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Burlin, Sr Thomas B. "High School Contemporary a Cappella: a Descriptive Phenomenology." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822787/.
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This study examines the phenomenon of contemporary a cappella music making found in high school settings as curricular and extra-curricular offerings. Past music and music education literature has focused exclusively on contemporary a cappella at the collegiate level. Through application of a descriptive phenomenological method and incorporation an educational-sociological lens, this study advances an understanding of the educational benefit and social value of membership in contemporary a cappella at the high school level. Six recent members from three regions of the United States provided data through individual open-form interviews in which questions were derived from the participants’ own speech. I incorporated phenomenological reductions and processes to negate researcher bias during data collection, analysis, and the formation of a general structure and constituent meanings of membership in high school contemporary a cappella. Participants utilized traditional music skills, individual talents, conceptions of popular culture and music, and in-group socialization to facilitate music making and reify membership. Expressing the value of group membership, individuals acted to benefit the group by cultivating social bonds, developing and fostering personal/shared connections to songs, identifying and purposing individual talents and skills, and gaining an understanding of each members’ unique contribution to membership. Discussion includes implications for music education and suggestions for future research.
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Roe, Paul. "A phenomenology of collaboration in contemporary composition and performance." Thesis, University of York, 2007. http://etheses.whiterose.ac.uk/9941/.
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This thesis considers how collaboration between composer and performer affects the practice of these musicians. The established paradigm for the creation of new work in the context of contemporary classical music promotes separation between composers and performers. Typically the composer is seen as 'creator', the performer as 'interpreter', and the audience as the 'recipient' of the music. This inherent hegemony creates division between these musicians, creating expre~si~e barriers in the development and the dissemination of new work. In this research, the creative processes of both composition and performance are assessed in the context of collaborative practice,in a continuum where both composers and performers are seen as integrated elements within music making. In order to evaluate collaborative practice between composer and performer I commissioned five Irish composers to write solo bass clarinet pieces for me to perform. These five individual cases provided an opportunity to examine collaboration in a practical framework. An integral part of each commission was the examination of collaboration through the careful documentation of the creative processes of interactive practice. Over the course of a year I worked collaboratively with the composers concerned in a series of practical sessions where the new works were discussed. and tried out. A key part of these meetings was the investigation of various elements relating to collaboration, including. notation, improvisation and transmission. A significant amount of data was collected in the course of this examination including audio recordings and transcripts ofmeetings. The fmdings from this research 'indicate that collaboration between composers and performers can have significant beneficial effects on musicians' practice. These benefits include increased motivation, creative stimulation, multiple communication modes and notational clarification. These represent some of the practical fmdings from this investigation of the effect collaboration has on the practice of composers and performers.
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Vahabzadeh, Peyman. "Articulated experiences, toward a radical phenomenology of contemporary social movements." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ61690.pdf.
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Esler, Robert Wadhams. "A phenomenological approach to contemporary music performance." Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2007. http://wwwlib.umi.com/cr/ucsd/fullcit?p3258703.
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Thesis (D.M.A.)--University of California, San Diego, 2007.Title from 1st page of PDF file (viewed July 12, 2007). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 121-124).
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Unwin, Bren Carolyn. "Phenomenology and landscape experience : a critical appraisal for contemporary art practice." Thesis, University of Hertfordshire, 2008. http://hdl.handle.net/2299/2115.
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This thesis examines some of the ways in which phenomenology might be applied to the representation of landscape experience within contemporary art practice. In particular, the thesis examines how embodied landscape experience, informed by an understanding of phenomenology, might be articulated by contemporary art practice that uses the media of film and digital video. The thesis also questions ways in which time might contribute to an understanding of such a representation of the landscape. Based on a critical analysis of landscape experience and its representation in art practice, the thesis identifies critical omissions both within the aligned disciplines of cultural anthropology and art history, particularly in instances where art has been employed ineptly as a tool for critical enquiry. Through a conceptual analysis of phenomenology, cultural archaeology, cultural anthropology, theories of technology, art history, critical film theory and art practice, this project makes a critical examination of new ways in which art can articulate phenomenological notions of landscape experience, both in the forms of a written exegesis and in examples of my own practice. To these ends, the writing of Christopher Tilley and Tim Ingold is examined in order to draw upon some of the ways in which cultural archaeology and cultural anthropology use Maurice Merleau-Ponty’s phenomenology and James Gibson’s ecological theory of visual perception to understand an embodied engagement with the landscape. Following an expanded phenomenological examination of landscape the thesis identifies ways in which cultural anthropology has used painting. This examination is followed by an analysis of the work of Mike Michael and Don Ihde in order to determine the role played by technology within the mediation of experience and its representation in art. The writing of Joyce Brodsky is examined to analyse the relationship between embodied experience and art practice and, using Sobchack’s analysis, the thesis describes ways in which Merleau-Ponty’s idea of reversibility can explain moving imagery as the perception and expression of experience. As part of the method of analysis, a case study is conducted into how phenomenological ideas that have been identified in association with landscape experience might be understood within Tacita Dean’s work Disappearance at Sea. An analysis of phenomenological notions of landscape experience within my own art practice has led to the generation of a body of practice that includes film and digital video media. Key examples of my art practice have been selected that can articulate this thesis. Specifically, a 16mm film, Line, and a digital video, Length II provide evidence of contemporary art practice articulating an experience of the landscape from a phenomenological viewpoint. Within the production of moving imagery, there is a sequence of human actions and technological interventions that can be considered in phenomenological terms. Through a reflection of my own embodied experience - extended by vehicles, cameras and their associated technology - Line and Length II pay specific attention to how the placement of a camera and its associated technology mediates the mobile character of an experience of the landscape. Central to this enquiry has been the contention that through a rigorous application of phenomenology, a new mode of making moving imagery emerges, specifically one that gives particular emphasis to the placement of the camera and its associated technology in order to reveal the dynamic relationship between a perceiver and their environment in the twenty-first century.
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Fernandez, Anthony Vincent. "Phenomenology and the Crisis of Contemporary Psychiatry: Contingency, Naturalism, and Classification." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6235.
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This dissertation is a contribution to the contemporary field of phenomenological psychopathology, or the phenomenological study of psychiatric disorders. The work proceeds with two major aims. The first is to show how a phenomenological approach can clarify and illuminate the nature of psychopathology—specifically those conditions typically labeled as major depressive disorder and bipolar disorder. The second is to show how engaging with psychopathological conditions can challenge and undermine many phenomenological presuppositions, especially phenomenology’s status as a transcendental philosophy and its corresponding anti-naturalistic outlook.
In the opening chapter, I articulate the three layers of the subject matter of phenomenological research—what I refer to as “existentials,” “modes,” and “prejudices.” As I argue, while each layer contributes to what we might call the “structure” of human existence, they do not do so in the same way, or to the same degree. Because phenomenological psychopathology—and applied phenomenology in general—aims to characterize how the structure of human existence can change and alter, it is paramount that these layers be adequately delineated and defined before investigating these changes.
In chapters two through five, I conduct hermeneutic and phenomenological investigations of psychopathological phenomena typically labeled as major depressive disorder or bipolar disorder. These investigations address the affective aspects of depression and mania, and the embodied aspects of depression. In addition to clearly articulating the nature of these phenomena, I show how certain psychopathological conditions involve changes in the deepest or most fundamental layer of human existence—what I refer to as existentials. As I argue, many of the classical phenomenologists (including Husserl and Heidegger) believed that these structural features were necessary, unchanging, and universal. However, this presupposition is challenged through the examination of psychopathological and neuropathological conditions, undermining the status of phenomenology as a transcendental philosophy.
While this challenge to classical phenomenology is only sketched in the early chapters, in chapters six and seven I develop it in more detail in order to achieve two distinct ends. In chapter six I argue that psychopathology and neuropathology not only challenge phenomenology’s status as a transcendental philosophy, but also supply a key to developing a phenomenological naturalism (which I contrast with a naturalized phenomenology). Phenomenological naturalism, as I articulate it, is a position in which phenomenology is not subsumed by the metaphysical and methodological framework of the natural sciences, but nonetheless maintains the capacity to investigate how the natural world stands independent of human subjectivity (and how events in the natural world can bring about changes in the most fundamental structures of human existence). In the seventh chapter I argue that a phenomenology in which existentials are contingent and variable rather than necessary and unchanging allows phenomenologists to contribute to new dimensional approaches to psychiatric classification. Rather than begin from distinct categories of disorder, these approaches begin from distinct core features of human existence. These features, referred to as either dimensions or constructs, can vary in degree and are studied in both normal and pathological forms.
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Childress, Kirby. "A Phenomenology of Closet Trauma: Visual Empathy in Contemporary French Film and Graphic Novels." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1618915090413157.
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Davies, Hayon Kaya. "The embodiment of subjectivity in contemporary Maghrebi and French cinemas." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/the-embodiment-of-subjectivity-in-contemporary-maghrebi-and-french-cinemas(00c37c24-4395-433d-a8de-8d68fd13493d).html.
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This thesis examines a cluster of recent films that feature people of Maghrebi heritage and position corporeality as a site through which subjectivity and self-other relations are constituted and experienced. These films are set in and between the countries of the Maghreb, France and, to a lesser degree, Switzerland, and often adopt a sensual aesthetic that prioritises embodied knowledge, the interrelation of the senses and the material realities of emotional experience. However, despite the importance of the body in these films, no study to date has taken corporeality as its primary point of concern. Existing research in French and Francophone Studies focuses almost exclusively on the socio-political issues raised by the phenomenon of French “beur” cinema (films by and/or about young Maghrebi-French people), meaning that there has been no extended scholarly investigation into the importance of corporeality in recent films featuring people of Maghrebi heritage. Underpinned by an interdisciplinary theoretical framework that interweaves corporeal phenomenology with theological and feminist scholarship on the body from the Middle East and North Africa (MENA), this thesis seeks to provide the first longitudinal and comparative account of how Maghrebi people of different genders, ethnicities, sexualities, ages and classes have been represented corporeally in post-millennial Maghrebi and French cinemas. Via its acute focus on images of people of Maghrebi heritage and how their representations show them engaging with their environments through their bodies, this thesis is the first to apply the recent turn to corporeal phenomenology in Film Studies and feminism to critical interrogations of Maghrebi identities in Maghrebi and French films since the new millennium.
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Brewer, Evelyn. "Contemporary Nursing in Rural Appalachia: A Hermeneutic Study." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3624.
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Nurses make up a significant source of direct care for individuals, families, and communities. The problematic distribution of nurses and the potential to lose practicing nurses emphasizes the importance of retention and support of nursing professionals, especially in rural locations. One of the best ways to discover what is important to nurses is to ask and listen to the replies.
The focus for this dissertation is the lived experience of registered nurses in a six-county area in three adjoining states in rural South Central Appalachia. The purpose of this study is to interpret and understand the lived experience of contemporary RN practice in rural Appalachia. The two aims of the study are to 1) understand the lived experience of contemporary nurses in rural Appalachia, and 2) understand the lived experience of nurses as they relate to the place of residence and the place of employment.
The chapters include the research proposal and three manuscripts. Chapter 1 contains the background and significance. Chapter 2 is the literature review. Chapter 3 includes sampling and recruitment in rural areas. The findings are discussed in Chapter 4. Chapter 5 contains an integration of all manuscripts, discussion of the contribution to nursing science, direction for future research, and implications for nursing practice. Manuscripts are ready for submission and will be formatted per author guidelines prior to submitting.
The first manuscript, “Perceptions of Nursing in Appalachia: A State of the Science Paper,” is a literature review. The manuscript reviews the literature surrounding nurses in Appalachia. It was published in the Journal of Transcultural Nursing in January, 2018 (Brewer, 2018).
The second manuscript, “The Lived Experience of Nursing in Appalachia: Sampling and Recruitment,” examines the researcher’s experience with sampling and recruitment. The second manuscript will be submitted to the Online Journal of Rural Nursing and Health Care.
The third manuscript, “Living and Working as a Nurse in Appalachia: A Phenomenological Study,” provides findings, implications, and future research. This paper describes findings and identifies themes of the data. The third manuscript is ready for publication to the Journal of Transcultural Nursing. The conclusion presents dissertation summary comments.
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Downes, Sarah. "Bodily sensation in contemporary extreme horror film." Thesis, Loughborough University, 2014. https://dspace.lboro.ac.uk/2134/17114.
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Bodily Sensation in Contemporary Extreme Horror Film provides a theory of horror film spectatorship rooted in the physiology of the viewer. In a novel contribution to the field of film studies research, it seeks to integrate contemporary scientific theories of mind with psychological paradigms of film interpretation. Proceeding from a connectionist model of brain function that proposes psychological processes are underpinned by neurology, this thesis contends that whilst conscious engagement with film often appears to be driven by psychosocial conditions – including cultural influence, gender dynamics and social situation – it is physiology and bodily sensation that provide the infrastructure upon which this superstructure rests. Drawing upon the philosophical works of George Lakoff, Mark Johnson and Alain Berthoz, the argument concentrates upon explicating the specific bodily sensations and experiences that contribute to the creation of implicit structures of understanding, or embodied schemata, that we apply to the world round us. Integrating philosophy with contemporary neurological research in the spheres of cognition and neurocinematics, a number of correspondences are drawn between physiological states and the concomitant psychological states often perceived to arise simultaneously alongside them. The thesis offers detailed analysis of a selection of extreme horror films that, it is contended, conscientiously incorporate the body of the viewer in the process of spectatorship through manipulation of visual, auditory, vestibular, gustatory and nociceptive sensory stimulations, simulations and the embodied schemata that arise from everyday physiological experience. The phenomenological film criticism of Vivian Sobchack and Laura U. Marks is adopted and expanded upon in order to suggest that the organicity of the human body guides and structures the psychosocial engagement with, and interpretation of, contemporary extreme horror film. This project thus exposes the body as the architectural foundation upon which conscious interaction with film texts occurs.
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Pangburn, Natalie. "Embodying trace : the theatre of Wajdi Mouawad." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:9f4d7b81-bdf3-4dc3-8318-70bc9df18c8d.
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This thesis explores the profound influence of twentieth-century philosophy, and in particular the writings of phenomenologist Jan Patočka, on Wajdi Mouawad. While Mouawad's literary and dramatic sources have been widely discussed in recent scholarship, his philosophical sources have remained under-explored. Seeking to rectify this critical lacuna, the thesis addresses the key concepts Mouawad draws from the writings of Patočka including the central role of 'trace'. Through its investigation of Mouawad's engagement with Patočka, this thesis delineates Mouawad's philosophical and ethical aims. The thesis first considers the multiplicity of self in Mouawad's work, and its relationship to Patočka's 'shakenness' and 'care for the soul'. Chapter 1 investigates how an internal confrontation provoked by trace leads to a search for meaning as 'the soul discovers itself'. It analyses Mouawad's first play, Willy Protagoras enfermé dans les toilettes, and the more recent Seuls, to address the evolution of Mouawad's notion of self. Chapter 2 explores the significance of temporal awareness and time, as Patočka's three movements of human existence drive Mouawad's protagonists in their experience of shakenness. The plays discussed are Littoral, in which Mouawad first essayed non-linear time structures, and Incendies, which utilises a complex temporal oscillation. Chapter 3 turns to space as what arises through the individual's relationship to the world, focusing on Forêts and Ciels, two of Mouawad's most spatially complex productions. Chapter 4 examines two of Mouawad's recent plays, Temps and Sœurs, in its investigation of the role of testimony in developing the solidarity that emerges through the encounter with the other. The thesis then concludes with a discussion of how, and to what extent, Mouawad tackles his ambitions, particularly in their relation to trace.
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McFadyen, Mairi Joanna. "'Presencing' imagined worlds : understanding the Maysie : a contemporary ethnomusicological enquiry into the embodied ballad singing experience." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7948.
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This thesis attempts a paradigmatic shift in the focus of ballad study towards embodiment, moving from ‘representation’ towards ‘experience’ and with an emphasis on ‘process,’ as opposed to ‘product.’ The originality lies in the development of a new approach which explores words, music and embodied aesthetic experience as they come together and create meaning in performance, conceived of as ‘presence’ (Porter 2009). Ideas from philosophy are connected with concepts from ethnomusicology and folklore and brought to bear upon broad issues in the study of expressive culture. While the focus here is on the ballad experience in a Scottish context, ultimately the questions asked attend to dimensions of experience that do not emphasise cultural-boundedness. The emphasis is not on my experience as a fieldworker, nor on fieldwork descriptions, but rather on the development of new theoretical methodologies that can be extended and applied to other cultural forms. To that end, I am little concerned with texts, variants and versions, transcriptions and collections which traditionally constitute the subject matter of ballad studies. What is presented is a convergence of contemporary disciplinary approaches, pushing the boundaries of the existing framework of ballad and folksong studies to include dimensions of cultural experience rarely considered in this field. Working within the wider interpretative framework of hermeneutic phenomenology, theories of embodiment are used as a means to introduce ideas from embodied cognition. The development of ideas is concerned with describing how our embodied experience of the world informs the processes of meaning-making, how human cognitive capacities are at work in the experience of ballad singing and how the structure of the ballad reflects and shapes these capacities. Embodied philosophy and contemporary theories of metaphor are central in this endeavour. Ultimately, this work seeks to find a legitimate way of talking about the ephemeral, intangible yet real quality of embodied aesthetic experience—the shivers and chills of the Maysie—that avoids metaphysical explanations and that makes sense in a secular, humanistic framework. The aim is not to demystify experience in a reductionist sense, but to offer an interpretation that is less about ‘transcendence’ and more about the creative processes present.
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Åbom, Malin. "Contemporary Organizational Loyalty : A Study about Loyalty within the Consulting Trade." Thesis, Linköping University, Department of Social and Welfare Studies, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-12113.
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Organizational Loyalty is a concept which is becoming increasingly important to discuss in today‘s society; employment agencies and consulting companies are losing staff by the hour however if that is a consequence of not being loyal to the employer, implies that people know what the term Organizational Loyalty actually means. Or not. This thesis‘s purpose was to investigate what Organizational Loyalty is within the consulting trade, to sensitize for the consulting business‘s the different factors that seem to influence loyalty and to give recommendations as to what might be done in order to make employees who work as consultants within the consulting trade experience more loyal to the organization which they are employed at. The analyzed material managed to reveal that loyalty is more than just a word within the consulting trade; it is an important mean of delivering high quality services to a company‘s customers and the only way for employers to attempt making employees more loyal to the organization is by respecting different factors that seem to influence loyalty to the organization and reinforcing these when they are in contact with the employees. By and large, the results suggest that there is a significance of defining Organizational Loyalty as something more than just a term within the consulting business; it is the underlying dimensions that together create the actual meaning of what it is and by knowing what the significance of Organizational Loyalty is, employers might be able to work better for reinforcing loyalty among their employees.
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Murphy, Lara S. "A Phenomenological Approach to an Aesthetic Theory of Western Concert Dance." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_theses/268.
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The goal of the paper is to develop a framework in which to ground the analysis of the aesthetics of Western concert dance, particularly contemporary concert dance, in order to help dancers, choreographers, critics, and the general dance audience understand and discuss dance from the perspective of a common intellectual ground. Examined are the relationship between epochs in concert dance and the corresponding aesthetic theories and the elements that differentiate and unify contemporary concert dance from other Western concert dance, including the unique spatiotemporal nature of dance and the simultaneous presentation of universal human-ness and individual truth via the kinesthetic empathy of viewer and dancer. A brief explanation of phenomenology and of its parallels to the consciousness required of dancer, choreographer and viewer supports a phenomenological approach to a theory of Western contemporary concert dance as most relevant at this time.
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Ahlsén, Agnes. "Straight Línea : A phenomenological approach to women's response to piropos in contemporary Havana." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-33098.
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This thesis investigates women's feelings on being subjected to piropos (catcalling) in their everyday lives. Through interviews with four Cuban women living in Havana, I analyse women's experiences of piropos through a phenomenological lens and through speech theory, investigating how norms surrounding sexualities and gender are materialised in and between language, bodies and spaces. I also investigate which acts of resistance and defence mechanisms my interviewees employ in order to cope with piropos. The first part of the analysis investigates the gendered dimensions of piropos, discussing how it constitutes gendered subject positions while enforcing gender inequality. My interviewees describe how being subjected to piropos makes them feel more feminine and links the occurrence of piropos directly to their self-esteem. They also describe how the occurrence of piropos conditions their possibility to move freely around the city. In the second part of the analysis I look at piropos as a heterosexual game in which different rules apply depending on gender. Lastly, this thesis focuses on my interviewees' accounts of resistance by analysing silence as well as verbal responses to piropos as a way of breaking the rules of the heterosexual game.
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Miller, Kurt A. "Place[ing] a Rural Built Identity:Establishing a Built Identity for St. Henry, Ohio Through a Hermeneutic & Phenomenological Enrichment of Critical Regionalist Theory & Practice." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1396454824.
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Valença, Kelly Bianca Clifford. "Ensino de arte visual contemporânea: desafios e implicações no contexto escolar." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/4997.
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The production of master’s theses and doctoral ones committed to the study of contemporary visual art at Brazilian educational context is still very scarce. It is important to enlighten that contemporaneity treated in this paper denotes, above all, a temporal position: it refers to the current facts and productions. Similarly, some studies also indicate that there is a few number of students – especially in basic education – who have access to the current artistic production through school. But what causes this? This thesis is configured as a qualitative investigation concerning a bibliographic research where the teaching of contemporary visual art composes the work universe. Analyzing the relation between the teaching of visual arts and the contemporary production of art, was the general objective of this study intending to answer the reason why this theme is uncommon from most of the Brazilian classrooms and what are the implications of this matter. Since the human condition and the phenomenon of perception are both in focus in this research, the results constructed were analyzed according to the Merleau-Ponty’s phenomenogical perspective. The relevance of this topic is justified by conceiving the artistic expression of the time lived as a possibility of comprehension and transformation of both the subjects and the world, which can make the contemporary art a potential teaching instrument.
É ainda escasso o número de teses e dissertações empenhadas no estudo da arte visual contemporânea no contexto escolar do Brasil. Convém esclarecer que a contemporaneidade tratada neste trabalho denota, sobretudo, uma posição temporal, ao passo que refere-se aos fatos e produções dos dias em que vivemos. Em mesma medida, alguns estudos apontam que também é escasso o número de alunos – sobretudo da Educação Básica – que têm acesso à produção artística dos nossos dias por intermédio da escola. A que se deve este problema? A tese em questão se configura como uma investigação qualitativa envolvendo uma pesquisa bibliográfica onde o ensino da arte visual contemporânea compõe o universo de trabalho. Analisar a relação do ensino de artes visuais com a produção contemporânea de arte, constituiu o objetivo geral deste estudo na expectativa de responder o porquê de essa temática ser, ainda, pouco frequente nas salas de aula do Brasil e quais as implicações desse problema. Uma vez que a condição humana e o fenômeno da percepção estão em foco nesta pesquisa, os resultados construídos foram analisados em diálogo com a perspectiva de autores filósofos e fenomenólogos. A pertinência desse tema se justifica por conceber a expressão artística do tempo vivido como uma possibilidade de compreensão e transformação dos sujeitos e do mundo, motivo que pode fazer da arte contemporânea associada à filosofia um instrumento didático potencial.
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Shernuk, Kyle, and Kyle Shernuk. "Queer Chinese Postsocialist Horizons: New Models of Same-Sex Desire in Contemporary Chinese Fiction, "Sentiments Like Water" and Beijing Story." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12403.
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This thesis represents an investigation into the strategies used by postsocialist Chinese male subjects to articulate their subjecthood and desires. The introduction explains the choice for using a phenomenological methodological approach in addressing the issue and also lays out the simultaneous goal of this thesis to inaugurate a move away from political allegorical interpretations as the standard for reading contemporary Chinese literature. The body chapters look at two different contemporary Chinese works to help illuminate the arrival of the Chinese subject. Using Wang Xiaobo's novella "Sentiments Like Water" and the anonymously penned online novel Beijing Story as case studies, this thesis investigates the ways alternative epistemologies and uses of history can undo pathological understandings of queerness and create new identities for Chinese subjects. The thesis concludes with thinking about the direction of the queer and Chinese studies fields and offers future points of investigation.
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Barclay, Gordon T. "Hermeneutic phenomenology as a methodology in the study of spiritual experience : case study : contemporary spirituality in the Roman Catholic Archdiocese of St Andrews and Edinburgh, Scotland." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6374.
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This work considers the theoretical, epistemological and methodological criteria for a hermeneutic phenomenological approach to the study of spiritual experience founded within a qualitative paradigm. Spirituality is noted to be of increasing significance in society and as a developing discipline within the academy and spiritual experience is offered as an opening to greater understanding and appreciation of an individual's understandings of their spirituality. The methodology provides an interpretative approach towards an opportunity for resonance, identification and empathy between individual and reader through richly descriptive narratives offering insights into such experiences and developing themes and threads of particular interest prior to seeking universal and semi universal traits between or amongst narratives. Practical methods for applying the methodology are considered, including ethical and researcher reflexive issues. The assessment of the methodology includes its application to a case study, located within contemporary Christianity in the Roman Catholic Archdiocese of St Andrews and Edinburgh, Scotland, which due to limitations of space focuses particularly on the notion of the Gift and assists in the determination of the efficacy and validity of hermeneutic phenomenology in the study of spiritual experience.
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Santos, Adelar Conceição dos. "A CRÍTICA DE SARTRE AO EGO TRANSCENDENTAL NA FENOMENOLOGIA DE HUSSERL." Universidade Federal de Santa Maria, 2008. http://repositorio.ufsm.br/handle/1/9054.
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This dissertation is addressing the criticism of Sartre the notion of transcendental Ego in the phenomenology of Husserl. Within the framework of developing the work of Husserl, the Transcendental Ego can be flagged as a result of the introduction of the concept of epoché, or phenomenological reduction, the "transcendental turn" of phenomenology. The transcendental Ego is both the result of this operation and the principle of formation of any sense of the world. The transcendental phenomenology of Husserl is then Transcendental Idealism. Against this conception, in The Transcendence of the Ego, Sartre presents the argument that I not the content of transcendental consciousness, necessary to ensure its unity and individuality, but a transcendent object. The unity and individuality, for the conscience is guaranteed by intentionality, interpreted as the fundamental character of all consciousness. Through it all conscience is "positional consciousness" (tetic) of its object and "non-positional consciousness" (non-tetic) of itself, so this is the first consciousness non-reflected already consciousness of itself and should be considered independently, since no need to be reflected. However, this way the thesis of Sartre threat inherent tendency to obscure all that it takes conscious reflection, ie it introduces a split between non-reflected and reflection that makes the reflection a fortuitous event. Try during this study provide an answer to this objection to using theoretical tools provided by Sartre in his Phenomenological Ontology. The intentionality serve as a leitmotif of these tests, and that is through their radicalization that Sartre puts in question the very being of consciousness separate from their knowledge. Finally the criticism of Sartre to the transcendental Ego would be an onto-phenomenological approach onto the consciousness.A presente dissertação tem como tema a crítica de Sartre a noção de Ego transcendental na fenomenologia de Husserl. Dentro do quadro de evolução da obra de Husserl, o Ego transcendental pode ser assinalado como resultado da introdução da noção de epoché, ou redução fenomenológica, na chamada virada transcendental da fenomenologia. O Ego transcendental é simultaneamente o resultado desta operação e o princípio de constituição de todo sentido do mundo. A fenomenologia transcendental de Husserl é então Idealismo Transcendental. Contra esta concepção, em A Transcendência do Ego, Sartre apresenta a tese segundo a qual o Eu não é um conteúdo da consciência transcendental, necessário para garantir a sua unidade e individualidade, mas um objeto transcendente. A unidade e individualidade, necessárias à consciência, é garantida pela intencionalidade, interpretada como o caráter fundamental de toda consciência. Através dela toda consciência é consciência posicional (tética) do seu objeto e consciência não-posicional (não-tética) de si, portanto esta primeira consciência irrefletida é já consciência de si e deve ser considerada autônoma, pois não tem necessidade de ser refletida. No entanto, desta maneira a tese de Sartre ameaça tornar incompreensível à tendência inerente que leva toda consciência a reflexão, ou seja, introduz-se uma cisão entre irrefletido e reflexão que torna a reflexão um acontecimento fortuito. Tentaremos ao longo deste estudo oferecer uma resposta a esta objeção recorrendo ao instrumental teórico fornecido por Sartre na sua Ontologia Fenomenológica. A intencionalidade servirá como fio condutor destas análises, entendendo que é através da sua radicalização que Sartre põe em questão o próprio ser da consciência distinto do seu conhecimento. Finalmente a crítica de Sartre ao Ego transcendental teria como pressuposto uma abordagem onto-fenomenológica da consciência.
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Kourie, Mark. "The status of love in philosophy : an examination of the role of love (eros) in the work (or works) of selected French thinkers." Diss., University of Pretoria, 2012. http://hdl.handle.net/2263/29508.
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This dissertation exposes the status of eros in the works of Levinas, Irigaray, and, Nancy. I begin by evaluating Levinas’s phenomenological analyses of eros in Time and the Other and Totality and Infinity. In order to fully appreciate this, however, I must necessarily also provide a summary overview of the central theme which guides Levinas’s work: ‘the Other.’ This leads Levinas to develop ethics as first philosophy, which in turn implies that the reduction of the Other to the same is the unethical gesture par excellence. Levinas formulates eros as the ‘equivocal par excellence’; a profane relation with the radical alterity of the feminine. Eros, for Levinas, inevitably lapses back to the economy of the same, and hence he looks to paternal fecundity to understand a relation with alterity untainted by erotic sensuality. Moreover, I identify the themes in Levinas’s work which guide this dissertation: the plurality of being, the tactility of erotic caressing, transcendence in eros, sexual difference, the affair between love and death, revisiting Plato’s Symposium, and, the erotic relationship with alterity. Having exposed these themes, and pre-empting a feminist critique of Levinas, I move on to the work of Luce Irigaray. After contextualising Irigaray’s feminist project, I expose and evaluate her critical reading of Levinas, particularly in her essay “The Fecundity of the Caress.” For Irigaray, Levinas mistakenly assumes a universal masculine subject, which in turn denies the feminine (and thus empirical women) a chance to be subjects. The fact that Levinas considers eros profane suggests, for Irigaray, that Levinas’s phenomenology of eros is haunted by a patriarchal bias evinced in the way he turns to paternity to salvage eros from a damnable carnality. Irigaray, in contrast, asserts eros as a relationship between the two real poles of sexual alterity. Eros thus holds potential as a just relation between the sexes. However, I find that Irigaray’s insistence on the biological markers of sexual difference becomes somewhat too idealistic. When compared with one another, Irigaray and Levinas arrive at an impasse which is solved by turning to the work of Jean-Luc Nancy. Nancy insists that love (including eros) cannot be thought as anything but an indefinite multiplicity. Nancy’s thought on love reflects his formulation of ‘being-singular-plural,’ an ontology which asserts ‘being-with’ is axiomatic in all philosophical investigations. In Shattered Love, Nancy deconstructs dialectics in order to show that love does not operate in a dialectical fashion. Both Levinas’s and Irigaray’s accounts of eros are exposed as dialectical. Nancy, in contrast, formulates love and sex/gender as the exposure of a subject to the relation with the other. Moreover, by examining Nancy’s thought on the body, eros can be derived as subtending all relations between sexed bodies. Thus Nancy figures eros as neither ideal nor profane, nor does he restrict eros to an ideal relation between the masculine and the feminine. However, Nancy’s opaque philosophy is not without fault. Although Nancy offers an interesting way in which to think eros, certain avenues of thought remain unexplored.Dissertation (MA)--University of Pretoria, 2012.
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Gioffredi, Paule. "Le porte-à-faux : une notion merleau-pontyenne pour penser la danse contemporaine." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100191/document.
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Théoriciens et praticiens de la danse contemporaine recourent fréquemment à la philosophie de Merleau-Ponty. Pourtant ce philosophe n’a jamais pris la danse pour objet de pensée. Afin d’évaluer la pertinence et la fécondité et d’éclairer les modalités de cette paradoxale rencontre, cette recherche la met à l’épreuve de descriptions de pièces chorégraphiques dites contemporaines. Elle a abouti à la thèse suivante : non seulement la philosophie merleau-pontyenne constitue un étayage efficace pour penser la danse contemporaine mais cette confrontation s’avère également éclairante pour relire et comprendre les textes du phénoménologue. Ce travail a effectivement permis de mettre en exergue la fonction charnière de la notion merleau-pontyenne de porte-à-faux jusqu’ici peu remarquée et commentéeTheorists and practitioners of contemporary dance frequently use the Merleau-Ponty’s philosophy. However, this philosopher has never used dance as an object of thought. In order to assess the relevance and the fertility, and to clarify the terms of this paradoxical encounter, this research examines descriptions of choreographic called contemporary. It has resulted in the following thesis: not only the Merleau-Ponty’s philosophy is an effective support to think contemporary dance but this confrontation is also illuminating for reading and understanding texts of the phenomenologist. This work has effectively highlighted the pivotal function of the Merleau-Ponty’s notion of the “porte-à-faux”, slightly noticed and commented on so far
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Pasqualucci, Luciana. "As contribuições do espaço museológico para uma construção interdisciplinar do conhecimento." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/9807.
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The objective of this study was to increase the understanding on how museums may aid the interdisciplinary construction of knowledge. The study was based on the description of some activities carried out in a cultural institution in the city of São Paulo SP, and its objective is to evidence how interdisciplinarity may be exercised, and how it is possible to currently justify the construction of an interdisciplinary attitude towards knowledge. The notions of Phenomenology and Contemporary Art are the bases of the study. Interdisciplinarity emphasizes the importance of intersubjectivity and of partnerships. Considering its five categories (humbleness, respect, coherence, expectation, and detachment), it is an attitude that may make the educational and institutional intentionality of the museum viable, in its attempt to share its cultural and artistic patrimony with the public. Interdisciplinarity, as a category of action, may make institutional demands and educative projects possible in museums, based on a phenomenological vision of men - understanding men as a creative, collective, and questioning beings. This man that asks about the sense in everything, when facing contemporary art production in museums, may construct knowledge by articulating his experiences with the different areas of knowledge that involve plastic arts, adding aspects of reality to conceptual discourses. Museums have an important social role, when reality is considered: they generate motivation and reflections that are not limited to the museum space. Phenomenology is used as a conceptual drive and a research method in order to build, together with the reader, references for the development of an interdisciplinary work in museums, an interdisciplinary knowledge that also aids the formation of interdisciplinary individuals, once the description of the some of the activities is the driver of reflection and collaborate on the understanding of its sense and on the exercise of an interdisciplinary attitude in museum spaces
Esta pesquisa busca ampliar a compreensão de como o espaço museológico pode colaborar para uma construção interdisciplinar do conhecimento. Partindo da descrição de alguns dos trabalhos realizados em uma instituição cultural da cidade de São Paulo SP, o trabalho objetiva evidenciar de que modo a interdisciplinaridade pode ser exercitada, bem como se pode justificar atualmente a construção de uma atitude interdisciplinar frente ao conhecimento. As noções da Fenomenologia e da Arte Contemporânea fundamentam a pesquisa. A interdisciplinaridade, ao enfatizar a importância da intersubjetividade e das parcerias, além de evidenciar seus cinco conceitos norteadores (humildade, respeito, coerência, espera e desapego), torna-se uma atitude que pode viabilizar as intencionalidades educativas e institucionais do museu, na tentativa de compartilhar seu patrimônio cultural e artístico junto ao público. A interdisciplinaridade, na condição de categoria de ação, pode concretizar, no espaço museológico, demandas institucionais e projetos educativos calcados numa visão fenomenológica de homem, o que significa compreendê-lo como ser criador, coletivo e questionador. Esse homem, que pergunta pelos sentidos das coisas, ao deparar-se com a produção contemporânea de arte no museu, pode construir conhecimentos articulando suas experiências às diferentes áreas do saber que permeiam as artes plásticas, agregando aos discursos conceituais aspectos da realidade. Ao considerar a realidade, o museu desempenha um importante papel social: gerar motivações e reflexões que continuem para além do espaço museológico. Com o intuito de construir referências para o desenvolvimento de um trabalho interdisciplinar em museus, mirando um conhecimento interdisciplinar que auxilie também a formação de sujeitos interdisciplinares, a fenomenologia ocupa, aqui, tanto o âmbito conceitual, quanto o de método de pesquisa, já que a descrição de algumas ações desenvolvidas norteiam as reflexões e colaboram para compreensão do sentido e do exercício de uma atitude interdisciplinar no espaço museológico
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Wrethed, Joakim. "Oases of Air : A Phenomenological Study of John Banville's Science Tetralogy." Doctoral thesis, Stockholm : Department of English, Stockholm University : Stockholm University Library [distributör], 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-942.
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Fonseca, Andrea Matos da. "Corporeidade na arte atual brasileira: sensibilidades desveladas." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-09062012-104934/.
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Este trabalho é um estudo sobre a produção de alguns artistas brasileiros procurando situar o fenômeno corporeidade percebido em algumas obras. Aspectos da fenomenologia de Maurice Merleau-Ponty servirão de base para as análises que serão feitas. Não tratamos de definir um conceito final sobre o assunto, mas propomos a articulação de aspectos estudados na arte atual com temáticas da filosofia pontiana que nos aproximam da compreensão de um entrelaçamento entre o artista e o mundo, com o qual buscaremos desvelar possíveis características da sensibilidade atual. Neste sentido, nos aproximamos da produção de três artistas brasileiros de gerações diferentes: Amélia Toledo, Carmela Gross e Ernesto Neto. E, depois, procuramos observar como algumas questões ainda permanecem operantes nas produções e experiências de criação de jovens artistas, nascidos por volta dos anos de 1980: Júlio Meiron, Amanda Mei, Lia Chaia e Vitor Mizael. Esse tratamento permite um olhar para arte do qual emerge uma nova ideia de corpo não só como presença e fisicalidade, mas como ausência e extensão, senciente-sensível manancial fecundo para a expressão artística.This research is a study on the production of some Brazilian artists and it seeks to locate the phenomenon corporality. Aspects of the phenomenology of Maurice Merleau-Ponty will be the basis for analysis that will be made. We dont try to set a final concept on the subject, but we propose the articulation of aspects studied in the current art and themes of the Merleau-Ponty\'s philosophy. So, we approach the production of three Brazilian artists of different generations: Amelia Toledo, Carmela Gross and Ernesto Neto. And then we observed how some issues continue still in production and operating in the experience of creating young artists: Julio Meiron, Amanda Mei, Lia Chaia and Victor Mizael. This treatment allows one to look at art from which emerges a new idea of the body not only as a presence and physicality, but as an absence and extension fruitful source for artistic expression.
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Prášek, Petr. "Le devenir-autre de l'existence : essai sur la phénoménologie contemporaine." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H213.
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Le devenir-autre de l’existence, essai sur la phénoménologie contemporaine, est une étude phénoménologique à la fois systématique et historique. En prenant pour fil conducteur un problème systématique, soit le devenir-autre de l’existence, son objectif est de présenter et de confronter dans un champ phénoménologique unique cinq représentants majeurs de la phénoménologie contemporaine en France : Henri Maldiney, Claude Romano, Jean-Luc Marion, Renaud Barbaras et Marc Richir. L’étude entre dans la phénoménologie avec Edmund Husserl puis elle présente plusieurs concepts clés forgés par deux générations de philosophes post-husserliens qui jalonnent la voie menant à la phénoménologie contemporaine (Martin Heidegger, Erwin Straus, Maurice Merleau-Ponty, Jan Patočka, Emmanuel Lévinas). Elle se focalise ensuite sur l’ « empirisme événemential » de Maldiney et de Romano qui envisagent l’existant et le monde dans leur coappartenance : l’événement est considéré comme co-naissance du sujet et du monde. Or, puisque l’existence qui « devient-autre » est nécessairement une existence finie radicalement séparée de la transcendance métaphysique du monde, on est conduit à intégrer à la discussion trois d’autres philosophes : d’abord Marion dont l’adonné est conçu comme limite de la donation, et ensuite Barbaras et Richir qui thématisent les couches les plus archaïques de la subjectivité au sein d’une métaphysique phénoménologique. À l’issue de ce parcours, les contours de ce champ phénoménal unique sont présentés de manière synthétique, faisant apparaître certaines tâches de l’analyse phénoménologique actuelle, y compris un problème déjà primordial pour Husserl : celui d’une éthique phénoménologiqueThe Becoming-other of the Existence, Essay on Contemporary Phenomenology, is both a systematic and a historical study of phenomenology. By choosing a systematic problem of becoming-other of the existence it attempts to present and to confront five major contemporary phenomenologists in France within a single phenomenological field: Henri Maldiney, Claude Romano, Jean-Luc Marion, Renaud Barbaras, and Marc Richir. The study enters phenomenology with Edmund Husserl and presents some key original concepts invented by two generations of post-husserlian authors who marked out the road to contemporary phenomenology: Martin Heidegger, Erwin Straus, Maurice Merleau-Ponty, Jan Patočka, Emmanuel Lévinas. Then it turns to “evential empiricism” in the work of Maldiney and Romano who consider the existent and the world in their belonging-together: the event is thus understood as co-birth of the subject and the world. Nevertheless, because of the fact that the existence that “becomes-other” is necessarily a finite existence, a radically separated existence from the metaphysical transcendence of the world, three other authors must become involved in the discussion: Marion, whose adonné is a limit of the givenness, and then Barbaras and Richir who explore the most archaic layers of the subjectivity within a phenomenological metaphysics. Finally, all the contours of the single phenomenal field are presented synthetically which allows to see some tasks for an actual phenomenological analysis, including one major problem of Husserl: that of the phenomenological ethics
Dění existence, esej o současné fenomenologii, je současně systematická i historická fenomenologická studie. Jejím cílem je – prostřednictvím volby systematického problému dění existence jako hlavního tématu – na pozadí jediného fenomenologického pole představit a konfrontovat pět význačných představitelů současné fenomenologie ve Francii: Henriho Maldineye, Clauda Romana, Jeana-Luca Mariona, Renauda Barbarase a Marca Richira. Studie vstupuje do fenomenologie spolu s Edmundem Husserlem a poté představuje některé klíčové originální pojmy dvou generací po-husserlovských autorů, již současné fenomenologii připravují cestu (Martin Heidegger, Erwin Straus, Maurice Merleau-Ponty, Jan Patočka, Emmanuel Lévinas). Pak se už soustředí na „událostní empirismus“ u Maldineye a Romana, kteří promýšlejí existujícího a svět v jejich sounáležitosti: událost je chápána jako společné zrození subjektu a světa. Avšak vzhledem k tomu, že dějící se existence je nutně existencí konečnou, radikálně oddělenou od metafyzické transcendence světa, do diskuse musí vstoupit ještě tři další autoři: nejprve Marion, jehož adonné je mezí dávání, a následně i Barbaras s Richirem, kteří tematizují nejarchaičtější vrstvy subjektivity v rámci fenomenologické metafyziky. Všechny rysy jediného fenomenálního pole jsou nakonec představeny synteticky, což umožní zahlédnout některé úkoly pro současnou fenomenologickou analýzu, a to včetně problému, který byl prvořadý pro Husserla: problému fenomenologické etiky
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Marin, Tiago Rodrigo. "O ser-artístico do homem: o humanismo da arte urbana." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/47/47134/tde-29092016-155752/.
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O que faz a arte ser arte é o principal tema deste trabalho, que inicia suas considerações a partir da resistência encarada pela arte urbana, desde sua origem, a ser respeitada como arte. Compreendemos a arte urbana não apenas como o graffiti, mas também a arte de rua e outros fazeres artísticos que se relacionam com o espaço urbano de maneira direta e retroativa, construindo um medium para esta arte. Apresentamos seu desenvolvimento histórico, especialmente na cidade de São Paulo, mas já considerando os limites da história da arte para compreender a arte contemporânea. Consideramos que grande parte do debate não se concentra no desenvolvimento da arte urbana, mas em todo o processo histórico de sedimentações de conceitos e imposições sobre o que a arte deve ser para ser assim compreendida. Assim, buscamos o que é o ser-artístico, da arte e do homem. Nossas buscas debruçam-se sobre a Estética, desde seus primórdios até a sua destruição fenomenológica feita por Heidegger, para elucidar a cisão entre o que se diz sobre a arte e o que ela é em sua essência. Em seguida, consideramos que Heidegger localiza na arte condições ontológicas que eram até então pertinentes apenas ao homem e, com isso, buscamos o que há de essencialmente artístico na existência humana especialmente nos dias contemporâneos, quando o homem vive a partir de ficções que consegue construir em sua abstração social. Considerando a arte como uma ação humana em seu sentido arendtiano o que nos obriga a uma reconstrução hermenêutica da filosofia de Arendt , buscamos a relação entre a arte com o ser em coletivo, tornado socialmente abstrato e dividido em identidades artificiais. Assim, analisamos a arte urbana como uma possibilidade de um enraizamento pelo dissenso, pela não obrigatoriedade de consensos sociais arbitrários. O enraizamento pelo dissenso, artístico e humano, que defendemos a partir da arte urbana, nos leva a uma discussão sobre Ética e sensus communis, e quais esperanças podemos tecer neste cenário. Por fim, compreendemos a arte, e, em nosso caso particular, a arte urbana, como uma possibilidade humanismo tal qual defendido por Heidegger: a proximidade do homem com sua essência, com a busca pela verdade do Ser em sua clareiraWhat makes art be art is the main theme of this work, which begins its considerations from the resistence faced by urban art since its origins, of being respected as art. We understand as urban art not only the graffiti, but also street art and other artistic doings that are related to urban space directly and retroactively, building a medium to urban art. We present its historical development especially in the city of São Paulo, but already considering the limits of art history to understand contemporary art. We consider that a great part of this debate does not focus on the development of urban art, but throughout the historic sedimentation process of concepts and impositions on what art must be in order to be respected. We intend to understand what is the artistic-being, of art and men. Our searches lay on Aesthetics, from its beginnings to its phenomenological destruction made by Heidegger, to elucidate the scission between what is said about art and what art is in its essence. We consider that Heidegger has located ontological conditions in art that was previously intrinsic only to men. Therefore, we look for what exists of essentially artistic in human existence especially in contemporary days, when men live through fictions that one can build from one social abstraction. Considering art, in its Arendt sense, as a human action what makes us do an hermeneutic reconstruction of Arendts philosophy we investigate the relationship between art and being man in a collective context becoming a socially abstract being divided by artificial identities. We have analyzed urban art as a possibility of social rooting by the dissensus, that needs no arbitrary social consensus. The social rooting by the human and artistic dissensus that we constructed parting from urban art, brings us into a discussion about sensus communis and Ethics, and what hopes can we weave on this scenario. Finally, we understand the art, and in our particular case, urban art, as a potential humanism as it is defended by Heidegger: men\'s proximity to its essence, the searching for the truth of the Being in its brightness
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Vincent, Frédéric. "De l'imaginaire initiatique. Les mythes postmodernes ou le dépassement de l'existence tragique." Thesis, Montpellier 3, 2010. http://www.theses.fr/2010MON30059.
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Ce projet de recherche souhaite démontrer qu’une nouvelle ère s’instaure (la postmodernité) où l’imaginaire initiatique réinvente une nouvelle forme de socialisation. Il s’agit de questionner les pratiques sociales liées à l’imaginaire initiatique (cosplay, japan expo, jeux en ligne), ainsi que l’impact provoqué dans la vie quotidienne des individus. En fait, on se demandera si l’imaginaire initiatique entraîne des changements de comportements, crée des habitus. Ce qu’il est nécessaire de souligner, c’est que l’homme postmoderne accède au domaine du sacré, entreprend une démarche initiatique, à partir de ce qu’il vit dans les mondes fictionnels. Cette manière d’être est tout à fait légitime, et s’apparente sans aucun doute à une nouvelle façon de vivre l’initiation des sociétés archaïques, l’essentiel étant de retrouver un sens magique du monde. Nous serons ainsi amener à interroger la fonction fantastique de l’imaginaire initiatique, c’est-à-dire sa capacité à ordonner symboliquement un sens authentique à l’existence sociale et permettre à l’individu de dépasser l’aspect tragique de la réalité opaqueThis research project would like to show that a new era is established (postmodernity) where initiatic imaginary reinvents a new form of socialization. It’s a matter of questioning social practices related to initiatic imaginary (cosplay, japan expo, plays on line), as well as the impact caused in the everyday life of individuals. In fact, we shall wonder whether the initiatic imaginary involves changes of behaviors, creates habitus. What it is necessary to underline, it is that the postmodern man reaches the field of sacred, takes an initiatic step, from what he lives in the fictional worlds. This way of being is completely legitimate, and is connected without any doubt with a new way of living archaic initiation, the main thing being to find a magic direction of the world. Thus we shall be brought to question fantastic function of initiatic imaginary, that is its capacity symbolically to order an authentic direction to social existence and to allow individual to overtake the tragic aspect of opaque reality
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Baird, Emily Lynne. "A Qualitative Investigation of What "Body Awareness" Means to Dancers at a Public Midwestern University." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1587991748223295.
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Grundell, Vendela. "Flow and Friction : On the Tactical Potential of Interfacing with Glitch Art." Doctoral thesis, Stockholms universitet, Institutionen för kultur och estetik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-129130.
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This thesis aims to analyze how interfacing affects viewer experiences and viewer positions, and how glitch art online makes that effect visible. Glitch art is concerned with disruptions in the systems that govern how for instance photography is produced, circulated and displayed in a digital image flow. The system’s usually undisrupted operation emerges through the friction created between the key components of the study: the viewer, the photo-based mediation, and the interface where the two meet. These components are encircled by the relation between individual and system, whose increased integration with one another requires a sharper eye: a tactical spectatorship in response to how the interface of the image flow can turn the individual into a part of the system. The unfolding of such a spectatorship is investigated through three questions: What can a viewer see and do by interfacing with the website, and with what means? How is the photo-based material on the website produced, displayed and conceptualized? How does the website and its photo-based material – glitched and not glitched – position the viewer haptically and epistemologically? With a cross disciplinary approach, three media phenomenological case studies present glitch artworks in an online environment. The case study on Phillip Stearns’s project Year of the Glitch concerns the website’s index and archive pages as well as still images with a focus on camera reconstruction, verbal conceptualization, and image materiality. The case study on Rosa Menkman’s website Sunshine in My Throat includes index and artwork pages, two artworks with still and moving images as well as a thematization of the entire online environment being glitched. The case study on Evan Meaney’s project Ceibas Cycle focuses on the index page and an interface-based artwork, two video works as well as a portfolio of photographs that are not glitched. The timeliness of the case study materials – created between 2004 and 2012 – is anchored in systems aesthetics, in which technical problems are explored as a cultural critique since the 1960s. The qualitative analysis both emphasizes and problematizes experience, as a complement to quantitative studies about images in relation to a digital flow. The study analyzes how glitch art shapes experiences both by following the interface and by disrupting it. The effect of the underlying system thus appears in a material that has not yet been given an in-depth art historical analysis with a particular focus on the individual viewer. With such a focus, glitch is conceptualized as systemic friction in this study, which clarifies how the artworks online produce knowledge about the interface by providing the individual with a possibility of creating tactical breaks into the image flow. The results of the study consist of the ways of seeing that develop such a possibility – and they gain relevance as they make visible how the flow usually operates in invisible ways. These results point out that the experience of the artworks – and by extension, other experiences of images online – can alert viewers to their own activity within the image flow. If the system sets boundaries for experiences of and through the interface, a tactical spectatorship becomes possible when a glitch gives the individual an opportunity to try different positions towards these boundaries.
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Viri, Federico. "La nozione di « événement » nella fenomenologia francese contemporanea." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040205.
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Le but de ce travail est de reconstruire la structure théorique et l’aspect historique de la notiond’« événement » dans le milieu de la phénoménologie française contemporaine, et en particulierdans les travaux de J. Derrida, J.-L. Marion et C. Romano. Le processus de reformulation de laphénoménologie qui est l’objet de notre étude s’étend des années 80 aux années 2000 et nepouvait adopter une approche diverse de celle qui consiste précisément dans le développementdu thème de l’événement, dont on a tenté de mettre en lumière les différentes traditions dont ilhérite. Il s’agit en général d’une référence mixte à la phénoménologie heideggerienne del’inapparent et au post-structuralisme. La question du statut de l’anthropos et du futur de laphénoménologie demeure en arrière-fond grâce aux questions ouvertes par la notion d’ «événement »The purpose of this work is to provide a theoretical and historical reconstruction of the notion of« event » in the field of French contemporary phenomenology and as it is developed in the worksof three main authors, notably J. Derrida, J.-L. Marion et C. Romano. The starting point of thework is in the attempt to reform French phenomenology from 80’s till nowadays through theconcept of event. Accordingly, the heritage of French contemporary phenomenology is identifiedin the tangle of Heidegger’s inapparent phenomenology as well as in post-structuralism. Thequestions cornering the definition of anthropos and the future of phenomenology are thereby inbackground
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Ruiz-Giménez, Coderch Lúa. "Política del encuadre: Espacios de enunciación crítica en las prácticas artísticas contemporáneas." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/405999.
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Un amigo me habló una vez de un cuento japonés de los años 20 del siglo pasado que se llama La silla humana. Es una historia extraña y un tanto perversa quizás. El cuento habla de la historia, supongo que ficticia, de un fabricante de sillas y otros asientos que destacaba por la excelencia de sus creaciones. Sus muebles eran productos de lujo y eran además muy valorados. En un momento dado de la historia el fa- bricante de sillas se enamora de la esposa de uno de sus clientes. Para poder estar cerca de esta mujer, que ignora del todo los sentimientos que él alberga hacia ella, el fabricante construye la que será su obra maestra: un sofá hermosísimo y extraordinariamente cómodo, que es adquirido por la mujer y que pasa a formar parte del mobiliario de la casa de ella.
Lo que la mujer desconoce es que el fabricante ha modificado el in- terior del sofá para poder esconderse allí y vivir dentro del mueble de forma secreta. Cómo no, la mujer tiene un gran aprecio por ese sofá. Es su lugar preferido para sentarse a leer, puesto que ese es el asiento más cómodo de la casa. Con razón, puesto que el señor fabricante, desde el interior del sofá, adopta siempre la forma que más conforta- ble resulta en cada ocasión, la que mejor se adapta a cada circunstancia.
Esta historia es bastante siniestra, lo sé. Pero lo cierto es que en los últimos tiempos me he acordado de ella en varias ocasiones, en una tesitura completamente distinta. No sé si alguna vez has intentado dormir a un niño pequeño. A veces un bebé puede no tener hambre, puede, simplemente, querer compañía para estar bien. Puede querer estar recostado en brazos, simplemente, porque así se duerme mucho mejor. En esa circunstancia yo también pienso que soy un sofá. Un sofá que ama. Un sofá que toma forma a través del afecto. Se me ocurre que el cuidado, los cuidados hacia otro, si fueran los mejores
posibles, serían una forma de desaparición, una especie de límite del rendimiento. En una circunstancia así intentas responder con la máxima disposición a un vínculo que te reduce a una forma vital muy primaria. Una versión extremadamente reducida de ti. En ese punto en realidad casi no importa quien seas, quien pensabas que eras, puesto que es la necesidad del otro quien te da una forma nueva.
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Feron, Alexandre. "Le Moment marxiste de la phénoménologie française (Sartre, Merleau-Ponty, Tran Duc Thao)." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H220.
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Entre la fin de la Seconde Guerre mondiale et le début des années 1960, les représentants les plus importants du courant phénoménologique en France, Jean-Paul Sartre, Maurice Merleau-Ponty et Trân Duc Thào, estiment non seulement qu'il est nécessaire de se confronter au marxisme, mais également que l'articulation entre phénoménologie et marxisme constitue l'un des enjeux essentiels de la philosophie dans le monde contemporain. L'objet de notre recherche est de comprendre la spécificité du travail philosophique que chacun de ces auteurs opère sur ces deux courants en apparence si opposés afin de rendre possible leur synthèse. Ce travail montre notamment comment le projet initial de 1944 est progressivement mis en question et reconfiguré au contact des évolutions historiques et politiques, des débats philosophiques et du développement des sciences humaines. Nous entendons ainsi restituer les enjeux et inventions conceptuelles de ce qui restera l'un des moments les plus féconds et originaux de la philosophie française contemporaineBetween the end of the Second World War and the beginning of the 1960s, the chief representatives of the phenomenological school in France, Jean-Paul Sartre, Maurice Merleau-Ponty and Tran Duc Thao, not only considered that they had to confront Marxism in their works : they deemed the endeavour to combine Marxism with phenomenology one of the major tasks of philosophy in the modern world. The object of our research is to understand the specificity of the philosophical work each performed on these two apparently incompatible schools of thought, in order to make their synthesis possible. Our work traces the way in which the initial project of 1944 was progressively questioned and reworked in the wake of political and historical change, philosophical debates and the development of human sciences. Thus we hope to bring to light the underlying stakes and conceptual innovations of what remains one of the most fertile and original moments in contemporary French philosophy
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Vara, Sánchez Carlos. ""A cada momento un mundo nace y muere" : elementos de la temporalidad en las video instalaciones de Bill Viola, con una coda de nuerociencias." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/392628.
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Esta tesis doctoral se propone explorar el rol de lo temporal en las video instalaciones más representativas de Bill Viola. Creemos que ahí es donde reside gran parte de la capacidad de estas obras de cuestionar profundos aspectos de la existencia en quien se enfrenta a ellas. Con el fin de ahondar en esta cuestión, el trabajo comienza identificando los mecanismos de presentación temporal generales y particulares que en ellas operan. A continuación, discutimos el efecto de los mismos sobre la temporalidad del espectador y las potenciales consecuencias para la conciencia del contacto con la duración: la forma de tiempo que Viola afirma que busca ofrecer mediante sus obras y a cuya vivencia atribuye una capacidad autorreflexiva potencialmente enriquecedora. Para estudiar la interrelación entre temporalidad y conciencia emplearemos una aproximación interdisciplinar, fundamentada en la filosofía fenomenológica, pero recurriendo a otras tradiciones del pensamiento y, en menor medida, a las neurociencias.In this thesis we aim to explore the role of the temporal in the most representative video installations ellaborated by Bill Viola. We believe that, mostly, there lies the power of these works to question deep aspects of the existence of those who face them. In order to delve into this subject, this work begins by identifying the general and particular mechanisms of temporal presentation which operate in them. Hereafter, we will discuss their effect on the viewer’s temporality and the potential consequences on the conscience of facing duration: the form of time which Viola claims to offer through his works and whose experience is supposed to have a, potentially enriching, self-reflective effect. In order to study the interrelation between temporality and conscience we will employ an interdisciplinary approach. Its foundations will be those of phenomenological philosophy, however we will also consider another philosophical currents and, in lesser extent, neuroscience.
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Ganivet, Élisa. "Le mur dans l'art contemporain : étude phénoménologique et géopolitique." Thesis, Besançon, 2013. http://www.theses.fr/2013BESA1017.
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Au XXIème siècle, l’image de la mondialisation, terme déjà problématique, est a priori paradoxalement corollaire d´une élévation croissante de barrières de séparation. Nous nous focalisons sur l'interprétation artistique qui en découle, considérée elle-même au sein de notions géopolitique, psychogéographique et historique. Comment et pourquoi l´objet-mur ferait-il réfléchir les artistes ? Dans un premier temps, le développement historique signale à grands traits les caractéristiques et contextes de notre objet phénoménal. Ensuite, la phénoménologie effective se réfère initialement au mur de Berlin pour une éventuelle métaphore des deux autres objets-murs étudiés : celui d´Israël et de la Palestine, et celui situé entre le Mexique et les États-Unis. Le registre du réel s'entend par la souveraineté des États, celui du symbolique par l'attachement au territoire et à l'identité culturelle et celui de l'imaginaire par le rapport à l'autre et à soi-même. La confrontation de la frontière (limologie) associée à la stratégie du mur (teichos), révélerait un déséquilibre des principes mêmes de l´universalité. Finalement, la mondialisation en tant qu´échange d´intérêts est celle qui favoriserait l´existence de l´objet-mur ; et une perception hyperréelle de l´objet serait davantage du fait des artistes étrangers au phénomèneIn the 21st century our image of a globalized world seems a priori paradoxical to the heavy increase in barriers designed to create or maintain divisions. We will focus on the artistic interpretation resulting from this paradox in the context of geopolitics, history and social situation. How and why the Wall should make think the artists? In a first step, historical development broadly reports the features and contexts of our phenomenal object. Then, effective phenomenology mainly refers to the Berlin Wall; this for an eventual metaphor to the two others studied objects-walls: the one located in Israel and Palestine, the other located between Mexico and the United States. Understanding of the Real is qualified by the sovereignty of States, understanding of the Symbolic via territory and cultural identity, and the realm of the Imaginary by the relationship with others and with oneself. The confrontation to the border (limologie) related to the strategy of the wall (teichos), would reveal an imbalance of principles of universality. Eventually, globalization as an exchange of interests is the one that would promote the existence of the object-wall; and a hyperreal perception of the object would be more the result from artists foreign to the phenomenon
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Spaak, Claude Vishnu. "Interprétations phénoménologiques de la Physique d'Aristote chez Heidegger et Patočka." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040171.
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L’ambition de cette thèse est de confronter les interprétations heideggérienne et patočkienne des concepts fondamentaux de la Physique d’Aristote. Un point d’accord relie les deux philosophes : Aristote conçoit le mouvement comme une détermination ontologique fondamentale. Le mouvement (κίνησις/μεταβολή) se conçoit fondamentalement en effet comme un procès d’éclosion, d’advenue au paraître des étants dans la présence manifeste. Cependant, Heidegger et Patočka ne comprennent pas de la même manière le sens de ce mouvement ontologique au cœur de la nature (φύσις) : c’est à examiner ces différences que cette thèse est consacrée, de sorte à faire ressortir, à la faveur de l’interprétation d’Aristote, deux conceptions distinctes et à bien des égards opposées chez ces deux auteurs du sens et du statut de l’ontologie phénoménologique elle-même. Cette thèse conclut à l’idéalisme philosophique de Heidegger, ainsi qu’à la tendance contraire chez Patočka à un réalisme cosmologique qui conteste, jusqu’à un certain point, l’identité de l’être et du sens. Dans le cadre de cette thèse, une attention toute particulière est accordée au concept qui concentre en lui toute la charge de la tension : à savoir le concept de matière (ὕλη)This thesis confronts the Heideggerian and Patočkian interpretations of the fundamental concepts of Aristotelian Physics. Both interpretations share a point in common: according to Heidegger and Patočka, Aristotle conceives movement as a fundamental ontological determination of Being. Indeed, movement (κίνησις/μεταβολή) is conceived by Aristotle as a process of unconcealment, of coming into presence of entities in the openness of manifest being. Nevertheless, Heidegger and Patočka disagree on the way that one should understand the meaning of this ontological movement at the core of nature (φύσις). This thesis is entirely dedicated to examining these differences. Our aim is to show, through Heidegger’s and Patočka’s interpretations of Aristotle, that there are two distinct and by all means opposed conceptions of the meaning and status of phenomenological ontology itself. This thesis concludes both to Heidegger’s philosophical idealism, and to Patočka’s contrary attempt to build a cosmological realism that challenges to a certain extent the identity between Being and meaning. In the working out of this thesis, a very particular focus is drawn on the concept that concentrates the entire charge of the tension, i.e. the concept of matter (ὕλη)
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Palazzi, Nogues de Trujillo Cristian. "La pregunta por la ética en la hermenéutica de Hans-Georg Gadamer." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/319445.
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Esta tesis tiene por objeto reseguir la pregunta por la ética en la hermenéutica de Hans-Georg Gadamer (1900-2001). La intención de esta tesis, por tanto, es ampliar la comprensión de la filosofía gadameriana situando a la ética en el centro de la investigación. Para demostrarlo este trabajo se plantea un doble reto: primero, agrupar y tematizar todos aquellos textos, esparcidos a lo largo de la extensa obra completa de Gadamer, que incluyan reflexiones éticas relevantes; segundo, poner en evidencia la importancia de la filosofía práctica dentro de la hermenéutica gadameriana. A lo largo de esta tesis la obra Gadamer es considerada como un todo orgánico que no responde únicamente a los postulados de la filosofía del lenguaje y de la teoría del conocimiento, sino que, al contrario, muestra numerosas facetas, algunas muy poco exploradas, que relacionan íntimamente ética y hermenéutica. A tal efecto, la presente tesis muestra las conclusiones de la reflexión ética de Gadamer, resigue algunos de los debates que suscitó en vida su pensamiento y, finalmente, esboza la importancia de la ética hermenéutica gadameriana en el desarrollo de las éticas aplicadas.The purpose of this thesis is to trace the question of ethics in the hermeneutics of Hans-Georg Gadamer (1900-2001). Therefore, the intention of this thesis is to expand our understanding of Gadamer’s philosophy by situating ethics at the core of the inquiry. To prove this, the study has a twofold goal: first to group and sort all the texts scattered throughout Gadamer’s extensive oeuvre which include relevant ethical reflections; and secondly to spotlight the importance of practical philosophy within Gadamer’s hermeneutics. Throughout this thesis, Gadamer’s work is regarded as an organic whole which does not solely reflect the postulates of the philosophy of language and the theory of knowledge but instead, to the contrary, shows numerous facets, some of them as yet largely unexplored, which closely associate ethics and hermeneutics. To this end, this thesis shows the conclusions of Gadamer’s ethical reflection, traces some of the debates his thinking sparked during his lifetime, and finally sketches the importance of Gadamer’s hermeneutic ethics in the development of applied ethics.
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Lecomte, Dauthuille Sylvaine. "Le motif improbable ˸ le récit d’enquête français contemporain, Thierry Beinstingel, Emmanuel Carrère et Jean Rolin." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA036.
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Le récit littéraire au tournant du XXIe siècle peut se présenter sous la forme du récit d’enquête. Cette thèse se propose d’examiner ce modèle tel que le mettent en œuvre Thierry Beinstingel, Jean Rolin et Emmanuel Carrère. La pratique de ces trois écrivains pourrait permettre de mieux repérer l’esthétique et les enjeux de cette modalité narrative en émergence. Dans ces récits, le narrateur se trouve d’abord privé de vérité par un récit autoritaire, contre lequel il reconquiert son autonomie perceptive. Sa liberté retrouvée se manifeste par l’entrée dans l’enquête. Le narrateur élit alors un objet de recherche, un motif aléatoire ou improbable, personne, projet, objet, territoire et entreprend le récit de son exploration. À partir de ce prétexte, il interroge donc le sens de sa présence au monde et s’observe percevant, lisant, interprétant et réagissant. Sa liberté se traduit alors par son implication sensible et réflexive. Entre récit de réalité et fiction, ces récits volontiers digressifs opèrent aux confins de la narration, de l’essai et de l’investigation journalistique. Un tel modèle met en œuvre une attitude ou un ethos de chercheur hésitant et perplexe. Cependant, se construit en arrière-plan une dynamique à la fois narrative et réflexive, au cours de laquelle l’énonciateur entre dans l’observation intense du monde présent, y conduit librement sa réflexion au moyen, entre autres, de la dérive essayistique, renouvelle le discours critique sur l’état de société et propose des modalités de reconstruction imaginaire du monde, réaffirmant une liberté créatrice, voire une capacité insurrectionnelle contre la prétention du monde tel qu’il est à être le seul possibleLiterary narrative forms at the dawn of 21st century sometimes take the form of an enquiry. The present thesis aims to examine in detail this narrative technique as practised by Thierry Beinstingel, Emmanuel Carrère et Jean Rolin. The way they use it could help to understand and identify the aesthetic qualities and purposes of this emerging narrative mode. In these stories, the narrator feels his own thoughts as locked inside an authoritarian doxa which he must first overcome to recover his freedom of perception. He can then become involved in the enquiry, which can be understood as a phenomenological way to be aware. He then selects an arbitrary or improbable motif as the goal for his quest, which may be a person, an object, a project, an area, and undertakes to tell the story of his own inquiry. From this starting point, he begins to question the meaning of his existence and to observe himself making sense of, reading, thinking about and reacting to things. Between fiction and nonfiction, these frequently digressive tales often border on novels, essays or investigation journalism. The narrator always looks puzzled, hesitant and does not seem to trust his own approach. Yet in the background we witness the emergence of a dynamic both narrative and introspective through which the narrator becomes an acute observer of the world around him. He follows freely his train of thought through among other things the use of the essay form to drift from an idea to the next, finding new means of expressing the critique of social problems, creating novel ways of building new fictional worlds and perhaps even managing to rebel against the idea that there is no alternative to the world as it exists
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Errington, Patrick. "In kind : the enactive poem and the co-creative response." Thesis, University of St Andrews, 2019. http://hdl.handle.net/10023/16857.
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How we approach a poem changes it. Recently, it has been suggested that one readerly approach - a bodily orientation characterised by distance, suspicion, and resistance - risks becoming reflexive, pre-conscious, and predominant. This use-oriented reading allows us to destabilise, denaturalise, dissect, defend, and define poetic texts through its manifestation in contemporary literary critique, yet it is coming to be regarded as the sole manner and mood of intelligent, intellectual engagement. In this thesis, I demonstrate the need to pluralise this attentive orientation, particularly when it comes to contemporary lyric poetry. I suggest how an overlooked mode of response might foster a more receptive mode of approach: the 'co-creative' response. Lyric poems mean to move us, and they come to mean by moving us. Recent 'simulation theories of language comprehension', from the field of cognitive neuroscience, provide empirical evidence that language processing is not a product of a-modal symbol manipulation but rather involves 'simulations' by certain classes of neurons in areas used for real-world action and perception. As habituation and abstraction increase, however, these embodied simulations 'streamline', becoming narrow schematic 'shadows' of once broad, qualitatively rich simulations. Poems, I suggest, seek to reverse this process by situationally novel variations of language, coming to mean in the broadly embodied sense in which real-world experiences 'mean'. Readers are asked to 'enact' the poem, to 'co-create' its meaning. Where critique traditionally requires that readers resist enactive participation in the aim of objective analysis, the co-creative response - a response 'in kind' by imitation, versioning, or hommage - asks readers to receive and carry forward the enactive unfolding of a poem with a composition of their own. I assert that, by thus responding with - rather than to - poems, we might foster an attentive stance of active receptivity, thereby coming to understand poems as the enactive phenomena they are.
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Benson, Martin L. "Beginner's Mind." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2365.
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My art distills my relationship to spirituality, digital culture, and the practices and side-effects therein, into a simplified visual language. The work manifests in the form of paintings, drawings, and light sculptures. Meditation and mindfulness training are a large part of my influence and interests. I often wonder how mindfulness practice can be mirrored in my artwork, not only in my process for creating the work, but also with what the resulting imagery does for the viewer. My intention is to provide an art form that invites one to look and experience one’s own capacity to observe, without the need for immediate intellectualization. I wish to offer people an opportunity to focus their attention on the phenomenological sensations that emanate from the art, to take a step back from the conceptual part of the mind, and step into a part that’s more fundamental to our moment to moment reality.
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Salinas, Escobar Edgar. "A la lisière du dire : lecture anthropologique de l’Animalité, l’Altérité et la Mort dans la fiction contemporaine." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA031.
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Quelle importance peut avoir aujourd’hui l’écriture en tant qu’événement ouvrant à une expérience de valeur existentielle pour le lecteur ? La fiction, auparavant une activité passive, doit aujourd’hui être activement complétée par le lecteur qui, de ce fait, transforme l’acte de la lecture en une expérience personnelle semblable à l’événement tel qu’il est défini par la phénoménologie. L’expérience de la souffrance a été prise comme point de départ afin d’établir dans ce travail le parcours épistémique qui permet à l’homme de se doter d’une individualité. On y discutera les interprétations possibles que suscitent les difficultés du rapport à soi, du rapport à l’autre et du rapport au néant de la mort dans la fiction contemporaine. Ces expériences partagent une caractéristique énonciative majeure d’un point de vue phénoménologique : elles ne peuvent pas être énoncées à la première personne du singulier au présent. Cela signifie que toutes les situations décrites par les écrivains dont le noyau narratif est l’une de ces trois expériences sont, systématiquement, des projections purement inventées.Sous le nom thématique de l’Animalité, l’Altérité et la Mort, chacune de ces problématiques sera abordée par le biais de deux textes narratifs publiés au plus tard en 1990, respectivement en provenance de deux aires spatiales distinctes : l’Amérique Latine et l’Europe. L’objectif est de souligner les enjeux éthiques, épistémiques et anthropologiques qui se dégagent de la manière dont la littérature rend accessibles ces trois expériences vécues en tant qu’événements par le lecteur qui fait siennes, existentiellement, les péripéties des personnages de fictionWhich kind of significance can fiction have these days as an event leading to an experience of existential value for the reader? Fiction, once a passive activity, must be completed today by the reader who, therefore, transforms the act of reading into a personal experience similar to an event as it is defined by phenomenology. In this work, the experience of suffering has been taken as the starting point to establish the epistemic path which enables human beings to reach their own individuality. The possible interpretations issued of the difficulties of self-relation, the relation to others and the relation to the nothingness of death in contemporary fiction will also be discussed. These experiences share a major enunciative characteristic from a phenomenological point of view: they cannot be stated in the present in the first person singular. That means all situations described by the authors, whose narrative core is one of these three experiences, are systematically just imagined projections.Under the theme name of Animality, Otherness and Death, each of these problematics will be addressed through two narrative texts published at the latest in 1990, respectively from two distinct spatial areas: Latin America and Europe. The aim is to highlight the ethical, epistemological and anthropological issues that emerge from the way literature gives access to these three experiences lived as events by the reader, who existentially appropriates the adventures of fictional characters
¿Qué importancia puede tener en nuestros días la escritura en tanto que acontecimiento que dé pie a una experiencia de valor existencial para el lector? La ficción, antaño una actividad pasiva, hoy tiene que ser completada activamente por el lector que, de este modo, transforma el acto de la lectura en una experiencia personal semejante al acontecimiento tal como lo define la fenomenología.La experiencia del sufrimiento sirve como punto de partida para definir en este trabajo el recorrido epistémico que permite al hombre dotarse de una individualidad. En él se discutirán las posibles interpretaciones que suscitan las dificultades de la relación consigo mismo, con el otro y con la nada de la muerte en la ficción contemporánea. Estas experiencias comparten una característica enunciativa mayor desde un punto de vista fenomenológico: no pueden ser enunciadas a la primera persona de singular en presente. Esto significa que todas las situaciones descritas por los escritores cuyo núcleo narrativo es alguna de estas tres experiencias son, sistemáticamente, simples proyecciones inventadas.Bajo el nombre temático de Animalidad, Alteridad y Muerte, cada una de estas problemáticas será abordada mediante dos textos narrativos publicados a más tardar en 1990, provenientes respectivamente de dos áreas espaciales distintas: América Latina y Europa. El objetivo es subrayar las implicaciones éticas, epistémicas y antropológicas que se desprenden de la forma en que la literatura vuelve accesibles estas tres experiencias vividas como acontecimientos por el lector que hace suyas, existencialmente, las peri-pecias de los personajes de ficción
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Chou, Kuei Yin. "Vertige, hypnose, ivresse : la vision dromoscopique dans le cinéma et l'art contemporain." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA118.
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La « dromoscopie », terme proposé par Paul Virilio, désigne une conception visuelle du paysage en mouvement. La vision dromoscopique ne se limite pas à celle du pare-brise, mais aussi à celle d’une vitre, d’un hublot ou d’autres dispositifs de véhicule comme machine à vision, à travers lesquels l’image cinématographique ou audiovisuelle montre ce phénomène de perception particulière.Cette thèse a pour objectif de repenser le cinéma à travers cette vision mobile mystérieuse. Il existe une force commune derrière ces défilements du paysage, cette vision omniprésente, fragmentée, et apparemment banale, qui modifie notre perception discrètement et inconsciemment, mais ignorée malgré son énergie visuelle et kinesthésique. Trois effets que la vision dromoscopique provoque chez le spectateur sont explorés : vertige, hypnose, et ivresse. Devant le défilement spatial, le spectateur peut perdre ses repères dans l'illusion du mouvement ; entrer en état de conscience modifié ; ou éprouver une transformation radicale de la perception. La vision frontale provoque le vertige dans la traversée cosmique en voyage d’hyperespace ; la vision latérale hypnotise son observateur avec ses rythmes répétitifs ; l’ivresse des formes s’étend dans l’imagination d’un monde métamorphosé. Cette vision palpe son public de façon cutanée, musculaire, et viscérale.Caché derrière l’espace dramaturgique, le rythme dromoscopique incite discrètement la sensation kinesthésique du spectateur à rejoindre son mouvement, quand la conscience se concentre sur les intrigues. La vision dromoscopique nous emporte dans ses défilements simples et complexes, nous fait ressentir le mouvement, nous fait vivre le cinéma"Dromoscopy", a term proposed by Paul Virilio, designates a visual conception of landscape in motion. Not limited to what is seen through a car’s windshield, dromoscopic vision can be through a train or airplane window or other vehicle-as-vision-machine devices through which the cinematographic or audiovisual image portrays this particular phenomenon of perception.This thesis aims to reconsider cinema through this mysterious mobile vision, to find the shared power behind these unspooling landscapes. This ubiquitous, fragmented and seemingly ordinary vision, which discreetly and unconsciously alters our perception, has been ignored despite its visual and kinesthetic energy.Three of dromoscopic vision’s effects on viewers will be explored: dizziness, hypnosis, and intoxication. Faced with a moving landscape, spectators may lose their bearings in the illusion of movement; enter into a modified state of consciousness; or experience a radical transformation of perception. Frontal vision causes dizziness in hyperspace travel; lateral vision hypnotizes observers with its repetitive rhythms; the intoxication of forms" extends into the imagination of a metamorphosed world. This vision probes its audience in a cutaneous, muscular and visceral way.Hidden behind the dramaturgical space, dromoscopic rhythm discreetly summons spectators’ kinesthetic sensations to join the movement, while their consciousness focuses on the plot. Dromoscopic vision carries us away with its simple and complex unspooling motion, makes us feel the movement and experience film (more) fully
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Dubois, Matthieu. "Art de la plume et art du sabre : éprouver l'intangible. L'horizon partagé d’œuvres poétiques françaises contemporaines et d'un art martial oriental en contexte contemporain." Thesis, Cergy-Pontoise, 2015. http://www.theses.fr/2015CERG0753.
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L'objectif de la thèse est de comprendre les formes et les enjeux d'un imaginaire extrême-oriental au cœur de certaines œuvres de la poésie française d'après 1945 comme celles d'Henry Bauchau (né en 1913), Christian Dotremont (né en 1922) et Yves Bonnefoy (né en 1923). En particulier, cet imaginaire invite à considérer la création en « acte », en ce sens qu'il qualifie la dimension du faire dans la création poétique, comme il le fait par ailleurs dans les arts martiaux. L'enjeu de cette étude sera de comprendre la singularité de ces œuvres majeures de la production poétique française contemporaine, marquées par la culture extrême-orientale, en regard de la pensée de la création comme geste et comme présence, telle qu'un art martial oriental les met en œuvre en son propre lieu. À cet effet, l'approche des œuvres fera intervenir un outillage théorique pluridisciplinaire, dont la phénoménologie développée par Michel Henry, laquelle permettra de renouveler certains concepts de la critique littéraire et de valoriser ce qui demeure le plus souvent impensé sur le plan théorique : la dimension affective de l'écriture et de la lecture. En particulier, on observera les vertus guerrières et guérisseuses liées à l'écriture, la question du geste scripteur et la dimension spirituelle qui lui est attachée. Plus profondément, ces différentes approches éclaireront les enjeux de la création comme processus induisant un mieux-être du sujet tant créateur que récepteurThe objective of the thesis is to understand the forms and issues of a far-eastern imaginary that characterizes some works of French poets after 1945, like Henry Bauchau (born in 1913), Christian Dotremont (born in 1922) and Yves Bonnefoy (born in 1923). This imaginary allows considering creation as a “performance” and qualifies the dimension of making in poetic creation, what we can also observe in martial arts. The issue of this study is to understand how the far-eastern culture leaves its mark in these major works of contemporary French poetic production. The aim is precisely to enlighten their singularity from a perspective about creation as gesture and presence on, like an oriental martial art implements them in its own exercise. For that purpose, we will use multi-field theoretical tools, including the phenomenology developed by Michel Henry. This approach will renew some concepts of literary criticism and highlight what is often undeveloped in theory: the affective dimension of writing and reading. In particular, we shall observe warlike and healing virtues of writing, the question of the scriptwriting gesture and the spiritual dimension attached to it. More deeply, these approaches will enlighten creation as a process inducing a well-being for the creator as for the receiver
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Zaccai-Reyners, Nathalie. "Identité contemporaine et rationalité communicationnelle: approche critique des acquis de la pragmatique universelle pour l'analyse des processus de socialisation et d'intégration sociale dans le contexte culturel contemporain." Doctoral thesis, Universite Libre de Bruxelles, 1994. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212655.
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Sung, Shin-Young. "Espace réel, espace virtuel, espace transcendantal dans l'art contemporain : le cas de Robert Irwin." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040051.
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La notion d’espace prend un sens très fort et comme actif dans le travail artistique de Robert Irwin. Celui-ci instaure un nouveau mode d’être pour l’espace par son installation dite « site-conditioned/determined » tout en la nouant pourtant avec celui du site préexistant, qu’il soit intérieur ou extérieur. Le statut ontologique de son installation est celui d’un « non-objet », d’une extrême simplicité de forme et d’un minimum de matérialité : une bande noire ou une surface de voile semi-transparent, à la fois objet montré et sujet montrant, mettent en jeu lumière et ombre, attirant notre attention non seulement sur lui mais tout autour, intégrant l’espace où il s’intègre. L’installation est mise en œuvre de son environnement architectural ou naturel. L’installation est ainsi installa(tten)tion, c’est-à-dire installation qui installe l’attention. Ce que procure l’artiste au spectateur par son installation est la sensation pure de l’apparaître dynamique et changeant de l’espace du monde réel. Sensible d’abord à la dimension réelle de l’espace physique, nous découvrons peu à peu sa dimension virtuelle, puis transcendantale, au fur et à mesure que ce processus de sensation pure déclenché par l’aspect inhabituel de cet espace pourtant réel se déploie. Grâce au toucher direct et vivant d’un sentir aiguisé, et visuel et kinesthésique, éveillé par l’installation de Robert Irwin, devient quasi palpable notre conscience d’exister. Elle résonne alors à la réalité directe et immédiate du monde mais aussi aux virtualités de son apparaître et à ce qui les rend possibles : sa forme en soi, révélée et actualisée comme la véritable nature de l’espace réelThe notion of space has a strong and active meaning in Robert Irwin’s art work. He establishes a new way of appearance of space through his so-called “Site-conditioned/determined” installation by uniting the installation with the space of the existing site, whether indoors or out. The ontological status of his installation is that of a “none-object”: extremely simple in form and with a minimum of materials. He uses a black tape or a surface of semitransparent scrim. These objects are both “object shown” and “subject showing”. They play with light and shadow, catching our attention not only on themselves but also on their surroundings, including the space into which they fit. So the art piece is not only the installation itself but its circumstance with its whole architectural or natural environment. So the installation is installa(tten)tion, that is to say an installation that installs attention. Through the installation, the artist provides for the viewer a chance to have a pure sensation of the dynamic and changing appearance of space in the real world. At first sensitive to the real dimension of physical space, we discover little by little its virtual and then transcendental dimensions, as this process of pure sensation unfolds, triggered by the unusual aspect of the real space caused by the installation. A direct and living contact through a sharpened feeling, both visual and kinesthetic, with the space, awakened by the installation of Robert Irwin, makes our awareness of existing almost palpable. This awareness of existing resonates with the direct and immediate reality of the world as well as potentialities of the world’s appearance and what makes these potentialities possible: form in itself, revealed and actualized as the true nature of real space
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Austin, Travis R. "Laminated PAINT." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5462.
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Though we may not perceive it, we are surrounded by material-in-flux. Inert materials degrade and the events that comprise our natural and social environments causally thread into a duration that unifies us in our incomprehension. Sounds reveal ever-present vibrations of the landscape: expressions of the flexuous ground on which we stand.
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Levasseur, Priscilla W. "The Phenomenology of Everyday Experiences of Contemporary Mystics in the Jewish Traditions of Kabbalah." 2011. http://trace.tennessee.edu/utk_graddiss/1093.
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This phenomenological study was conducted in order to understand the everyday experiences of contemporary mystics in the Jewish traditions of Kabbalah. This author could find no available information about psychological research of this topic in psychological, educational or psychiatric databases. She used the applied phenomenological methodology of Howard Pollio and the Research Groups at the University of Tennessee. Interviews were conducted by this author with eight volunteer, living, adult participants who lived throughout the United States and ranged in age from 37 to 60+ years. These mystics were found through various means after they had described themselves, by their own definitions, as mystics in the Jewish traditions(s) of Kabbalah. There were six men and two women who participated; four were Jewish and four were not. The interviews ranged from one to three hours in length, were recorded, and later transcribed for confidential analyses. After analyzing the results, the Ground of the participants’ experience was determined to be Being Aware. The Thematic Structure of the participants’ everyday experiences of living with their mystical events and processes contained six themes: 1) Divine/Sacred, 2) Receiving/Calling/Gift, 3) Knowing/Realizing, 4) Practices/Body, 5)Developing/Stages, and 6) Struggling: Self/Others/World. Implications for this study suggest that the everyday experiences of these mystical participants are different in many ways from everyday experiences of non-mystics. There is some support for the ideas of spiritual intelligence, spiritual giftedness, consciousness advancement. Appreciating intuition, higher emotional states, and the deeper, yet usually hidden parts of human experience, along with learning to identify and support young people who are having mystical experiences is a worthwhile goal for psychologists.
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Meyers, Sarah. "The Sentient Stage: The Theatrical Uncanny in Contemporary Performance." Thesis, 2018. https://doi.org/10.7916/D83X9JMC.
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This dissertation identifies and explores a genre of performance I term the “theatrical uncanny.” Intermingling aesthetics and psychology, the uncanny is the realm of “intellectual uncertainty” (for Ernst Jentsch) and “the familiar made strange” (for Sigmund Freud); it is an obscure but palpable disruption of our expectations. The genre of the uncanny has received a great deal of scholarly attention in both film and literature, but has, by contrast, been minimally explored in performance. This neglect is particularly striking considering theatre itself can be viewed as inherently uncanny. The repetitions and representations of performance, its interdependence of the real and the imaginary, imply a kind of ever-present déjà vu. The very pervasiveness of this quality can in fact render it insensible. The genre of uncanny performance is therefore a valuable designation for works that actively elicit this psycho-emotional response. The productions I study are remarkable for their ability to capitalize on theatre’s uncanny potential.
I demonstrate that this category of performance is not limited to any particular style or status, locating the effect as potently in popular entertainments (such as the junk opera Shockheaded Peter and punchdrunk’s Sleep No More) as in more esoteric or avant-garde work (like that of artists such as the Quay Brothers and Tadeusz Kantor). Drawing on a variety of methods – including phenomenology, psychoanalysis, and cognitive science – I engage with these performances as sensual experience. Through subjective impression and extensive description, I gradually elucidate the scenographic parameters of the theatrical uncanny. The productions that achieve this effect, while greatly disparate in nature, share certain approaches and techniques in common. They position the spectator (physically, emotionally, perceptually) in an unstable relationship to the objects and bodies of the performance, creating the sensation that the inanimate actually possesses its own unique vitality. Uncanny performance interweaves elements of object theatre, memory theatre, and intermediality, but cannot be encompassed by any of these terms in isolation. These performances question our basic qualifications for declaring something ‘live,’ as the term is used both theoretically and colloquially. They ask what it would mean for a memory to behave as an object, or for an object to have memories.
This study is both a critique of how the uncanny works on stage and an attempt to rethink the concept of the uncanny through theatre practice. I argue that the uncanny is best understood as an embodied experience, a feeling mediated through and registered within our flesh. It results from unsettling interactions between our bodies and the matter and space around us. The concrete and present spatial relationships of theatre are ideal for exploring these tensions. Through the materiality of theatre, I offer evidence that the uncanny response, rather than being a marginal or naïve interpretation of the world (as it is sometimes portrayed), is actually a fundamental and profoundly productive state of mind.
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Schumacher, Brian. "Investigations Into The Program and Typology of a Contemporary Public Thermal Bath House." 2013. https://scholarworks.umass.edu/theses/1083.
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This thesis presents an inquiry into the nature of and history behind public thermal bathhouses, as well as a design proposal for a new and uniquely site-based public thermal bathhouse structure, the form of which has been developed with an eye toward typology.
The research and writings of this thesis explore the topic of public thermal bathhouses, both as historic phenomena and viable places of congregation still relevant and of great importance to healthy and vital contemporary communities. An effort has been made to demonstrate that written histories, archaeological landmarks, and contemporary international urban communities throughout the world provide ample documentation in support of the notion that public thermal bath houses both served and continue to serve an integral role within healthy, vital and sustainable cultures.
The physical modeling, drawings and sketches of this thesis develop ideas about form and materiality, and explore and bring together discreet architectural phenomena into a singular, formal, proposal for a prototypical public bath house typology, one whose program and form are well suited to a contemporary small town within the United States.
At present, the ritual of public bathing exists within the United States, at best, far outside main stream culture as a singular, sensational event such as a hot spring or a commercial, private day spa- neither of which retain any semblance of the core principals, typological rituals, degree of sensory immersion, or whole-body therapy that define the essence of a more traditional and timeless public bathing experience.
It is the intention of this thesis to present a compelling case for why a public bathhouse not only could exist on the current American landscape, but moreover why it should, and if so, what form it might take.
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Kay, Liu Jia-CHEN, and 劉家蓁. "Towards Museum Horizon-A Possibility Gazing into the Essence Of Contemporary Museum Visiting With Horizon In Husserl''s Phenomenology." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/39735061936914276038.
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碩士臺南藝術學院
博物館學研究所
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This thesis, Towards Museum Horizon: A Possibility Gazing Into The Essence Of Contemporary Museum Visiting With Horizon In Husserl’s Phenomenology, is an trial to put museum visiting in a philosophical level. Begins with a historical review over the museum visiting in 19C, we first of all need to comprehend the socio-historical inheritance of contemporary museum visiting, which implies several interesting dilemmas. As I attempt to picture those dilemmas, Roland Barthes’ mythological tone inspired me the following linguistic pairs, i.e. “finite vs. infinite”, “dominant vs. enslaved” and “worship vs.. disdain.” According to Husserl’s phenomenology, the essence of museum visiting here being approached is how our audiences immerse into museums horizons, how museum objects, exhibitions, architectures and publicity shape the museum experiences. As a result, to judge our visitors’ experiences in museums would be the last thing I want to do. By the contrast, we utilize the Horizon thinking in Husserl phenomenology to disclose the stream of visitors’ consciousness. In “temporal horizon”, the universal format of any experience, we see visitors conceive an object with a halo effect. Besides, when do museum visiting, there are mysterious malposition and dislocation between the objective time units and subjective moments inside visitors’ minds. This phenomenon is entirely duplicated in “spatial horizon”, where our visitors again succeed in cracking the geographic matrix of the objects. Eventually each of our visitors creates a unique museum visiting as well as the very only version of their own. So they all become liberate travelers in museums space and time. Besides that, I add one more division to note the social interactions taking place among visitors since this should be recognized as the prime motivation of visiting museums. My thesis suggests that “enigmas” is the very essence of contemporary museum visiting, which museums have to create and maintain in order to draw audiences. Visitors come to museums seeking wonder, prestige, passion and satisfaction, wherever the enigmas are, where the greatest hit will be. I consider my own thesis a very bold tryout in museology literature. If it could ever get any little approval, I wish it would initiate the coming visitor study to a wider range regarding our visitors’ feelings and spiritual variations. It would surely feedback the exhibitions design and always refresh the magic charm of museums.