Emmanuel Lubezki es uno de los directores de fotografía del momento. No solo por haber ganado 3 Oscar a mejor fotografía consecutivamente, sino por ser fiel a sus métodos de trabajo y mantener firme su sello propio que permite fácilmente identificar una producción que contenga su Dogma. Este análisis explora al espectador y al rol tan importante que juega en una narrativa tomando como base una muestra de tres películas en las que Emmanuel Lubezki lidera el departamento de fotografía. Por ello, el objetivo de este análisis es determinar cuáles son los métodos que emplea Lubezki para permitir al espectador verse inmerso en la narrativa y apreciar desde otro punto de vista un film y determinar las sensaciones y percepciones del espectador al ver la película. La investigación generó que el espectador comprende, identifica y reacciona ante los estímulos visuales que comprende la dirección de fotografía del Chivo mediante una serie de técnicas audiovisuales que están enfocadas en construir un espacio, hacerlo realista y evocar a una estética naturalista y verosímil, teniendo en cuenta en todo momento al espectador y las sensaciones que percibe durante la experiencia audiovisual. / Emmanuel Lubezki is one of the cinematographers of the moment. Not only for having won three consecutive Oscars for best cinematography, but also for being faithful to his working methods and keeping his own stamp that allows him to easily identify a production that contains his Dogma. This analysis explores the spectator and the important role he plays in a narrative based on a sample of three films in which Emmanuel Lubezki leads the cinematography department. Therefore, the objective of this analysis is to determine what methods Lubezki employs to allow the viewer to be immersed in the narrative and appreciate a film from another point of view and to determine the sensations and perceptions of the viewer when watching the film. The research generated that the viewer understands, identifies and reacts to the visual stimuli that comprise Chivo's direction of photography through a series of audiovisual techniques that are focused on constructing a space, making it realistic and evoking a naturalistic and plausible aesthetic, taking into account at all times the viewer and the sensations he or she perceives during the audiovisual experience. / Tesis

Ce mémoire étudie l’influence du monologue intérieur sur l’immersion d’un spectateur lorsqu’il audiovisionne une œuvre filmique narrative. Plus particulièrement, il s’intéresse à décrire les différents mécanismes perceptifs impliqués lors du traitement de l’information sensorielle et de quelles façons ces derniers influencent la production et la perception d’un discours intérieur chez le spectateur. S’inscrivant dans une perspective cognitiviste fonctionnaliste, ce mémoire explore différentes hypothèses et concepts rattachés aux processus attentionnels, mémoriels et langagiers chez l’être humain, eux-mêmes fortement impliqués lors du décodage d’une œuvre fictive et narrative. La recherche proposée permet de revisiter la théorie générale du PECMA flow développée par Torben Grodal (1997), qui conçoit l’expérience cinématographique en tant que flux de traitement sensoriel. L’approche transhistorique et intersectorielle préconisée dans le cadre de ce mémoire permet d’aborder certaines conceptions matérialistes liées aux fonctionnements physiologique et neurologique du cerveau humain, en les combinant à différentes théories issues des sciences humaines et des sciences sociales rattachées au soi dialogique, au soi narratif, de même qu’aux processus de traitement ascendant et descendant. Enfin, l’analyse d’un extrait tiré de The Tree of Life (2011), du réalisateur Terrence Malick, démontre comment l’expérience d’audiovisionnement d’un film peut concourir à mettre en place un recul nécessaire avec le récit, qui s’avère primordial dans l’actualisation et la perception d’un monologue intérieur « immertiel » chez le sujet. À l’aide des notions développées au cours des différents chapitres et s’appuyant sur le modèle du PECMA flow, le mémoire illustre comment une œuvre filmique peut concourir à faire émerger, en parallèle de l’audiovisionnement, une conversation intérieure toute particulière dans l’esprit du spectateur, qui participe directement à son immersivité filmique. Une attention particulière sera accordée à l’usage de la voix-over au cinéma, afin de démontrer comment son traitement dans l’œuvre à l’étude en fait un élément du langage cinématographique qui favorise l’élaboration d’un trialogue entre le sujet pensant confronté à son propre monologue intérieur et sa position de spectateur récepteur du ou des discours transmis par le film. / This master’s thesis studies the influence of the inner monologue on the immersion of a spectator when he/she audioviews a narrative film work. More specifically, it is interested in describing the different perceptual mechanisms involved in the processing of sensory information and the ways in which these influence the production and perception of an inner speech in the viewer. From a functionalist cognitive perspective, this dissertation explores different hypotheses and concepts related to attentional, memory and language processes in humans, which are themselves strongly involved in the decoding of a fictional and narrative work. The proposed research allows us to revisit the general theory of PECMA flow developed by Torben Grodal (1997), which conceives the cinematic experience as a sensory processing flow. The transhistorical and intersectorial approach adopted in this dissertation allows us to address certain materialist conceptions related to the physiological and neurological functioning of the human brain, by combining them with different theories from the humanities and social sciences related to the dialogical self, the narrative self, as well as bottom-up and top-down processing. Finally, the analysis of an excerpt from The Tree of Life (2011), by director Terrence Malick, demonstrates how the experience of audio-viewing a film can contribute to the establishment of a necessary distance from the narrative, which proves to be essential in the actualization and perception of an “immertial” inner monologue in the subject. Using the notions developed in the different chapters and based on the PECMA flow model, the master’s thesis illustrates how a filmic work can contribute to the emergence, in parallel to the audiovisioning, of a very particular inner conversation in the spectator's mind, which directly participates in his filmic immersiveness. A particular attention will be paid to the use of the voice-over in cinema, to demonstrate how its treatment in the work under study makes it an element of the cinematographic language that favors the elaboration of a trialogue between the thinking subject confronted with its own inner monologue and its position of receiver of the discourse(s) transmitted by the film.

This dissertation focuses on mid-eighteenth-century British periodicals and their claims to educate middle-ranked women in natural philosophy, modern history, and vernacular literature. I argue that articles published in female-penned periodicals are comparable to articles in male-penned periodicals and therefore allowed women to pursue an informal education through reading. I propose that female periodicals also illustrate how women formed counterpublics of learning through correspondence that rivaled the conversations that took place in the male-dominated public spheres, such as in coffee houses and meeting halls. As formal classical education was reserved for elite men, women learned through reading books and periodicals, and through conversation. Given the cost of books, periodicals became the main source for informal learning for middle-ranked women. I call attention to the periodical form that allowed women to complete feasibly short lessons between their daily domestic duties and amusements. Female-penned periodicals encouraged women to diversify their interests by deploying literary depictions of the moral pitfalls of women’s focus on the beautification of the body. Driven by the financial and social rise of the merchant class, middling-ranked women with small dowries sought to gain advantage in the marriage market by distinguishing themselves as suitable wives for merchant or even gentry husbands. Periodicals thus made an economic as well as a moral case for their single female readers to balance fashionable amusements with intellectual pursuits. By examining not only how mid-century female-penned periodicals defined themselves in relation to male-penned periodicals but also the impact of broader changes in formalized education, my thesis uncovers an important and under-discussed aspect of the rise of the middling ranks in eighteenth-century Britain. I show how female-penned periodicals encouraged women's involvement in discussions about the development of the modern disciplines of education. My thesis is organized chronologically and follows the work of three notable periodical editors and authors with chapters on Eliza Haywood's The Female Spectator (1744-46), Frances Brooke's The Old Maid (1755-56), and Charlotte Lennox's The Lady's Museum (1760-61). The purpose of my thesis is not only to chart the changes in representations of women's learning over time, but also to reveal how Haywood, Brooke, and Lennox propose that women share their proto-disciplinary knowledge beyond their counterpublics in order to encourage intellectual discussions between like-minded males and females in the public spheres.

This essay is a qualitative study that analyzes how close-ups and point of view in relation to the narrative affect the viewer emotionally in the TV show The Last of Us episode 8. It examines the visualization of the character Ellie’s emotions and analyzes its emotional effect on the viewer. The theories applied explain the human ability to feel empathy and social cognition, film’s ability to evoke emotion and the concept of focalization. The theories also define the terms: narrative, point of view and close-ups. Five scenes were chosen and each scene was analyzed closely looking at facial expressions, point of view, camera movement, angles and more. Since this is a qualitative study it is based on subjective interpretations and assumptions which should be taken into account. However emotions are exceedingly subjective and a quantitative study would therefore be unmotivated.  The results suggest that assumptions can be made in how close-ups and point of view affect the viewer emotionally. When taken narrative into account, close-ups and point of view visualized the character Ellie’s emotions. These two techniques clarified and reinforced the character’s emotional state which, through the human ability to feel social cognition and empathy, transferred and/or influenced the viewer’s emotions.

This thesis explores ways in which the reality of Kantor’s existence at a key moment in occupied Kraków may be read as directly informing the genesis and development of his artistic strategies. It argues for a particular ontological understanding of human being that resonates strongly with that implied by Kantor in his work and writings. Most approaches to Kantor have either operated from within a native perspective that assumes familiarity with Polish culture and its influences, or, from an Anglo-American theatre-history perspective that has tended to focus on his larger-scale performance work. This has meant that contextual factors informing Kantor’s work as a whole, including his happenings, paintings, and writings, as well as his theatrical works, have remained under-explored. The thesis takes a Heideggerian-hermeneutic approach that foregrounds biographical, cultural and aesthetic contexts specific to Kantor, but seemingly alien to Anglo-American experience. Kantor’s work is approached from Heideggerian and post-Heideggerian perspectives that read the work as a world-forming response to these contexts. Read in this way, key writings, art and performance works by Kantor are revealed to be explorations of existence and human being. Traditional ontological distinctions between process and product, painting and performance, are problematised through the critique of representation that these works and working practices propose. Kantor is revealed as a metaphysical artist whose work stands as a testament to a Heideggerian view of human being as a ‘positive negative’: a ‘placeholder of nothing’, but a ‘nothing’ that yet ‘is’ …

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本論文研究伊恩．麥克尤恩的《贖罪》、《愛無可忍》及《星期六》這三部小說中的同情與想像力。第一章仔細爬梳亞當．史密斯的哲學文本《道德情感論》，並闡述幾個重要概念如同情與想像力、公正觀察者的角色、同情與戲劇性質、及同情與敘事。第二章運用史密斯的同情與想像力的概念來檢視《贖罪》這部小說，並指出布萊妮最初反映了史密斯式的同情概念，但在她贖罪的過程中，她實踐了自我反省及自我批判的另一層次的同情。第三章從演化、利他主義及同情的觀點來閱讀《愛無可忍》這部小說。敘述者喬．羅斯所面臨的拯救小孩及保存自己性命的道德兩難彰顯出利他行動與利己行為間的衝突。本章以史密斯的同情概念來解釋小說中約翰．羅根的利他主義，並呈現出同情與利他行為的關連性。本章指出同情並非完全是利他的情感展現，同情實際上包含了利己與利他的動機。第四章檢視《星期六》中同情與敘事的關係，並闡述貝羅安對其病人泰勒伯的同情與泰勒伯透過口述去敘述其在伊拉克所遭遇的苦難具有關連性。本章並分析貝羅安在聆聽黛絲朗誦馬修．阿諾的多佛海灘詩集時所展現的同情與想像力。本章最後聚焦在貝羅安對巴克斯特的同情，並指出貝羅安對巴克斯特的仁慈實際上強化了同情者與被同情者之間微妙的權力關係。 / The dissertation aims to study the concept of sympathy and imagination in Ian McEwan’s three novels Atonement, Enduring Love and Saturday. In the first chapter, Adam Smith’s philosophical text, Theory of Moral Sentiments, is carefully scrutinized. The chapter includes several key ideas such as sympathy and imagination, the role of the impartial spectator, sympathy and its theatrical quality, and sympathy and narratives. In the second chapter, I use Smith’s concept of sympathy and imagination to examine McEwan’s Atonement and propose that Briony’s sympathy at first reflect Smith’s model of sympathy, but in the process of her atoning for her crime, Briony achieves a new level of sympathy which is more self-reflected and self-critical. Chapter Three reads Enduring Love from the perspective of evolution, altruism and sympathy. The narrator Joe Rose’s moral dilemma between saving the child and preserving his own life dramatizes the conflict between altruistic actions and self-interested behaviors. Smith’s idea of sympathy is employed to account for John Logan’s altruism and the connection between sympathy and altruistic acts is then presented. The chapter shows that sympathy is not an other-oriented emotion but a sentiment that contains both self-interested and other-interested motives. Chapter Four looks at the relation between sympathy and narratives, and demonstrates how Perowne’s sympathy to his patient Taleb is related to Taleb’s oral report of suffering in Iraq. It then analyzes Perowne’s sympathy and imagination during Daisy’s recitation of Matthew Arnold’s Dover Beach. The final section focuses on Perowne’s sympathetic sentiments to Baxter, arguing that Perowne’s benevolence to Baxter only highlights the subtle power relationship between the sympathizer and the sympathized.

Selon différents théoriciens (Guénoun, Lehmann, Ryngaert, etc.), la fin du vingtième siècle se caractérise par l'émergence de nouvelles formes théâtrales, marquées par la contamination des pratiques spectaculaires.<p>Hans-Thies Lehmann reprend la notion de "théâtre postdramatique" proposée par Richard Schechner pour qualifier ces formes métissées de spectacle vivant La thèse défendue est la suivante :le théâtre postdramatique trouve sa spécificité non seulement dans la transgression des codes dramatiques mais surtout dans des processus de réception spécifiques qu'il importe de définir, à l'aide d'outils notamment sémiotiques. Ces processus sont situés et construits par rapport à différents modèles interdisciplinaires. / Doctorat en Information et communication / info:eu-repo/semantics/nonPublished

Diploma thesis Background identity is a series of events through which I am trying to find a harmony between the magic of art and life. I decided to initiate the situation, "performance" mediating an authentic, strong feelings. I tend to performance associated with life in the self-reflective approach. Based in my own performative practice in which the strength and authenticity is reflected primarily in the exchange of energy between the audience and the performer. I started to define an ideal conditions for performance to achieve this exchange, authentic experience and mutual perception of the situation within the relationship between "performer" and "spectator". In November 2015 I planned "authentic performances " series . The mutual forming of "performing" act I have anchored in the concept of identity, which is infinitely formed in relationships and the never-ending negotiation process. In the name of authenticity I am exposing myself within the anonymity of public space and waiting for the moment of identification. Waiting for concrete spectator who is already a part of me within a certain social role. Unexpected intervention into the everyday life of concrete person make the opportunity of authentic experience. Experience which is a part of his everyday life completes the action, giving the context. During the realization I got the opportunity to exhibit in the Palais de Tokyo. Aware of the significance of this opportunity for the development of my own artistic career I have decided to accepted it as a challenge. Although the terms of institution are utter contradiction of those conditions I had defined previously for authentic experience. In the name of authenticity and my principles I decided to be present in the role of spectator. To be invisible to this prestigious gallery. Be invisible to the artistic group Delta Total through which I had the opportunity to exhibit. To be inside and outside in the same time. The starting point of the last part is a necessity with the goal to get a master's degree. The necessity of outcome for jury can also betray my ideals of living authentic event. I should mediate all the experience of past events (to date 20th of April- thirty-three events) which happened in so many different places in the space of "Malá Amerika" in Brno...

This master thesis aims to investigate participatory art with focus on socially engaged art. The study is based on  Hannah Arendt’s theories of plurality, the public space and the work of art as a ”thought-thing” where the sensory experiences are central. The human’s social life is based on appearances, and individuals appear in front of each other. These appearances are based on a variety of perspectives. The purpose of the essay is to understand what vulnerability means for the art form, and how we as viewers can approach the artwork. By taking a theoretical point of view, the process draws support from Arendt's claim about the work of art as a ”thought-thing”. This is also the method for the thesis where the thought and it’s exploration have a central place and contribute to an organic process. This process follows the events that occur in the outside world like a ”train of thoughts” that connects and develops as a chain.          During this process there have been two great world events that have affected peoples freedom and ability to meet: the pandemic and the war between Russia and Ukraine. This led to the study being influenced by art initiatives linked to Ukraine.           The study begins with identifying the roles and perspectives in the artwork and then continues to discuss how to approach the analysis. This led to see the artwork as several parts that form a whole with the conclusion that the hermeneutic circle would form an appropriate method. The spectator’s pre-understanding is the starting point of the interpretation and helps to reach a deeper understanding of the subject. Finally the analysis results in an interpretation of the French artist JR’s work The Resilience of Ukraine that takes place in Liviv in March 2022. This participatory artwork illustrates the Ukrainian people’s situation in the war between Russia and their country.           The conclusion of the study is that it is important to see whose vulnerability it is that shapes the artwork and that vulnerability is an aesthetic perspective that enables a deeper understanding of the world. The spectator is an active agent that takes part in the appearances even when not formally invited to join the event. With it’s pre-understanding and ability to interpret, the role activates and the spectator gains a deeper understanding of the situation or the artwork. It is the ability to gain deeper understanding that is central for the spectator.