Sleepwalk, Dance, Repeat is a one-act play with existentialist themes such as absurdity, death, and authenticity. Existentialism deals with subjective human experience in a meaningless, incomprehensible world. We are condemned to label everything around us, but the world is such that we can never be satisfied with our labels because they do not capture individuality. Everyone, to some degree, feels the need to understand what's going on, but we are always missing some piece of the puzzle. Thus, absurdity is the normal state of affairs for us. It is the result of our trying to comprehend the incomprehensible. The protagonist, Rose, is an existentialist hero in that she gradually accepts the inability to comprehend. My goal in writing this play was to breathe new life into existentialist ideas and introduce them to others in a way that sparks significant introspection.

Most people seem to have the intuition that self-deception is always and obviously wrong. In this thesis, I make the case that under certain circumstances, self-deception can actually do a great deal of good and ought to be morally permissible – especially in cases where it would be life-threatening, dehumanizing, or cruel to insist on complete authenticity. I argue that self-deception can be rational and that it can also sometimes be morally permissible to allow the self-deception of others to go unchallenged, especially in cases where the opportunity to exercise compassion, empathy, and kindness towards each other takes precedence over a concern for truth. I then confront self-deception’s staunchest opponents, the Existentialists, who maintain that self-deception is never morally permissible because it conflicts with their supreme value, authenticity. I focus specifically on the work of Nietzsche and Sartre and identify the various problems that arise from their objections to self-deception. I conclude this thesis with some suggestions as to why so many people might have come to believe that authenticity is the supreme value, when a closer investigation suggests that it probably is not.

Thesis (Ph. D.)--Duke University, 2007.

This thesis aims to understand the ways in which the historical film has vexed its many critics, and in doing so will look beyond its perceived inadequacies to provide a new appreciation of its character, appeal, f unction and development. I have attempted to achieve these goals through a substantial generic study of the British historical film, utilizing notions of myth and ideas derived from reception studies. In terms of overall approach, this project is an example of what David Bordwell has called 'middle-level research', applying theory to a problem-driven, in-depth, empirical investigation. In following the precepts of middle-level research, it is an additional aim of my thesis to contribute to theoretical and methodological debates surrounding the writing of film history and the study of film genre. In chapter one, I review the literature which addresses questions of historical film and film history, and in chapter two I discuss the various ways in which a generic consideration can be conducted, with particular reference to the work of Rick Altman and the idea of genre as mythic-ritual. Beginning in 1930, after which date a coherent genre begins to emerge, I apply the approach expounded in chapters one and two to a wide range of primary sources for British cinema, including Kine Weekly, Sight and Sound, the memoir, the pressbook, and a number of audience surveys. Ile result, in chapters three and four, is an original overview of the British historical film genre in the period until 1980. Chapter five then situates the British historical film in relation to the genres (both British and American) which lie adjacent to it, and chapter six examines the genre and its history in the 1980s, through detailed case-studies of Lady Jane, Chariots of Fire and Henry V. Finally, my conclusions are worked out by setting the genre as I have defined it in the context of two pertinent concepts - British national cinema and British national identity - and the discourses associated with them, in order to elicit key themes and issues. The main thrust of my argument is that recent work on 'the costume film', by Pam Cook, Sue Harper and others, has tended to distort the nature of the British historical film, ignoring generic distinctions made by those who produced and consumed the films in question. I hope that my analysis, and my archival research in particular, will lay a foundation for a clearer and fuller future understanding of films which represent the past.

This thesis begins the process toward a concept of [authenticity] that is both fragmented and performative. I outline a history in philosophy and performance studies where authenticity has been deployed, and demonstrate how it is often tied to modernist ideologies. I then offer "[authenticity]," with brackets, as a means to allow for this term to challenge these modernist conceptions of the self. I then track the ways in which "[authenticity]" opens the possibilities for a new approach to performing by exploring my performance of the poem, "Hydrangeas."

abstract: Authenticity has been conceived of in several different ways with various meanings and implications. The existential conception has the advantage of tracking authenticity from the phenomenology of human beings and their lived, social experience. From Jean-Paul Sartre and Martin Heidegger’s criteria for existentialist authenticity, I develop the argument that authentic, feminist projects are necessarily one mode of being authentic within a patriarchal society. In defining a conception of authenticity out of Sartre and Heidegger’s terms, the question of what qualifies as an authentic feminist project arises as well as the question of what sort of content qualifies as authentic. While Simone De Beauvoir does not focus on authenticity in her ethics, she does give a basis for a value oriented, content relevant aspect of existentialism generally. Insofar as authenticity is an existentialist concept, feminist authenticity is one valuable and worthwhile project within a social patriarchy, as it promotes existence as freedom. / Dissertation/Thesis / Masters Thesis Philosophy 2017

M.Phil. / Numerous authors have highlighted that there is a dire crisis in leadership for which a new type of leader is required: an authentic leader. Greater authenticity is required from leaders if they are to restore the trust of their followers in them. Authenticity is furthermore something that others must attribute to a person and cannot be expressed freely. The expectations and roles of leaders are such that they have to control the express of their inner authenticity. The influence of temperament on the individual is such that every person’s experience and conceptualisation of authenticity could potentially differ from that of another. In light of the aforementioned the purpose of this study was to explore how leaders from different temperament types manage their individual authenticity to add more value to themselves as well as to others. The study followed a qualitative research approach and made use of the purposeful sampling technique. The Keirsey Temperament Sorter II was utilised to identify the temperament types of research participants with whom semi-structured interviews were conducted. The study found that leaders across the four temperament types of Guardian, Idealist, Artisan and Rational define authenticity as a commitment to the true ‘self’, while self-awareness was identified as a critical component in the management of authenticity.

M.Tech. / There is evidence of a growing concern regarding the authenticity of qualifications presented at interviews. Today's computer software makes it simple to edit documents, thereby allowing falsification of information by the unscrupulous. The use of sophisticated document scanners, printers and copiers further complicates the issue. The research revolved around an investigation of the need for authentication of education qualifications and the establishment of the feasibility of doing this by using information technology and the World Wide Web to allow for efficient and effective verification that an education qualification was attained at the named higher education institution and that the results were accurately reflected. The research method included the use of questionnaires to gather data. Questionnaires were sent to the registrars of universities and technikons and Human Resources directors of Gauteng-based employer companies. Responses to the questionnaires and information gleaned from the literature review were used in the models designed and offered as solutions to the problem of qualification fraud. The main conclusions drawn from the research were: Confirmation of the growing incidence of and concern regarding qualification fraud. Establishment of the need for a solution to allow authentication of qualifications by Human Resource practitioners as part of the recruitment process. The feasibility for this solution to be an information technology solution using World Wide Web. The VeriQual model was designed to meet all the research objectives. This innovative model is deemed to offer an efficient, effective and feasible technology solution to the problem of qualification fraud in South Africa.

Addressing the meaning of Martin Heidegger's much-discussed concept of 'authenticity',this study challenges the view, put forward by Charles Guignon and others, that that concept chiefly concerns the significance that an individual life can acquire. Emphasizing the crucial distinction between relational and transcendant meaning, the study sees that distinction as critical to Heidegger's treatment of authenticity, and, more broadly, to the manner in which authenticity figures in the situating of Being and Time in the general context of nihilism and belief Drawing on arguments put forward by Hubert Dreyfus, and especially attuned to Kierkegaard's influence on Heidegger, the study repositions the concept at the point where Heidegger's existential analytic and the all too human desire for deeper meaning meet. The result serves at once to clarify the concept and refine understanding of its place in larger histories. / Arts, Faculty of / History, Department of / Graduate

Music therapists are expected to provide live music for clients with diverse preferences, yet these therapists face many barriers preventing them from recreating client-preferred music in a way that adheres to the expectations of the genre, or with “musical authenticity.” The purpose of this study was to investigate music therapists’ perceptions and practices regarding musical authenticity. Survey responses (n = 904) indicated that music therapists highly value musical authenticity, but a major theme in the qualitative data revealed they often balance its importance with other factors. Descriptive survey data and qualitative themes revealed lack of training in functional musicianship and electronic technology as major barriers to musical authenticity. A major qualitative theme regarding therapists’ practices was the use of collaboration with clients and creative solutions. Most participants indicated use of non-electronic strategies and reported they had not used electronic technology to increase musical authenticity. Descriptive survey data and qualitative themes revealed frequent and effective use of recorded music. Finally, chi-square analyses revealed significant relationships between age and use of technology and iPad and between gender and use of technology. Music therapists would benefit from additional training, more research on authenticity, and music therapy specific guidelines for using music authentically.