Montréal Trigonix inc. 2018

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-27T18:14:45Z No. of bitstreams: 1 dissertação completa.pdf: 1783919 bytes, checksum: dbafef09d3d0ba966007c47d9b66d847 (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-08-27T21:55:05Z (GMT) No. of bitstreams: 1 dissertação completa.pdf: 1783919 bytes, checksum: dbafef09d3d0ba966007c47d9b66d847 (MD5) / Made available in DSpace on 2018-08-27T21:55:05Z (GMT). No. of bitstreams: 1 dissertação completa.pdf: 1783919 bytes, checksum: dbafef09d3d0ba966007c47d9b66d847 (MD5) / O riso tem sido motivo de reflexão de diversos teóricos e filósofos. Contudo, no campo das artes cênicas, são raros os trabalhos que abordem o ofício do ator na cena cômica sem restringirem-se a formas, gêneros ou estéticas específicas. Diante disso, esta pesquisa busca investigar possibilidades de construção ou potencialização dos efeitos risíveis no trabalho do ator dentro de uma cena cômica através dos gestos. Para isso, são tomados como referencial teórico os pensamentos do filósofo francês Henri Bergson a respeito do riso. A partir dos estudos do pensador e de sua teoria do mecânico colado no vivo, traçam-se paralelos com as reflexões de encenadores como Stanislavski, Burnier e Dario Fo, encontrando neles aproximações com a prática teatral. A partir daí, observa-se no gesto do ator a possibilidade da utilização das reflexões bergsonianas na cena cômica. Do ponto de vista metodológico, são analisadas duas oficinas realizadas com os atores-alunos dos cursos de graduação em Interpretação da Universidade Federal da Bahia (UFBA) e de Licenciatura em Teatro do Instituto Federal de Educação, Ciência e Tecnologia (IFCE). Estas incursões práticas foram estruturadas a partir de exercícios criados pelas relações entre as ideias de Bergson e a prática teatral. Por meio delas, analisam-se as implicações que a utilização do gesto trouxe à prática destes atores-alunos nas oficinas e suas possíveis contribuições para a cena cômica. / For a long time, laugh has been the subject of reflection for many theorists and philosophers. However, on the performing arts, there are few studies about the actor in the comic scene without restricting itself to forms, genders or specific esthetics. Thus, this research investigates possibilities of building or potentiation of the laughable effects in the actor’s work into a comic scene. For this reason, takes as reference the French philosopher Henri Bergson’s thoughts about laugh. Based on this studies and his theory of mechanical pasted in live, draws parallels with the reflections of directors as Stanislavski, Burnier e Dario Fo, finding it approaches to the theatrical practice. Thereafter, observes the gesture of the actos as a possibility of using the Bergson’s reflections in comic scene. From the methodological view, analyzes two workshops with actors-students of undergraduate courses in Interpreting of Universidade Federal da Bahia (UFBA) and the pedagogy of theater of Instituto Federal de Educação, Ciência e Tecnologia (IFCE). These practices were structured from exercises created by the relationships between Bergson’s ideas and theater practical. Through them, analyzes the implications that gesture bring to the practical of these actors-students in the workshops and their possible contributions to the comic scene.

Made available in DSpace on 2016-04-27T17:27:30Z (GMT). No. of bitstreams: 1 Estela Sahm.pdf: 529209 bytes, checksum: 94115dcf24afc4d0312db41ac8c9ca92 (MD5) Previous issue date: 2009-10-21 / The purpose of this work is to bring, face to face, some of the main theories of Bergson s philosophy and Proust s novel Remembrance of things past . Therefore, we will resort to remarks made by some of their researchers, with whom we shall establish some dialogue. Considering that philosophy and literature are two different forms of expressing idea, this work also try to research for their sources, and for the distance that was suposelly established between them. In philosophy prevails the language of concepts, as well as in literature prevails the language of metaphor. We shall verify how different forms of expressing idea can get close and at the same time be enlightened, one by the other. Chapter I will be dedicated to explore some of Bergson s main concepts, followed by some supporting comments of his researchers. Chapter II analyses Proust s novel, specially considering the possible contacts with Bergson s ideas, such as memory, time, intuition, just to name some of them. Also in this case, followed by comments from some of Proust s researchers. Finally chapter III, where we shall observe the historical reasons that brought to the distinction between writen texts of different purposes, and also where we shall find what in fact can be considered the smallest distance between the ideas of both Bergson and Proust / O trabalho tem por intuito fazer o confronto entre algumas teorias da filosofia de Bergson e a obra literária de Proust Em busca do tempo perdido . Para tanto, recorre a alguns comentadores de ambas as obras, com os quais estabelece diálogos. Por se tratar de discursos de finalidades e gêneros distintos, a saber, o filosófico e o literário, o trabalho pesquisa também as origens de cada um deles, e a suposta distância que se estabeleceu entre os mesmos. No discurso filosófico, prevalece uma linguagem conceitual, enquanto que no discurso literário prevalece a linguagem metafórica, pautada pelas imagens; teremos a oportunidade de verificar de que maneira estas diferentes formas de expressar pensamento podem se aproximar e se iluminarem mutuamente. Assim, no capítulo I, o trabalho se detém sobre algumas idéias fundamentais do pensamento de Bergson, acompanhadas de alguns de seus comentadores; no capítulo II, analisa e comenta passagens significativas do romance proustiano, sobretudo tendo em vista a aproximação com alguns conceitos de Bergson, a saber, memória, duração e intuição; também neste caso, as observações serão acompanhadas dos comentários de alguns estudiosos da obra de Proust. E finalmente, no capítulo III, o trabalho busca aprofundar as questões relativas às separações estabelecidas historicamente entre os discursos ditos filosófico e literário, onde encontra as aproximações que julga possíveis entre as obras de Bergson e de Proust

Thesis (MPhil)--Stellenbosch University, 2005. / ENGLISH ABSTRACT: The focus in this thesis is on sensemaking in organisations and the aim was to offer an interpretation of the thought of Karl E. Weick. The interpretation subsequently consists of a description and discussion of concepts, underlying theories and paradigmatic perspectives that are integrated into and deployed in Weick's sensemaking framework. After a description and definition of sensemaking terms and concepts, it is argued that a process cosmology forms the ground theory in Weick's sensemaking framework. In order to elucidate this interpretation, the organic model of the world of Bergson and Whitehead is introduced. Special attention is given to pragmatism's underlying process ontology and themes which social consructionism, symbolic interactionism and ethnomethodology share in common with pragmatism. The aim is to show how these perspectives and themes are taken up in Weick's sensemaking in organisations and organisational theory. A failure to make sense is both consequential and existential. This aspect of Weick's thought is discussed in the context of Bergson's process cosmology. It is followed by a description and discussion of Weick's use of systems theory with special attention given to Weick's concept of 'enactment' . How and why does an organisation becomes what it becomes? This question is addressed in the context of a description and discussion of complexity theory. A core concept in both complexity theory and Weick's thought is self-organisation. The aim is to show how sense making appears on systems level. Finally, this thesis attempts to addresses the question of the relationship between organisation and organising and how both terms is to be understood in terms of Weick's ontological view of the world. This aim is to show that Weick's understanding of "the" organisation (noun) can be conceived of as an abstraction and organisation (verb - 'organising') in terms of relating and as process in becoming and how he thereby gives social construction an ontological twist. The conclusion reached is that, in the type of world Weick describes, it makes sense to make sense. / AFRIKAANSE OPSOMMING: Hierdie tesis fokus op 'sensemaking' in organisasies - om die dubbelsinnige, onduidelike en onverwagse meer duidelik, begryplik and redelik te maak vir persone om te weet wat besig is om te gebeur en gepaste aksies te neem. Die doel was derhalwe 'n interpretasie van die denke van Karl E. Weick. Die interpretasie omvat gevolglik 'n beskrywing en bespreking van konsepte, teorieë en paradigmatiese perspektiewe wat Weick in sy sensemaking raamwerk integreer en ontplooi. Ná 'n definiëring en beskrywing van terme en konsepte word geargumenteer dat 'n proses beskouing van die werklikheid Weick se sensemaking raamwerk onderlê. Hierdie interpretasie word toegelig met 'n bespreking en beskrywing van die organiese model van Bergson en Whitehead, sowel as die proses ontologie onderliggend aan pragmatisme. Gevolglik kom pragmatisme, sosiale konstruksionisme, simboliese interaksionisme en etnometodologie aan die orde. Verskeie temas word beskryf en bespreek in die konteks van sensemaking en organisasie-teorie. 'n Mislukking in sensemaking het newe gevolge en is dit ook eksistensieël van aard. Hierdie aspek van Weick se denke word beskryf en bespreek in die konteks van Bergson se proses kosmologie en word die interpretasie opgevolg met 'n bespreking van sisteem-teorie. Hoe en waarom verander organisasies wanneer hulle verander? Die antwoord op hierdie vraag kom aan die orde in die konteks van 'n bespreking van kompleksiteits-teorie. 'n Kern konsep in beide Weick se sensemaking en kompleksiteits-teorie is self-organisasie. 'n Baie belangrike doel is om aan te dui hoe sensemaking voorkom en plaasvind op sisteem-vlak. Ten slotte poog die tesis om die verband tussen organisasie en organisering in Weick se denke meer verstaanbaar te maak. Die argument hier is dat Weick se verstaan van "die" organisasie (selfstandige naamwoord) as 'n abstraksie en organisasie (werkwoord) in terme van relasies en proses in wording geïnterpreteer kan word, en Weick sodoende 'n ontologiese kinkel in die verstaan van sosiale konstruksionisme teweeg bring. Die slotsom tot waartoe in hierdie studie gekom word is dat, in die wêreld wat Weick beskryf, maak dit 'sense' om 'sense' te maak.

This study uses Bergson's concepts of duration and spontaneous (now termed episodic) memory to reveal how musical material in Rachmaninoff's Prelude Op. 32 No. 10 in B Minor (1910) turns back on itself in recurring remembrances of its own past, bringing the listener out of ordinary time; a process that mirrors themes both from Rachmaninoff's life, and Arnold Böcklin's Die Heimkehr, the painting that inspired this piece. Time perception slows or even suspends when one reflects on the past, either a personal past or the historical past. Musical material in the Prelude undergoes analogous time warps. In conversation with Bergson's ideas, this study illustrates the unique temporal qualities in the musical language of the Prelude, for which standard forms of analysis fail to completely capture the essence. The overall aim is to demonstrate Rachmaninoff's idiosyncratic approach to piano writing, which many have discredited as anachronistic. This study suggests a new methodology – Bergsonian musical analysis – with which to understand the concealed innovations in Rachmaninoff's piano idiom. This study of Rachmaninoff's B Minor Prelude builds on publications concerning other Bergsonian interpretations of music in pursuing a thorough investigation of one work and its relationship with broader issues in philosophy and visual art. The result is a theoretical engagement with the Prelude that establishes a new methodology to deal with Rachmaninoff's piano idiom in general. A Bergsonian analytical technique reveals the real artistry behind Rachmaninoff's compositions – not just remnants of some past romantic idiom, but an idiosyncratic musical grappling with the nature of time and memory.

This dissertation engages a cultural discussion on time concepts that took place between Arab thinkers and creative writers in the aftermath of the June War of 1967 against Israel and the onset of a period of Arab cultural self-critique. It focuses on a set of intellectual projects and examines their propositions on Islamic notions of time and their place in the modernity of Arab thought. Intellectuals such as the Syrian poet Adonis (b. 1930), the Moroccan philosopher Mohammed ʿAbed al-Jabri (1935-2000), and the Lebanese psychologist Mustapha Hijazi (b. 1937) critiqued the alleged Arab “event-based” and “discontinuous” perception of time which lacks the notion of the temporal as a homogenous impersonal medium. Focusing on the example of Sufism, they argued that time in the Islamic worldview is a heterogenous mix of sacred and profane events in an ontology deprived of change. My dissertation debates these findings in two ways. I first draw on the French philosopher Henri Bergson’s concept of “duration” to problematize these thinkers’ discursive ideal of homogenous time which imposes on the heterogeneity of lived temporality the attributes of space and, as such, produces a mechanistic vision of the world. I then focus on the discourse of Ibn ʿArabi (d. 637/1240) and Mulla Sudra (d. 1049/1640) to demonstrate that Sufism advances a view of time as a flux of change internal to the life of the soul and leading to moral self-perfection. Finally, my dissertation focuses on alternative Arabic engagements with Sufi writings on time through the works of the Moroccan ethicist ʿAbdurrahman Taha (b.1944), the Iraqi Marxist Hadi al-ʿAlawi (1933-1998), and the Egyptian novelist Gamal al-Ghitani (1945-2015). I argue that these thinkers and writers draw on the heterogeneity of time in Sufism to critique the semantic neutrality and abstraction of modern time which depends on capitalism as a life form.