Дисертації з теми "Performative work"

This thesis investigates the use of ICT in Saudi Arabia to support collaboration between segregated genders. It attempts to understand the emerging technology practices of workers in higher education institutions, which are aimed at bridging the culturally imposed spatial divide between men and women in the workplace. In examining the gender-segregated context, the study also looks into the consequent organisational and structural changes resulting from technology use. This includes evaluating new practices in terms of progressive change, and how this specifically relates to the work experiences of women as a subordinated and marginalised group. Furthermore, the study uses the Saudi context as a vehicle to explore IS discussions regarding the human and material/technical aspects of agency in technology use, and the role attributed to each in theoretical perspectives on organisation. Prior research has extended Giddens' (1984) structuration theory to incorporate material agency as part of a social-technical ensemble. Yet the ways in which physical-digital spaces contextualise interactions and structure work practices are under explored. Thus, the study develops a conceptual model that extends concepts of 'locale' and 'regionalisation' from structuration theory to the IS field, and defines 'technical settings of interaction' constituted by human and material agencies. The research presented in this study uses a single case design, and collects data by conducting interviews and non-participant observation at Umm AI-Qura University (UQU) in Makkah. The case of gender segregated work in Saudi is used to illustrate the performativity of digital spaces, and demonstrates how workers use technical configurations of ICTs to create zones of interaction that can challenge existing cultural norms, or hinder progressive change. Finally, the study finds that attending to Giddens' focus on time-space not only adds an additional level of analysis to technology studies, but also shows the potential of structurational research in contributing to sociomaterial discussions on materiality.

I intend to examine the work of five practitioners who, in embracing the possibilities arising from a disruption of form, operate on the cusp between the modern and the postmodern. They generate work that must be understood, and can most usefully be experienced, as performative. The unitary form and anti form objects of sculptor Robert Morris are considered as differing ways of projecting object hood, provoking the beholder to address the total situation of the art work, including their participation, rather than the formal properties of the object. Allan Kaprow's progression from Assemblage through Environments to Happenings and beyond is regarded as an evolving process in which an antagonistic attitude toward the limitations of form is tempered by the emergence of performative circumstances that obviate the need to continually challenge the role of the object. The third section passes through the complex phenomenon of Joseph Beuys, identifying a practice that is performative, both because and in spite of the tension between the conception of art advocated by the artist and that within which he operates. Performance, in the interventions of Body Artist Chris Burden, is that which simultaneously allows for, being the justification for his presence amidst that of another individual, and is, the disruption of the normalising tendency of form. Finally, the 'operas' of Robert Wilson suggest ways in which work that is overtly theatrical in form can avail itself of the disruptive tendencies arising from fine art's adoption of a theatrical sensibility. In conclusion, it is argued that the performative work is inevitably formally diverse because its form arises from the encounter between thee beholder and the provocations of the artist, rather than being lodged within an immutable object.

Early in Richard Wright's Native Son, we see Bigger and his friend Gus “playing white.” Taking on the role of “J. P. Morgan,” the two young black men give orders and act powerful, thus performing their perceived role of whiteness. This scene is more than an ironic comment on the characters' distance from the lifestyle of the J. P. Morgans of the world; their acts of whiteness are a representation of how whiteness is constructed. Such an analysis is similar to my own focus in this dissertation. I argue that whiteness is a culturally constructed identity and that work serves as a performative space for defining and transgressing whiteness. To this end, I examine work and its influence on the performance of middle class and working class whiteness, as well as how those outside the definitions of whiteness attempt to “play white,” as Bigger does. Work enables me to explore the codes of whiteness and how they are performed, understood, and transgressed by providing a locus of cultural performance. Furthermore, by looking at novels written in the early twentieth century, I am able to analyze characters at a historical moment in which work was of great import. With the labor movement at its peak, these novels, particularly those which specifically address socialism, participate in an understanding of work as a performative act more than a means to end. Within the context of this history and using the language of whiteness studies, I look at how gendered whiteness is transgressed and reinforced through the inverted job-roles of the Knapps in Dorothy Canfield's The Home-Maker, how work can cause those who possess the physical attributes of whiteness to transgress this cultural identity, as the Joads in The Grapes of Wrath demonstrate, and how the ascribed identities as non-white for Sara in The Bread Givers, Jurgis in The Jungle, and Bigger in Native Son are by far more compelling than their performative acts.

Specialpedagogens uppdrag och yrkesroll har i många år uppmärksammats i forskningen, främst i förhållande till speciallärarens uppdrag och yrkesroll för att belysa likheter och skillnader. Denna studie har en ambition att bidra till att belysa vad som påverkar utformningen av en specialpedagogs uppdrag och yrkesroll. Studien är kvalitativ och utgår ifrån Karen Barads teori om agentisk realism där både mänskliga och icke-mänskliga kroppar (performativa agenter) påverkar föreställningar kring t.ex. specialpedagogens uppdrag och yrkesroll. Materia så som t.ex. styrdokument, utbildning mm och språk är starkt sammankopplade i den verklighet som specialpedagogen verkar i och därför bygger studien på en materiell-diskursiv analys. Syftet med denna studie är att åskådliggöra och identifiera vilka performativa agenter som påverkar hur specialpedagogens uppdrag och yrkesroll utformas i grundskolorna i ett skolområde. Metoddelen bygger på en brevmetod samt semistrukturerade intervjuer med speciallärare, specialpedagoger, rektorer och en skolområdeschef i ett skolområde. För att tydliggöra vilka performativa agenter som äger agens i bearbetningen har ett analysschema skapats utifrån uppdrag respektive yrkesroll. I analysschemat för uppdraget har de performativa agenterna kategoriserats utifrån en figur som jag har skapat för att tydliggöra uppdraget. Resultatdelen visar på hur uppdrag respektive yrkesroll presenteras av specialpedagoger, speciallärare, rektorer samt skolområdeschef och pekar på att det förekommer ett stort antal performativa agenter varav rektorns kompetens, rektorns beslut, verksamhetens behov och specialpedagogens kunskap och kompetens har stor betydelse i utformningen av specialpedagogens uppdrag och yrkesroll. Avslutningsvis diskuteras vilken betydelse de performativa agenterna har för utformningen av specialpedagogens uppdrag och yrkesroll samt hur det specialpedagogiska stödet utformas i en organisation. Men även hur figuren som använts kan vara en tydlig modell att använda för att analysera specialpedagogens uppdrag i förhållande till elevhälsoteamets hälsofrämjande, förebyggande och åtgärdande arbete i skolorganisationen d.v.s. som en del i skolutveckling.
The special educator´s mission and professional role have for many years been noticed in the research, mainly in relation to the special teacher´s mission and professional role to highlight similarities and differences. This study has an ambition to help illuminate what influences the design of a special educator´s mission and professional role. The study is qualitative and is based on Karen Barad´s theory of agentic realism where both human and non-human bodies (performative agents) influence perceptions about, for example the special educator´s mission and professional role. Matter and language are strongly interconnected in the reality in which the special educator works and therefore the study is based on a material-discursive analysis. The purpose of the study is to illustrate and identify which performative agents influence how the special educator´s assignments and professional role are designed in primary school in a school district. The method part is based on a letter method and semistructured interviews with specialist teachers, special educators, principals and a school district manager in a school district. In order to clarify which performative agents own agents in the processing, an analysis scheme has been created based on assignments and professional role. In the analysis schedule for the assignment, the performative agents have been categorized on the basis of a figure that I created to clarify the assignment. The results section shows how assignments and professional roles are presented by special educators, special teachers, principals and a school district manager, and points to the fact that there are a large number of performative agents, of which the principals competence, the decision of the principal, the needs of the organization and the knowledge and competence of the special educator are of great importance in the design of the special educator´s assignment and profession. Finally, we discuss the importance of the performative agents for the design of the special educator´s mission and professional role and how the special educational support is designed in an organization. But also how the figure used can be a clear model to use to analyze the special educator´s assignment in relation to the student health team´s health promotion, prevention and corrective work in the school organization, i.e. as part of school development.

Dans les sciences humaines, le travail du négatif est une notion qui appartient surtout aux domaines philosophiques et psychanalytiques. En tenant compte de cette filiation, sa pertinence dans le champ littéraire se révèle également effective. En effet, lorsque l’on confronte l’idée à l’œuvre romanesque de Réjean Ducharme, l’action du travail du négatif rend compte des enjeux souterrains de cette écriture. Ainsi, le texte apparaît comme le lieu de l’instabilité où chacune des composantes donne à voir son envers et où les contradictions coexistent. Dans cette dynamique, les trois catégories du récit vacillent : elles sont sculptées dans une autre matière que celle qu’on leur assigne généralement. Dans un même élan, le style ducharmien s’empare du travail du négatif en défigeant le mot, en resémantisant la phrase, en offrant à la parole le pouvoir d’avoir un impact sur le réel. Tout est conçu pour échapper à la fixité. Construits de la sorte, les romans véhiculent une vision du monde tragique. Cette dernière, à travers l’acte de lecture, se voit pétrie par le grotesque et engendre alors un fatum qui s’apparente à l’uniformisation. Cette réalité dévoile, paradoxalement, un univers en déséquilibre qui fait écho à l’étymologie du mot baroque, « perle irrégulière ». Le texte ducharmien est donc le carrefour de plusieurs esthétiques qui possèdent toutes, en leur essence, un mouvement semblable au travail du négatif. Celui-ci peut être perçu, dans tous les cas, comme un révélateur de littérarité. Il opère, d’ailleurs, de cette manière, dans d’autres œuvres francophones, notamment dans celles de Rachid Boudjedra, de Maurice Bandaman et de Dominique Rolin
In Human Sciences, the work of the negative is a concept which mainly belongs to the philosophical and psychoanalytical fields. Taking into account this relationship, its relevance in the literary field also proves effective. Indeed, when this notion is applied to the novels of Réjean Ducharme, the action of the work of the negative reveals the underground stakes of the author’s work. Thus, his writing takes us constantly back and forth between all the opposed elements which populate it. Ducharme’s texts are a place of instability, where each component shows its hidden side and where contradictions shaped by the process of involution coexist. Within this dynamic, the narrative mode loses its equilibrium: time, space and characters are sculpted with very unusual clay. In the same spirit, Ducharme’s writing style seizes the work of the negative by loosening words, and giving a new meaning to sentences, by offering to the word the power of having an impact on reality. Everything is designed to escape immobility. Novels built on this pattern convey a tragic vision of the world; a vision which through the act of reading finds itself steeped in the grotesque and therefore generates a fatum, which is very similar to sameness. Paradoxically, this reality unveils an unbalanced world and echoes the baroque word "irregular pearl" in its etymological meaning. Ducharme’s writing is at a crossroad between several aesthetics, whose quintessential principles are similar to the work of the negative. The latter can be perceived as an indicator of literariness and can be found in some of other French works, including those of Rachid Boudjedra, Maurice Bandaman and Dominique Rolin

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CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Neste trabalho de dissertação, tenciona-se analisar aspectos da obra de Fernando Pessoa na prosa-poética do Livro do Desassossego, de Bernardo Soares. A partir da reflexão sobre o conceito de “livro”, pode-se pensar na teoria da “obra aberta” e nas noções de abertura e infinitude do texto literário. Esse percurso possibilita uma incisiva indagação à própria obra, e ao “livro por vir”, cuja essência está no inconcluso, em fragmentos de um livro nunca concluso ou fechado. Através da análise de algumas de suas edições, tentar-se-á pensar o Livro também através do conceito de work in progress e obra rizomática. A primeira parte deste trabalho tem por objetivo refletir sobre o aporte teórico para confecção da dissertação, através de pensadores, filósofos e críticos como Walter Benjamin (1984), José Guilherme Merquior (1991), Malcolm Bradbury e Frederick r. Karl (1989); Stéphane Mallarmé (1991) e Umberto Eco (1968), Homi Bhabha (2005), Gilles Deleuze e Félix Guattari (2004), Émile Durkheim (1987) e Eduardo Lourenço (1986). A segunda parte é dedicada à metodologia do trabalho, a fim de justificar a escolha do corpus analítico utilizado: edições do Livro do Desassossego realizadas por Leyla Perrone-Moisés (1986), Richard Zenith (2011) e Jerónimo Pizarro (2013). A terceira e a quarta partes são compostas pelo trabalho analítico. Pela análise das edições cotejadas e por meio de uma leitura mais profunda pretende-se a articulação da análise com o aporte teórico e a metodologia. A parte conclusiva do trabalho pretende retomar possíveis achados da análise e sustentar a provocação crítica já iniciada por nomes da literatura, como Eduardo Lourenço e Leyla Perrone-Moisés, segundo os quais o Livro do Desassossego pode ser lido como o símbolo material da certeza de não-fechamento de todos os textos e o possível suicídio da mitologia heteronímica de Fernando Pessoa.
In this dissertation paper, it is an intention to analyze aspects of Fernando Pessoa´s work in the prose-poetic of Livro do Desassossego (Unrest Book) from Bernardo Soares. Starting from the reflection on the concept of “book”, it is possible to think about the theory of the “open work”, and about the literary text´s notions of opening and infinitude. This path enables an incisive quest at the work itself, and at the “book to come”, whose essence is in the inconclusive, in fragments of a book never concluded or closed. Through the analysis of some of its editions, there will be an attempt to think about the book also through the concept of ‘work in progress’ and rhizomatic work. The first part of this work aims at the reflection on the theoretical support for the dissertation confection, through thinkers, philosophers and critics such as Walter Benjamin (1984), José Guilherme Merquior (1991), Malcolm Bradbury e Frederick r. Karl (1989); Stéphane Mallarmé (1991) e Umberto Eco (1968), Homi Bhabha (2005), Gilles Deleuze e Félix Guattari (2004), Émile Durkheim (1987) e Eduardo Lourenço (1986). The second part is dedicated to the paper´s methodology, in order to justify the choice for the utilized analytical corpus: editions of Livro do Desassossego (Unrest Book) accomplished by Leyla Perrone-Moisés (1986), Richard Zenith (2011) e Jerónimo Pizarro (2013). The third and fourth parts are composed by analytical work. Through the collated editions and through a deeper reading, the analysis´ articulation is intended with the theoretical support and the methodology. The paper´s conclusive part intends to recapture possible analysis´ findings and support the critical provocation already initiated by literary names such as Eduardo Lourenço e Leyla Perrone-Moisés, according to whom Livro do Desassossego (Unrest Book) might be read as a material symbol for the certainty of all the texts’ non-closing and the possible suicide of Fernando de Pessoa´s heteronymic mithology.

This dissertation seeks to define and classify potential forms of Nonlinear structure and explore the possibilities they afford for the creation of new musical works. It provides the first comprehensive framework for the discussion of Nonlinear structure in musical works and provides a detailed overview of the rise of nonlinearity in music during the 20th century. Nonlinear events are shown to emerge through significant parametrical discontinuity at the boundaries between regions of relatively strong internal cohesion. The dissertation situates Nonlinear structures in relation to linear structures and unstructured sonic phenomena and provides a means of evaluating Nonlinearity in a musical structure through the consideration of the degree to which the structure is integrated, contingent, compressible and determinate as a whole. It is proposed that Nonlinearity can be classified as a three dimensional space described by three continuums: the temporal continuum, encompassing sequential and multilinear forms of organization, the narrative continuum encompassing processual, game structure and developmental narrative forms and the referential continuum encompassing stylistic allusion, adaptation and quotation. The use of spectrograms of recorded musical works is proposed as a means of evaluating Nonlinearity in a musical work through the visual representation of parametrical divergence in pitch, duration, timbre and dynamic over time. Spectral and structural analysis of repertoire works is undertaken as part of an exploration of musical nonlinearity and the compositional and performative features that characterize it. The contribution of cultural, ideological, scientific and technological shifts to the emergence of Nonlinearity in music is discussed and a range of compositional factors that contributed to the emergence of musical Nonlinearity is examined. The evolution of notational innovations from the mobile score to the screen score is plotted and a novel framework for the discussion of these forms of musical transmission is proposed. A computer coordinated performative model is discussed, in which a computer synchronises screening of notational information, provides temporal coordination of the performers through click-tracks or similar methods and synchronises the audio processing and synthesized elements of the work. It is proposed that such a model constitutes a highly effective means of realizing complex Nonlinear structures. A creative folio comprising 29 original works that explore nonlinearity is presented, discussed and categorised utilising the proposed classifications. Spectrograms of these works are employed where appropriate to illustrate the instantiation of parametrically divergent substructures and examples of structural openness through multiple versioning.

La investigación se centra en la 'performative voice' en la obra dramática de Beckett. El término 'performative' es usado para abarcar: (a) la 'intencionalidad' de las voces, la voluntad que las lleva a expresarse, y (b) la 'materialidad' de estas voces, como suenan en realidad. Se incluyen en el análisis tanto el discurso dramático como los aspectos técnicos relativos al sonido.
El estudio de la 'performative voice' abarca las siguientes áreas:
·La génesis de la 'performative voice' en las primeras obras de ficción de Beckett.
·La manera en que la voz es tratada en medios distintos como el teatro, la radio y la televisión.
·La personificación de la voz y de que manera la voz como 'personaje' está en relación con otros elementos dramáticos.
·La relación entre voces habladas y escritas y la adaptación de un tipo de prosa específico para el escenario.
The investigation centres on the 'performative voice' in Beckett's dramatic oeuvre. The term 'performative' is used to cover: (a) the 'intentionality' of voices, the will that drives them to speak, and (b) the 'materiality' of these voices, how they actually sound. Both dramatic speech and technical aspects of sound reproduction are included in the analysis.
The study of the performative voice covers the following areas:
·The genesis of the performative voice in Beckett's early fiction.
·The way in which voice is treated in the different performance media of the stage, radio and television.
·The personification of voice and how voice as a 'character' relates to other dramatic elements.
·The relationship between spoken and written voices and the adaptation of a prose work for the stage.

Orientadores: Renato Ferracini, Fernando Antonio Pinheiro Villar de Queiroz
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Nesta dissertação, desenvolvemos uma pesquisa prática-conceitual sobre os paradoxos dos processos criativos do corpo-em-arte. Esta corporeidade é experimentada no terreno da performance artística em espaços alternativos públicos e privados. O processo da pesquisa está relacionado à criação, execução, documentação, reflexão e análise da série de performances intitulada ",Corpoestranho,". Sua base conceitual está associada ao conceito de Corpo Subjétil em Ferracini (2006), a partir das noções de rizoma, CsO, devir e acontecimento em Deleuze (1995, 2007). Nesta pesquisa, problematizamos a busca por procedimentos para o corpo-em-arte (corpo subjétil) articulados pelos encontros da "Rede de Afetos" do nosso processo criativo, assumindo os aspectos coletivos inerentes a ação criativa e a processualidade enquanto obra (Cohen, 2004). Dessa forma, o ",corpoestranho," se configura como um corpo em processo, corpo fronteira e paradoxal. Um corpo rizomático, virtualizado e atualizado (Lévy, 1996) na trama dessa "Rede de Afetos", a partir da relação dos micro-elementos internos e externos que o compõe. Corpo entre o "eu" e o "outro", corpo em transbordamento, posto em relação com o espaço, o tempo e os outros corpos.
Abstract: In this dissertation, we have developed a conceptual-practical research about the paradoxes of the creative processes of the body in art. This corporeity is experimented in the subject of artistic performance in public and private alternative spaces. The research process is related to creation, execution, documentation, reflection and analysis of the series of performances named ",Corpoestranho,". Its conceptual basis is associated with the concept of Corpo Subjétil in Ferracini (2006), from the notions of rhizome, CsO, deviance and event in Deleuze (1995, 2007). In this research, we have problemized the search for procedures for the body in art (corpo subjétil) articulated by the meetings of "Rede de Afetos" of our creative process, admitting the collective aspects inherent to the creative action and the processuality as work (Cohen, 2004). In this way, the ",corpoestranho," is configurated as a body in process, boundary and paradoxal body. A rhizomatous body, virtualized and up-to-date (Lévy, 1996) in the scheme of this "Rede de Afetos", from the relation of the internal and external micro-elements that forms it. Body between "me" and "other", body in overflow, put in relation to space, time and other bodies.
Mestrado
Artes Cenicas
Mestre em Artes

I detta självständiga arbete undersöks nio barnböckers framställning av pojkar, flickor och icke-binära samt vilka effekter könsnormer i barnlitteratur kan ha på barns identitetsskapande. Studien utgår från en kvalitativ metodansats i form av en diskursanalys. Böckerna har analyserats utifrån ett genusperspektiv med fokus på normaliseringsprocesser. Syftet med studien är att bidra till en ökad förståelse för vilka budskap om könsnormer som framträder i barnlitteratur på förskolor och hur de kan påverka förskolebarn. För att analysera vilka egenskaper karaktärer tillskrivs i de valda böckerna har Nikolajevas (2004) genusschema använts som analysverktyg. Schemat ger en tydlig överblick på stereotypiska maskulina respektive feminina attribut som Nikolajeva (2004) menar ofta tilldelas pojkar och flickor i barnlitteratur. I resultatet framkommer en reproduktion av stereotypiska könsnormer i övervägande delen av böckerna. I böcker som visar sig inneha andra könsnormer än det heteronormativa finns mer könsneutrala karaktärer men det skymtas fortfarande en stor andel maskulina egenskaper och vissa stereotypiska inslag. Ett av studiens centrala resultat visar att äldre barnböcker visar sig ha starkare stereotypiska könsnormer än nya barnböcker. Dock visar tidigare forskning att det kan behövas barnlitteratur med en variation av könsnormer så att alla förskolebarn får möjligheten att finna meningsskapande i sitt läsande av barnböcker.

The main objective of this thesis is to develop a critical approach to the recent anti-aging discourse which has become popular after the 1990&rsquo
s. Anti-aging movement is concerned with certain implementations which aspire to make individuals live longer and healthier by controlling and disciplining their bodily conditions and lifestyle choices. This study attempts to examine certain perceptions and assumptions of anti-aging discourse about body, living and keeping alive peculiar to late modern times by taking into consideration three popular emblematic anti-aging books. For this aim, the techniques, recommendations, suggestions and basic premises of popular anti-aging books are examined in terms of the question whether anti-aging discourse presents a new project concerning body and lifestyle, or not. In order to answer this question, Foucauldian theory on &ldquo
the power over life&rdquo
and Sontag&rsquo
s approach to &ldquo
the metaphorical representation of illness in late modern times&rdquo
are employed for constructing the theoretical basis of this thesis. The examination of anti-aging discourse reveals that, this discourse redefines the meaning of age and reinterprets human temporality by narrating aging process with certain metaphors. Moreover, it is seen that anti-aging discourse transforms the aging process into a performative sphere by representing the aging as a merely biological and controllable situation.

Existem padrões de estados neurofisiológicos que caracterizam diferentes genealogias performativas? Existem regras que condicionam as relações gramaticais entre tais estados e determinam a criação poética? Como as tecnologias de sensoriamento biométrico, especialmente o Eletroencefalograma (EEG) e o Oxímetro (batidas por minuto - BPM) podem ajudar a compreender as presenças poéticas e a criação no teatro de dramaturgia digital? Afinal o que são estados de presença e como eles se relacionam para criar performances poéticas? Este estudo apresenta um mapeamento de estados de presença poética por meio da tecnologia de Eletroencefalografia (EEG) e da captação de frequência cardíaca (BPM), e uma proposta de criação em que o EEG atua como interface cérebro-máquina (ICC) para o acionamento de fluxos poéticos audiovisuais através do biosensoriamento (emoções, expressões faciais e padrões neurais intencionais) durante a performance ao vivo (Performance Objeto Descontínuo). Uma leitura complementar aos estudos cognitivos no campo da performatividade é proposta discutindo princípios relevantes para o entendimento das relações entre emoções, decisões, regulagem sensorial, memória e percepção no trabalho do ator/intérprete/performer sob a perspectiva da neurocomputação afetiva e das tecnologias de biosensoriamento (EEG e BPM). Pistas encontradas de padrões neurofisiológicos ajudam a delimitar estados de presenças poéticas e caracterizam diferentes genealogias performativas, parametrizadas por meio de recortes históricos/procedimentais, neurofisiológicos, self-reportings e dramatúrgicos. Por meio da criação de uma Interface de Gravação e Identificação de Estados de Presença Poética, que implementa uma rede de neurônios artificiais, e de um mecanismo computacional denominado de Ator Virtual, que permite o computador se adaptar à condição de estresse da performance ao vivo (Dramaturgia Digital), ficaram demonstradas evidências de uma Gramática Operativa de Estados e foram revistos princípios importantes sobre o papel das emoções no trabalho do ator.
Are there patterns of neurophysiological states that characterize different performative genealogies? Are there rules conditioning grammatical relations between states which may determine poetic creations in the theater? How can biometric sensing technologies, especially Electroencephalography (EEG) and the Oximeter (BPM), help to understand poetic presences of the actor and thus assist in creating a theater of digital dramaturgy? This study presents a mapping of states of poetic presences through EEG and BPM technology, and describes the creation of the performance Discontinuous Object, in which EEG acts as a brain machine interface (BMI) for the activation of audiovisual poetic flows through biosensing processes (screening of emotions, expressions and intentional neural patterns). A complementary reading of cognitive studies in the field of performativity is proposed, discussing principles relevant to the understanding of the relationships between emotions, decisions, sensory regulations, memories and perceptions in the actor\'s work from the perspective of affective neurocomputing and biosensing. The neurophysiological patterns found help to delimit the concept of states of poetic presences and characterize different performative genealogies parameterized through historical, procedural, neurophysiological and dramaturgical accounts, which demonstrate evidences of an Operative Grammar of States in the performers\'s work. Important principles concerning the role of emotions for the actor were reviewed through the creation of an artificial neuron network (Interface of Capturing and Identifying States of Poetic Presence) and of a computational mechanism (Virtual Actor) that allow the computer to adapt to the stress condition of a live performance (Digital Dramaturgy).

É possível um diálogo com mitos em um texto teatral que, por suas características intrínsecas, estimule uma certa cena contemporânea e brasileira? Como escrever um texto que provoque uma relação de parceria com a encenação, fomentando operações poéticas em artistas e no público? A presente pesquisa partiu destas questões principais para a criação e sistematização de caminhos no âmbito do experimento Frida Kahlo- Calor e Frio, da Estelar de Teatro, uma companhia em que sou dramaturga e atriz e que desde 2006, se dedica à investigação teatral e à gestação de nova dramaturgia e peças. A atitude política antropofágica fundamenta a produção - nas interfaces artística e acadêmica - deste trabalho. Para a coleta de dados, além do uso de referências bibliográficas, a investigação identificou e sistematizou experiências da cena que marcaram uma atriz-dramaturga. Em especial, os legados de contatos sistemáticos com o diretor pedagogo Jurij Alchitz, desde 2011. A criação do texto é parte de seus objetivos, apresentado em fragmentos e analisado, muitas vezes a partir de suas relações com a cena. O material artístico fruto deste trabalho teve diversas experiências de encontro com o público, no palco e na rua, no Brasil e em outros países, refletidas nesta investigação. A título de conclusões, a pesquisa revela atitudes dramatúrgicas que favoreceram o diálogo com as questões inicialmente propostas: uma abordagem do mito como constelação de imagens em torno de um núcleo temático e a interrelação mito e poesia; bem como a tessitura de uma dramaturgia híbrida a partir do trânsito entre linguagens diversas e o texto teatral como material de jogo. As experimentações variadas, a partir das provocações deste tipo de texto, possibilitaram as ocorrências da performatividade da palavra e de uma autora performer. Os caminhos apontados pela investigação podem contribuir no trabalho de pesquisa e na prática de autores e também atores, diretores, performers e pedagogos teatrais.
Is it possible a dialogue with myths in a theatrical text that, by its intrinsic characteristics, encourage a certain contemporary and Brazilian scene? How to write a text that provokes a partnership with the staging, promoting poetic operations in artists and in public? This research takes as starting points these major issues to stimulate and systematize the experiment Frida Kahlo- Calor e Frio, from Estelar de Teatro, a company in which I am a playwright and actress. The company has been dedicated since 2006 to the research and creation of play and the new texts. The cannibalistic political attitude bases the production - in artistic and academic interfaces - of this research. In addition to bibliographic search, for the data collecting, the research has identified and systematized experiences in the field of scene that marked an actress-playwright. In particular, the legacy of systematic contact with the pedagogue and theatre director Jurij Alchitz, since 2011. The creation of a text is part of its goals and the text is analyzed, as well as some relationships with the scene and the public, on stage and on the street, in Brazil and other countries. As conclusions, the research reveals dramaturgical attitudes that favored a dialogue with the survey questions: the mythical approach, as a constellation of images around a thematic core, and \"myth\" in its interrelationship with \"poetry\"; the creation of a hybrid structure of text from the traffic between different languages and the text in the perspective of a material of game. The variety of experiences with this text led to the occurrence of performativity of the word and the idea of an author performer. The indicated paths of the investigation can contribute to the search work and the practice of authors as well as actors, directors, performers and educators in theatre.

The purpose of this study was to illuminate the everyday work of school counsellors in the City of Stockholm with a gender perspective by studying the school counsellors ́ talk about masculinity and femininity. The aim was to reach an understanding of how parts of the counsellors everyday work are influenced by gender through the perspective of the school counsellor. The study was conducted using qualitative methods. Six school counsellors, five woman and one man, were interviewed. An interview method called thematically open interview was used to identify themes regarding aspects of gender in the school counsellors ́ everyday work. The theoretical perspectives that were applied during analysis were Judith Butlers ́ theory on gender performativity and Mimi Shippers ́ theory on gender hegemony. A qualitative data analysis was conducted using hermeneutic principles for interpretation. The results show that the school counsellors gave femininity and masculinity three different meanings, that gender influenced varying aspects of the counsellors work including the interaction with teachers, pupils, parents and principal and that indications of gender hegemony could be found in the stories told by four of the school counsellors. Further some school counsellors experienced gender as an obstacle to a larger extent than others.
Syftet med denna studie var att belysa skolkuratorer i Stockholm stads vardagliga arbete ur ett genusperspektiv genom att studera hur skolkuratorer talar om maskulinitet och femininitet. Målet var att nå kunskap om hur delar av skolkuratorernas vardagliga arbete influeras av genus ur skolkuratorns perspektiv. För att genomföra studien användes kvalitativa metoder. Sex kuratorer intervjuades, fem kvinnor och en man. En Intervjumetod kallad tematiskt öppen intervju användes för att identifiera teman beträffande olika aspekter av genus i skolkuratorernas vardagliga arbete. Under analysen tillämpades Judith Butlers ́ teori om genusperformativitet och Mimi Schippers ́ teori om könshegemoni. En kvalitativ dataanalys genomfördes med hjälp av hermeneutiska tolkningsprinciper. Studiens resultat visar att skolkuratorerna gav femininitet och maskulinitet tre skilda betydelser, att genus influerade olika aspekter av skolkuratorernas arbete inklusive deras interaktion med elever, lärare, föräldrar och rektorer och att det är går att se tecken som tyder på förekomsten av könshegemoni i fyra kuratorers berättelser. Vidare upplevde vissa kuratorer i högre grad än andra kuratorer att genus utgjorde ett hinder i det vardagliga arbetet.

碩士
國立中興大學
外國語文學系所
100
Paul Auster is a postmodernist novelist who represents the multiplicity of postmodern worlds by showing the tipping point of the fictitious and realistic. The stories of Auster''s thus reveal to be hard for distinguishing the fantasy and history since they merge with each other and become more and more indistinguishable. Thus, the characters that Auster create allegorize the real world person from past and now. Still, the story of Auster is as a loop that each connects to the other as they are repetitive and related. A story within a story is another feature of Auster''s novel that the conventional hierarchy of storyline reversed which increases the uncanniness of postmodern novels. In this thesis, I will explore the interplay between postmodernity and performativity on Paul Auster''s characters and the worlds they interact with by utilizing Linda Hutcheon and Fredric Jameson''s theory of postmodernism, Brian McHale''s idea on postmodernist fiction, and Judith Butler''s theory of performative identity. The attitudes of the characters in reaction with the world in a depressive manner is a common theme in Auster''s novels as well. I will then examine the psychological apparatuses by using Cathy Caruth''s and Tammy Clewell''s trauma theory and to see how Friedrich Nietzsche’s nihilism applies on the characters. Finally, I would see how Auster creates the worlds of postmodernist fiction by interrelating postmodernism with performativity and trauma theory.

abstract: The purpose of my dissertation project is to understand how Same-Gender Loving (SGL) Black Christian men negotiate their sexuality and spirituality in spaces that are not always accepting of SGL people, by examining on how Black SGL men perform their sexual identities within hegemonic institutions that often deny their existence or outwardly seek to exclude them from their communities. I have identified three scripts that Black SGL men often follow within Black religious settings. The first script that SGL people often follow in the church is that of deliverance-- confessing their same-gender desires and maintaining that they have been delivered from those desires The second is "don't ask don't tell" performed by men who many believe and suspect of being SGL; so long as they do not publicly affirm these beliefs they are able to hold a variety of positions in their religious communities.. The last script involves accepting one's same-gender desires and also affirming one's Christian beliefs, proclaiming that the two are not at odds with one another. I examine how these scripts and/or others are performed by and on the bodies of Black SGL males in two distinct sites. The first is the career and music of former gospel star Anthony Charles Williams II (Tonex / B. Slade), who has utilized the three scripts at various times in his career. The next site is that of theatre, where I explore how these scripts have been employed in dramatic texts. By reading Christian Black SGL performance through its theological parameters, I aim to discern the avenues in which Black people in the United States are able to perform same-gender sexual identities in spaces that are constructed as "homophobic," and in so doing combat the narrative of hyper-homophobia in Black communities.
Dissertation/Thesis
Ph.D. Theatre 2013

The substance of this thesis is to be found in its performative iteration, held at The Substation, Newport, Saturday July 15th, 2017. The performance work aimed to present an opportunity to encounter dancing that reveals the innermost nuances of a dancer’s mode of moving. Five dancers from New York and Australia – Stuart Shugg, Ori Flomin, Rachel Doust, Victoria Chiu and Alexandra Petrarca - each brought their substantial depth of embodied knowledge and aesthetic determination to examine their role as potential auteurs of their dancing. Throughout a series of solos that overlapped and intertwined between the industrial spaces of The Substation, the audience was able to move between the dancing, the dancers and the spaces as they would have at a gallery exhibition, with a view to charting their own journey through the performance experience. The written component of the PhD aims to ground the performative work in a conceptual elaboration of its key components. It begins by claiming the primacy of the dancer within the dance work. This is articulated through the notions of agency and auteurship and is further contextualised through a consideration of the dancer’s lineage and artistic provenance. The figure of the choreographer in relation to the dancer is critically reviewed within the context of this research. The centrality of the dancer is foregrounded within this PhD through the development of individual working methodologies that pertain to the singularity of each dancer’s mode of auteurship. All too often the dancer is displaced in favour of other hegemonic factors, such as hierarchical and organisational workplace priorities that do not recognise the primacy of the dancer as key to dancing. The aim of this thesis then is to explore the concept of the dancer as auteur, and to make this often invisible position manifest by creating work that emphasises its importance to dancing and dance making. Through the creative practice research, the performed presentation and the exegesis, this PhD investigates the consideration of the dancer’s role as auteur and the many constituents that contribute to her auteurship - her role, her/histories, lineages and provenance, her status within workplace hierarchies and her visibility as a protagonist of her dancing.

This dissertation essentially tries to present a 'new' poetic genre: the Spoken Word. We will explore and examine several translation challenges that occur within the translation in order to better redefine and analyze translation processes and strategies. We will rely on theories related with poetry (Henri Meschonnic and André Lefevere), theater (Susan Bassnett and George Wellwarth) and performance (Charles Bernstein) to support our analysis. Spoken word takes its source in oral literature. This genre is not so new, but is rather a more modern form, a more active sibling of the reading poetry and a reincarnation of fusion poetry. An exploration of performance features and its relations with poetry, theater, memorization, reception, text instability, as well as relations between the original and the translation, musicality and audio support, will allow developing a translation project. We will introduce a spoken word artist of Montreal: Catherine Kidd. The analysis of the original text, Sea Peach, will raise various problems and challenges. Will we translate a spoken word as a traditional poem? What are the translation strategies to be used? For whom do we translate? Will the translation affect the performance? Translation will be done beyond the text and will have an even more creative and performative extent.

碩士
南台科技大學
高階主管企管碩士班
95
The research adopted the method of questionnaire inquiry. The population in the research includes high-tech R&D employees .The purpose of the study is to find out the relationship among work stressor, compensation system and job performance of high-tech R&D employees. In addition, the research concerned respectively about the difference analysis of the classified variants and all variants in study, the correlation analysis among all variants and influence analysis. The research has shown as below: 1. The high-tech R&D employees feeled in medium work stessor. 2. Different sex, marital status, monthly salary, employees of company had made significant differences in work stressor. 3. The high-tech R&D employees had highly taken comensation system seriously. 4. The personal characteristics of the high-tech R&D employees had made no differences in comensation system. 5. The high-tech R&D employees had highly taken job performance seriously. 6. The personal characteristics of the high-tech R&D employees had made no differences in job performance. 7. The work stressor didn’t have effect on the conmensation system of high-tech R&D employees. 8. The work stessor had significant effect on the job performance of high-tech R&D employees. 9. The conmensation system din’t have effect on job performance of high-tech R&D employees.