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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.

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

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The works I examine in this thesis for Egyptian women’s narrative liberation strategies span from the nationalist-feminist works of the 1920s in Egypt throughout the twentieth century. I include works by Huda Shaarawi, Zainab al-Ghazali, Nawal El Saadawi, Latifa al-Zayyat, the post-1970s generation such as Ibtihal Salem, Alifa Rifaat and Salwa Bakr and finally, Ahdaf Soueif. The works for examination are organised chronologically and surround anti-colonial independence struggles in Egypt. I argue that writing corporeality for contemporary Egyptian women complicates the modern national space and histories. Qasim Amin (1863-1908) is deemed Egypt’s feminist founding father. His modernist reformist discourse is one of the attempts to create the interstitial space for Egyptian women’s liberation in Homi Bhabha’s concept. Amin’s ‘imitative’ Western gender equality discourse renders the heterosexual relationship complex within Egyptian nationalist heteronormative discourses. It kindles numerous debates about Islamic definitions of womanhood. Not only does this cause the tension between Islam and Egyptian feminism but it also makes Islamic culture open to changes and a plethora of discourses. This thesis aims at assessing narrative strategies through female bodies, which form an interstitial space in Egypt’s histories. Romantic love narratives in contemporary Egyptian women’s writing re-signify national space. Re-writing heterosexual relationships in El Saadawi’s (1931-) secular gender politics unsettles heterosexual constitution in Egyptian modern fiction, which disrupts a sense of a linear time in inventing national identities. Writing against Freudian masculine discursive power, El Saadawi distinguishes her feminist stance from Western feminist colonialist discursive hegemony. Her strategy renders an instantaneous frame of time, to use Bhabha’s concept. It targets the assumption of tradition as a nationalist discourse. Latifa al-Zayyat (1923-1996), through the creation of Layla in The Open Door, suggests that female sexuality can articulate historical perspectives of Egyptian modernity which has been dominated by male-centred views. The central space conferred on female sexuality in The Open Door reveals the symbolic representation of female sexuality in the male-led nationalist and nationalist-feminist debates. In Return of the Pharaoh, al-Ghazali (1917-2005) demonstrates her body to be able to endure tortures better than men; it involves a complication of the nationalist invention revolving around feminine ‘spirituality’, dependent on women’s roles of respectability. Her autobiographical writing is fluid between the personal and political and it becomes a vehicle for negotiating the national and female selves. Therefore, writing corporeality constitutes strategies for creating narrative time and space in Egypt as a nation. Also, Egyptian women’s writing techniques bring forth narratives of the lower class in Egyptian women’s movement. In the writing of the post-1970s generation, Ibtihal Salem’s (1949-) daily description of women’s lives disrupts the masculine national linear time. For Salem, sexual life expresses disillusionment toward Jamal Abdel Nasser’s socialist nationalism, lament for neo-colonialism and the fundamentalist revival. Alifa Rifaat’s (1930-1996) representation of female genital mutilation integrates suturing, i.e. healing, and infibulations. Rifaat’s writing renders nationalist discourse split by demonstrating this practice as a sense of belonging and a wound, and thus, she creates an alternative space for nationalist discourses. The short story genre is a strategy of conveying Egyptian women’s culturally mixed daily life. Salwa Bakr (1949-) devises female madness as a strategy to create new space within the domestic sphere. Her approach is based on revisiting Islam. She describes female psychological problems and carves out a representational possibility for Third World urban female subalterns. The zar ritual and psychoanalytic institutions introduce feminine circular time in Bakr’s works. Ahdaf Soueif (1950-) adopts the feminine romance genre to seek narrative possibility for female sexuality and for formulating space for historical subalterns. I suggest that women’s corporeality in Egyptian modern fiction articulates a series of performative ever-changing national identities.