La notion de « double contemporanéité » de l’art souhaite s’inscrire dans une démarche plastique et théorique actuelle. Cette notion, aux allures de concept, semble contester le nouvel ordre artistique qui se cache la locution « art contemporain ». En Occident, en Orient, et en Afrique, on parle couramment d’ « art contemporain » pour désigner certaines productions artistiques actuelles. Ainsi, l’expression « art-contemporain : en un seul mot» (Jean-Pierre Cometti) semble être une « logique » artistique. Quels sont les objets que nous rassemblons sous cette expression ? Sur quelles bases objectives peut-on déterminer la « temporalité » de l’objet contemporain ? Face à toutes ces interrogations, cette thèse défend l’ambigüité du terme « contemporain » à travers le concept de la « double contemporanéité » de l’objet d’art. Aujourd’hui, quels types d’objets d’art méritent le qualificatif d’œuvre contemporaine ? Qu’est-ce que le contemporain ? La première partie de cette thèse invite au parcours du scénario d’un « jeu de rôle ». Existe-t-il un rapport entre l’art et le jeu ? Dans ce jeu, je souligne l’usage du terme « contemporain » en ce qu’il peut renvoyer à l’ « anachronisme » des choses. La deuxième partie de la thèse embrasse la notion de « double contemporanéité ». Cette notion se positionne comme un repère. A partir de ce dernier, je situe ma position dans le « monde de l’art ». Depuis mon inclusion, la double contemporanéité se dessine dans la confrontation entre « l’objet modelé » et « l’objet manufacturé ». Cette « hybridation » n’est-elle pas la marque visible d’un art de réconciliation ? / The notion of the “double contemporaneity’’ of art wishes to be part of a current plastic and theoretical approach. This notion, which looks like a concept, seems to challenge the new artistic order that is hidden under the banner of “contemporary art”. In the West, in the East, and in Africa, contemporary art is commonly used to refer to some of today’s artistic productions. Thus, the expression « contemporary-art: in one word » (Jean-Pierre Cometti) seems to be a artistic logic. What are the objects we collect under this expression? On which objective bases can we determine the temporality of the contemporary object? Face with these questions, this thesis defends the ambiguity of the contemporary term through the concept of the « double contemporaneity » of art. Today, what types of artwork deserve the label of contemporary work? What is the contemporary? The first part of this thesis invites to a scenario of a « game of roles ». Is there a relationship between art and game? In this game, I emphasize the use of the contemporary term in what it refers to the “anachronism” of things. The second part of the thesis embraces the concept of the “double contemporaneity”. This notion is positioned as a landmark. From this point of view, I situate my position in the « world of art ». Since my inclusion, the « double contemporaneity » emerges in the confrontation between « the object modeled » and « the manufactured object ». Is not this “hybridization” the visible mark of a reconciliation of art?

The study aims to present the notion of rhythmanalysis in relation to the city environment and aims to apply the theory to field research. The theoretical part focuses on the semiotic conception of the rhythm, on the position of rhythmanalysis in the work of its father, Henri Lefebvre and it further tackles the topic and its applications in Czech and also international context. Following this approach, it clarifies a wide range of related conceptions and phenomenons. It finds common points of reference in philosophy, semiotics, critical theory, urbanism, social geography, art and other fields, which is determined by its interdisciplinary nature. The practical part relates the previously mentioned theoretical foundations to applied, empirical research. It observes and reveals the rhythms of Prague area named Vltavská, it analyzes and interprets them and shows the rhythmanalysis as a legitimate analytical instrument with a potential value for urbanism.

The project consists of developing new housing for the residents of Papaquara, 191 people who lived in a favela until early2011, when they were evicted and had their houses demolished by the local government while their settlement was severely flooded. This new housing project, which is firmly grounded in real circumstances, builds upon research on irregular autoconstructed settlements, their architectural characteristics and specifically the temporal aspect of how spatial qualities are constructed in such areas. The architecture presented in the final proposal is an upgraded version of a favela house core that facilitates incremental add-ons, in a typology called urban field house.

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In this paper, I argue that Milton envisions a long view of education in which continual encounters with evil allow created beings to prove themselves and gradually approach a state like God’s—a state marked by constant righteous habits and by a dilation of subjective time with increased access to past and future knowledge. I discuss the roles of opposition in Miltonic education, illustrating how non-examples may result in apophatic revelation about the divine. Acts of rebellion in Paradise Lost demonstrate, however, that the timetable for introducing opposition proves complex, since created beings, the devil among them, act on their own initiative and tinker with the orchestration of Heaven’s agenda. Obedient beings, meanwhile, begin to approach God’s own course of time as they solidify holy habits and respond with constancy to persistent, recurring evils. By establishing a contrast of temporalities experienced between the wise faithful who grow toward God in reason and the foolish fallen who move against him at every turn, Milton’s epic poem suggests a spectrum model of Christian time—intricately ordered for those nearing God and utterly disorganized for those who distance themselves from him. I argue that in Milton’s work, those who obey develop toward the stability of eternity, participating in both cyclical and linear wholes: as the righteous obey with ever more precision, their lives revolve around their King more perfectly even as he marks a sure course onward. Those who oppose God, meanwhile, become subject to extremely chaotic and volatile experiences of time that resist organization into meaningful trajectories. My conclusion analyzes the way these claims might upset some constructions of Miltonic education in existing scholarship and outlines principles for ongoing improvement to the ways educators approach questions of challenge, assessment, repetition, and habit formation.

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[pt] As ficções latino-americanas, sejam elas literárias ou cinematográficas, produzidas na segunda década do século XXI, têm sido palco de produções sobre uma questão não resolvida coletivamente, e que ainda assombra diversas esferas da vida pública e privada da sociedade: o passado insepulto das ditaduras militares no subcontinente. Nessas obras, percebe-se que o passado, enquanto dimensão temporal, se impõe ao presente e teima em não passar. As diversas formas de perpetração da violência de Estado, que não foram trabalhadas de maneira coletiva, fizeram com que o horror praticado nos anos de exceção, fosse confinado no subterrâneo da história oficial. Isso possibilitou que diferentes narrativas sobre fatos históricos, sobre o passado recente da América Latina, pudessem ser contestadas, abrindo portas para movimentos que soterram verdades, para o negacionismo e revisionismo histórico. Sendo assim, esta dissertação propõe uma reflexão sobre as soluções formais que essas ficções contemporâneas utilizam para dar conta das feridas ainda abertas, causadas pelas ditaduras civis-militares e da permanência da violência institucional, ao longo do tempo. A partir do estudo de algumas ficções latino-americanas, parte-se da hipótese de que, nessas narrativas, o deslocamento de enunciação, a banalidade do mal e uma estética fantasmática, que aponta para a utilização do corpo como ruína/alegoria, são artifícios narrativos que colocam a temporalidade no centro do debate. / [en] Latin American fiction, whether literary or cinematographic, produced in the second decade of the 21st century, has been the stage for productions about an issue that has not been collectively resolved and that still haunts various spheres of public and private life in society: the unburied past of military dictatorships in the subcontinent. In these works, it is perceived that the past as a temporal dimension imposes itself on the present and insists on not passing. The various forms of perpetration of State violence that were not dealt with collectively meant that the horror practiced in the years of exception was confined to the underground of official history. This made it possible for different narratives about historical facts about the recent past of Latin America to be contested, opening doors to movements that bury truths, to denialism and historical revisionism. Therefore, this dissertation proposes a reflection on the formal solutions that these contemporary fictions use to deal with the wounds that are still opened caused by civil-military dictatorships and the permanence of institutional violence over time. From the study of the chosen fictions, we start from the hypothesis that, in these narratives, the displacement of enunciation, the banality of evil and a ghostly aesthetic that points to the use of the body as a ruin/allegory are narrative devices that place temporality at the center of the debate.

[pt] Numa conferência, em 1966, Michel Foucault afirmava que, para ele, as utopias teriam nascido do desejo do ser humano de se libertar da prisão do corpo, ou de apagar os corpos. Em seguida, o pensador se considerou equivocado, voltando atrás e concluindo que o que retira do corpo sua possibilidade utópica seria o peso e os contornos que somos ensinados a dar-lhe. Sob uma perspectiva contemporânea, David Le Breton, em Adeus ao Corpo (1999), observa que, com a aceleração dos avanços tecnológicos, cada vez mais as atividades do corpo são atrofiadas, substituídas por serviços e aparelhos, restando a ele o lugar de limitação ou doença. A presente pesquisa investiga como criações do cinema, das artes visuais e da literatura, principalmente das primeiras décadas do século XXI, dialogam com esses pensamentos, discutindo três imaginários acerca do corpo: como barreira a ser ultrapassada pelo ser humano por meio da tecnologia; como reflexo do antropocentrismo e de concepções de temporalidade, em diálogo com as noções de progresso, devir e performance; e como lugar de registro de memória, tanto pelas inscrições ou mutilações na carne quanto por sua ausência, transformada em falta espectral. Foram selecionadas narrativas em que o corpo é deformado, reformado, ou que visam superar o corpo, para compreender aspectos da contemporaneidade a partir dessas representações que tratam da unidade material mais elementar do ser humano. / [en] In a conference in 1996, Michel Foucault stated that, for him, utopias were born from the human desire to escape from the prison of the body, or to erase bodies altogether. Shortly after, upon reflection, the philosopher felt he was mistaken, concluding instead that what deprives the body of its utopian possibility would be the weight and the limits we are taught to give it. From a contemporary perspective, David Le Breton, in L Adieu au corps (1999), notes that, with the acceleration of technological advances, the body s activities have been increasingly atrophied, replaced by services and devices, forcing the body into a position of limitation or disease. The present research investigates how works from cinema, the visual arts and literature, mainly produced in the first decades of the 21st century, interact with those approaches, discussing three imaginaries concerning the body: as a barrier to be surpassed by the human being through technology; as a reflection of anthropocentrism and of temporality conceptions, in dialogue with the notions of progress, devenir, and performance; and as a place of memory record, through inscriptions or mutilations on the flesh, or through the lack of flesh entirely, turned into a spectral absence. Narratives in which the body is deformed, reformed, or that aim to overcome the body, were selected in order to understand certain aspects of contemporaneity from these representations that deal with the most elementary material unit of the human being.

Thesis advisor: Richard J. Clifford / The translation of הֶבֶל (hebel) with vanitas has had a profound influence in the history of exegesis of the book of Qoheleth often characterized as the most pessimistic, skeptical, and nihilistic book in the Hebrew Bible, having as author a despondent man. This dissertation provides a corrective to the “vanity”, “meaningless”, “absurd” or negative reading of הֶבֶל in Qoheleth, by arguing that הֶבֶל has a positive value, as it expresses not the absurdity or the meaningless of life, but its fleetingness/transitoriness/brevity, whose meaning is disclosed in the opening and closing poems (1:2-11 and 12:1-8). This dissertation thus argues that the הֲבֵל הֲבָלִים הַכֹּל הָבֶל which introduces and concludes the book of Qoheleth (1:2; 12:8) is an appeal to contemplate the order, the beauty of the cosmos, through the regularity, recurrence, and cyclicality of natural phenomena. It also calls attention to the fleetingness of human experience in the world, which Qoheleth highlights in the opening and closing poems but also by the use of transient markers: יְמֵי־חַיֵּי הֶבְלוֹ ,(7:15) בִּימֵי הֶבְלִי ,(9:9), כָּל־יְמֵי חַיֵּי הֶבְלֶךָ ,(11:8) יְמֵי הַחֹשֶׁךְ (11:8) יְמֵי בְּחוּרוֹת (11:10) הַיַּלְדוּת וְהַשַּׁחֲרוּת הָבֶל (6:12), as well as אַחֲרָיו ,צֵּל and מִסְפַּר. The shortness of life and the limited duration of human achievements do not empty human life of its true meaning and value. Rather, they tell of the very nature of humans and their actions. The hebelness is from God who made things as fleeting, temporary, transient compared to his own eternity. By using the term הֶבֶל, and by introducing and concluding his book with “nature” poems, Qoheleth reminds the readers of their transience in this world with its pressing and tragic problems, as well as comforting them with the fact that evil itself is temporary in its impacts on life. They will pass away. Hence, Qoheleth’s opening and closing statement: הֲבֵל הֲבָלִים הַכֹּל הָבֶל (1:2; 12:8). / Thesis (PhD) — Boston College, 2020. / Submitted to: Boston College. School of Theology and Ministry. / Discipline: Sacred Theology.

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