetics and ethics of Noh and seeking to provide a balanced view of individual/communitarian and spiritual/secular dimensions of its contemporary practice, thus placing Noh within the broader perspective of a global discussion of theatre and ethics.
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McIntire, William. "Living as sublimated dying : understanding aesthetics and ethics from Freud and Nietzsche." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/88893/.
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This thesis aims to examine the connection between aesthetic and ethical valuations. Nietzsche and Freud both claim that values are symptoms of underlying psychical constitutions. I elicit an original understanding of aesthetic and ethical valuations through a synthesis of their works. Beginning with drive theory, I argue that the death-drive is an entropic principle guiding all psychical life. Another original contribution is my conceptualization of Eros as reducible to the death-drive as the means by which the death-drive manifests itself as a homeodynamic process in open systems. I argue, fundamentally, that the way our drives are expressed in the world entail vicissitudes that are more or less incorporative of stimuli and content as a means of mastery. There is a bifurcation of drive expression concerning incorporation, which I articulate as being egodystonically oriented, as in the case of defense mechanisms; or egosyntonically oriented, as in the case of sublimation. Sublimation is the only indirect vicissitude that can be regarded as egosyntonic because it involves neither repression nor disavowal. Unlike other vicissitudes, then, sublimation is the vicissitude by which Nietzsche’s emphasis on incorporation is realized. Following my analysis of the various vicissitudes, I demonstrate that there is accordingly a bifurcation of valuations. While most ethical theories involve repudiations of self-interest (our primary drives or inclinations), Nietzsche wants us to return to an incorporation of self-interest and an infusion of it into our relations. His arguments against the ethical theories of Kant and Schopenhauer echo precisely his arguments against their aesthetic theories regarding disinterestedness. I thus discuss the ethical as a corollary of the aesthetic. I conclude describing what it means for aesthetic and ethical valuations to emerge from egosyntonic vicissitudes, and I argue that the Übermensch is ultimately an archetype of egosyntonic relating. Nietzsche illustrates this with the metaphor of dancing.
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Pett, Sarah. "Reading and writing chronic illness, 1990-2012 : ethics and aesthetics at work." Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/6645/.
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This thesis is about autobiographical and fictional accounts of chronic illness professionally published between 1990 and 2012. It begins with a survey of popular and critical thinking about illness accounts, in which I show how both the medical humanities and literary studies have placed restrictions on what these accounts can mean, and thus on the kinds of cultural work they can do: restrictions that frequently belie the complexity of the aesthetics and ethics at work in many of the texts considered in this thesis. I build on this claim through close reading of a cross-section of contemporary illness accounts in which I flag up the presence of aesthetic elements distinct to the literary—including aspects of imagery, form, symbolic structure, address, and so on—, and show how these elements work not just to underscore the informative content of these illness accounts, but also to create new patterns of meaning, new networks of relation, and new modes of engagement. Though this project focuses on the contemporary, Virginia Woolf’s essay On Being Ill (1926) acts as its theoretical nucleus. In chapter 2, I show how On Being Ill provides a productive framework within which to explore the relationship between illness, literary aesthetics, and ethics. I also tease out the themes that are to define the chapters that follow, for, as Woolf demonstrates, at stake in the representation of the embodied self and the sensations it experiences are issues such as the referentiality of language and of fiction; the workings of metaphor and allegory; and the possibilities and limitations of the discursive sediment that accrues around words, images, and narrative tropes. In chapter 3, I explore this latter issue in a study of the construction of the narrative self and of the body in four autoethnographies by women academics. In chapter 4, I look at the representational experiments that Hilary Mantel and Paul West undertake in their memoirs as they seek to describe the physical and psychological effects of illness. Finally, in chapter 5 I consider how two South African fictions of illness—J. M. Coetzee’s Age of Iron (1990) and Marlene van Niekerk’s Agaat (2006)—provide a valuable case study for thinking about the relationship between illness and allegory in fiction. My conclusion draws these strands together, arguing that illness accounts can contribute not just to our understanding of the illness experience, but to our thinking about the nature of the literary and its participation in the ethical also.
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Sullivan, Lindsay M. "'The ethics of art' : incarnation, revelation and transcendence in the aesthetics and ethics of George Eliot and M.M. Bakhtin." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14748.
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This thesis offers an analysis of George Eliot's aesthetics and ethics from the interdisciplinary perspective of literature and theology. I examine the role that religious motifs play in Eliot's "ethics of art," and argue that the motifs of incarnation, revelation, and transcendence are central to Eliot's aesthetic aim of extending her reader's sympathies. Eliot's ethics of art is designed to help her reader transcend his or her inherent egoism, and to improve the way her reader understands his or her own self in relation to the world and to others. An exploration of the religious motifs of incarnation, revelation, and transcendence explains how Eliot achieved this aim without resorting to didacticism or preaching. In order to demonstrate this, the thesis offers a reading of Middlemarch and Daniel Deronda in which I employ three concepts that are present in the early philosophical writings of Mikhail Bakhtin; non-alibi in being, excess of seeing, and self/other relations. The motif of incarnation is central to each of these concepts and forms a bridge between Bakhtin's aesthetics and ethics. In applying these concepts to a reading of Middlemarch and Daniel Deronda, I demonstrate the way in which Eliot's "ethics of art" relies on theological motifs.
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Boetzkes, Amanda. "Beyond perception : the ethics of contemporary earth art." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102788.
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This dissertation considers the aesthetic strategies and ethical implications of contemporary earth art. Drawing from feminist and ecological critiques of phenomenology, it posits that an ethical preoccupation with the earth is identifiable in works that stage the artist's inability to condense natural phenomena into an intelligible art object thereby evidencing the earth's excess beyond the field of perception. Contemporary earth art has the paradoxical goal of evoking the sensorial plenitude of the earth without representing it as such. The first chapter analyzes Robert Smithson's monumental sculpture, the Spiral Jetty (1970), and suggests that the artist deploys the emblem of the whirlpool to express the artwork's constitutive rupture from the earth, a loss that the artwork subsequently discloses in its textual modes, including an essay and a film that document the construction of the sculpture. Chapter two examines the recurrence of the whirlpool motif and other anagrammatic shapes such as black holes, tornadoes, shells and nests, in earth art from the last three decades. In contemporary practices the whirlpool allegorizes an ethical attentiveness to the earth's alterity; not only does it thematize the artwork's separation from perpetual natural regeneration, it signals the artist's withdrawal from the attempt to construct a totalizing perspective of the site. Chapter three addresses performance and installation works that feature the contact between the artist's body and the earth, and in particular, the body's role in delineating the point of friction between the earth's sensorial plenitude and its resistance to representation. Earth artists thereby assert the body as a surface that separates itself out from the earth and receives sensation of it as other. The conclusion summarizes the main arguments of the previous chapters through a discussion of a three-part installation by Chris Drury entitled Whorls (2005).
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Thompson, Ian H. "Sources of values in landscape architecture." Thesis, University of Newcastle Upon Tyne, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311145.
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Jin, Lipeng. "Animal ethics and contemporary art : an exploration of the intersections between ethics and aesthetics, humans and animals, human and animal injustices." Thesis, Lancaster University, 2016. http://eprints.lancs.ac.uk/82819/.
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This research provides artistic interventions into the question of institutionalised violence against animals. With a relational and holistic vision in mind, this artistic enquiry explores the intersections between ethics and aesthetics, humans and animals, human and animal injustices. It is dualistic and anthropocentric thinking that underlies both human and animal oppression. A Derridean approach invites us to think about the shared vulnerability among all beings through the presence of the animal other, calling our infinite responsibility towards the animal and dismantling entwined dualisms. With regard and respect, we are encouraged to appreciate the animal as a singular, specific, valuable being, rather than a predetermined, dualistic category. Formally and conceptually informed by contemporary art addressing both human and animal oppression, this enquiry critically reflects on the invisibility of violence towards animals which contributes collective ignorance and indifference to animal suffering. Translating the testimony of animal’s plight into poetic representation, I propose three pieces of large-scale, mixed-media installation works, combining aesthetic elements such as paintings, feathers, fabrics, lights, spaces, and audience experiences to confront the viewer with this question. In so doing, I believe that the poetics of art has the potential of transforming public consciousness of thinking about animals in non-binary and non-instrumental terms.
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O'Brien, Marianne. "Aesthetics and ethics at the intersection: Contemporary reflections on the philosophy of Arthur Schopenhauer." Thesis, University of Liverpool, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.494273.
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In the last hundred years of commentarial literature on Schopenhauer, the breadth and profundity of the relationships that exist between aesthetics and ethics in his philosophy have been overlooked and overshadowed by studies of Schopenhauer as a metaphysician. This exploration of the status of the metaphysical connection between aesthetics and ethics in his philosophy. In order to establish the significance of this connection for contemporary debates on aesthetics and ethics, I elucidate Schopenhauer's philosophy in a manner that addresses its inconsistencies and inadequacies whilst being conducive to the clear articulation and development of its key themes and central insights.
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Staunton, Benjamin. "The Aesthetics and Ethics of the Absent Subject in the Novels of Tom McCarthy." Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30084/document.
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Résumé en français : Ce projet s’intéresse à la fois aux œuvres et à la théorie de l’écrivain-artiste Tom McCarthy, précisément en analysant ses livres Remainder (2005), Men in Space (2007), C (2010), et Satin Island (2015), ainsi que ses œuvres théoriques, Tintin and the Secret of Literature (2006) et Typewriters, Bombs, Jellyfish : Essays (2017). Son rapport avec certains styles littéraires d’avant-garde et de modernisme a provoqué des analyses qui l’ont rendu explicit à travers les accueils critiques au sein de et en dehors du monde universitaire, et également a travers ses propres œuvres de théorie. Toutefois, cette analyse de McCarthy prend comme point de vue l’angle de Jean Baudrillard et son regard postmoderne et critique culturel. On a suggéré que les œuvres de McCarthy rejettent le sujet traditionnel du roman moderne et de ce fait éviter les résolutions de l’ordre idéologique ou structurelle, ce qui permet l’émergence de nouvelles façons subjectives. C’est l’affirmation de ce travail que l’éthique et l’esthétique du choix de McCarthy, le refus et l’absence du sujet, sont en fait des expressions d’une positivité et passivité relevant de leurs origines d’une idéologie qui est purement bourgeoise. La première partie s’engage à explorer les conditions du temps, de l’espace, et du destin individuel dans les romans, afin de les lier aux conditions postmodernes. Ces conditions-ci facilitent l’analyse, dans la deuxième partie de ce mémoire, d’une série des styles littéraires et « formalisms », ce qui simule la présence d’un sujet « absent » dans les romans. Avec un regard visé sur la notion de Symbolisme, de l’« a-signification » et de la mélancolie en tant que repère littéraire d’une subjectivité absente, cette deuxième partie élabore l’esthétique de l’absence (d’un perspectif linguistique et technologique), développant l’essentiel de la notion d’une présence simulée. La troisième partie réunit, a travers l’ironie et le personnage mythique du farceur, les conditions et l’esthétique de ce sujet absent sous la formed’une vision d’éthique cyclique, plutôt qu’infini ou discriminatoire, et c’est cette éthique qui produit à la fois la capacite d’un défi mortel et le plaisir de la conformité en même temps.Mots-clés en français : Tom McCarthy, roman, Baudrillard, éthique, esthétique, communication de masse, le postmoderne, absenceRésumé en anglais : This study engages with the novels and theory of the English author and artist Tom McCarthy, specifically the novels Remainder (2005), Men in Space (2007), C (2010) and Satin Island (2015), as well as his works of theory, Tintin and the Secret of Literature (2006) and Typewriters, Bombs, Jellyfish: Essays (2017). McCarthy’s literary connection to certain brands of avant-garde modernism has been analysed and made explicit both through their critical reception inside and outside of academia, and through McCarthy’s own works of theory. However, in this study McCarthy’s literary oeuvre is engaged with through the lens of Jean Baudrillard’s particular brand of postmodernity and cultural criticism. It has been suggested that McCarthy’s novels reject the traditional subject of the modern novel, and as such avoid turning to ideological or structural resolutions, leaving open the space for new modes of subjectivity to emerge. It is the contention of this study that the ethics and aesthetics of this refusal and absence are in fact expressions of a specifically bourgeois ideological positivity and passivity. The first section serves to approach the conditions of time, space and individual destiny in the novels, relating these to the conditions of postmodernity. These conditions serve to foster, in the second section of the study, a series of literary modes and formalisms that simulate the presence of the ‘absent subject’ in the novels. Looking specifically at Symbolism, a-signification and melancholy as literary markers of an absent subjectivity, this second section elaborates on the aesthetics of absence (linguistic and technological) that are essential to this mode of simulated presence. The third section brings together, through the figure of irony and the mythic trickster figure, the conditions and aesthetics of this absent subject in the form of a mode of ethics that is cyclical, as opposed to infinite or discriminatory, and which produces both the capacity for fatal challenge and the pleasure of conformity at once.Mots-clés en anglais: Tom McCarthy, the novel, Baudrillard, ethics, aesthetics, mass communication, postmodernity, absence
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Naiboglu, Gozde. "Beyond representation : the ethics and aesthetics of change in Turkish German cinema after Reunification." Thesis, University of Manchester, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.634928.
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This thesis explores recent Turkish-German film through a radically postrepresentationalvision of aesthetics and ethics. Post-representationalism as amethodology involves confronting conventional cognitive and hermeneuticapproaches to film, and going beyond representational schemes and nationalparadigms for a closer engagement with the aesthetic. This thesis puts emphasison tropes such as movement, gesture, process and becoming through anengagement with the writings of Gilles Deleuze and Félix Guattari as analternative to the theoretical models that dominate the scholarship on migrant anddiasporic cinemas which place emphasis on dualisms and notions such as culturaland national identity. It attempts to broaden the discussions on post-ReunificationTurkish German cinema by exploring a wide range of works including fiction,documentary and artist films dealing with labour migration from Turkey toGermany. The first chapter focuses on Thomas Arslan’s Berlin Trilogy andChristian Petzold’s Jerichow (2009) as ‘Berlin School’ films that convey adistinct aesthetic approach to labour migrants and their second generationoffspring in Germany, which tends to focus on questions of work and thechanging nature of labour under globalisation. The second chapter looks atdocumentary films by Thomas Arslan, Aysun Bademsoy, Harun Farocki andSeyhan Derin to re-evaluate the dominance of historical narratives and reassessthe documentary form as an archival and creative practice through new politicaland ethico-aesthetic paradigms. The third chapter investigates social realist genrecinema through Feo Aladağ’s Die Fremde (2011) and Yüksel Yavuz’s KleineFreiheit (2003) to explore whether new encounters with conventional aestheticsthat zoom in on gestures and movements can call into question the limitation oflinguistic and semiotic terms and categories of analysis. These chapters aim tomove beyond representational and definitive frameworks in favour of a creativecritical engagement with migrant film as a political vocation, which carries withinitself the potential to invent new forms of thought, resistance, movement andpeople.
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Green, Jennifer Elizabeth. "Aesthetic Excuses and Moral Crimes: The Convergence of Morality and Aesthetics in Nabokov's Lolita." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-04272006-134431/.
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Thesis (M.A.)--Georgia State University, 2006.Title from title screen. Paul Schmidt, committee chair ; Marti Singer, Chris Kocela, committee members. Electronic text (60 p.) : digital, PDF file. Description based on contents viewed Apr. 17, 2007. Includes bibliographical references (p. 55-64).
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Cinaglia, Valeria. "Aristotle and Menander on the ethics of understanding." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3182.
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This doctoral thesis explores a subject falling in the interface between ancient Greek philosophy and literature. Specifically, I am concerned with common ground between the New Comedy of Menander and aspects of Aristotle’s philosophy. The thesis does not argue that the resemblance identified between the two writers shows the direct influence of Aristotle on Menander but rather thay they share a common thought-world. The thesis is structured around a series of parallel readings of Menander and Aristotle; key relevant texts are Menander’s "Epitrepontes", "Samia", "Aspis", "Perikeiromene" and "Dyscolos" and Aristotle’s "Posterior Analytics", "Nicomachean and Eudemian Ethics", "De Anima" and "Poetics". My claim is that Menander’s construction of characters and plots and Aristotle’s philosophical analyses express analogous approaches on the subject of the relationship between knowledge and ethics. Central for my argument is the consideration that in Aristotle’s writings on ethics, logic, and psychology, we can identify a specific set of ideas about the interconnection between knowledge-formation and character or emotion, which shows, for instance, how ethical failings typically depend on a combination of cognitive mistakes and emotional lapses. A few years later than the composition of Aristotle’s school-texts, Menander’s comedies, as expressed in the extant texts, present to a wider audience a type of drama which, as I argue, reflects an analogously complex and sophisticated understanding of the interplay between cognitive or rational understanding and character or emotion. More broadly, Aristotle and Menander offer analogous views of the way that perceptions and emotional responses to situations are linked with the presence or absence of ethical and cognitive understanding, or the state of ethical character-development in any given person. Thus, I suggest, the interpersonal crises and the progress towards recognition of the identity of the crucial figures in Menandrian comedies embody a pattern of thinking about perception, knowledge and the role of emotion that shows substantial linkage with Aristotle’s thinking on comparable topics.
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Dho, Seung-Youn. "The implication of turning to the question of aesthetics of existence in later Foucault's work." Diss., Online access via UMI:, 2006.
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Shaver, Mandy [Verfasser]. "Art, aesthetics and ethics of tattooing : Analysis of a tattoo business in Hamilton / Mandy Shaver." München : GRIN Verlag, 2019. http://d-nb.info/119779946X/34.
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Tay, Yi Lin Adeline. "The Slow Food Movement : an étude on commodity, time, ethics and aesthetics in contemporary life." Thesis, University of Bristol, 2009. http://hdl.handle.net/1983/f7f2bd57-4cea-418f-b3d0-f5d632cfc896.
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This thesis is a study of the Slow Food Movement (SFM), charting the journey of this grassroots organisation from its ideological and material roots in Bra, Italy to its meteoric development in the advanced capitalist landscapes of England and USA as a consumer-driven, 'eco-gastronomy' movement. It takes to heart the movement's promise for a 'revolution of taste', from which was derived four significant themes, namely: Commodity, Time, Ethics and Aesthetics. Fieldwork was carried out in Italy, England and USA, including sixy-four recorded interviews and ethnographic, moment-to-moment research. The thesis argues that the seemingly archaic attitudes held towards the commodity object, relations of time, ethical values and aesthetic pleasures are the very radical and social action that the SFM and its members undertake in their quest to lead, and live a comtemporary life. A 'nesting' approach was employed to demonstate the strength of this assertion. Firstly, a Marxist analysis moved an undifferentiated commodity towards exploring the character and typology of 'slow food'. Secondly, theories on speed and time consciousness urged a rethinking of time's linearity and the affordance of memory. Thirdly, a dialogue engaged Aristotelian virtues with relations of one and an/other. Fourthly, art encountered aesthetics in delineating the movement's sensorium. The SFM speaks to a modem politics of emotions, ideas and timeliness. The materiality of 'slow food' exhibits taste-in-action, a constantly productive knowledge, sensation and expression of palatable bodies. The complexity of time entwines imagination with responsibility. A good, balanced life - eudaimonia - is fashioned from a touching sociality. Geographies of physicality, sociability and sensuality increasingly influence a contentious food world. This thesis demonstrates that the SFM is a force of life. For the members and chosen food matters, the SFM is that which they in name advocate as well as exceed to, in effect, impel its aims and ambitions. This thesis regards an ontology of 'going there', and a philosophy of living creatively.
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Senior, Adele Marie. "Bioart in the making : aesthetics, ethics and politics in the tissue culture and art project." Thesis, Lancaster University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543994.
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Rogers, Taylor. "The Ethical Significance of the Aesthetic Experience of Non-Representational Art." Oberlin College Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1306457898.
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Lacerda, Teresa Isabel Machado Moura de Oliveira e. Ferraz. "Elementos para a construção de uma estética do desporto." Phd thesis, Instituições portuguesas -- UP-Universidade do Porto -- -Faculdade de Ciências do Desporto e de Educação Física, 2002. http://dited.bn.pt:80/29513.
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Bramwell, Richard. "The aesthetics and ethics of London based rap : a sociology of UK hip-hop and grime." Thesis, London School of Economics and Political Science (University of London), 2011. http://etheses.lse.ac.uk/189/.
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This thesis considers rap music produced in London. The project employs close textual analysis and ethnography to engage with the formal characteristics of rap and the social relations constructed through its production and use. The black cultural tradition has a considerable history and the thesis focuses upon its appropriation in contemporary London. The study begins with an examination of the process of becoming a rapper. I then consider the collaborative work that rap artists engage in and how these skills contribute to construction of the UK Hip-Hop and Grime scenes. Moving on from this focus on cultural producers, I then consider the practices of rap music’s users and the role of rap in mainstream metropolitan life. I use the public bus as a site through which to observe the ethical relations that are constituted through sharing and playing with rap music. My analysis then turns to the processes through which identity is solicited and produced within nightclubs and concerts. I discuss the production of subaltern masculinities and femininities by the audience in this space. I also consider how MCs orchestrate their audiences in the production of special forms of collectivity and the organisation of a social consciousness. Following this, I examine rap lyrics in a selection of tracks and videos in order to engage with the representation of urban dwelling within the black public sphere. This close analysis allows me to consider rap songs as part of a cultural politics that challenges socio-economic inequality and racist oppression. I then discuss the structural position of the black working classes and the role of cultural production in providing means of avoiding the economic vulnerability of low skill labour. The study concludes with an examination of artists’ efforts to transform their socio-economic positions through their cultural production and self-representation.
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Lynch, Tosca. "'Training the soul in excellence' : musical theory and practice in Plato's dialogues, between ethics and aesthetics." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4290.
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This thesis offers a technically informed examination of Plato's pervasive, though not innocent, use of musical theory, practice and musical concepts more generally within the ambitious ethical project outlined in many of his dialogues: fostering the ‘excellence' of the soul. Starting from Republic 3, Chapter 1 will focus specifically on music stricto sensu in order to assess Plato's interpretation of the basic ‘building blocks' of musical performances, creating a core repertoire of musical concepts that will prepare the way to analyse Plato's use of musical terms or categories in areas that, at first sight, do not appear to be immediately connected to this art, such as politics, ethics and psychology. Chapter 2 examines a selection of passages from Laws 2 concerning the concept of musical beauty and its role in ethical education, demonstrating how Plato's definition is far from being moralistic and, instead, pays close attention to the technical performative aspects of dramatic musical representations. Chapter 3 looks first at the harmonic characterisation of the two central virtues of the ideal city, sophrosyne and dikaiosyne, showing how their musical depictions are not purely metaphoric: on the contrary, Plato exploited their cultural implications to emphasise the characteristics and the functions of these virtues in the ideal constitution. The second half of Chapter 3 analyses the Platonic portrayal of musical παρανομία, studying both its educational and psychological repercussions in the dialogue and in relations to contemporary Athenian musical practices. Chapter 4 looks at how different types of music may be used to create an inner harmonic order of passions in the soul in different contexts: the musical-mimetic education outlined in the Republic, the musical enhancement of the psychological energies in the members of the Chorus of Dionysus in the Laws, and finally the role of the aulos in the Symposium.
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Young, M. P. "Remembering Omagh : aesthetics, ethics and ownership in the performance of memory in post-conflict Northern Ireland." Thesis, Queen's University Belfast, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.677961.
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This thesis is a practice as research study which seeks to explore aesthetic and ethical concerns surrounding the performance of memory in a post-conflict society. Located within the Northern Ireland context, my study is focussed on the town ofOmagh- the site of the single worst terrorist attack in the history of the Troubles - and my hometown. In an exploration of the ways in which memory functions as a mechanism to articulate an4 enforce identity, I examine how this is performed in a society that is attempting to acknowledge the past while moving on from it. My enquiry employs a dual approach in which analysis of artistic interventions into Omagh's traumatic past is complemented by the use oflive theatrical process as a research tool. In an examination ofthe artist's role in memorial practice in Northern Ireland, I present case study examinations of the testimonial Theatre of Witness production We Carried Your Secrets (2009) and the Omagh memorial, Constant Light (2008). In an examination of the relationship between memorialisation and the individual experience, these models provide a framework for my own artistic practice - a site-specific community theatre play through which I investigate the concept of oral history performance as a counter-memorial, utilising and interrogating the models of practice examined within my case studies. This thesis draws upon the theories of Pierre Nora, who stated that our propensity to design and fix memory prevents us from experiencing real and ever-changing memory within ourselves. In an engagement with theories surrounding monumental memory and testimonial performance, this study explores how the expression of a lived history is translated into public performance, how it can remain owned by those who generate the material and the potential for such practice to act as a way of memorialising both a place and its people.
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Pacheco, Rui Manuel de Gouveia. "Caracterização da intervenção do treinador na reunião de preparação da equipa para a competição no Futebol : Estudo comparativo de treinadores da 1ª Liga e da 2ª Divisão-B no Escalão de Seniores Masculinos." Master's thesis, Instituições portuguesas -- UP-Universidade do Porto -- -Faculdade de Ciências do Desporto e de Educação Física, 2002. http://dited.bn.pt:80/30121.
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Dissertação de Mestrado em Ciências do Desporto, área de especialização em Treino de Alto Rendimento Desportivo, apresentada à Faculdade de Ciências do Desporto e de Educação Física da Universidade do PortoPretendemos neste estudo caracterizar os conteúdos que são transmitidos pelos treinadores aos jogadores, na reunião de preparação da equipa para a competição no futebol, no escalão de seniores masculinos. Realizamos um estudo comparativo partindo de uma amostra constituida por seis treinadores pertencentes a equipas classificadas no terço superior do campeonato nacional de futebol da 1ª liga e seis treinadores pertencentes a equipas que disputam os lugares cimeiros do campeonato nacional de futebol da 2ª divisão-B. Procedemos à realização de uma entrevista com cada um dos treinadores, antes da realização da reunião de preparação da equipa para a competição com os jogadores, tendo posteriormente procedido à gravação audio do conteúdo das referidas comunicações. Através da técnica de análise de conteúdo, procuramos verificar se existem diferenças significativas nos conteúdos dominantes, transmitidos aos jogadores entre os dois grupos de treinadores, bem como verificar se há congruência entre as ideias pré-interactivas e as ideias interactivas dos treinadores. Os resultados alcançados, permitem concluir que: O conteúdo das informações transmitidas pelos treinadores nas reuniões de preparação para a competição incidem fundamentalmente na dominante estratégico-táctica (60.2%), seguidas das outras dominante do rendimento desportivo(20.1%) e da dominante psicológica (16.8%). A estrutura da instrução transmitida pelos treinadores assenta dominantemente na vairável prescritiva (56.4.%) e é dirigida para toda a equipa (61.8%). Quando comparados os conteúdos das instruções transmitidas entre os treinadores das duas divisões, verifica-se que há uma grande similaridade entre si (60%) na importância atribuída à dominante estratégico-táctica. No entanto, os treinadores da 2ª Divisão B atribuem uma importância maior à dominante psicológica, enquanto que os treinadores da 1ª Liga atribuem um maior relevo à dominante técnica e às outras dominantes do rendimento desportivo, ...
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Miragaia, Dina Alexandra Marques. "Para uma análise das estruturas organizacionais do desporto-a importância da definição do produto." Master's thesis, Instituições portuguesas -- UBI-Universidade da Beira Interior -- -Departamento de Ciências do Desporto, 2002. http://dited.bn.pt:80/30197.
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Romão, João Caldeira. "Desenvolvimento motor infantil em contexto de ensino-estudo do desenvolvimento da habilidade motora transitiva saltar à corda em crianças entre os 5 e os 9 anos de idade." Master's thesis, Instituições portuguesas -- -Universidade do Algarve -- -Faculdade de Ciências Humanas e Sociais -- -Escola Superior de Educação, 2002. http://dited.bn.pt:80/30482.
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Pacheco, Rui Manuel de Gouveia. "Caracterização da intervenção do treinador na reunião de preparação da equipa para a competição no Futebol : Estudo comparativo de treinadores da 1ª Liga e da 2ª Divisão-B no Escalão de Seniores Masculinos." Master's thesis, Universidade do Porto. Reitoria, 2002. http://hdl.handle.net/10216/9551.
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Dissertação de Mestrado em Ciências do Desporto, área de especialização em Treino de Alto Rendimento Desportivo, apresentada à Faculdade de Ciências do Desporto e de Educação Física da Universidade do PortoPretendemos neste estudo caracterizar os conteúdos que são transmitidos pelos treinadores aos jogadores, na reunião de preparação da equipa para a competição no futebol, no escalão de seniores masculinos. Realizamos um estudo comparativo partindo de uma amostra constituida por seis treinadores pertencentes a equipas classificadas no terço superior do campeonato nacional de futebol da 1ª liga e seis treinadores pertencentes a equipas que disputam os lugares cimeiros do campeonato nacional de futebol da 2ª divisão-B. Procedemos à realização de uma entrevista com cada um dos treinadores, antes da realização da reunião de preparação da equipa para a competição com os jogadores, tendo posteriormente procedido à gravação audio do conteúdo das referidas comunicações. Através da técnica de análise de conteúdo, procuramos verificar se existem diferenças significativas nos conteúdos dominantes, transmitidos aos jogadores entre os dois grupos de treinadores, bem como verificar se há congruência entre as ideias pré-interactivas e as ideias interactivas dos treinadores. Os resultados alcançados, permitem concluir que: O conteúdo das informações transmitidas pelos treinadores nas reuniões de preparação para a competição incidem fundamentalmente na dominante estratégico-táctica (60.2%), seguidas das outras dominante do rendimento desportivo(20.1%) e da dominante psicológica (16.8%). A estrutura da instrução transmitida pelos treinadores assenta dominantemente na vairável prescritiva (56.4.%) e é dirigida para toda a equipa (61.8%). Quando comparados os conteúdos das instruções transmitidas entre os treinadores das duas divisões, verifica-se que há uma grande similaridade entre si (60%) na importância atribuída à dominante estratégico-táctica. No entanto, os treinadores da 2ª Divisão B atribuem uma importância maior à dominante psicológica, enquanto que os treinadores da 1ª Liga atribuem um maior relevo à dominante técnica e às outras dominantes do rendimento desportivo, ...
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Buwert, Peter. "Ethical design : a foundation for visual communication." Thesis, Robert Gordon University, 2016. http://hdl.handle.net/10059/1577.
Full textAbstract:
The central original contribution to knowledge proposed by this thesis is the setting forth of a conceptualisation of ethical theory specifically in relation to design, with a focus on visual communication design. Building on earlier work by design theorist Clive Dilnot in the area of design ethics and on philosopher Giorgio Agamben’s formulation of the philosophical concept of potentiality, a way of thinking about the relationship between design and ethics is proposed which concludes that design is in fact always inherently ethical. However, this conception of ethical design purposefully leaves questions of the qualification of good and bad unresolved, stating only that the ethical is the prerequisite condition in which both good and bad become possibilities. Design’s significantly unethical capability to suppress and anaesthetise individuals’ ethical experience is highlighted through a proposal of a process of an/aesth/ethics. Observation of the relationship between design and ethics in the real world through a series of interviews demonstrates something of the complexity of design’s relationship with ethics and the diverse range of positions, beliefs, attitudes and paradoxes abounding within the design profession when it comes to addressing the question of “good” design practice. Six “sites” of ethics within contemporary design discourse are introduced and discussed. The ethicality of design practices in relation to these sites are then analysed through the lens of the proposed ethical framework: identifying strengths, weaknesses and potentials within these observed strategies. The way of thinking about ethical design proposed here demonstrates potential in contributing to designers’ ability to critically consider the ethicality of their own practices. From this foundation they may be better equipped to begin addressing the question of the qualification of the “goodness” of design. In conclusion, proposals are made for how this framework could be practically developed and used to support and encourage ethical design in the real world.
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Summers, Stephen. "Laughter Shared or the Games Poets Play: The Ethics and Aesthetics of Irony in Postwar American Poetry." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18322.
Full textAbstract:
During and after the First World War, English-language poets employed various ironic techniques to address war's dark absurdities. These methods, I argue, have various degrees of efficacy, depending upon the ethics of the poetry's approach to its reading audience. I judge these ethical discourses according to a poem's willingness to include its readers in the process of poetic construction, through a shared ironic connection. My central ethical test is Immanuel Kant's categorical imperative and Jurgen Habermas's conception of discourse ethics. I argue that without a sense of care and duty toward the reading other (figured in open-ended ironies over dogmatic rhetorics), there can be no social responsibility or reformation, thus testing modernist assumptions about the political usefulness of poetry.
I begin with the trench poets Siegfried Sassoon and Wilfred Owen, whose sarcastic and satirical ironies are constructed upon a problematic consequentialist ethos. Despite our sympathy for the poets' tragic positions as soldiers, their poems' rhetoric is ultimately coercive rather than politically progressive. It negates the social good it intends by nearly mimicking the unilateral rhetoric that gave rise to the war.
The next chapter concerns Ezra Pound's Hugh Selwyn Mauberley and T. S. Eliot's The Waste Land, fundamental modernist poems defining the postwar Anglo-American era. In contrast to the trench poets, I argue these two poems at their best manage to create an irony of free play, inviting the audience's participation in meaning-making through the irony of self-parody. Traditional ethical critiques of these poets' troubling politics, I argue, do not negate the discourse ethics present in these texts.
The final three chapters follow the wartime and postwar ironies of the American poets William Carlos Williams, Marianne Moore, and Wallace Stevens. Williams, a medical doctor, makes use of the ironic grotesque in his poems to offer the voice of poetry to the disenfranchised, including individuals with disabilities. Moore, a modernist and early feminist, pairs her poems to decenter poetic authority, depicting possible ethical poetic conversations. Finally, Stevens's democratic, pragmatic ethics appears within poetry that continually invites its readers to fill in gaps of meaning about the war and beyond.