Cette thèse s’intéresse à un mode de réflexivité spécifique qui se dessine chez certains artistes contemporains comme Jérôme Bel, Philippe Quesne, Grand Magasin, entre autres. L’interrogation sur le théâtre – sa nature, son fonctionnement, sa nécessité et sa pertinence au sein de la société –, s’accompagne d’un souci de rapprochement avec le public, observable dans la forme des spectacles : effort de clarté, explicitation des règles du jeu, réserves par rapport au savoir-faire théâtral, mélange de références cultivées et de références populaires. Pourquoi ces productions subventionnées, jouissant de prestige et de reconnaissance au sein des institutions publiques, prennent-elles comme objet le dispositif théâtral lui-même ? Et pourquoi le font-elles de cette manière ? Le métathéâtre du début du XXe siècle, qui présentait des thèmes et structures similaires, réagissait au risque d’obsolescence de la scène, de sa faillite économique et plus encore de la perte de sa validité au sein du monde industrialisé. Notre hypothèse est que le métathéâtre contemporain repose sur un rapport ambivalent avec la représentation théâtrale : entre fascination pour son fonctionnement en tant que structure et scepticisme à l’égard de sa puissance référentielle, d’où résulte un jeu pour le jeu qui ne peut pas se permettre de se prendre au sérieux. D’autres ambiguïtés concernent le rapport au patrimoine culturel occidental, le rapport à l’altérité (sociale, esthétique) et l’inscription dans le système institutionnel. Autant de traits que l’on retrouve hors du monde artistique. Parce qu’il nous donne à voir les représentations mentales qu’ont aujourd’hui du théâtre des artistes qui occupent un rôle important dans le paysage théâtral, le métathéâtre nous est apparu comme une forme privilégiée pour cette observation. / This dissertation addresses a specific mode of reflexivity that appears in the work of certain contemporary artists, such as Jérôme Bel, Philippe Quesne and Grand Magasin. The examination of the theatre — its nature, its function, its necessity and its pertinence within society — is accompanied by a particular concern for getting closer to the audience. This is observable in the form of these artists’ performances, expressed in how the performances give attention to clarity, explain the rules of the game, relate hesitations concerning theatrical savoir-faire, and mix learned and popular references. Why do these subsidised productions, largely praised and recognized within public institutions, take the theatrical apparatus itself as their subject? And what is behind their choice of approaches? The metatheatre of the beginning of the 20th century, which presented similar themes and structures, responded to the risks of the obsolescence of the stage, of its economic collapse, and of its loss of legitimacy within the industrialised world. My hypothesis is that the contemporary metatheatre of the 21st century is based on an ambivalent relation to theatrical performance: between fascination for its functioning as a structure and scepticism with regard to its referential power. This results in a play made for its own sake which refuses to allow itself to be taken seriously. Other ambiguities concern the relation to Western cultural heritage, the relation to otherness (social, aesthetic) and the forms of integration within institutional systems -- traits found just as easily outside the artistic world. Because it reveals how artists occupying an important role in the theatrical landscape view theatre itself, this study considers metatheatre a privileged form of observation.

The following statement supports the investigations that culminated in the body of sculptural work entitled “Daoist Garden”. It is an examination of the most basic sculptural issues of form and space, and reverses the roles of prototype and mold to give visual accounting of spaces created by curved planes. These spatial records allude to cycles of disintegration and reconfiguration of matter on various timelines and scales. The philosophical influence behind the work employs the concepts of yin and yang, which relate directly to the mold/positive relationship, and are essential to experiencing Dao, the eternally nameless underlying order of the universe. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2014.. / FAU Electronic Theses and Dissertations Collection

In this thesis I utilize a feminist case study method to explore gender, race, authenticity, and nationalism in the context of globalization. Each year, Guatemala conducts two ethno-racially distinct pageants – one indigenous, the other ladina. The indigenous pageant prides itself on the authentic display of indigenous culture and physiognomies. On the contrary, during the westernized ladina pageant, contestants strive to adhere to western beauty ideals beauty and cultural norms engendered by discourses of whiteness. However, when the winner advances to the Miss World Pageant, they misappropriate elements of Mayan culture to express an authentic national identity in a way that is digestible to an international audience. In the study that follows, I examine the ways in which national and international pageants are reflective of their respective levels of social and political conflict and how they serve as mechanisms of manipulation by the elite at the national and global levels. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection

梁嘉賢. / "2007年8月". / 論文(藝術碩士)--香港中文大學, 2007. / 參考文獻(leaves 46-48). / "2007 nian 8 yue". / Abstract also in English. / Liang Jiaxian. / Lun wen (Yi shu shuo shi)--Xianggang Zhong wen da xue, 2007. / Can kao wen xian (leaves 46-48). / Chapter (一） --- 前言：一覺之間的疑 惑 --- p.1 / Chapter (二） --- 知覺：傳統的定義與印 象 --- p.4 / Chapter 2.1 --- 神聖的規範 / Chapter 2.2 --- 印象與符號 / Chapter (三） --- 超越真實：傳統影像的再現與接 收 --- p.8 / Chapter 3.1 --- 眼前的傳統 / Chapter 3.2 --- 真實以外 / Chapter 3.3 --- 符號慣性 / Chapter (四） --- 相遇：當代藝術形態中的混雜模 式 --- p.17 / Chapter 4.1 --- 從二元到多元的混雜 / Chapter 4.2 --- 文化超市 / Chapter (五） --- 再探：從混雜藝術中重拾傳統的意 義 --- p.25 / Chapter 5.1 --- 傳統精神融合其他媒介，擴展傳統藝術思想 / Chapter 5.2 --- 以傳統元素審視傳統 / Chapter 5.3 --- 利用傳統的文化價値確立個人身分 / Chapter 5.4 --- 傳統作爲創作材料的一部分 / Chapter (六) --- 結論 --- p.40 / Chapter 6.1 --- 創作者的起點 / Chapter 6.2 --- 混雜藝術的位置 / Chapter 6.3 --- 危與機的邊緣 / 參考書目 --- p.46 / 附錄 --- p.49

Given their potential to negatively impact men's goal of staying in office, can gender quotas be aligned with the preferences of male legislators who adopt the policy? In other words, does the rapid spread of gender quotas worldwide challenge notions of the rationality of legislators as career-driven individuals? These are the main questions that drive this thesis. To answer these questions, I develop a prospect theory-based framework that accounts for how electoral security and political ambition impact legislators' behaviour in influencing the strength of gender quota designs. I argue that, faced with growing pressures to adopt gender quotas, male parliamentarians engage in the risk-taking process of assenting with gender quotas, meanwhile seeking to minimize the potential costs of the policy to their future careers by actively weakening quota designs. To evaluate the plausibility of my theory, I employ a series of multi-method and multi-level analyses presented across five substantive chapters, each of which is respectively based on: 1) a cross-sectional analysis of Latin America countries; 2) an elite survey experiment with Brazilian state legislators; and, in-depth process tracing of the cases of gender quota adoption in 3) Costa Rica; 4) Brazil; and, 5) Chile. The work makes three main contributions. Firstly, although previously identified, the resistance of male legislators towards gender quotas had never been systematically analysed in a comparative manner; focusing on the behaviour of male incumbents is thus a relevant contribution. Secondly, although various authors have provided explanations for the origins of gender quota adoptions, no work had ever comparatively assessed sources of the variation in gender quota designs. Thus, I move the study of gender quotas beyond the binary choice of adoption. Thirdly, I show that the static assumptions of endogenous institutionalism need to be modified by the introduction of risk, which can only be achieved by integrating the insights of prospect theory.

This examination of my own works (presented largely in chronological order) and of related music by others, broadly concerns itself with appropriation and allusion on the part of twentieth and twenty-first century composers. It considers how the deliberate synthesis of existing works affects the responding composers' own output. To this end, whether surveying my own music or others', I do so within a four-pronged framework: 1. The philosophical premise and aesthetic of pieces which somehow appropriate existing composition (as claimed overtly by the composer, or inferred from available research). 2. The compositional procedure and techniques employed in the process of composing works which allude to or synthesise other pieces. 3. The product resulting from the interaction of the above two factors (naturally the latter is more concrete). 4. Critics' and scholars' responses: the basic phenomenology of the allusive element, synthesis, or stylistic appropriation, and the ethical problems surrounding any appropriation. My analyses address one or more of these connected points. They raise a number of significant questions. Is synthesis and re-composition (the latter taken to be more specifically referential) affective or effective? That is to say, is it aesthetically prescriptive? Can composers manage to quarantine 'Les objets trouvés' from their individual practice? Of interest are composers with individual credibility as innovators, whose craft is its own defence against criticism on dogmatic grounds. I consider what is to be gained, in terms of technique, and in terms of developing an aesthetic, from the process of specifically engaging with other pieces, and explore the effects of differing methods of synthesis as compared across compositional practices.

L'assassinat de Rafic Hariri, le 14 février 2005, est un événement fondateur. Un mois plus tard, le 14 mars 2005, la manifestation pro‐Hariri sur la place des Martyrs, rebaptisée place de la Liberté, transforme en effet cette place publique en un espace public. Cette même place sera utilisée ensuite aussi bien par les pro‐Hariri (la formation du 14 mars) que par les anti‐Hariri (la formation du 8 mars). La question qui nous intéresse est de savoir comment cette suite d'événements a été reprise et médiatisée par les différents médias, au point de faire de la place des Martyrs le lieu d'un rendez‐vous annuel des partis en présence. Notre objectif est donc de montrer dans quelles conditions cette place a été transformée, le 14 mars 2005, en un espace public et d'étudier quels moyens ont été mis en œuvre pour cela. Notre perspective ne se limite pas aux médias libanais mais s'étend jusqu'à la presse internationale, dont nous faisons l'hypothèse qu'elle a joué un rôle important dans la construction de cet événement. Le paradoxe et la nouveauté de cet événement tiennent à ce que la notion d'espace public est relativement étrangère au paysage libanais. Au contraire, la confessionnalité est reconnue au Liban et même mentionnée dans la Constitution du pays, en contradiction avec la conception d'un espace public (notamment bourgeois) reposant sur le principe de la laïcité. Pour traiter de cette question, nous montrons que l'occupation de la place des Martyrs révèle le lien étroit qui associe religion et laïcité, contrairement aux représentations stéréotypées qui tendent à opposer ces deux pôles. Une approche communicationnelle nous permet de mettre en évidence la relation entre ces deux pôles. / The assassination of Rafic Hariri, February 14th 2005, is the founding event. A month later, March 14, the demonstration pro‐Hariri in Martyrs' Square, renamed Freedom Square, transform the public square into a public sphere. The question we are interested by is how different media broadcasted this sequence of events ; as to make Martyrs’ square a yearly meeting of all parties. Our target is to show under what conditions this place has been transformed, March 14th 2005, into a public space and to explore different ways that allowed reaching the target. Our perspective is not limited to Lebanese media, but extends to international media, which we suggest that they had an important role in the construction of this event. The paradox and novelty of this event is that the concept of public sphere is relatively foreign to the Lebanese scene. The contrast is that, the confessionality is recognized in Lebanon and even mentioned in the constitution, on opposition of the conception of public sphere based on the principle of secularism. To answer this question, we’ll try to show that the occupation of Martyrs’ square reveals the close link between religion and secularism, unlike the stereotypical representations that tend to oppose these two poles. A communicational approach highlight the relationship between these two poles.

在過去的二十年中，隨著1989 年的革命（以及之後突進的新自由主義經濟政策），信息和通信技術（ICT）的擴散，世界經歷了急劇變化。但高等教育，尤其是英文文學研究有没有根據這一時期的文化、經濟、社會和政治的情況來修正呢？本論文探討從現代主義美學和片面國家論述的小說（英文書寫的），過渡到一個文化和政治驅動並行的後現代形式，及反映一個日益全球化和全球意識的二十一世紀引人注目的問題。通過當代小說的新自由主義全球化的測試 ──或者也被稱為後現代的情况和晚期資本主義的文化邏輯──我們了解世界據稱走向非殖民化只不過掩飾另一種殖民方式，導致葛蘭西的霸權理論效果，使馬克思主義理論的社會力量轉變成促使不同階級的政治權力形式，取決於一個非常關鍵的因素- 共識。 / The world has experienced rapid changes in the last twenty years concomitant of the Revolutions of 1989 (and the subsequent onrush of neoliberal economic policies) and the proliferation of Information and Communication Technology (ICT), but has higher ed,and particularly, the study of English literature modified in accordance to the cultural, economic, social, and political circumstances of the period? This thesis explores the compelling question by illustrating the transition of contemporary literary fiction (written in English) from modernist aesthetics and one-sided national discourse into a culturally and politically driven postmodern form to parallel and reflect an increasingly global and globally aware 21st century. Through contemporary fiction’s examination of neoliberal globalization - or perhaps what is also known as the postmodern condition and cultural logic of late capitalism - we come to understand a return of colonization in a world allegedly moving towards decolonization. What results is the Gramscian theory of hegemony, which gives rise to a Marxist theory of the transformation of social forces into forms of political power adequate to different class projects that depends on a very crucial factor - consensus. / Detailed summary in vernacular field only. / Tchan, Chrystal Ching. / "December 2012." / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 105-110). / Abstracts also in Chinese. / Abstract --- p.i / Table of Contents --- p.ii / Introduction --- p.1 / Chapter Chapter One: --- Nationalism and the Decline of Empire --- p.15 / Chapter Chapter Two: --- The Reflexive Resurgence of Local and National Formations in Hari Kunzru’s Transmission --- p.42 / Chapter Chapter Three: --- Technocapitalizing Spooks in William Gibson’s Spook Country --- p.66 / Conclusion --- p.103 / Bibliography --- p.105

Orientador: Rosangela da Silva Leote / Banca: Lucimar Bello Pereira Frange / Banca: José Paiani Spaniol / Resumo: Nesta dissertação descrevo as experiências da série O Bagaço da Pintura, que procuram responder ao problema da morte da arte e investigam a linguagem pictórica em campo expandido. No ambiente acadêmico, esta pesquisa abriu uma nova vertente poética, também aqui descrita e analisada: as Pictocartografias / Abstract: In this dissertation I describe the experiences of series The Bagasse of the Painting, which seek to respond to the problem of the death of art and investigate the pictorial language in expanded field. In academic environment, this research has opened a new poetic dimension, also described and analyzed here: the Pictocartografias / Mestre

Neste estudo, buscou-se refletir e analisar os conceitos de corpo que veicularam, a partir de eventos marcantes, durante o século XX, na civilização ocidental, com especial atenção à sociedade brasileira. Historicamente, a palavra corpo e seus sentidos, foram sendo construídos socialmente e, então, carregados de signos e símbolos. O desenvolvimento de diversas áreas dentro da tecnologia e das ciências, durante o século XX, alterou a maneira de olhar o corpo. Examinam-se, portanto, os tantos corpos vivenciados naquele século, dos quais escolheu-se três conceitos para serem preliminarmente discutidos: o corpo tabu, o corpo instrumento e o corpo identidade. Estes correspondem, respectivamente, à diferenciados aspectos de influências sociais. O entendimento de novos corpos e novos conceitos corporais, na virada do século XXI, rompeu tabus, todavia, as influências do sistema capitalista trouxeram o consumo de um padrão estético, que reflete o corpo como objeto e imagem desvinculados do humano. A insegurança gerada por uma transformação na identidade corpo - ser humano desnuda um momento de inércia, e propõe uma busca incansável por valores perdidos. / This study is a result of reflections on and analysis of the concept of the body through historically significant events of the 20th century in Western society, but with special attention to Brazilian society. Historically, the word “body” and its meanings have been socially constructed to carry a variety of signs and symbols. The development of diverse fields in technology and science (e.g. computer science and biotechnology) led to changed views among scholars about the body as a human phenomenon. Formerly, some aspects had influenced the three most intriguing concepts of body: the Body-Taboo, the Body-Instrument and the Body-Identity. New understandings of “bodies” helped to challenge older taboos however, capitalist values brought consumption of specific aesthetic patterns that reflect the “body as an object and image detached from human beings.” The insecurity generated by changes to the identity “body/human being” brings moments of inertia and yet also provokes an indefatigable search for missing humanitarian values.