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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
121

Exhibiting the everyday : the musealization of 1950s material culture in France and Germany

Bostock, Stephanie 2015 (has links)
Over the course of the last decade, the 1950s have been transformed from little more than a historical interregnum between the Second World War and the 1960s into a powerful trope in the popular imagination. Nowhere has this shift been more significant than in France and Germany, where processes of forgetting connected to post-war nation-building and mythification are giving way to more complex reappraisals of the 1950s. The French and German museum landscapes, in particular, have seen the emergence of a large number of museums and exhibitions devoted to the period since the turn of the new millennium. Concerned with the quotidian realities of day-to-day life and the grassroots experiences of ‘normal’ people, these sites are part of a proliferation of 1950s-related remembering enacted through the lens of the everyday. Using a variety of sources, ranging from personal interpretation of exhibitions and collections to museum catalogues and press reports, this thesis examines the multifarious nature of museum representation and remembering associated with the 1950s in France and Germany. By focusing on nine different sites, it assesses the different spatio-temporal frameworks and strategies used to narrate the 1950s, and determines how ‘counter-memories’ and more hegemonic memories and histories of the period are being constructed across different regional and national contexts. Despite the significance of national myths and memorial tendencies, it finds that the 1950s are being reimagined through a plurality of local, regional, national and transnational narratives, and that ‘bottom-up’ and ‘top-down’ approaches are giving way to more nuanced ways of reframing the post-war period. These findings highlight the increasing democratization of history and memory and the diverse ways in which ‘counter-memory’ and ‘genealogy’ are employed to reclaim the 1950s past. As such, the 1950s are being reworked from a simple decadal period into a semantically richer ‘time-space’.
122

Popular sovereignty in Europe

Beetz, Jan P. 2015 (has links)
This thesis proposes a realist analysis of the contemporary concept of popular sovereignty in its ability to make sense of the EU's legitimacy. Drawing upon Bernard Williams' political thought, a conception of legitimacy should make sense of hierarchical rule as a desirable civic order from within its own historical circumstances at the normative level. In addition, it should offer realistic guidance to political agents, meaning that its political fictions must therefore acquire a certain degree of practical resonance in order to act as heuristic tools. The modern concept of popular sovereignty sets appropriate criteria of legitimacy based upon the bonds created between citizens. Through a genealogical inquiry, I reconstruct conceptions of popular sovereignty which underpin defences of the EU's output, democratic, and identitarian legitimacy from canonical arguments. These justifications of the state consider the people as beneficiaries of security and economic prosperity, as a self-governing demos, and as a cultural nation, respectively. I propose a realist vindication of this multi-faceted conception of popular sovereignty at the normative level, because these different conceptions complement one another in making sense of the sovereign state's legitimacy. The thesis then discusses how the political fictions of the people could simultaneously make sense within the European polity. In short, the citizens of Europe's polities have become part of the normative systems which create judicial-economic, civic-democratic, and socio-cultural relationships within the territorial borders of the European states. In addition, the centralisation of decision-making power and implementation resources has given plausibility to the political fiction of sovereignty. European integration has, however, resulted in a reconfiguration of these normative systems and restructuring of power into a two-tier political order. In this novel context, a realist vindication of the contemporary conception of popular sovereignty is no longer possible. The thesis concludes by suggesting that a demoicratic reconceptualisation of popular sovereignty offers a constructive way to make sense of the EU's legitimacy.
123

La libertad; realidad de Occidente: (posible existencia de un paradigma parcialmente inconsistente. Insuficiencia de la libertad en cuanto paradigma absoluto, radical-elemental de eticidad y necesidad esencial de una libertad supeditada a principios y sentidos fundamentales)

Ramírez Alenk, Alberto 2015 (has links)
La libertad; realidad de Occidente, ha constituido el paradigma estructural de nuestra cultura. Desde su origen en la Grecia clásica aristotélica, se ha fundado nuestra civilización –al amparo de una razón filosófica absoluta y universal totalizante–, conformando esencialmente con la libertad dos troncos de una misma raíz común, que se han determinado mutuamente en el tiempo. No obstante, tal paradigma, ha sustentado un vasto proceso de dominio, emancipación y emprendimiento técnico-material, ad infinitum, vinculado –en uno de sus trances más significativos–, a la intercesión de los liberalismos democráticos modernos, subordinados perjudicialmente a una calculada implantación de la libertad y de las libertades. Desde una monopólica cosmovisión del hombre y del mundo, ha conocido nuestra cultura una anhelada libertad, en tanto autonomía, independencia, autorreferencia, autosuficiencia, dominio y defensa del singular ámbito particular del –<>–, en desmedro cualitativo del “rostro del Otro”, del prójimo y de un verdadero humanismo del otro hombre. Lo anterior, exige intentar un recorrido analítico-verificativo, que confirme un horizonte originario, índice del déficit y malestar orgánico-formativo de nuestra cultura, en tanto lineamiento desmedrado ético-moralmente. Esto, nos encamina hacia la comprehensión de una libertad en cuanto ideal parcialmente inconsistente como referente ético del ser persona, y a la necesidad de una libertad supeditada a principios y sentidos fundamentales, lo cual, implique una justicia éticamente situada respecto del Otro. Para ello, se propone críticamente, desde el pensamiento de Emmanuel Levinas, –junto a otras nociones del filósofo–, la perspectiva de una difícil libertad instalada, en un más allá de la libertad. Difícil libertad infinitamente responsable para con el prójimo, con una anterioridad de instancias sin nombre, sin huella epistémica, instancias anteriores a la cultura. El intentar justificar que el curso de Occidente ha sustentado un principio del ser en sí –libertad del ser que persiste y anhela su eterno perpetuarse en inquietud por ser; autonomía y dominio del orbe y de los “otros” en el tiempo–, es quizás verificable, en primera instancia, en función de una estructura dual significativa síntoma–diagnóstico, en medida de la cual se evidenciaría –por una parte– un ámbito empírico sintomático de constatación de hechos específicos que representarían en la actualidad un estatus–quo de abusos implícitos-explícitos en el mundo práctico instituido moderno y a lo largo de la historia del pensamiento; y, por otra parte, la existencia de cierta fundamentación diagnóstica teórico-preliminar del estado que presenta nuestra época de fin de la modernidad y puesta en crisis de la razón ilustradatécnico- instrumental, en tanto cosmovisión pesimista y decadente en el marco de un manifiesto nihilismo estructural tardo-moderno. Al respecto, en segunda instancia, dicho problema, intenta ser verificable en términos fundamentales en una breve síntesis de la libertad, –de sus presuntas inconveniencias–, en el ámbito de algunos pensadores vi primordiales en el proceso de instauración y evolución de la razón occidental, a saber: Aristóteles, Thomas Hobbes, Inmanuel Kant, G.F. Hegel, entre otros. Desde esta perspectiva, tal segundo desarrollo descriptivo-analítico, es fundamental, pues implica la posibilidad de verificación de aquellos elementos específicos que determinarían que la intuición preliminar planteada en primera instancia, en cuanto estatuto de una época en crisis y pesimismo nihilista asociados a una libertad definida como genealogía y disposición específica de un psiquismo, razón de ser y acción concéntrica totalizante, pueda ser comprendida, en cuanto resultado necesario y consecuente –y no como fundamento– de un proceso constitutivo surgido en cuanto paradigma de la libertad, desde los inicios de la cultura occidental.
124

The Hero of Diagrams: A Description of Works of Huang Tian-shiang 圖表英雄─黃鈿翔創作解析

Huang, Tian-shiang, 黃鈿翔 2015 (has links)
碩士 國立臺南藝術大學 造形藝術研究所 103 This description of my artwork starts from cartoons & comics related issues – personalities of main characters and how authors describe them. In other words, the author finishes his works through and for one cartoon to another. Cartoons & comics are also the main theme of a goal that the author tries to achieve. With a long experience in reading and watching cartoons & comics, the author tries to identify various concepts in these visual arts, and uses them in his artworks and other practices. A cartoons & comics work can express its styles to its audience via unique appearances or abilities of its heroes/heroines. Accumulation of such visual arts has become the author's source of his styles in artworks, and its amount is sufficient for the author to compile a genealogy. In this work, urination is used to mark territories like “dogs” do. In such a way, the author's territory in the field of cartoons & comics is drawn immediately.
125

Evolution of highly fecund organisms

Miller, Luke Rex 2015 (has links)
We develop and study the high-density limit of various new models in mathematical pop- ulation genetics. These models extend the Λ-Fleming–Viot process when there are two genetic types at the locus of study. Given a finite sample from a population undergoing these dynamics, a key tool for understanding the corresponding genealogy is the method of duality. We introduce the reproduction-linked mutation mechanism and consider how this affects the process of relative allelic frequencies and the genealogy. The second generalization incorporates two forms of natural selection – differential killing and differential birth. We contrast the structure of their genealogies. Several properties of the block size spectra of the Kingman and Beta coalescents are also investigated, including their behaviour as they come down from infinity.
126

Radio after radio : redefining radio art in the light of new media technology through expanded practice

Hall, Margaret A. 2015 (has links)
I have been working in the field of radio art, and through creative practice have been considering how the convergence of new media technologies has redefined radio art, addressing the ways in which this has extended the boundaries of the art form. This practice-based research explores the rich history of radio as an artistic medium and the relationship between the artist and technology, emphasising the role of the artist as a mediator between broadcast institutions and a listening public. It considers how radio art might be defined in relation to sound art, music and media art, mapping its shifting parameters in the digital era and prompting a consideration of how radio appears to be moving from a dispersed „live‟ event to one consumed „on demand‟ by a segmented audience across multiple platforms. Exploring the implications of this transition through my radio practice focuses upon the productive tensions which characterise the artist‟s engagement with radio technology, specifically between the autonomous potentialities offered by the reappropriation of obsolete technology and the proliferation of new infrastructures and networks promised by the exponential development of new media. Switch Off takes as its overarching theme the possible futures for FM radio, incorporating elements from eight „trace‟ stations, produced as a series of radio actions investigating these tensions. Interviews have been conducted with case study subjects Vicki Bennett, Anna Friz, LIGNA, Hildegard Westerkamp and Gregory Whitehead, whose work was chosen as being exemplary of the five recurrent facets of radio arts practice I have identified: Appropriation, Transmission, Activism, Soundscape and Performance. These categories are derived from the genealogy of experimental radiophonic practice set out in Chapter One.
127

The world we desire is one we can create and care for together

Zechner, Manuela 2015 (has links)
Written with a contemporary European context of economic, social and reproductive crisis in mind, this thesis presents research about, from and for social movements that struggle against precarity, austerity and capitalist accumulation. Based on accounts and analyses of feminist-autonomist militant practice and networks, this research project revolves around two terms: care and creativity. It maps out a historical-genealogical shift from a paradigm of creativity (reflected in neoliberal governance as well as in social movements of the decades before and after the millenium) to one oriented around care (reflected in the neo-communitarian policy as well as practices of commoning that arise with social and economic crisis in Europe). Structured into three broad sections on work, organisation and governance, the questions at stake here revolve around the possibilities and imaginaries of politics that affirm care and creativity in relation to one another. On the level of work, this means struggles within and against precarity, reproductive and illegalized work; on the level of organisation, it means relating the figure of the network to that of the care chain and the family, confronting new transnational forms of alliance and care; and on the level of governance, it is the relation between neoliberalism and its new communitarian forms that is in question. What the collectives, campaigns and networks constituting the ‘field’ of this research have in common is that they re-think the contemporary relations between autonomy and heteronomy, the global and the situated, as well as macro- and micropolitics. Dwelling on collective experiences and knowledges, this investigation takes care to articulate the dimensions of subjectivity, relation and association with those of economy and governance. Concerned and engaged with contexts of struggle and commoning in the face of crisis politics, precarity and dispersed sociality, a methodology of militant participatory-action research serves to map out contexts of practice in Spain, the UK and Argentina as of 2010-2013.
128

Processual constructions : towards a non-representational poetics of choreography

Irvine, Rosanna 2015 (has links)
The thesis advances the notion of non-representational poetics positioning this as a genealogical extension in the field of conceptual dance. Concerned with “the genesis of the act of thinking in thought itself” (Deleuze, 2004: 176) the thesis focuses on modes of thinking by choreographers and performers in developing and performing the works addressed. Acknowledging Dance4’s as yet under articulated support of challenging and experimental choreographic practices in the UK, a non-representational poetics is elaborated through an analysis of works programmed in Dance4’s Nottdance Festival 1999-2003, and through practical and written articulation of works by the author developed while Research Artist at Dance4. Chapter one introduces the multi-modal methods and positions the three text-based elements of works examined - the score for Schreibstück by Thomas Lehmen, The General Rules Score for Project by Xavier Le Roy and Fiona Templeton’s text for Invisible Dances by Bock & Vincenzi - as more-than archival remains. Chapter two presents the contextual and theoretical premise taking Jerome Bel’s critique of representation (Lepecki, 2007: 45) in the work Jérôme Bel as departure point. Chapter three argues that Thomas Lehmen’s Schreibstück expands Bel’s critique by exposing the structural and agential processes of a system that is not representational. The following four chapters are dedicated to four works that operate through the activation of agential relational processes: Xavier Le Roy’s Project, Bock & Vincenzi’s Invisible Dances and the author’s two works what remains and is to come (in collaboration with Katrina Brown) and Perception Frames. Chapters four to seven respectively argue that: what remains and is to come operates through intra-relational material processes, Project through social processes that generate collective decision-making, Invisible Dances through an ongoing embedding of perceptual sensing processes and Perception Frames, through processual instructions for giving attention in perceptual sensing. The research contributes new knowledge through its articulation of a non-representational poetics that operates in the conjoined and processual operations of agency and relations to produce the choreographic work.
129

The palace at 3 a.m. (ordo inversus) ; A woodcut (re-)invention in resonance with Merleau-Ponty's 'chiasma'

Loos, Christoph M. 2015 (has links)
This PhD is project and theory based. The project component of my PhD, The Palace at 3 a.m. (Ordo Inversus), consists of an exhibition, i.e. a site-specific installation in the Cloister of the Alpirsbach Monastery (Black Forest, Germany). The written thesis, The Palace at 3 a.m. (Ordo Inversus). A Woodcut (Re-) Invention in Resonance with Merleau-Ponty’s ‘Chiasma’ investigates the hypothesis that my woodcut method represents a historical rediscovery of this time-honored medium as well as a new radicalization within contemporary printmaking. The investigation places a particular emphasis on self-referential conceptualization and (simultaneously) the programmatic use of the Chiasma image, which the French philosopher Maurice Merleau-Ponty reintroduced into contemporary discourse. My own artistic approach and method is, moreover, characterized by a distinctly sculptural understanding of the printmaking medium, which is the impetus for the printing block – with its outward sculptural affinity – to take on a coequal and integral role in a confrontational constellation with the print. This sculptural quality, which often tends towards expansive installations, leads to a conscious and offensive treatment of space and spaces manifested in site-specific installations. In addition, this thesis places a particular emphasis on the relationship between print and printing block, which are examined through the lens of Unity and Difference, the Loss of Unity, the Phenomenon of Mirroring, In- Betweenness, Invisibilities and Chiasma – all aspects which culminate in the installation The Palace at 3 a.m. (Ordo Inversus). In art history and its scholarly literature – there are no comparable examples in which the connection and interplay between print and printing block arises so inevitably and naturally, in a truly intrusive manner and celebrated on a formal level. This relation is not just a subservient or aesthetically free 4 interaction, but rather – nolens volens – a conditional relationship creating an integral-genealogical entanglement with one another. From the trunk section of a tree very thin leaves of wood are peeled off radially. While the wooden cylinder serves as printing block the wooden leaves become the prints. Although the relationship between print and printing block is absolutely fundamental to the woodcut medium, there is hardly any relevant literature on the subject, much less a full-fledged study or monograph. In this respect, the present thesis can also be seen as a long overdue contribution to this aesthetic and philosophical discourse. If nothing else, this PhD project should show that it is possible to breathe new life into a tradition, which is even sometimes considered passé these days, and to even make a significant contribution to a potential renaissance of the medium.
130

Corneille galant. Comédie cornélienne et histoire de la sexualité Corneille galant. Pierre Corneille's comedies and the history of sexuality

Dupas, Matthieu 8 January 2015 (has links)
Contre une conception essentialiste du point de vue du genre, et irénique, de la galanterie, cette étude appréhende cette dernière en termes d’histoire de la sexualité pour mettre en évidence la mise en place d’une micropolitique galante dès le premier XVIIe siècle. Elle se concentre sur les premières comédies de Corneille, dont le succès fait fond sur l’essor d’une nouvelle culture amoureuse, la galanterie. La première partie problématise le succès du discours galant, qui, produit par la sphère des belles lettres, peut toujours tourner à la simple politesse, mais ne s’en impose pas moins dans le contexte de la mixité d’ancien régime. La comédie cornélienne constitue ainsi une technologie galante où s’élabore, et d’où se diffuse, le discours galant qui, en régulant le commerce amoureux, légitime le mariage d’amour. La deuxième partie appréhende le conflit dramatique autour duquel s’organise l’intrigue galante en termes de constructionnisme social pour définir les contours de l’érotique galante. Dispositif « hétérotopique », la galanterie commande des processus de subjectivation tels que l’amour hétérosexuel cède désormais le pas à l’amitié homosociale, naturalisant du même coup le lien entre sexe et investissement affectif – ce complexe bientôt appelé « sexualité ». La galanterie s’inscrit ainsi dans la généalogie de la matrice hétérosexuelle. La troisième partie aborde la dramaturgie tragique de Corneille et montre comment la tragédie classique, en réponse à la tendance du discours galant à fonctionner à titre d’art de plaire autant qu’à titre d’art d’aimer, a inventé un discours amoureux adapté à l’individualisme moderne : non plus l’amour comme « passion de l’âme », mais, tout simplement, « la passion ». As opposed to an irenic conception of gallantry that also relies on an essentialist definition of gender, this study addresses gallantry in terms of the history of sexuality, so as to emphasize the deployment of a gallant micropolitics the early 17th century France. It focuses on the success of Pierre Corneille’s comedies in the context of the blooming of a new amorous culture, soon to be called gallantry. The first part problematizes the discourse of gallantry produced by the sphere of the belle-Letters, which can always turn to mere courtesy, but nevertheless becomes pervasive to regulate men/women interactions in the Ancien Régime France. The Cornelian comedy functions as a gallant technology that produces and diffuses the discourse of gallantry, which organizes amorous relationships so as to legitimize love marriage. The second part addresses the conflict around which turns the whole plot of Corneille’s gallant comedies in terms of social constructionism, so as to account for the erotic subjectivities construed by gallantry. As an “heterotopic” apparatus, gallantry implies processes of subjectivation such that heterosexual love now prevails over homosocial friendship, thereby naturalizing the link between sex and emotional investment – a complex soon to be called “sexuality”. Thus, gallantry is part of the genealogy of the heterosexual matrix. The third part focuses on Pierre Corneille’s poetics of tragedy, and shows that the genre of the 17th century French tragedy replied to the tendency for the discourse of gallantry to function as a form of politeness rather than an authentic form of love by inventing an amorous discourse more suitable to modern individualism, and which no longer depicts love as a “passion of the soul” but simply as, in French, la passion.

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