This essay aims to explore acoustiographies of the interior and interpret the cultural impressions that they perpetuate. While I do consider the conventional iconographies of headphones and full-body suits (e.g., spacesuits) that filmmakers employ as tools to focalize a character’s internal subjectivity, acoustiographies often supersede or occur in lieu of such visual symbols. While the acoustiography of “leakage” symbolizes the disparity between the self-perception of the self and the social perception of the self, that of “head sound” aims at placing the audience inside the head of a given character by positioning the point of audition as if it were emanating from the character’s head. Leakage is a diegetic sound that is somewhat obscured or filtered by some barrier blocking the sound’s full frequency emission, whereas sound effects or music seemingly sounding from inside a character’s head, as for example through headphones, represent head sound. These acoustiographies of leakage and head sound play a crucial role in the filmic expression of a character’s interiority, which they accomplish through their ability to physically represent interior space, but also figuratively represent a character’s subjectivity. / text

Canadian society is a cultural mosaic composed of individuals from an expansive range of cultural backgrounds. Through the process of globalization and ever-increasing accessibility to new people and places we are constantly being exposed to other cultures. This practicum project proposes a new typology for cultural spaces – a transcultural center that functions as a contact zone where individuals can negotiate both spatial and social relationships. Such everyday negotiations within space enables individuals to better understand their own identity and the identities of those around them, giving them the opportunity to recognize and acknowledge cultural similarities and differences. The process of developing the transcultural centre was explored through theoretical and analytical investigations in cultural identity and interaction, phenomenology, and human geography that examined how these notions have the potential to inform an understanding of space and place, sensorial engagements, and the blurring of spatial and cultural boundaries.

Canadian society is a cultural mosaic composed of individuals from an expansive range of cultural backgrounds. Through the process of globalization and ever-increasing accessibility to new people and places we are constantly being exposed to other cultures. This practicum project proposes a new typology for cultural spaces – a transcultural center that functions as a contact zone where individuals can negotiate both spatial and social relationships. Such everyday negotiations within space enables individuals to better understand their own identity and the identities of those around them, giving them the opportunity to recognize and acknowledge cultural similarities and differences. The process of developing the transcultural centre was explored through theoretical and analytical investigations in cultural identity and interaction, phenomenology, and human geography that examined how these notions have the potential to inform an understanding of space and place, sensorial engagements, and the blurring of spatial and cultural boundaries.

Etant donné que la phénoménologie husserlienne se propose de résoudre les problèmes philosophiques en adoptant pour méthode la réflexion et la description de l'expérience vécue, il est très tentant de voir en Husserl un héritier de cette tradition philosophique qui se trouve ruinée par les arguments de Wittgenstein. En partant du présupposé que la déconstruction du « mythe de l'intériorité » enclenchée par Wittgenstein est juste en son principe, il s'agira de montrer que l'on ne peut trouver chez Wittgenstein une réfutation implicite de la conception phénoménologique de l'intériorité qu'en faisant une lecture superficielle des Recherches logiques et des Idées directrices. En effet, si l'on sait porter attention aux détails des textes pertinents, on peut déceler chez Husserl une réflexion très fine sur la nature du langage qui débouche éventuellement sur une critique de la conception moderne et empiriste de l'intériorité du sujet très similaire à celle mise en chantier par les Recherches philosophiques, critique qui, de surcroît, a l'avantage de désamorcer certaines difficultés rencontrées par Wittgenstein. Une telle étude comparative et polémique permettra de tirer deux grandes conclusions à l'égard de la méthode devant être employée en philosophie. Premièrement, il sera démontré que la réflexivité exigée par le discours philosophique se reflète dans l'usage que Husserl et Wittgenstein font des guillemets. Cette observation en apparence triviale permettra d'établir que le discours philosophique repose sur l'usage d'un dispositif typographique banal appartenant à la grammaire de notre langage ordinaire. Ensuite, la supériorité de la méthode « généalogique » de la phénoménologie génétique de Husserl sera mise en relief. Cette dernière a le mérite d'éviter les apories du conventionnalisme de Wittgenstein tout en désamorçant les difficultés soulevées par l'essentialisme de la phénoménologie statique des Idées directrices. / Since Husserl's phenomenology purports to solve philosophical problems through description and reflection upon lived experience, it is extremely tempting to see him as an inheritor of the philosophical tradition that Wittegenstein's arguments demolished. Taking as its starting point the assumption that the deconstruction of the « myth of interiority » instigated by Wittgenstein is well founded, this project will attempt to show that Wittegenstein's arguments can only appear to refute Husserl's conception of interiority on the basis of a superficial reading of the Logical Investigations and of the Ideas I. Indeed, upon a close examination of the relevant texts, Hussserl's reflexions on the nature of language can be shown to lead him to a critique of the modern and empiricist conception of interiority very similar to Wittgenstein's, a critique that turns out to have the ressources to avoid some of the major difficulties that the latter faces. This comparative and polemical study will defend two more general theses about the method that philosophical inquiry ought to rely upon. First, it will be argued that the reflexiveness required for philosophical discourse is illustrated in both Husserl and Wittgenstein's use of quotation marks. This seemingly trivial observation will support the claim that philosophical discourse relies on the use of a banal typographical devise belonging to the grammar of ordinary language. Second, a case will be made for the superiority of the « genealogical » method of Husserl's genetic phenomenology, for it manages to avoid the pitfalls of Wittgenstein's conventionalism while also steering clear of the problems incurred by the essentialism of the Ideas I static phenomenology.

Made available in DSpace on 2016-08-29T15:08:27Z (GMT). No. of bitstreams: 1 tese_7448_Renata Aparecida Lucas.pdf: 1032548 bytes, checksum: 87d4f957aa60bfdd611028ab707cef79 (MD5) Previous issue date: 2014-03-11 / Este trabalho aborda um tema fundamental da mística de Mestre Ekchart: o nascimento de Deus na alma do homem. Esse evento, que permeia todo o pensamento eckhartiano, apenas é abordado como tema central no ciclo de sermões almães 101 a 104, conhecidos como o coração da obra de Eckhart. Esses sermões refletem a dimensão mística das obras em língua alemã do dominicano, e, neles, a partir de uma exposição filosófica e de forma original e singular, Eckhart convida o ouvinte à interioridade, ao silêncio e ao desapego como condições para iluminação do homem pelo nascimento de Deus no fundo de sua alma. A mensagem de Meister é articulada, no Sermão 101, em três pontos fundamentais: o lugar onde ocorre o nascimento divino, a atitude a ser adotada para que ele ocorra e os frutos desse acontecimento. A partir do nascimento do divino, eterno, presente e ininterrupto, as relações do homem consigo mesmo, com a divindade e com o mundo são radicalmente transformadas. Com isso, observa-se que a proposta da teoria relacional presente no pensamento eckhartiano é a resignificação do homem e do mundo que o cerca, por meio de um processo nitidamente intelectivo. Pela superação das imagens, pelo abandono de toda subjetividade e pela interioridade genuína, indispensáveis à geração divina no íntimo do homem e ao seu autoconhecimento, o mundo exterior deixa de ser um obstáculo à iluminação para se tornar um meio de manifestação da divindade que há em todo ser humano. / This paper addresses a fundamental issue of the mystic Meister Eckhart: the birth of God in the soul of man. This event, which permeates the whole Eckhartian thought, is only addressed as a central theme in the cycle of German sermons 101-104, known as the heart of the Eckhart`s work. These sermons reflect the mystical dimension of the works of the German Dominican, and in them, from a philosophical exposition and in a unique and singular form, Eckhart invites the listener to interiority, silence and detachment as conditions for illumination of man by birth of God in the depths of his soul. The message of Meister is articulated in the Sermon 101, in three fundamental points: the place where the divine birth occurs, the attitude to be adopted for it to occur and the fruits of such event. From the divine birth, eternal, and uninterrupted, man's relationships with himself, with the divinity (deity) and with the world are radically transformed. Thus, it is observed that the proposed relational theory present in the Eckhartian thought is the redefinition of man and the world that surrounds him, by means of a clearly intellective process. The overcoming of the images, by the abandonment of all subjectivity and by the genuine interiority which is necessary for the generation of the divine within man and his self-knowledge, the outside world ceases to be an obstacle to enlightenment to become a means of manifestation of the divinity that is in every human being.

Se comprendre soi-même dans l'existence c'est comprendre concrètement l'abstrait, telle est chez Kierkegaard la tâche de celui qu'il nomme « le penseur subjectif ». Sortir de la plainte et accéder à la vérité de soi c'est se poser dans un rapport particulier à soi-même. Dans ce cadre, Kierkegaard indique différentes postures de vie qui sont autant de réponses fragmentaires que l'existant donne aux questions qui le pressent à son insu car, fondamentalement, ce n'est pas l'homme qui donne un sens à l'existence, mais il est bien lui-même l'interrogé. Ce qui effectue ce travail de questionnement chez le philosophe danois est sa pensée de la répétition dont la fécondité est grande puisqu'elle ouvre le champ de la pensée contemporaine sur ce point. Cette question de la répétition chez lui est paradoxale : elle est le lieu de l'attestation de soi du sujet qui ne devient lui-même que par le jeu d'infimes variations rendues possibles dans le mouvement religieux de la répétition-reprise de soi impliquant dans le creusement de l'être qui se fissure ouverture à l'Autre. Dans ce mouvement, il ne peut pas faire l'économie de l'épreuve de l'angoisse et du désespoir / Understanding oneself in the existence means understanding concretely the abstract : this is the task Kierkegaard appoints to the « subjective thinker ». Getting out of the complaint and reaching the truth about oneself implies setting one's being into a particular relationship with oneself. In this scope, Kierkegaard indicates various postures of live which are so many fragmentary answers the subject gives to these questions that urge him unknowingly, because it's not essentially the man who gives sens to existence but he is the one who is being questioned. What performs this questioning work in the Danish philosopher is this thought about repetition whose fertility is significant since it opens the field of contemporary philosophy in this point. This question of repetition in Kierkegaard's work is paradoxical : if is the place where the self gets certified and thus the subject becomes himself only thanks to the game of minute variations made possible by the religious movement of repetition-retake of oneself wich involves, in the depth of the being that fissures itself, the openness to the Other. In this motion, he cannot avoid the trial of anguish and despair

Je considère deux pratiques « somatiques » nées dans le même contexte culturel des années 70 aux États-Unis, l'une héritière de la postmodern dance — le Contact Improvisation —, l'autre s'inscrivant dans le champ émergeant de l'Éducation Somatique — le Body-Mind Centering. Je m'intéresse à elles en tant qu'elles expérimentent des discours, des pratiques et des savoirs sur les rapports entre le corps et l'esprit, ou encore la « conscience corporelle ». À la croisée de l'anthropologie somatique et de la sociologie des sciences, l'enquête porte sur des expériences qui questionnent l'évidence de notre conception « moderne » de l'« intériorité », réduite à sa part mentale, et qui contestent le partage selon lequel tout ce qui se manifeste « à la surface » du corps est une affaire publique tandis que tout ce qui s'y passe « en profondeur » est une affaire privée. Elle suit des praticiens qui font de leur « intériorité » un lieu de pratique et d'apprentissage, presque un lieu d'intervention publique, en construisant des sensations à la fois intérieures et publiques Ces pratiques instaurent la possibilité de se rendre sensible à des « entités intérieures » (internal material) qui comptent comme autant de ressources pour danser, improviser, composer et, plus largement, sentir, se relier et connaître. Cette recherche documente ce travail de « mise en culture des sens intérieurs » (Luhrmann) par lequel d'autres « versions » (Despret) de l'« intériorité », de la « sensation » et de la « conscience » se mettent à exister, à compter et à guider ceux qui apprennent à les cultiver. Au final, cette thèse ne fait rien de plus que de poser la question « qui danse ? », en s'obligeant toutefois à donner suffisamment d'épaisseur spéculative à cette interrogation pour que l'enquête puisse témoigner du nombre et de la variété de ceux que la réponse requiert et engage. / This inquiry considers two different somatic practices coming from the same cultural context: 70's in United States. One emerged whithin Postmodern dance experimentations — Contact Improvisation —, the other belongs to the “somatics” field (Hanna) — Body-Mind Centering. Both practices experiment discourses, knowledge and experiences on the binding of body and mind. The inquiry aims to document the ways practitioners, thanks to their inner sensations and specific training of their attention, allow their “interiority” to transform into a place for practicing and learning, or even into a public space. I intend to describe these practises as practices enhancing an « inner sense cultivation » (Luhrmann) revealing the opportunity for what we normally call « interiority », « sensation » or « body consciousness » to exist in other « versions » (Despret). Somehow, it just points out a recurrent question: “who does the dancing?”. And it brings another one: How could we force ourselves to detail our answers so that these new ‘versions' might start to vividly enter the dance?

Para Santo Agostinho, o homem tem um desejo natural de Deus que se manifesta em seu desejo pela verdade e pela vida feliz. Nas suas Confissões, ele relata sua procura pela sabedoria, pela felicidade e o processo da sua conversão. Descrevendo as diversas etapas vividas por ele, Agostinho mostra como foi, cada vez mais, adentrando o seu mundo interior e assim construindo uma filosofia do espírito. Este trabalho investiga a noção de interioridade e filosofia do espírito a partir das Confissões, procurando demonstrar qual a relação entre a descoberta da interioridade, entendida como movimento de interiorização, e filosofia do espírito, compreendida como tentativa de se apossar da interioridade. / For Augustine, the man has a natural desire for God which is manifested in their desire for truth and happy life. In his Confessions, he describes his search for wisdom, happiness and the process of his conversion. Describing the various stages experienced by him, shows how Augustine was increasingly penetrated his inner world and so building a philosophy of spirit. This work investigates the notion of interiority and philosophy of spirit from the Confessions, seeking to demonstrate that the relationship between the discovery of interiority, understood as a movement of interiorization, and philosophy of spirit, understood as an attempt to get hold of interiority

A temática sobre a aporia da memória do esquecimento, no livro X das Confissões, busca a compreensão do fio condutor do pensamento de Agostinho. O foco central da discussão aponta para o desenvolvimento sobre a memória em inter-relação com a vontade no discurso da interioridade. Ao mesmo tempo, coloca como problema chave no livro X a memória de si mesma e a imagem, que mostra a vontade no próprio espírito como causa da dispersão e aproximação do conhecimento de si em busca da felicidade. / The study of the aporia of the memory of forgetfulness, from the Confessions Book X, seeks for the understanding of the conducting line of Augustines thinking. The main focus of the discussion aims the development of the memory inter-related with the will on the subject of the interiority, treating as a key problem the memory of memory itself and the image, showing will on owns soul as a cause for dispersion and closeness of self-knowledge in search for happiness.

Este trabalho expõe uma investigação sobre a concepção de interioridade absoluta [absolute Innerlichkeit] apresentada nos Cursos de estética de Hegel. Tal fenômeno surge com o advento do Cristianismo e determina toda a Forma de arte romântica, partindo de um conteúdo marcado pela interioridade religiosa (o ideal do amor) e alcançando particularmente um sentido mais forte e mundano no contexto da chamada arte moderna, cujo desenvolvimento deve ser observado tanto do ponto de vista histórico quanto lógicocategorial. Também interessa verificar em quais formas e fenômenos artísticos o filósofo identifica a presença desse princípio, cujo desdobramento se encaminha para o tema do fim da arte em Hegel, à medida que a interioridade sai do campo sensível e passa para o racional na modernidade. Nesse caso, ressalta-se o tema da subjetividade moderna e da liberdade nas obras de Shakespeare (no campo da poesia) e na pintura holandesa (no campo da pintura), expressões artísticas que constituem momentos decisivos. / This work exposes an investigation about the conception of absolute interiority [absolute Innerlichkeit] presented in Hegels Aesthetic Courses. This phenomenon arises with the advent of Christianity and determines the whole Romantic Art Form, starting from a content marked by religious inwardness (the ideal of love) and achieving particularly a more stronger and mundane sense in the context of the so-called modern art, whose development must be observed from both a historical and a logical-categorical point of view. It is also important to verify in which forms and artistic phenomena the philosopher identifies the presence of this principle whose unfolding is directed towards the theme of the end of art in Hegel, as the interiority leaves the sensitive field and passes to the rational in the modernity. In this case, it is emphasized the themes of modern subjectivity and freedom in the works of Shakespeare (in the field of poetry) and in Dutch painting (in the field of painting), artistic expressions that constitute decisive moments.