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Wotypka, Joanne Lee. "Jack Kerouac, Dharma Voyeur." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ40020.pdf.
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Bondu-Maugein, Violette. "Le lexème nu [eh bien ; voyons… ; allons !] en russe contemporain." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040146.
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L’étude du lexème nu prend en compte : les représentations des participants de l’interlocution ; le domaine commun de connaissance entre eux et l’engagement sur un parcours vers une représentation résultante.L’énonciateur de nu place l’intercompréhension au centre de l’échange. L’intercompréhension suppose la mise en référence du discours dans un domaine de connaissance commun.Le schéma type du mécanisme du lexème nu est l’engagement sur un parcours vers une représentation commune. Ce schéma connaît cinq variations, marquées par la syntaxe et exprimant des valeurs précises.La première variation est l’acceptation de la représentation de l’énonciataire comme représentation résultante ; la deuxième traduit une mise en doute de l’engagement sur un parcours vers une représentation résultante (orientation rhétorique) ; la troisième signifie la nécessité d’un engagement dirigé vers la représentation de l’énonciateur comme représentation résultante ; la quatrième indique l’engagement mutuel des porteurs de représentations vers un compromis ; enfin, la cinquième variation met en évidence l’incompatibilité des représentations mises en concurrence.L’une des conséquences de l’étude est le rejet de la notion de mot parasite. Le lexème nu est intégralement un mot du discours.Le travail s’appuie sur la langue contemporaine saisie dans un important corpus littéraire : chaque remarque est illustrée par un exemple situé dans un contexte large<br>This study of the enunciative mechanism of the lexeme nu is based on three elements of speech: competing representations, a shared field of knowledge and the initiation of a progression towards a “result representation” (which implies the presence of what Gustave Guillaume calls operative time).The enunciator of the lexeme places mutual understanding at the heart of the exchange. Mutual understanding is linked to the referencing of discourse in a shared field of knowledge. The typical pattern of the enunciative mechanism of the lexeme nu is the initiation of a progression towards a result representation. This pattern can lead to five variations, which are indicated by syntax and which produce precise values.The first variation contains an acceptance of the listener’s representation as a result representation ; the second variation (nu ?) expresses doubt concerning the commitment to a progression towards the result representation (this is the rhetorical aspect) ; the third variation indicates the need to commit to the enunciator’s representation as the result representation ; the fourth indicates that both the carriers of representation commit to a compromise (nu-ka) ; and the fifth variation (nu i) highlights the incompatibility of the competing representations.These conceptions of the lexeme justify a rejection of its description as a parasite word. The lexeme nu is a discourse marker. This research approaches contemporary Russian through a large number of literary texts: each analysis is illustrated by an example which is situated in a large cotext
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Rezende, Diego Pereira. "“Voyeur Absoluto”: o olhar e a prótese." Universidade Federal de Juiz de Fora, 2015. https://repositorio.ufjf.br/jspui/handle/ufjf/166.
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Previous issue date: 2015-02-27<br>CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>Investigação sobre o “olhar” a partir de três deslocamentos teóricos: do retiniano ao conceitual, do Ser ao Haver e do “olhar” ao “voyeur”. O primeiro deslocamento busca o entendimento do flerte entre “olhar” e “imagem” segundo alguns escritores e filósofos do século XX. Isto atrelado à abordagem do processo de criação de determinados fotógrafos cegos ao redor do mundo: Evgen Bavcar, Pete Eckert, Gerardo Nigenda, Rosita McKenzie e do “Seeing with Photography Collective”, além das experiências vendadas do artista mineiro Cao Guimarães. Já o segundo movimento descreve a perspectiva teórica da Nova Psicanálise, criada em 1986, por MD Magno. Articulando, assim, à investigação sobre o “olhar”, algumas concepções da teoria: Haver e não-Haver, Cais Absoluto (termo de Fernando Pessoa), Prótese, Solércia, Mal-estar, Ato Poético e Cinco Impérios (Creodo Antrópico). Para, a partir disso, pensar a referência ao conceito de “indiferenciação” como possibilidade de criação de novas tecnologias visuais no século XXI, que vinculem neurociência, cosmologia, física quântica etc. E, em um terceiro passo, há o deslocamento da concepção do “olhar” para a do “voyeur” – a investidura do “olhante” como Tesão –, baseada na obra de Marcel Duchamp. Logo, a definição buscada aqui de “Voyeur Absoluto” (termo de Evgen Bavcar) é o resultado deste “Parangolé” (como descreve a Nova Psicanálise), da transa obtida nestes deslocamentos. O interesse, portanto, está no percurso, no movimento, no transe, na “indiferenciação” do “olhar” com o desígnio de refletir sobre um “voyeur protético”, análogo à Prótese inicial (abismo originário), que é anterior às oposições que se manifestam no campo do Ser (sujeito e objeto, corpo e mente, visível e invisível, luz e escuridão etc).<br>Investigation into the “gaze” according to three theoretical movements: from retinal to conceptual, from Being to “Haver” and from “gaze” to “voyeur”. The first movement seeks to understand the relation between “gaze” and “image” according to some writers and philosophers of the 20th century associated with the creation process of blind photographers around the world: Evgen Bavcar, Pete Eckert, Gerardo Nigenda, Rosita McKenzie and Seeing with Photography Collective; and also to the blindfolded experiences of the artist Cao Guimarães. The second movement describes the theoretical perspective of New Psychoanalysis, created by MD Magno in 1986, articulating some conceptions of this theory with the investigation into the “gaze”: Haver and não-Haver, Absolute Quay (Fernando Pessoa’s term), Prosthesis, Artifice, Discontentment, Poetic Act and the Five Empires. The reference to the concept of “undifferentiation” is considered as a basic condition of the creation of the 21st century visual technologies that bind neuroscience, cosmology, quantum physics… In the third movement we have the displacement from “gaze” to voyeur based on Marcel Duchamp’s work. So the definition of “Absolute Voyeur” (Evgen Bavcar’s term) is the result of this “Parangolé” (as described by New Psychoanalysis), i.e., of the transaction of these displacements. The interest is in the trajectory, in the trance, in the “undifferentiation” of “gaze” in order to ponder over the conception of a “prosthetic voyeur” analogous to an “initial Prosthesis” (original abyss) which is previous to the oppositions that take place in the realm of Being (subject and object, body and mind, light and darkness, visible and invisible…).
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Ghandeharian, Minoo. "Une analyse des Gommes, du Voyeur et de la Jalousie." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25408.
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Les Gommes, Le Voyeur, La Jalousie, les trois premiers romans de Robbe-Grillet, constituent la premiére phase de l'oeuvre de l'écrivain. Dans cette étude il s'agira de voir ce qui sépare la vision du monde et l'écriture de Robbe-Grillet de la tradition littéraire qui l'a précédé, ce qui, de cette tradition, subsiste encore chez lui, et ce en quoi consistent l'originalité et la spécificité de l'univers romanesque robbe-grilletien. D'une part, Robbe-Grillet rompt avec les formes et normes romanesques établies, d'autre part, il crée son propre univers romanesque. Cette rupture est manifeste dans Les Gommes comme l'est l'apparition d'un nouvel espace littéraire dans Le Voyeur, et surtout dans La Jalousie. Pour bien comprendre l'art et la position théorique de Robbe-Grillet, pour bien comprendre son oeuvre, il est absolument indispensable de connaltre la rupture d'avec l' " ancien " et le début d'un processus littéraire propre a Robbe-Griliet. L'une et l'autre se dessinent clairement dans Les Gommes, Le Voyeur, et La Jalousie.<br>Arts, Faculty of<br>French, Hispanic, and Italian Studies, Department of<br>Graduate
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Fleury, Didier. "La violence télévisée et l'expérience personnelle, notre perception de la réalité est-elle déformée par ce que nous voyons?" Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq25307.pdf.
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DeFrancesco, David P. "Identifying Differences Among Male Sex Offenders: Child Molesters Versus Exhibitionists Versus Voyeurs." DigitalCommons@USU, 1992. https://digitalcommons.usu.edu/etd/3503.
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Social histories and testing data were compiled during initial placement assessments of 147 individuals arrested and charged as child molesters, exhibitionists, and voyeurs. These data were statistically analyzed using discriminant analysis and analysis of variance (ANOVA). Child molesters, exhibitionists, and voyeurs were found to differ with regards to history of voyeurism; Minnesota Multiphasic Personality Inventory (MMPI) L scale scores; sexual arousal in response to a violent scenario involving a 12-year-old male, measured via penile plethysmography; and age. Implications of these results are discussed relative to the population sampled and future research.
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Choe, Ae-Young. "La place de l'inconscient dans l'écriture et a lecture du Voyeur d'Alain Robbe-Grillet." Paris 8, 1997. http://www.theses.fr/1997PA081349.
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Cette these vise a eclairer par la lecture psychanalytique d'un recit exem, plaire, ici le voyeur d'alain robbe-grillet, le statut de l'inconscient de l'ecrivain dans son ecriture et le statut de l'inconscient du lecteur dans la lecture. Elle comporte deux grandes parties: les +strategies d'ecriture; et les +effets de lecture;. La premiere partie est ouverte par une etude historienne de la critique deve, loppee autour de robbe-grillet, et notamment du voyeur, pour reintroduire dans son ecriture une dimension de l'inconscient que l'on n'y attend pas. Pour ren, forcer l'importance du facteur inconscient dans la formation de son originalite litteraire, on a examine quelques passages polemiques rassembles dans pour un nouveau roman, auxquels il a fait echo plus tard dans le miroir qui revient. En suivant le double fil de la prospective et de la retrospective, on a degage les motifs inconscients qui l'ont conduit a refuser une +ecriture metaphorique; et a creer une surface fantastique, plate et lisse, pour transposer la maniere meme dont il pressent son univers interieur. De ce point de vue, on s'oppose a l'at, titude qui pretend lire l'inconscient du romancier a travers son oeuvre. Dans la seconde partie, on a effectue une lecture du voyeur en recourant a la methode textanalytique elaboree par jean bellemin-noel. On a concentre l'analyse sur les aspects qui refletent les strategies d'ecriture etablies par le romancier et theorisees par les critiques: une description extremement minutieuse et une texture trouee. Au bout du compte, la construction imaginaire qui se degage de la lecture ne se superpose pas entierement a la structure (quelle qu'elle soit) de l'inconscient du romancier: le sujet de cet espace fantasmatique s'avere etre comme +l'inconscient du texte;, en tant que noyau vide et irrepresentable du recit<br>This thesis aims at clarifying, through a psychoanalytic reading of an exem, plary literary work, here alain robbe-grillet's le voyeur, the status of the writer's unconscious in his writing and that of the reader's unconscious in his reading. It is made up of two parts: +writing strategies; and +reading effects;. The first part begins with a historical study of the progressive criticism which developed around robbe-grillet, in particular about le voyeur, we wish to stress in his writing an unconscious dimension readers don't expect in it. In order to confirm the importance of the unconscious factor in the forming of his literary originality, we have examined some polemic passages he collected in pour un nouveau roman, and which he revived later in le miroir qui revient. By following the double stream of his thoughts, prospective and retrospective, we have brought out the unconscious motives which led him to reject +metaphorical writing; and to create a fantastic surface making a flat and even imaginary screen, in order to transpose the very way in which he senses the movements of his inner world. From this point of view, we oppose the attitude that one can read the writer's unconscious through his artistic work. In the second part, we have resorted to the textanalytic method devised by jean bellemin-noel, to suggest an interpretation of le voyeur. We concentrated on the aspects which reflect the writing strategies drawn up by the writer and theorized by critics: a highly detailed description and a hollowed out texture. Finally, the imaginary construction which emerges from our reading is not entirely superimposed on the structure (whatever it is) of the writer's unconscious: the subject of this imaginary world turns out to be +the unconscious of the text;, as the empty and irrepresentable nucleus of it
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Manai, Neila. "Poétique du regard dans trois œuvres d’Alain Robbe-Grillet ("Le voyeur", "La jalousie", "Instantanés")." Thesis, Paris Est, 2012. http://www.theses.fr/2012PEST0013.
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Inutile de rappeler la prééminence du regard dans les oeuvres d’Alain Robbe-Grillet etparticulièrement dans Le Voyeur, La Jalousie et Instantanés qui forment le corpus du présenttravail. En apparence, l’auteur se contente de formuler très objectivement la subjectivitéhumaine. Et voilà que l’oeil de la concupiscence charnelle vient entamer cet ordre parfait,géométrique que l’on aurait cru inaltérable. L’objectif de ce travail est justement de montrerque l’oeil de l’arpenteur géomètre dissimule celui du pervers, à la recherche de la jouissance àtravers le regard.La première partie de ce travail, « Montage du regard », analyse les sujets regardantset les sujets/objets regardés dans leur diversité. La volonté de maintenir la distance entreregardeur et regardé et d’instaurer un regard distant est remise en question par tous lesprocédés textuels confirmant la présence d’une subjectivité qui regarde. Une subjectivité quiregarde, mais qui est aussi perverse. C’est ce que tente de montrer la deuxième partie,« Regard pervers et jouissance ». Il s’agit en fait non seulement d’étudier la présence effectivedu voyeur dans ces trois oeuvres, mais aussi de l’approcher dans sa diversité. La troisièmepartie, « Répétition et jouissance », vient confirmer la présence du voyeur pervers, toujours àla recherche de la jouissance par la ressaisie du spectacle convoité, d’où la présence de figuresobsédantes en leitmotiv.Notre approche sera une pure recherche formelle : analyser le regard, c’est mettre enévidence son fonctionnement textuel, par le moyen de la linguistique et de la stylistique. Ellecontribuera à élaborer une nouvelle lecture du regard chez Robbe-Grillet<br>It is needless to mention the supremacy of one particular feature in Alain Robbe-Grillet’s works; namely, the look as it is particularly found in Le Voyeur, La Jalousie andInstantanés. These 3 works serve as the corpus for the research at stake. In appearance, andquite objectively, the author seems to be simply expressing human subjectivity. But therecome along eye of lust, altering every perfect geometrical order one could have noticed upuntil now. The goal of this work is to actually unveil the fact that the eye of the surveyor, thegeometer, is only an artifact dissimulating a perverted eye constantly in search of carnalpleasure through the look.The first part of this work, titled “Montage du Regard” ‘The optic setting’, is ananalysis of the observer and of the elements which are observed as diverse as they may be.The will to keep a distance between the observer and the element which a observed isconstantly questioned through the presence of textual elements that clearly reveal asubjectivity in the act of looking at a particular element. A subjectivity that observes, butwhich is also perverted. This is fully analyzed in the second part of the research, “Regardpervers et jouissance” ‘A perverse eye and a sensual pleasure’, which not only analyses theactual presence of the voyeur in the three works mentioned earlier, but also attempts toapproach him and tackle all his diverse aspects. The third part of this study “Répétition etjouissance” ‘Repetition and sensual pleasure’ reaffirms the presence of a perverted observer,always in search for carnal pleasure through the recapture of the coveted show. This furtherexplains the presence of obsessive scenes in a leitmotiv.Our approach in this study is based on a formal analysis of the look. Its goal is tohighlight its textual functioning thanks to linguistic and stylistic means, which will lead theway to a new reading and reconsideration of the look in Robbe-Grillet’s works
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Rioux, Caroline. "Étude de la mise en abyme dans le roman le voyeur d'Alain Robbe-Grillet /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2002. http://theses.uqac.ca.
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Choe, Ae-Young. "La place de l'Inconscient dans l'écriture et la lecture du Voyeur d'Alain Robbe-Grillet." Lille : A.N.R.T, Université de Lille III, 1997. http://dds.crl.edu/CRLdelivery.asp?tid=11993.
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Eaheart, Martha Bass. ""Not an innocent enterprise" the narrator's transition from voyeur to victim in W.G. Sebald's Austerlitz /." Fairfax, VA : George Mason University, 2008. http://hdl.handle.net/1920/3355.
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Thesis (M.A,)--George Mason University, 2008.<br>Vita: p. 45. Thesis director: David Kaufmann. Submitted in partial fulfillment of the requirements for the degree of Master of Arts in English. Title from PDF t.p. (viewed Jan. 11, 2009). Includes bibliographical references (p. 42-44). Also issued in print.
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Schroeder, Kathleen Mary. "The female voyeur and the possibility of a pornography for women : redefining the gaze of desire." Thesis, University of South Africa, 2000. http://hdl.handle.net/10500/3079.
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Araujo, Júnior José Raimundo. "Dos prazeres narcísicos à cena voyeur: performances eróticas e enlace de corpos virtualizados no site Cam4." Universidade Federal da Paraíba, 2013. http://tede.biblioteca.ufpb.br:8080/handle/tede/7610.
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Previous issue date: 2013-07-08<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>In this dissertation we analyse how different gender configurations are activated to build video performances on a webcams integration site. To understand the manufacturing processes of the body-sexed on these virtual interactions, we describe a set of views coloured by a sharped erotic appeal, indicating how certain forms of collective representations emanate strategic view of the body as well as the statements of the audience that dialogues through an instant messaging system. We show that the construction of the performances is related to classification tables that
ensure intelligibility to the interactions between different agents, giving rise to symbolic constructs associated with sexual preferences and identity configurations assumed by users. Such
processes are analysed from a relationship between gender studies and anthropology of performance, in order to reflect on the collective representations embodied by the body in the
universe's spectacular staging erotic, especially regarded to the manufacturing process of symbolic sex from the coercive action of the genre.<br>Neste trabalho analisamos o modo como diferentes configurações de gênero são acionadas na construção de performances em um site de integração de webcams. Ambicionando compreender os processos de fabricação do corpo-sexuado no palco dessas interações virtuais, descrevemos um conjunto de exibições matizadas por acentuado apelo erótico, sinalizando como determinadas
representações coletivas emanam de formas estratégicas de exibição do corpo, bem como dos enunciados da audiência, que dialoga através de um sistema de mensagens instantâneas. Evidenciamos que a construção das performances guarda relação com quadros de classificação que garantem inteligibilidade às interações entre distintos agentes, fazendo emergir construtos
simbólicos associados às preferências sexuais e configurações identitárias assumidas pelos usuários. Tais processos são analisados a partir de uma articulação entre os estudos de gênero e a antropologia da performance, com vistas à reflexão sobre as representações coletivas materializadas pelo corpo no universo espetacular da encenação erótica, sobretudo no que diz respeito ao processo de fabricação simbólica do sexo a partir da ação coerciva do gênero.
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Grimm, Rachel Mihuta. "L'Enjeu du jeu: L'Identité comme performance dans La Voyeuse interdite et Garçon manqué de Nina Bouraoui." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1340130803.
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Cook, Peter Laurence. "Les voyes de douceur et d'insinuation: French-Amerindian policy on New France's western frontier, 1703-1725." Thesis, University of Ottawa (Canada), 1994. http://hdl.handle.net/10393/6616.
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During the term of Philippe de Rigaud de Vaudreuil as governor of New France (1703-1725), diplomacy involving the French and the Amerindian nations to the west of Montreal was conducted in accordance with diplomatic protocols of Amerindian origin. Diplomatic relations between the Amerindians and the French were predicated on the basis of a fictive kinship relationship, wherein the French governor assumed the Amerindian title Onontio and the role of a "father" to his Amerindian "children." The forum for formal intercultural encounters was the council, an Amerindian institution that consisted of a structured dialogue between two parties, punctuated by the exchange of validating gifts. The diplomatic culture of the French made few inroads into the intercultural diplomacy of the period. Neither the Amerindian nor the French diplomats of the period acted as comprehensive cultural mediators during diplomatic encounters. Vaudreuil's corps of diplomatic agents was largely made up of military officers, seconded by interpreters. All of these agents were ethnic Frenchmen, although many interpreters benefited from intermarriage with synethnic and Amerindian women. Few agents cultivated long-term ties with Amerindian groups, or mastered Amerindian languages; those that did were to be found in the lower ranks of colonial society. In general, French agents were primarily interested in exploiting diplomatic ties with Amerindians in order to advance both French interests and their personal careers. French diplomatic agents adopted and learned to manipulate selected Amerindian diplomatic protocols in order to fulfill these goals. Although the French made extensive cultural adaptations in the realm of diplomacy, their motives were pragmatic, and their acculturation limited. The value and meaning with which they invested these alien diplomatic institutions were different form those the Amerindians accorded to the same forms. (Abstract shortened by UMI.)
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Roussel-Meyer, Maryse. "La fragmentation dans le roman : "Rigodon" de Louis Ferdinand Céline, "Le voyeur" d'Alain Robbe-Grillet, "Graal Flibuste" de Robert Pinguet." Bordeaux 3, 2008. http://www.theses.fr/2008BOR30013.
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Le choix de l’écriture fragmentaire dans le roman peut se concevoir comme une force de désintégration du genre. Ainsi ont œuvré les trois auteurs choisis : Pinget avec Graal Flibuste, roman en forme de fragments, Robbe-Grillet avec Le Voyeur, récit troué d’ellipses, et Céline, morcelant la syntaxe à la limite de la lisibilité dans Rigodon. Les ambitions de la fragmentation rassemblent les trois auteurs dans leur volonté de démontage d’une intrigue romanesque et dans celle d’un brouillage générique. On a tout d’abord examiné l’usage de la description comme effet de fragmentation. Chez Pinget et Robbe-Grillet, un parti pris descriptif contribue à la perte de l’intrigue, du temps et du personnage en tant que représentation du sujet. Chez Céline, le discours disloqué absorbe tout récit, dans un désir de rythme apte à rendre compte d’une incohérence du monde. On a considéré ensuite la fragmentation dans son effet musicien : grâce au jeu des variations, les écritures de Robbe-Grillet et Céline peuvent relever d’une esthétique de la fugue ; par sa technique de montage, la structure du roman de Pinget peut rappeler la composition d’une sonate. Enfin, en démystifiant les qualités du roman classique, l’ironie de la fragmentation, dans sa stratégie elliptique, sollicite l’active participation du lecteur. En faisant preuve d’exigence fragmentaire sous diverses formes, ces auteurs ont donné à leur écriture l’allure et la pugnacité d’un défi, mettant en cause la notion même de catégorie littéraire. Résistant à la tentation de la totalité, la fragmentation qu’ils instruisent dans leurs récits, élabore d’elle-même l’idée très moderne d’un roman transgénérique.
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Cleaver, Dreama D. Cleaver. "Breaking the Fourth Wall: A Study of Gender Fluidity Using Immersive Storytelling as a Medium for Evoking Empathy." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu153173611895785.
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Bienvenu, Gilles. "De l'architecte voyer à l'ingénieur en chef des services techniques : les services d'architecture et d'urbanisme de la ville de Nantes du XVIIIe siècle au XXe siècle." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010607/document.
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Production collective, la ville est notamment produite par des professionnels identifiés qui élaborent des outils et mettent en œuvre des processus. Sur un temps long - du XVIIIe siècle au milieu du XXe siècle - et sur un territoire d'étude singulier -la ville de Nantes, exemplaire par la richesse des situations expérimentées au cours de la période -le questionnement sur la fabrique de la ville parcourt deux axes: d'une part l'étude de l'organisation des services municipaux chargés de l'élaboration des projets et de la conduite des transformations urbaines, en termes de voirie, d'architecture, de réseaux et d'urbanisme, et d'autre part celle des personnalités qui constituent ces services, notamment les chefs de service, architectes, ingénieurs, urbanistes, et leurs collaborateurs immédiats. L'échelle de Nantes, une ville en croissance et en mutation, d'une dimension encore modérée en superficie et en population dans la période considérée, permet de saisir des enjeux globaux dans l'exploration des outils qui ont accompagné les transformations urbaines, les ont rendues possibles ou en ont rendu compte, en termes de réglementation, de planification, de projetation, d'exécution, de contrôle, à l'articulation du technique et du politique<br>A town is a collective process, but it is also produced by specific professionals who conceived tools and apply process. Analyzing a long period ( from the 18th century to the middle of the 20th) and focused on a special area « the city of Nantes », an interesting example for this period, the case study follows two directions : the organization of the municipal services in charge of project development and the management for urban transformation, in terms of roads, architecture, networks, town planning, and at the same time the people who make up these services, particularly chiefs department, architects, engineers, town planners and their staff. The scale of Nantes, a growing city with a population and a size increasing at a moderate pace, allows understanding stakes by exploring the process of urban developments in terms of regulation, project planning, management, achievement and control, and the links between technical tools and politic aims
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Fosseide, Cathrine Aarø. "Med dobbeltblikk på seg selv : Kikking, selvstudie og rollespill i Olaug Nilssens roman Vi har så korte armar." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for språk og litteratur, 2014. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-26457.
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Denne masteroppgaven undersøker forholdet mellom kikking, selvstudie og rollespill i Olaug Nilssens roman Vi har så korte armar (2002). Hovedpersonene Liv og Ølgjer blir spionert på av en tohodet vi-forteller gjennom hele romanen. Samtidig observerer både Liv og Ølgjer seg selv utenfra og reflekterer over hvordan de fremstår (eller ønsker å fremstå). Ved hjelp av nærlesning og tekstanalytisk arbeid ser jeg nærmere på denne blikkvekslingen og knytter den til hovedpersonenes identitetsutprøving. Jeg konsentrerer meg i hovedsak om romanens innhold, men i oppgavens andre kapittel behandles også bruddestetikken i romanen. Den kjennetegnes blant annet ved en blanding av ulike sjangre, et usammenhengende plot og en uklar fokalisering. Gjennom å analysere komposisjonen, typografien og sjangerblandingen kommer jeg frem til at romanen kan leses som bruddstykker av en fortelling om de to hovedpersonene, som små puslespillbrikker i en større fortelling om selvidentitet og sosial identitet. Kikking er gjennomgående motiv og tema i Vi har så korte armar. I kapittel 3 ser jeg nærmere på de voyeuristiske sidene ved romanen og på forholdet mellom sosialt blikk og selvblikk. Sistnevnte kan leses som en form for selvoppdagelse; som et forsøk på å forstå og realisere seg selv og finne mening i tilværelsen. Det sosiale blikket som følger hovedpersonene, sier noe om hvilke normer, forventninger og verdier Liv og Ølgjer må forholde seg til. Det kan også knyttes til moderne digital kikking og en medialisert selvforståelse. Nilssen evner slik å problematisere den ekshibisjonistiske kikkerkulturen vi lever i. Liv og Ølgjer prøver å finne seg til rette som studenter i byen, og de vurderer konstant identiteten sin knyttet til det å komme fra bygda. I det fjerde kapitlet knytter jeg denne identitetsutprøvingen til teorier om sosialt rollespill og performative selviscenesettelser. Vi har så korte armar kommenterer, går i dialog med og til tider kritiserer den også sosiologiteorien og –forskningen. Slik fungerer romanen som en annerledes utforsking av identitetsproblematikken enn den sosiologien tilbyr. Nilssens formspråk underliggjør og problematiserer ulike fremstillinger av identitetsbegrepet, narsissisme og medias innvirkning på hvordan vi samhandler og forstår oss selv.
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Ibrahim, Enas. "L'évolution de la notion d'objet dans les romans d'Alain Robbe-Grillet : Les Gommes, le Voyeur, La Jalousie, Dans le Labyrinthe, La Maison de Rendez-vous et Djinn." Thesis, Tours, 2011. http://www.theses.fr/2011TOUR2020.
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Cette thèse a pour objectif d’étudier la présence et l'évolution des objets dans plusieurs romans d’Alain Robbe-Grillet : Les Gommes, Le Voyeur, La Jalousie, Dans Le Labyrinthe, La Maison de Rendez-vous et Djinn. Bien qu’ils soient partout dans l’œuvre, les objets de Robbe-Grillet n’ont encore jamais été étudiés de manière spécifique, détaillée, et à partir d’un large corpus. L’approche de notre travail est littéraire mais aussi sociologique. Il convient en effet de redonner aux objets la place qu’ils occupent dans les relations humaines. C'est à la lumière des recherches d’Abraham A. Moles, Jean Baudrillard, Bernard Blandin, entre autres, que nous avons choisi de nous pencher sur les rapports qui lient l'homme aux objets. Au terme de cette exploration, nous arriverons à la conclusion suivante : les objets robbe-grillétiens sont tantôt muets et opaques, tantôt parlants. Cet effet est pleinement manifesté dans les techniques descriptives qu'adopte le romancier<br>This thesis aims at investigating the presence and the evolution of objects in several novels by Alain Robbe-Grillet: Les Gommes, Le Voyeur, La Jalousie, Dans le Labyrinthe, La Maison de Rendez-vous and Djinn. Although that objects have an evident existence in Robbe-Grillet’s work, they have never been studied specifically, in details, and from a large corpus. The approach of our work is literary but it is also sociological. It is suitable to give objects the statute they occupy in human relations. In the light of the research of Abraham A. Moles, Jean Baudrillard, Bernard Blandin, among others, we have chosen to dwell on the relations that link humans to objects. After this “exploration”, we reach the following conclusion: the objects are sometimes mute and opaque, sometimes talking. These characteristics are obvious in the description techniques which the novelist uses
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Novotná, Markéta. "Marketingová strategie VOYO.cz." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-162335.
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The aim of the diploma thesis is to analyse and evaluate the marketing strategy of VOYO.cz and recommend improvements of the current strategy. Theoretical part is divided into three chapters. The first chapter deals with the basic concept of marketing and the definition of marketing process. Second chapter defines the process of marketing planning and the third chapter offers basic theoretical approaches for the formulation of product, pricing, promotional and distribution strategy, which are applied in the practical part. The practical part describes the company CME and CET 21 and subsequently includes the analysis of VOYO.cz strategy in terms of 4Ps. Based on the findings there are recommendations offered in the last chapter to improve the current marketing strategy.
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Österberg, Susanna. "Den qvinnliga konstnären: : representationer i tidskriften Palettskrap 1877 –1904." Thesis, Södertörns högskola, Konstvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32264.
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Jag har ägnat denna uppsats åt att undersöka Kungliga Konstakademiens elevtidning Palettskrap från och med att det grundades 1877 till och med 1904.Tidningen består av anteckningar, protokoll och en mängd med bilder såsom porträtt, illustrationer och skämtteckningar. Mitt syfte har varit att se hur konflikten kring kvinnorollen generellt och kvinnliga konstnärsrollen specifikt kommer till uttryck under det sena 1800-talet i en intern elevtidning som Palettskrap. Jag har huvudsakligen utfört bildanalyser men även lyft fram text ur Palettskrap som har varit relevant för mitt ämne. Jag har analyserat bildernas uttryck och bildbudskap utifrån Roland Barthes semiotiska metod. För en genusmedveten och kritisk blick på det konsthistoriska sammanhanget, har jag har tillämpat ett feministiskt perspektiv som varit verktyg för att dekonstruera den maskulina myten om modernismen och konstnären. Min undersökning visar att det finns två etablerade stereotyper/kategorier av den kvinnliga konstnären: den ”okvinnliga” konstnären och ”amatören”. Dessa två stereotyper återspeglar den borgerliga synen på kvinnlighet/femininitet som oförenlig med konstnärsrollen.<br>I have dedicated this essay in researching the journal Palettskrap founded by students at the Royal Swedish Academy of Arts in 1877. Palettskrap consists of notes, protocols and a variety of images such as portraits, illustrations and satirical cartoons. My purpose has specifically been to see how the conflict of the woman artist is articulated during the late 1800's in a student journal such as Palettskrap, and also more generally, how the woman's role in society is articulated. I have primarily analyzed images but I have also exposed text from Palettskrap which has been relevant to my subject matter. By using Roland Barthes' semiotics, I have analyzed the images' expression and message. For a gender-sensitive and critical eye on the art historical context, I have applied feminist theory which has been useful in deconstructing the masculine myth on modernism and ”the artist”. My research shows that there are two established stereotypes/categories of the woman artist: the ”unwomanly” artist and the ”amateur”. These two stereotypes reflect the bourgeois notions of womanhood/femininity as incompatible with the role of the artist.
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Silva, Laura Morais da. "O Voyeur Activo na Observação." Master's thesis, 2019. http://hdl.handle.net/10362/77602.
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O Voyeur Activo na Observação, é um relatório de estágio que assenta sobre um momento específico do trabalho da Companhia João Garcia Miguel e assinala a conclusão do Mestrado em Artes Cénicas, pela Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa. O estágio decorreu no período que corresponde ao primeiro semestre do ano lectivo de 2017/2018 e tratou-se de um acompanhamento, enquanto observadora, dos processos realizados nesse intervalo de tempo pela companhia.
O relatório foca-se em cada um dos processos acompanhados em relação comigo, enquanto observadora activa e estudiosa, de forma a pensar o meu papel enquanto actriz e criadora. Além de fazer referência à metodologia, atento nas questões teóricas que me têm vindo a acompanhar no meu percurso artístico e que confluíram agora com a temática levantada pelo espectáculo “Medeia”, texto de Francisco Parreira.<br>“The Active Voyeur in Observation” is a internship report based on a specific moment of the work of the João Garcia Miguel Company and marks the conclusion of the Masters Degree in Performing Arts from the Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa. The internship took place during the period that corresponds to the first semester of the 2017/2018 academic year, and it was a follow-up as an observer of the processes carried out during that time by the company.
The report focuses on each of the processes followed in relation to me, as an active and studious observer, so as to think of my role as an actress and creator. In addition to making reference to the methodology, attentive to the theoretical issues that have been accompanying me in my artistic career and which have now come together with the theme raised by the show "Medeia", text by Francisco Parreira.
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ZHANG, CHI-ZHENG, and 張持正. "Cosmetic cosmology in alain Robbe-Grillet's The Voyeur." Thesis, 1986. http://ndltd.ncl.edu.tw/handle/96219406553706999637.
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Fleury, Didier. "La violence télévisée et l'expérience personnelle : notre perception de la réalité est-elle déformée par ce que nous voyons /." 1996. http://proquest.umi.com/pqdweb?did=738287061&sid=8&Fmt=2&clientId=9268&RQT=309&VName=PQD.
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Rioux, Caroline. "Étude de la mise en abyme dans le roman le voyeur d'Alain Robbe-Grillet." Thèse, 2002. http://constellation.uqac.ca/861/1/13856155.pdf.
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Notre recherche est une étude de la mise en abyme dans le roman Le Voyeur d'Alain Robbe-Grillet. Ce processus qui représente de façon partielle ou complète un texte à l'intérieur d'un autre texte, est un élément déterminant pour élucider l'énoncé, renonciation et les structures qui caractérisent une ?uvre littéraire comme désire le démontrer notre étude.
Après que l'introduction ait établi l'origine et l'évolution du concept de la mise en abyme à partir d'André Gide, le premier chapitre est consacré à la reconstruction de l'assassinat de la jeune Jacqueline Leduc. Nous nous inspirons, pour ce faire, de la théorie élaborée par Lucien Dâllenbach dans le Récit spéculaire : essai sur la mise en abyme, et plus particulièrement de la première couche de réflexions, celle de l'énoncé, qui se caractérise par une première forme de réflexion élémentaire appelée fictionnelle.
Le deuxième chapitre aborde la seconde couche de réflexions, celle de renonciation, qui se caractérise par la présence d'une deuxième forme de réflexion élémentaire appelée énonciative. D'abord, nous observons que les réflexions énonciatives installent un climat de doute qui amène à remettre en question les perceptions du protagoniste-narrateur en ce qui concerne, par exemple, la vision qu'il a de sa première journée dans l'île qu'il répète à outrance. Ensuite, nous qu'il a de sa première journée dans l'Ile qu'il répète à outrance. Ensuite, nous constatons que les réflexions énonciatives installent un climat d'hésitation en remettant en cause cette fois la crédibilité du protagoniste-narrateur par l'entremise, notamment, du dédoublement de la voix narrative de Mathias et de la déconstruction qui s'opère au sein même du récit.
Le troisième chapitre se concentre sur la troisième couche de réflexions, celle du code du récit, qui se caractérise par une troisième forme de réflexion élémentaire appelée textuelle. En premier lieu, nous notons que la déconstruction des éléments du récit se poursuit dans le troisième chapitre puisque le texte se présente désormais comme une illusion qui amène le lecteur à annuler sa lecture précédente et à en reconstruire une nouvelle et ce, à l'infini. En second lieu, en partant du fait que le récit se présente comme un trompe-l'oeil, il semble pertinent de supposer que le texte soit, au bout du compte, en processus d'écriture.
Dans la conclusion, en plus de résumer le rôle fondamental joué par chacune des trois premières formes de mises en abyme élémentaires, nous ajoutons que la théorie de Dâllenbach permet non seulement d'étudier d'autres textes que Le Voyeur, mais que dans l'étude des textes, aussi bien de ceux de Robbe-Grillet que de ceux de Proust ou de Zola ou de tout autre écrivain, la théorie de Dâllenbach pourrait être complétée par celle élaborée par Gérard Genette dans Palimpsestes.
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Moreira, Benedito Dielcio [Verfasser]. "Die Augen des Voyeurs und die Finger des Flâneurs : brasilianische Jugendliche und ihre Rekonstruktionen der Realität durch Medien / Benedito Dielcio Moreira." 2008. http://d-nb.info/994312253/34.
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Jarošová, Emília. "Voyeurismus jako charakteristický rys človeka současné společnosti." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-313354.
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The thesis of theoreticaly- empirical orientation is focused on voyeurism in contemporary society. Special attention is paid to the subject in a position of such voyeur and to the reflection of voyeurism by subject himself, on the case of series as artificial privacy, which is ready for voyeur's gaze. The thesis has interdisciplinary character and seeks to explore voyeurism as a society-wide phenomenon and point out its causes in contemporary society. Theoretical part put voyeurism into a broader context of various theories of contemporary (visual) society. In the empirical part, it tries to reveal the causes of voyeurism and especially subject's reflection of this causes and of voyeurism itself. In a final part it tries to sketch possible insights into the issue of voyeurism with regard to results from empirical part. The object of the thesis is to study voyeurism interdisciplinary as a characteristics for contemporary society and connect individual parts and aspects of this problem, which provide us with more complex view, and also attempt to reveal its causes and refelection of this causes by subject Keywords voyeur, voyeurismu, gaze, visuality, series, contemporary society, identification
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Beauregard, Julien. "L’oubli et les indéterminations de lecture dans Le Voyeur d’Alain Robbe-Grillet, La Clef de Junichirô Tanizaki et Trou de mémoire de Hubert Aquin." Thesis, 2011. http://spectrum.library.concordia.ca/35857/1/Beauregard_MA_F2011.pdf.
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Evans, Tara Jane. "It’s not just about birds: the other negative space in Alfred Hitchcock – cinematic dream vernacular and the phenomenology of fear." 2013. http://hdl.handle.net/1993/22079.
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Foundational to almost any Hitchcock film is the idea of the voyeur: the (un)natural inclination to want to look upon the private, obscene, and potentially grizzly instances in other peoples’ lives. Such inclinations are typically satiated in secret and subsequently denied as something we desire. The voyeuristic act may be connected to narcissism in that we are seduced by our own fears and inner hells projected onto the watched ‘other.’ This kind of projection not only perpetuates our sense of denial of what are our own inclinations, but it also precipitates the potential for de-humanization and feelings of emptiness in that we detach from ourselves. The phenomenological paradox to such detachment is that the more we insist we are safe and self-enclosed here while the ‘other’ remains at bay there, the more we are convinced that we know ourselves and are connected to ourselves, when arguably, we couldn’t be more detached from ourselves and our humanity. And by not really knowing ourselves as well as we thought – as we might infer from a kind of ‘doppelganger’ or ‘doubles’ reading of Strangers on a Train, for example – is how fear is born, both in a Hitchcock film and in life generally. How then, might we come to truly know or face our fear if estrangement would seem an inherent quality to our very experience of it?