O texto aqui apresentado é o resultado da investigação artística realizada durante dois anos do curso de mestrado, voltada à realização do projeto Hoje é o amanhã de ontem que culminou na produção do blog Agenda de possíveis. Através de diferentes procedimentos, a pesquisa explora questões relativas aos modos de empregar o tempo no mundo contemporâneo, as suas implicações na produção artística e na experiência cotidiana. Para tal empreendimento, busco aproximações com outros artistas e percorro alguns momentos da história da arte, a fim de contextualizar a própria prática. Também recorro à filosofia, à literatura e à psicanálise, com o interesse de explorar territórios vizinhos e criar conexões que ampliam o entendimento sobre os questionamentos suscitados pelo trabalho. / This text is the result of artistic research conducted during two years Masters Course, aimed at the realization of the project Today is the tomorrow of yesterday culminating in the production of blog Agenda of possibilities. Through different procedures, the research explores issues relating to the ways of employing the time in the contemporary world, its implications for artistic production and everyday experience. For this project, I seek approaches with other artists and I manage some moments of art history in order to contextualize the practice itself. Also I turn to philosophy, literature and psychoanalysis, with the interest to explore neighboring territories and create connections that expand the understanding of the questions raised by the work.

O texto aqui apresentado é o resultado da investigação artística realizada durante dois anos do curso de mestrado, voltada à realização do projeto Hoje é o amanhã de ontem que culminou na produção do blog Agenda de possíveis. Através de diferentes procedimentos, a pesquisa explora questões relativas aos modos de empregar o tempo no mundo contemporâneo, as suas implicações na produção artística e na experiência cotidiana. Para tal empreendimento, busco aproximações com outros artistas e percorro alguns momentos da história da arte, a fim de contextualizar a própria prática. Também recorro à filosofia, à literatura e à psicanálise, com o interesse de explorar territórios vizinhos e criar conexões que ampliam o entendimento sobre os questionamentos suscitados pelo trabalho. / This text is the result of artistic research conducted during two years Masters Course, aimed at the realization of the project Today is the tomorrow of yesterday culminating in the production of blog Agenda of possibilities. Through different procedures, the research explores issues relating to the ways of employing the time in the contemporary world, its implications for artistic production and everyday experience. For this project, I seek approaches with other artists and I manage some moments of art history in order to contextualize the practice itself. Also I turn to philosophy, literature and psychoanalysis, with the interest to explore neighboring territories and create connections that expand the understanding of the questions raised by the work.

O texto aqui apresentado é o resultado da investigação artística realizada durante dois anos do curso de mestrado, voltada à realização do projeto Hoje é o amanhã de ontem que culminou na produção do blog Agenda de possíveis. Através de diferentes procedimentos, a pesquisa explora questões relativas aos modos de empregar o tempo no mundo contemporâneo, as suas implicações na produção artística e na experiência cotidiana. Para tal empreendimento, busco aproximações com outros artistas e percorro alguns momentos da história da arte, a fim de contextualizar a própria prática. Também recorro à filosofia, à literatura e à psicanálise, com o interesse de explorar territórios vizinhos e criar conexões que ampliam o entendimento sobre os questionamentos suscitados pelo trabalho. / This text is the result of artistic research conducted during two years Masters Course, aimed at the realization of the project Today is the tomorrow of yesterday culminating in the production of blog Agenda of possibilities. Through different procedures, the research explores issues relating to the ways of employing the time in the contemporary world, its implications for artistic production and everyday experience. For this project, I seek approaches with other artists and I manage some moments of art history in order to contextualize the practice itself. Also I turn to philosophy, literature and psychoanalysis, with the interest to explore neighboring territories and create connections that expand the understanding of the questions raised by the work.

Die vorliegende Dissertation zur Lebenskunst von Frauen mit Behinderungen ist eine Ergänzung der vorwiegend soziologischen Literatur, welche in den letzten Jahren über dieses Thema erschienen ist. Die Dissertation stellt – auf Grundlage dieser vorwiegend quantitativen Forschungen – die Lebenssituation der Frauen in Texten des kreativen Schreibens, also als qualitative Auswertung dar. Diese Texte wurden nicht für diese Arbeit geschrieben; sie entstanden teils in Schreibwerkstätten, teils privat. Als Methode der Auswertung wurde das „Zirkuläre Dekonstruieren“, welches Jaeggi, Faas und Mruck 1998 für interpretative Auswertungen vorgestellt haben, abgewandelt: Von der vorgesehenen Auswertung für qualitative Interviews hin zur Auswertung von Tagebuchaufzeichnungen, Gedichten und Texten des kreativen Schreibens jenseits germanistischer Herangehensweisen. Diese Methode erwies sich – nach einigen nötigen Veränderungen innerhalb des Prozesses – als geeignet. Eingebettet ist die Dekonstruktion der Texte (auf die Frage der Erkennbarkeit von Lebenskunst hin) in einen breiten Theorieteil über die Kraftquellen und Kraftverluste von Menschen mit Behinderungen. Kraftverluste – welche die Lebenskunst erschweren und nötig machen – liegen einerseits in den kulturellen Rahmenbedingungen: In Menschenbildern, Tabus, Normalitäts- und Schönheitsvorstellungen und im mitleidigen Verhalten der Nichtbetroffenen; andererseits in den Belastungen durch eine erschwerte Identitätsfindung, durch Scham, Leiden und die schwierigen Beziehungen der Menschen zur Medizin. Kraftverluste sind es, dass bisher weder in der Geschichte noch in anderen Kulturen eine neutraler oder wertschätzender Umgang mit Behinderung gefunden werden konnte. Kraftquellen liegen in den Umwertungen bestehender Werte, dem unter bestimmten Bedingungen möglichen Umschlag von Stigma in Charisma. Der Umschlag kann durch einen kulturellen Paradigmenwechsel (von der Pathogenese zur Salutogenese, über die Resilienzkonzepte, durch die Forschungen der disability studies und die Ausbildungen zum peer counseling und über Rituale und Reframing) vorangetrieben oder in der Religion gefunden werden. Lebenskunst ist eine philosophische Kategorie. Seit der Antike wurde sie in allen Zeiten ohne existenzielle Not (in denen es ums Überleben ging) von interessierten Gruppen gepflegt. Sie kann mit ihren Fragestellungen nach der bestmöglichen Lebensführung eine Hilfe sein für alle, die trotz Belastungen ein bewusstes und aktives Leben führen wollen. Lebenskunst steht der Kunst nahe. Das ist eine Herausforderung für Menschen, welche sich sonst nicht künstlerisch betätigen. Der Philosoph der Lebenskunst Wilhelm Schmid, dessen Gedanken die Arbeit folgt, sagte: „Die Schrift ist ein Medium der Kunst, sein Leben zu führen und zu gestalten, ist eine Geste der Existenz und der Gestaltung seiner selbst. Das Individuum formt sich in dieser Tätigkeit“. Damit wird das Kreative Schreiben zum Mittel der Arbeit an sich selbst und am eigenen Leben. Für Menschen, denen aufgrund ihrer Behinderung nur eingeschränkte Möglichkeiten zur Verfügung stehen, ist das Schreiben ein idealer Ansatz zur Gestaltung. Einige Studien der letzten Jahre beweisen, dass kreatives Schreiben eine heilende Kraft hat: körperlich, psychisch und sozial. Das beweist die Arbeit anhand von 24 ausgewerteten Texten. / This dissertation speaks about the Art of Life of women with disabilities. It is a completion to the sociological literature about this topics, issued in the last years. The dissertation describes – based on these quantitative researches – the situation of the women in their own texts in shape of a qualitative interpretation. These texts are not written for these interpretation. They derive from workshops of creative writing or are private scripts. The method of interpretation is the Circular Deconstruction by Jaeggi, Faas and Mruck (1998), developed for the evaluation of interviews. The method is changed from explaining interviews to explaining creative diary texts, poems or free texts – out of the view of German philology. This method suits the purpose after small changes. The deconstruction of texts (about the question of recognition of Art of Life) is surrounded in a wide theoretical part about the sources of power and the loss the power by people with disabilities. Loss of power makes the Art of Life hard but necessary. On the one hand the loss of power is hidden in the cultural frame: ideas of men, taboos, conceptions of normality and beauty and in the compassionate behavior of persons with no disabilities. On the other hand there are burdens through difficult findings of identity, shame, suffering and the difficult relationships between men and modern medicine. Another loss of power it is, that nowhere in history or in other cultures a neutral or value association with disability could be found. Sources of power are in the reevaluation of the existent values. On some conditions a turnover is possible from stigma to charism. It can occur by cultural paradigm shift (from pathogenesis to salutogenesis, about the concept of resilience, through the research in disability studies or the education of peer counseling, via ritual or reframing) or founded in religion. Art of Life is a philosophical fact. Interested groups have taken care of Art of Life through all times of history without hardship since antiquity. The question about the best passway of living can be a help for all persons, who want more than a simple life. Art of Life is close to art. This is a challenge for unartistic men. Wilhelm Schmid, the philosopher of Art of Life (the dissertation follows his ideas) said: “Scripture is a fluid of art, to guide and create the living, a gesture of existence and constitution of thyself. The individual is shaping himself/herself in this exercise.” So the creative writing will be the medium of work on one’s own personal life. Some studies of the last years show creative writing has healing power: physical, psychological and social. People who have limited possibilities due to disability find writing is an ideal way for creating their lives. The dissertation proof is on the basis of 24 evaluated texts.

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Thesis (M.G.S.)--Miami University, Dept. of Sociology and Gerontology, 2008. / Title from first page of PDF document. Includes bibliographical references (p. 40-45).

Aujourd'hui, diverses propositions artistiques se fondent sur la rencontre entre l'artiste et le spectateur. Mettant en relation réflexion et création, cette thèse vise à étudier le contact en tant que geste créateur-générateur d'œuvre avec l'autre. Grâce aux liens qui se tissent entre le toucher, le corps, le tact, l'accueil, l'étranger, la famille et aussi grâce à l'apport des philosophies traditionnelles (amérindiennes et orientales), on découvre que, à rebours d'une société qui encourage l'individualisme et la consommation, revenir au geste du contact offre une manière différente d'expérimenter l'art -et la vie- dans un respect de l'autre et de soi-même. L'interdépendance apparaît alors comme une règle de vie commune et le contact comme un « moyen-remède » pour combler, améliorer ou guérir la dysharmonie dans nos rapports au monde extérieur. Mon projet Con-facto privilégie ainsi une expérience du corps et du toucher (tactile ou relationnel) conscient, laissant surgir une nouvelle esthétique fondée sur une idée de beauté, d'harmonie et d'équilibre dans« l'être avec». / Many recent artistic projects explore the encounter between the artist and his audience. Interconnecting creation and analysis, this thesis studies contact as a gesture of creation-workmanship with another. Thanks to the ties that bind touch, body, tact, strangers and family, with support from (Asian and Native American) traditional philosophies, we realize that, while our society promotes individualism and consumerism, coming back to the gesture of contact offers a different way of experimenting art -and life- white respecting both the other and oneself. Therefore, interdependency can be viewed as a rule of life in community, and contact as a "mean/cure" to alleviate, improve or heal disharmony in our interactions with the outside world. Through experience of the body and of conscious touch (tactile or relational), my project, Con-facto, unveils a new esthetic based upon the idea of beauty, harmony and balance in "being with".

No description available.

Un grand nombre de dramaturges français aussi différents qu’André Gide, Antonin Artaud,Albert Camus, Jean-Paul Sartre, Henry de Montherlant et Jean Vauthier se sont emparés de la pensée de Nietzsche pour la représenter sur scène. Si des études ont été menées sur les liens entre la pensée de Nietzsche et les écrivains français, aucune n’a abordé de manière synthétique la présence de la pensée de Nietzsche dans le théâtre français du XXème siècle et notamment dans l’élaboration même du texte théâtral. Pourtant, cette pensée tragique qui part du Dionysos de La Naissance de la tragédie jusqu’à Ecce homo, ne cesse d’entretenir des liens consubstantiels avec le genre même du théâtre. La conception esthétique du dionysiaque présente des affinités avec l’art dramatique et semble prédisposée à se retrouver transposée et incarnée sur une scène de théâtre. La réflexion de Nietzsche sur la physiologie de l’art a pu entraîner un renouvellement de l’écriture des pratiques et écritures dramaturgiques traditionnelles au profit d’un théâtre vivant, incarné, usant de toutes les ressources dela scène. Paradoxalement, le théâtre métaphysique d’inspiration nietzschéenne va de pair avec une affirmation du corps et des passions. Á l’opposé d’un théâtre d’idées ou à thèse, certaines des oeuvres étudiées montrent que le théâtre métaphysique nietzschéen est avant tout un théâtre du corps, à la recherche d’une fusion entre l’art et la vie, le spectacle et le réel, au rebours de la conception mimétique aristotélicienne. / Many different french playwrights such as André Gide, Antonin Artaud, Albert Camus, Jean-Paul Sartre, Henry de Montherlant and Jean Vauthier took up Nietzsche's thoughts to impicture it onstage. If studies were made on the links between Nietzsche's thought process and french writer, noneadress the question of Nietzsche's thought in the XXth century french theatre synthetically. None theless, this tragic thought starting in «La Naissance de la tragedie» 's Dionysos and ending with «Eccehomo» keeps maintaining consubstantial links with the theatre genre. Dionisyan esthetical conceptionshows affinities with dramatic art and seems predisposed to be transposed and embodied on stage.Nietzsche's thought on art's physiology has caused a renewal of traditionnal writing for theatre for thebenefit of a living theatre, incarnated, using all the stage's ressources. Paradoxically, this nietzschean metaphysical theatre goes with assertion of body and passions. In contrast with « theatre of ideas »,some of the studied works show that Nietzsche's metaphysical theatre is above all an embodied theatre, seeking a fusion between art and life, show and reality, against Aristote’s Poetics.

This research delves into the complex themes of perception, art, and self in Oscar Wilde's novel "The Picture of Dorian Gray." Drawing from Wilde's philosophy of "Art for Art's Sake," the study explores the characterization of Dorian Gray through the perspectives of Lord Henry and Basil Hallward. The central question revolves around whether Henry's and Basil's individual understanding of Dorian accurately represents his true nature and how this perception influences the protagonist. To establish the philosophical foundation, Wilde's essays "The Decay of Lying" and "The Critic as Artist" are analyzed, highlighting the concepts of art, critique, and the artist. The symbolic significance of the portrait and mirror is examined, revealing their role in reflecting Dorian's duality and inner conflict but also working as an extention of Henry and Basil as Art Crtitics. By incorporating Ian Watt's theory of apprehension of reality, the paper explores the limitations of Henry and Basil in comprehending Dorian's true self. Dorian is viewed as a semi-art figure, both a work of art and a human being. The research aims to shed light on why Henry and Basil fail to truly see Dorian, ultimately enhancing our understanding of his characterization. Through a methodology encompassing close reading, analysis, and interpretation, this study contributes to existing scholarship by offering new insights into the intricate exploration of self-perception and the interplay between art and life in Wilde's only novel.