Global ETD Search

491	Demons of Analogy: The Encounter Between Music and Language After Mallarmé Reinier, Joshua Tasman Girardeau 09 November 2022 (has links) No description available. Comparative Literature Music Parasite Music Multimedia Posthumanism Poetics Noise French poetry Poetry and music Contemporary art Derrida Poststructuralism Michel Serres Mallarmé Pierre Boulez Orphandrift Georges Aperghis
492	As looks the sun, infinite riches, valorem : the economics of metaphor in Marlowe's Tamburlaine the Great, the Jew of Malta and the Doctor Faustus Bailey, Colin R. January 1987 (has links) No description available. Derrida, Jacques.
493	Limited ink : interpreting and misinterpreting GÜdel's incompleteness theorem in legal theory Crawley, Karen January 2006 (has links) No description available. GÜdel's theorem. Derrida, Jacques. Decidability (Mathematical logic) GÜdel, Kurt. Wittgenstein, Ludwig, 1889-1951. Judgments -- Philosophy. Rules (Philosophy) Law -- Philosophy. Law -- Interpretation and construction.
494	Divine Violence and Divine Sovereignty: Kierkegaard and the Binding of Isaac Lee, Hanull 11 1900 (has links) This thesis examines the concept of sovereignty, as developed by the jurist Carl Schmitt, and argues that this concept helps to elucidate the very core of Fear and Trembling, a text that continues to be heavily misunderstood despite its great fame in Western thought today. Through a close examination of Schmitt’s formulation of the concept of sovereignty and the method by which he develops this concept through Kierkegaard’s concept of the exception in Repetition, I show how Kierkegaard influenced Schmitt and also how Schmitt’s interpretation is useful for reading Fear and Trembling. However, I also show how Schmitt’s usage of Kierkegaard, despite its ingenuity, is misleading, and present a more faithful reading of Kierkegaard’s concept of exception. With this reorientation, I in turn critique Schmitt’s methodology and the way he understands sovereignty. Following this reinterpretation of sovereignty, I examine the text of Genesis 22 and Fear and Trembling and examine the theological themes that ground the narrative of the Binding of Isaac. I argue that the problem of the Binding and the arguments set forth in Fear and Trembling cannot be understood adequately without a clear awareness of the image of reality that is presupposed. Here, I make use of Erich Auerbach’s illuminating reading of Genesis 22, and Jacob Taubes’ understanding of eschatology. I then examine the problem of violence as presented in the Binding, and how Kierkegaard departs from both Kant’s and Hegel’s critique of Abraham. Finally, I examine Derrida’s reading of Fear and Trembling in The Gift of Death and the way he challenges the height of sovereignty that is implicit within Kierkegaard’s “absolute relation to the absolute.” / Thesis / Master of Arts (MA) Kierkegaard Carl Schmitt sovereignty exception Jacob Taubes Erich Auerbach Jacques Derrida eschatology political theology Political Theology Fear and Trembling Binding of Isaac Akedah The Gift of Death Repetition Abraham theology
495	The Stranger in the Dark: The Ethics of Levinasian-Derridean Hospitality in Noir Swanson, Stephen C. 20 June 2007 (has links) No description available. Film Noir Film Theory Ethics Genre Jacques Derrida Emmanuel Levinas Ethics in Popular Culture Philosophy in Popular Culture Hard-boiled Fiction Television Studies
496	Superheroes and Shamanism: Magic and Participation in the Comics of Grant Morrison Bavlnka, Timothy 08 April 2011 (has links) No description available. Literature Comic Books Literary Theory Shamanism Magic Grant Morrison Sigils Textualization Heath Ledger Joker Post-Structuralism Heteroglossia Participative Thinking Superman 4chan Thiem Derrida Bakhtin ludic reading DC hypercrisis
497	Mahari Out: Deconstructing Odissi sarkar, Kaustavi 30 October 2017 (has links) No description available. Dance Odissi Mahari Derrida Ritual Postructuralism Abhinavagupta Digital Humanities deconstruction Kelucharan Mohapatra Style of Odissi Motion Capture Technology Practice-as-Research Choreography Alasa-Kanya Sculpture
498	'Doing something' about modern slavery : scenes of responsibility, practices of hospitality Slack, Andrew January 2016 (has links) This thesis examines the desire and efforts to 'do something' about what is variously called 'modern slavery' or 'human trafficking'. Neoabolitionist efforts to fight such phenomena are typically wedded to a simplistic and essentialist ontology, unaware of or rejecting their own performativity. The thesis is not about slavery: it is about the ethico-political problem of responsibility and hospitality toward the other in the context of contemporary anti-slavery. What constitutes an ethical response to modern slavery? I explore the often violent effects of particular answers to this question but ultimately argue that the focus on doing something (and knowing it) threatens the very possibility of hospitality - of an ethical response. Through a conceptual vocabulary of 'scenes' I explore the performative interrelation of ontology and ethics. It is intended to help resist the metaphysical seductions of ontology and moral urgency. Scenes bundle specific ontologies, frames, conjured histories and futures, roles and narrative structures, distributions of concern, desire and enjoyment. Response begins with the discursive and affective co-constitution of the self, the one to whom we respond, and the scene in which it takes place. Scene-specific forms of responsibility can operate as a defence against the full force of responsibility to the other. Chapters 1 and 2 develop the notion of scenes and explore how neoabolitionism sets its scenes and locates favoured solutions. The remaining chapters explore those solution areas. Chapter 3 looks at how a US movement against 'sex trafficking' in internet advertising reproduces a Manichean world of simplicity by a game of Whac-A-Mole with websites, ritualistic repetition of baseless 'facts', silencing of sex workers, and aggressive demonization of those who disagree or argue for greater complexity; Chapters 4 and 5 draw on time I spent in San Francisco with two very different organisations. One, Not For Sale, makes a product of experiencing neoabolitionism, joining together charity, capitalism, consumer enjoyment, technology and the excitement of a movement of 'true believers', producing innovative approaches but in the process reinforcing problematic gendered and colonial stereotypes. The other, Anti-trafficking Collaborative of the Bay Area, works quietly and tactically in a messy immigration system, aware of the political and performative nature of their work. They actively take responsibility for their own preconceptions and desires to ground a profoundly hospitable client-centred approach avoiding many pitfalls identified in earlier chapters. The thesis has a performative element woven through it - the ethos of the work is one of unsettling both existing practices and literatures, and the writer and reader. The concluding chapter explores the impossibility of hospitality, its interrelation with juridical subjectivity and the ethics demanding and giving accounts in light of the preceding chapters, suggesting a performative approach toward the other is possible. 320
499	La performance au miroir des médiations. Enjeux théoriques et critiques / Performance and its Relations to Mediations Fourgeaud, Nicolas 12 May 2012 (has links) À l’orée des années soixante, la performance a cherché à imposer un art de l’action éphémère que n’entraverait aucun type de médiation, qu’il soit symbolique (la distance acteur/spectateur), technique (les médias), ou même linguistique (le langage, les signes). Enjeu de nombreux débats entre les années 1960 et 1990, ces tentatives ont trouvé de multiples formulations théoriques s’appuyant sur les outils du poststructuralisme en particulier, mais aussi sur des cadres de pensée différents, directement hérités du modernisme de Greenberg. On explore ici les étapes et enjeux de ce croisement, jusqu’à la rupture apportée dans les années 1990 et 2000 où les débats théoriques, toujours dirigés par des schémas poststructuralistes, redonnèrent une place centrale aux médiations, tout particulièrement au document. Or, la figure importante de la pratique artistique qu’est devenu le document depuis les années soixante s’avère mettre en question l’ontologie traditionnelle de la performance, orientée sur l’événement, autant que son épistémologie, qui valorise l’expérience directe. La prise en compte des dimensions instrumentales et artistiques du document nous conduit à réviser la poïétique traditionnelle de la performance et les théories de la communication qui lui sont liées, et à repenser par là même l’opposition entre objet et événement qui fonde la définition de la performance. C’est ainsi qu’on interroge le rapport de celle-ci à l’inscription, pour la redéfinir comme un art irréductible à son contexte d’exécution et travaillé en profondeur par la reproduction et la représentation, au travers notamment de l’étude de certaines figures exemplaires, Allan Kaprow, Chris Burden ou Tino Sehgal. / On the edge of the 1960’s, performance looked after imposing an art of ephemeral action that no kind of mediation would impede, be it symbolic (the distance between actor and spectator), technical (the medias), or even linguistical (language, signs). Those attempts led to numerous discussions between the 1960’s and the 1990’s, and have found numerous theoretical formulations using particularly the tools of poststructuralism, but also frames of thought directly inherited from Greenberg modernism. We explore here the stages and issues of this cross-over until the break of the 1990’s and 2000’s where the theoretical debates, always using poststructuralist schemes, gave a central role to mediations, particularly to the document. Documents have become an important figure of artistic practice since the 1960’s and turned out to question the traditional ontology of performance, based on the event, as well as its epistemology that promotes live experience. We try to consider the instrumental and artistic dimensions of the document ; this leads us to revise the traditional poetics of performance and theories of communication that are related to it, and to consider anew the opposition between object and event on which the definition of performance is based. Thus, we question the links between performance and inscription, redefined as an art that is irreducible to its context of execution and worked in depth by reproduction and representation, through the study of certain figureheads : Allan Kaprow, Chris Burden or Tino Sehgal. Poststructuralisme Théories des médias Documents d’artistes Jacques Derrida Philip Auslander Allan Kaprow Tino Sehgal Poststructuralism Media Theories Artists’ Documents Jacques Derrida Philip Auslander Allan Kaprow Tino Sehgal 790.2
500	Jacques Derrida et le problème de la technique / Jacques Derrida and the problem of technics Ertugrul, Tacettin 26 September 2016 (has links) La tâche de notre travail est de penser la question de la technique dans sa relation profonde et complexe avec celle de l’écriture chez Derrida. Les quasi-concepts du pharmakon et du supplément nous permettent de dire que la technique est pharmaco-supplémentaire. Mais il faut avancer et dire que l’archi-technicité est déjà la techno-graphie pharmaco-supplémentaire. L’œuvre de Derrida nous permet aussi de penser les télétechnologies à partir de l’écriture qui est déjà télé-technique. Les télétechnologies vont bien au delà d’une certaine conception courante de « média » ou de « télécommunication», car le concept de télé-technique atteint le coeur du mouvement de la différance. Il faut penser la télé-technique avec l’extériorisation, l’ex-appropriation, la trace, l’archive etc. Et dans le coeur de la différance, l’itération comme répétition en différence nous pousse à penser d’une nouvelle manière le même ou l’autos. Le même n’est pas stable, toujours en distance à soi-même et ouvert à l’autre. Il faudrait chercher l’archi-technicité dans cette ouverture à l’autre qui est liée à l’itérabilité différancielle. Une technicité comme ouverture à l’incalculable. / The task of our work is to think the question of technique in its profound and complex relation with the question of writing in Derrida’s work. The quasi-conceptsof pharmakon and of supplement allow us to say that the technique is pharmaco-supplementary. But we must move forward and say that thearchi-technicity is pharmaco-supplementary techno-graphy. Derrida’s workalso allows us to think the teletechnologies from writing that is already teletechnical.The teletechnologies go well beyond a certain current conception of« media » or « tele-communication », because the concept of teletechnology reach the heart of the movement of différance. We try to think the teletechnique with exteriorisation, ex-appropriation, trace, archive, etc. And in the heart of différance, the iteration as repetition in difference leads us to think newly the same (le même). The same is not stable, is in distance with it self and open to the other. We should search the archi-technicity in this opening to the other that is related to differential iterability. It has to be noted that the archi-technicity is a technicity which remains open to the incalculable, to the event (l’événement). Derrida Technique Technologie Philosophie de la technologie Présence à soi Déconstruction Nature Écriture Archiécriture Différance Pharmakon Supplément Trace Extériorisation Exappropriation Itérabilité Télétechnologies Archive Archi-technicité Auto-immunité Incalculable Événement Derrida Technique Technics Philosophy of technology Self-presence Deconstruction Nature Writing Archewriting Différance Pharmakon Supplement Trace Exteriorisation Exappropriation Iterability Teletechnologies Archive Archi-technicity Autoimmunity Incalculable Event 128

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