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Call number: LD2668 .T4 1964 B16 / Master of Science

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Ce mémoire porte sur la figure de l'intelligence artificielle, en ce qu'elle permet d'incarner les craintes et les angoisses mises au jour par la critique sociale véhiculée dans les fictions dystopiques. Il analyse les manifestations d'êtres-machines et de structures de contrôle social créés par l'humanité, et dont la conduite témoigne d'une forme d'intelligence; il montre ainsi en quoi certaines structures sociales se calquent sur les machines pensantes imaginées. S'appuyant sur une approche pluridisciplinaire qui fait notamment appel aux domaines de la cybernétique, de la biologie et de la science politique, cette étude de la dystopie se concentre plus particulièrement sur le corpus littéraire suivant: Nineteen Eighty-Four, de George Orwell, Le Dépeupleur, de Samuel Beckett, et Neuromancer, de William Gibson. Prenant ses racines dans l'utopie, la dystopie a été façonnée au XIXe siècle à partir des craintes et des désillusions liées à une industrialisation qui modifiait radicalement le mode de vie humain. Dans ce type de fictions, les rapports de force entre l'humanité et ses outils -ses créations -basculent, car la technique y permet la transmission d'un ascendant sur l'être humain. Cette emprise se voit exacerbée par la machine pensante, dont l'accession à la vie autorise un niveau d'indépendance et d'initiative inaccessible à ses prédécesseurs. Ce faisant, l'intelligence artificielle permet d'imager le déplacement de point focal qui s'opère quand l'outil devient une fin en soi, de même qu'elle illustre les potentialités asservissantes d'une utilisation inconsidérée de la technique. À l'image de l'être artificiel, les structures machiniques de la dystopie acquièrent suffisamment d'autonomie pour pouvoir, elles aussi, attenter à la souveraineté de l'individu. L'humain, noyé au sein de ces structures qui le submergent, n'est alors plus qu'une composante insignifiante dont la spécificité se fait systématiquement gommer par la machine sociale. En définitive, qu'il s'agisse d'un être ou d'un système, la figure de l'intelligence artificielle apparaît comme un sujet agissant, qui incarne la propension de la dystopie à réduire l'individu à l'état de pion. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Dystopie, Intelligence artificielle, Cybernétique, George Orwell, Samuel Beckett, William Gibson.

This thesis argues that desire is a major theme in Samuel Beckett's dramatic works. Central to our analysis is Jacques Lacan's concept of the Desire for the Other, as the outcome of the human subject's division. We will investigate how desire is expressed at the level of Beckett's characters' utterance. The characters' attempts at and inability to achieve a reconciliation with their speech correlate with the impossibility of reunifying Lacan's split subject. The first part of our discussion focuses upon desire-as-paradox--the lack of will to desire and the continuation of desire--in Not I, Footfalls and Krapp's Last Tape, whereas Rockaby and That Time are indicative of the regression of desire leading toward the characters' death. The second part emphasizes the dramatic presentation of these plays, except for Footfalls. It will become clear that desire affects the performance and the audience, thus preventing them from attaining a unified perception of self and other.

2 v. ; 26 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of English, 1974

My master thesis inspects the phenomenon of anxiety in Samuel Beckett's Endgame. In this thesis, anxiety is seen from the phenomenological perspective . However, the explanation of anxiety by psychology and psychiatry is offered as well, so that more complex understanding is enabled. An analysis of Beckett's play is highly influenced by phenomenology, especially by Martin Heidegger, and also by the daseinsanalysis. In these connotations, we inspect Endgame, especially the situation of characters on the stage and the world of the play itself as a mirroring of the real world. We show that human existence is one of the most significant sources of anxiety, that it is innate to almost every human being from time to time, and that it has a remarkable dramatic potential. Although there is no final explication of Beckett's play, my thesis attempts to get closer to its understanding through the phenomenon of anxiety. As a part of this thesis, the translation of one part of Stanley Cavell's essay called Ending the Waiting Game is included, which tries to explain the meaning of Endgame in a different way.

Made available in DSpace on 2014-11-10T11:09:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-06-27Bitstream added on 2014-11-10T11:58:09Z : No. of bitstreams: 1 000795419.pdf: 1895559 bytes, checksum: 489e141580aeb49a2993a507a832343a (MD5) / Nesta pesquisa investigamos como alguns artistas envolvidos na encenação de peças curtas do teatro de Samuel Beckett no Brasil lidaram com o trabalho de criação vocal das mesmas, se houve algum tipo de preparo ou não, que tipo de problemas encontraram etc. Foram entrevistados sete artistas que estiveram envolvidos em alguma montagem brasileira entre os anos de 1985 e 2012. O resultado das conversas dá uma noção de como foi o envolvimento deles com a obra beckettiana e que tipo de impacto ela teve na relação deles com a criação, sobretudo no tocante à maneira como a palavra era colocada em cena. Os relatos abriram possibilidades de reflexões acerca do papel do intérprete em um tipo de teatro rigoroso como o de Beckett, de como entendem a relação entre corpo e voz, ou como lidam com a criação de personagens, que frequentemente não parece possível dentro de uma abordagem psicológica ou realista, mas sim a partir de aspectos bem materiais da encenação, como a movimentação, a respiração, a partitura sonora e vocal. Por fim, percebemos que não houve um preparo técnico vocal específico dos artistas consultados e que a criação vocal foi compreendida como a consequência de um trabalho que engloba noções de entrega do ator, de representação e resentificação, discussões sobre formas de se trabalhar a personagem, de rituais de preparação, entre outras, abrindo campo para discutir o valor da técnica vocal no desempenho de tal tipo de teatro. / This research investigated how some Brazilian performers prepared themselves vocally to play Samuel Beckett’s short theatre. If there was some sort of preparation or not,what kind of problems encountered etc. Seven artists were interviewed who were involved in some Brazilian theatrical productions between the years 1985 and 2012. The result of these conversations gives a sense of how their involvement was with Beckett's work and what kind of impact it had on their relationship with creation particularly with regard to the way the word into the performance. The reports opened possibilities for reflections on the role of the performer in a type of rigorous theater like Beckettian theatre. Understanding how the relationship between body and voice or how they deal with the creation of characters which often does not seem possible within an approach psychological or realistic, but from material aspects of staging such as movement, breathing, sound and vocal scores. Finally, we realized that not there was a vocal specific technical preparation of the performers and the vocal creation was understood as the result of a work which encompasses notions of the commitment of the actor, representation and presentification, the discussions of ways to work the character, rituals of preparation, among others, opening the field to discuss the value of vocal technique in the performance of this kind of theater.