Texte remanié de: Thèse de doctorat--Philosophie--Paris 8, 2004. / Bibliogr. p. 405-410.

Reproduction de : Thèse de doctorat : Philosophie : Lille 3 : 2006. / Titre provenant de l'écran-titre. Bibliographie p. 961-974. Notes bibliographiques. Index des noms propres.

Thesis (Ph.D.)--Villanova University, 2006. / Philosophy Dept. Includes bibliographical references.

Online music videos have become a space for new cultural articulations. These articulations differ from one video to the next, as each instance mobilizes a particular set of production practices aimed at a specific purpose. From a theoretical standpoint, it is therefore challenging to qualify the broad cultural significance of these media objects. This thesis proposes a potential remedy to this issue, using a theoretical framework based on the theories of articulation, encoding/decoding, and crystallization to assess the cultural significance of an ideologically driven music video produced by Playing for Change—a not-for- profit organization with a mandate of uniting the world through music. These theories reveal how a cosmopolitan ideology is crystallized into the production practices of Playing for Change’s music video “One Love”. Through this theoretical mobilization, I examine the plurality of identities distilled in the music video, since it functions as a political, economic, and ideological object. These identities are crystallized on multiple levels, leading us to question whether complex articulations of this type can ever fully be conceptualized. Ultimately, I argue that the burgeoning field of music video studies must continue exploring theoretical models in order to develop adequate tools for analyzing the various elements, including discursive constructions, which characterize these complex, yet valuable, cultural objects.

Thesis (Ph. D.)--University of Chicago, Dept. of Philosophy, March 1997. / Includes bibliographical references.

Zugl.: Hamburg, Univ., Diss.

The current cultural climate, theoretical developments, the changing state of the tertiary institution, and the increasing presence of voices from the margin have contributed to the critical re-evaluation of academic writing as a way of knowing and representing the world. At the same time, hybrid forms of writing, those that exist in the interstices of established generic codes, are experiencing increased critical attention. Yet, despite the fact that genre has become an inadequate notion to describe boundary-crossing writing, little appears to have shifted in the way these forms are understood. Dominant methodologies tend to render what is between less visible or valid, and they define this space only in terms of its relation to set borders. Located at the boundaries of what is familiar and unfamiliar, “writing-between” is a contentious space where elements are combined without clear rules to aid identification. In this thesis the term “ficto-criticism” is used broadly to describe generically transgressive writing that blurs the defining lines between creative and critical texts. The thesis explores the political and theoretical implications of writing-between through a discussion of Australian and Canadian work in English (or English translation), which display the characteristics of the ficto-critical form. This thesis argues for a critical understanding of ficto-criticism that conceptualises it as a highly political strategy of literary intervention, rather than as a mere trend toward cross-genre writing. Indeed, rather than understanding it as surface play, the thesis argues that ficto-critical practice is deeply troubled by the oppressive role of academic writing and that, significantly, its emergence was highly influenced by postcolonial and feminist theory. Thus, ficto-critical practice interrogates the violence of representation and explores what is left out and or misrepresented through that process. The thesis applies Deleuze and Guattari’s concept-tools to articulate a methodology by virtue of which desire and ficto-criticism are understood as productive forms that are liberated from an equation of lack. The tension between ficto-criticism as an open practice and the tradition of scholarly writing, which requires a clear fixed proposition and outcomes, mirrors the project of ficto-criticism, which seeks to unlearn one’s authority and privilege as the beginning of a process towards developing an ethical relationship with the other.

Zugl.: Berlin, Humboldt-Univ., veränd. Habil.-Schr., 2005

Thesis (Ph. D.)--Villanova University, 2009. / Philosophy Dept. Includes bibliographical references.

Tesi--Lettere--Zurigo--Facoltà di lettere dell'Università di Zurigo, 1988. / Bibliogr. p. 103-105. Index.