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Jouer à être un autre que soi, tel est le travail du comédien. La complexité de la pratique de l’art dramatique réside dans un des paradoxes qui la constitue. La révélation d’un grand acteur s’effectue par sa disparition derrière le personnage. Il s’agit ainsi de s’aventurer dans l’exploration du jeu théâtral, pour tenter d’approcher les modalités psychiques qui permettent l’exploit d’être un autre que soi sans pour autant se perdre tout à fait. Pour ouvrir des pistes de réflexion sur la façon dont un sujet se saisit du métier d’acteur pour la puissance créatrice qui lui est inhérente, comme pour les modalités d’expression qu’il permet, il faudra considérer cette pratique sans son ensemble. Du désir d’un sujet de devenir acteur, au plaisir de monter sur scène, en passant par la formation à l’art dramatique et la création d’un personnage, c’est un voyage au coeur de l’univers théâtral, au plus près de la parole des acteurs, qui débute. Loin de chercher à expliquer une pratique artistique par la psychologie, il s’agit de considérer ce que l’art dramatique aurait encore à apporter à la compréhension de la nature humaine. Quel est la nature spécifique du processus de symbolisation à l’oeuvre dans l’art de l’interprétation théâtrale ? / To play to be other than oneself, such is the work of the comedian. The complexity of the practice of drama lies in one of the paradoxes that constitutes it. The revelation of a great actor is made by his disappearance behind the character. It is thus about venturing into the exploration of the theatrical game, to try to approach the psychic modalities that allow the exploit to be another than oneself without losing oneself altogether. To open avenues for reflection on how a subject grasps the actor’s profession for its inherent creative power, as for the modalities of expression that it allows, it will be necessary to consider the whole practice. From the desire of a subject to become an actor, to the pleasure of going on stage, through drama training and the creation of a character, a journey begins to the heart of the theatrical universe begins, close to the word of the actor. Far from trying to explain an artistic practice by psychology, it is a question of considering what dramatic art would have yet to bring to the understanding of human nature. What is the specific nature of the process of symbolization at work in the art of theatrical interpretation?

Disertacijoje tyrinėjamos kūniškumo ir intersubjektyvumo plotmės bei jų sąsajos. Intersubjektyvumas disertacijoje analizuojamas žmogaus mąstymo atvirumo kitybei ir Kito svetimumo pažinimo galimybės šviesoje. Kūniškumas apmąstomas kaip žmogaus buvimo pasaulyje perspektyva, atliekamas neobjektyvizuojantis kūniškumo ir su juo susijusių reiškinių tyrimas. Analizuojama, kaip tarpusavyje susijusios intersubjektyvumo ir kūniškumo plotmės, ir ką ši sąsaja byloja. Disertacijos tyrimo tikslas – tyrinėjant intersubjektyvumo, interkūniškumo plotmes bei jų sąsajas, atskleisti intersubjektyvumo kilmę įvairialypėse kitybės patirtyse, kūniškumo fenomeno specifiškumą ir abiejų šių plotmių saitus bei abipusę jų priklausomybę kaip interkūniškumą. Disertacijoje naudojama dvejopa tyrimo strategija: analizuojami filosofų tekstai, pagrindinį dėmesį sutelkiant į fenomenologinę tradiciją atstovaujančių autorių tekstus, ir nuolat atsigręžiama į patirtinį aprašomų fenomenų lauką. Disertaciją sudaro įvadas, trys dalys, išvados ir literatūros sąrašas. Disertacijos struktūrą lėmė išsikelto tyrimo tikslo įgyvendinimas: interubjektyvumo tyrimas atveda prie kūniškumo plotmės, o pastarosios tyrimas galiausiai atveria naują intersubjektyvumo aspektą – interkūniškumą, kuris, kaip abiejų plotmių sąsaja, yra tyrinėjamas paskutinėje dalyje. / There are explored interconnections between corporeality and intersubjectivity in this thesis. Intersubjectivity is reflected in the light of openness of person’s thinking to otherness and in the light of Other’s alliance for possibility of recognition. Corporeality is perceived as a perspective of human being in the world; the research on the non-objective corporeality is being carried out along with connection to phenomena. It is being considered how fields of corporeality and intersubjectivity interconnect together and what this bond tells to us. The aim of this thesis is to reveal, while analyzing fields of intersubjectivity and corporeality, the origin of intersubjectivity in experiences of various alterations, the particularity of corporeality and the intersections of both fields in the intercorporeality. In this thesis the dual research strategy is used: the philosophical texts are being analyzed (the major attention is directed to those texts of the authors, which are represented by the phenomenological tradition) and there is a constant turning back to the experience descriptions of phenomena. The thesis consists of the introduction, three sections, conclusion and the list of literature used. The structure of the thesis is predetermined by the fulfillment of the aim set: the research of intersubjectivity leads to the field of corporeality, and the investigation of the latter finally opens up the new aspect of intersubjectivity – intercorporeality, which as the... [to full text]

There are explored interconnections between corporeality and intersubjectivity in this thesis. Intersubjectivity is reflected in the light of openness of person’s thinking to otherness and in the light of Other’s alliance for possibility of recognition. Corporeality is perceived as a perspective of human being in the world; the research on the non-objective corporeality is being carried out along with connection to phenomena. It is being considered how fields of corporeality and intersubjectivity interconnect together and what this bond tells to us. The aim of this thesis is to reveal, while analyzing fields of intersubjectivity and corporeality, the origin of intersubjectivity in experiences of various alterations, the particularity of corporeality and the intersections of both fields in the intercorporeality. In this thesis the dual research strategy is used: the philosophical texts are being analyzed (the major attention is directed to those texts of the authors, which are represented by the phenomenological tradition) and there is a constant turning back to the experience descriptions of phenomena. The thesis consists of the introduction, three sections, conclusion and the list of literature used. The structure of the thesis is predetermined by the fulfillment of the aim set: the research of intersubjectivity leads to the field of corporeality, and the investigation of the latter finally opens up the new aspect of intersubjectivity – intercorporeality, which as the... [to full text] / Disertacijoje tyrinėjamos kūniškumo ir intersubjektyvumo plotmės bei jų sąsajos. Intersubjektyvumas disertacijoje analizuojamas žmogaus mąstymo atvirumo kitybei ir Kito svetimumo pažinimo galimybės šviesoje. Kūniškumas apmąstomas kaip žmogaus buvimo pasaulyje perspektyva, atliekamas neobjektyvizuojantis kūniškumo ir su juo susijusių reiškinių tyrimas. Analizuojama, kaip tarpusavyje susijusios intersubjektyvumo ir kūniškumo plotmės, ir ką ši sąsaja byloja. Disertacijos tyrimo tikslas – tyrinėjant intersubjektyvumo, interkūniškumo plotmes bei jų sąsajas, atskleisti intersubjektyvumo kilmę įvairialypėse kitybės patirtyse, kūniškumo fenomeno specifiškumą ir abiejų šių plotmių saitus bei abipusę jų priklausomybę kaip interkūniškumą. Disertacijoje naudojama dvejopa tyrimo strategija: analizuojami filosofų tekstai, pagrindinį dėmesį sutelkiant į fenomenologinę tradiciją atstovaujančių autorių tekstus, ir nuolat atsigręžiama į patirtinį aprašomų fenomenų lauką. Disertaciją sudaro įvadas, trys dalys, išvados ir literatūros sąrašas. Disertacijos struktūrą lėmė išsikelto tyrimo tikslo įgyvendinimas: interubjektyvumo tyrimas atveda prie kūniškumo plotmės, o pastarosios tyrimas galiausiai atveria naują intersubjektyvumo aspektą – interkūniškumą, kuris, kaip abiejų plotmių sąsaja, yra tyrinėjamas paskutinėje dalyje.

This thesis examines a cluster of recent films that feature people of Maghrebi heritage and position corporeality as a site through which subjectivity and self-other relations are constituted and experienced. These films are set in and between the countries of the Maghreb, France and, to a lesser degree, Switzerland, and often adopt a sensual aesthetic that prioritises embodied knowledge, the interrelation of the senses and the material realities of emotional experience. However, despite the importance of the body in these films, no study to date has taken corporeality as its primary point of concern. Existing research in French and Francophone Studies focuses almost exclusively on the socio-political issues raised by the phenomenon of French “beur” cinema (films by and/or about young Maghrebi-French people), meaning that there has been no extended scholarly investigation into the importance of corporeality in recent films featuring people of Maghrebi heritage. Underpinned by an interdisciplinary theoretical framework that interweaves corporeal phenomenology with theological and feminist scholarship on the body from the Middle East and North Africa (MENA), this thesis seeks to provide the first longitudinal and comparative account of how Maghrebi people of different genders, ethnicities, sexualities, ages and classes have been represented corporeally in post-millennial Maghrebi and French cinemas. Via its acute focus on images of people of Maghrebi heritage and how their representations show them engaging with their environments through their bodies, this thesis is the first to apply the recent turn to corporeal phenomenology in Film Studies and feminism to critical interrogations of Maghrebi identities in Maghrebi and French films since the new millennium.

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The focus of this thesis is how the body and its corporeal articulations can be used as a tool for composing for contemporary dance, with the aim of creating music with corporeal qualities that communicates on a physical level. For this purpose the author has collaborated with choreographers in a practice-based approach to examine how the body of the composer can be exploited in composition and performance, and how the voice can be exploited as a mediator between body movement and music. The body and its sensorimotor system is the foundation for our understanding of abstract concepts in music; the immaterial movement of music can serve as a foundation for a deep bodily-sensed understanding of complex concepts. By reversing this process of understanding, or rather by engaging in the action-perception loop of conceptual understanding, this understanding can help encapsulating abstract and complex concepts artistically in music. For this purpose the Feedback Instrument has been created, representing a direct way of engaging the sensorimotor system of the composer, where the intuitive body resonances are engaged in close connection with the sounding music.

No description available.

This thesis examines Plutarch's vague comments about the materiality of the soul in Moralia. My contention is that, despite suggestions to the contrary, Plutarch aligned with Plato in thinking about the soul as immaterial. I argue that a deeper understanding of Plutarch's relationship to Plato as well as the Stoics and Epicureans of his time shed light on his otherwise ambiguous passages. The end result will be (1) a more secure understanding of Plutarch's position on the materiality of the soul and (2) an improved ability to appreciate Plutarch's playful and vivid language as he describes immaterial souls with material descriptions.

A building is designed from a set of initial intended needs and uses. Yet, a building is a construction of its time and values that will stand for future generations long after the client and architect have faded. Therefore, an architectural intervention has a responsibility to the greater whole, the city. The subject of the thesis is the design of a house in Wilmington, North Carolina. The concern of the design is not the building as an object. The design is a proposal in architectural terms of what is necessary to render concrete the possibilities of a specific location that will serve our ever-changing daily needs, uses and desires with dignity. The proposal is based on an investigation of the fabric of place into which the building will be woven. That fabric consists of the natural landscape and the human interventions that have transformed it throughout its history. / Master of Architecture