Le présent mémoire se propose d'étudier les conditions d'intelligibilité de l'oxymore dans le cadre des sciences des religions et du travail théologique. Dans la première moitié du mémoire, nous observons d'abord l'oxymore dans les formalismes sémiotiques (où il est appelé "terme complexe/neutre"). L'aporie rencontrée tient à la difficulté d'inscrire formellement sa genèse. Nous inspirant des thèses récentes des mathématiciens René Thom et Jean Petitot-Cocorda, ce problème sur la genèse est reconduit à la difficulté de penser positivement la discontinuité, mais surtout de la mathématiser. La seconde moitié du mémoire se tourne vers Gilles Deleuze qui a élaboré une métaphysique qui conçoit positivement la discontinuité (ou genèse). Deux conceptions "génétiques" de l'oxymore sont alors dégagées de la métaphysique deleuzienne : l'oxymore comme "coupure" et l'oxymore comme "mot-valise". Nous interrogeons enfin le statut épistémique de ces dernières en demandant si l'espace métaphysique dont elles procèdent pourrait être fondé transcendantalement, i.-e. recevoir une constitution mathématique explicite, notamment par la Théorie des catastrophes de René Thom.

To assume that dance as an art form is about creating and displaying sequences of movement in space is to undermine choreography’s potential as a way of thinking through movement. The interdisciplinary relations between philosophy and dance explored in this research introduce a framework for exploring new possibilities of thinking through choreographic practice. How can dance be perceived as thought, considered as an experimental process, where the articulation between practice and theory becomes fundamental? The cinematic reversal of the subordination of time to movement proposed by French philosopher Gilles Deleuze in his time-image concept offers a paradigmatic shift which has the potential to find profound resonance in the perception of movement in dance. This research explores how this shift informs a new perspective on choreography by discussing the implications of approaching choreographic composition through the lenses of Deleuze’s Pure Optical and Sound Image. As part of the practical choreographic investigation undertaken in this research, I have sought to challenge the conditions of the act of ‘seeing’ dance and to create an ‘opening condition’ for the use of choreography. To maintain an ‘open condition’ within the the practice of choreography, it is necessary to acknowledge the constant becoming of its materials that depend on non-hierarchical relations and on duration itself. My approach is improvisational and my compositional strategies, which are manifestly dependent on interdisciplinary collaborative processes, emphasise ways of thinking through both movement and the image.

This thesis grows from the premise that film music analysis is currently at an impasse. The reason for this impasse is the inability of film theory and music theory to relate to one another because of their lack of a common theoretical language. It is my contention that a large percentage of the scholarly writing on film music is less than successful, because of the inability of these two disciplines to relate to each other theoretically. Therefore, it is the intention of this thesis to construct a methodological bridge which will allow music theory and film theory to relate to each other on a common analytical plane. I am primarily concerned with just how the film score functions once it enters into the mise-en-scène and is able to exist on an equal theoretical plane with the other elements of the filmic universe. In order to facilitate this, I will apply philosophical concepts drawn from the philosophy of Gilles Deleuze to the analysis of six individual film/score(s): L’Atalante (Jean Vigo, 1934), Things to Come (William Cameron Menzies, 1936), Scott of the Antarctic (Charles Frend, 1948), East of Eden (Elia Kazan, 1955), Hamlet (Grigori Kozintsev, 1964) and Blue (Krzysztof Kieslowski, 1993). Each of these scores provides a specific theoretical challenge which can not be overcome through the use of traditional analytical methodologies. By adapting specific Deleuzian philosophical concepts (sensation, nomadology, the refrain, the eternal refrain, becoming, utopia, smooth space, and duration) to the individual scores in question I will demonstrate that it is possible to create a flexible analytical methodology which draws the various elements of the film into a deep relationship with the score, thereby revealing the score’s actual function in each instance.

Doctorado en filosofía con mención en estética y teoría del arte / En la primera parte de nuestra investigación intentamos atender un esbozo pedagógico kleeneano de un curso de la Bauhaus, este era el llamado por Klee: Los tres casos (die Drei Fälle). Si recordamos que el movimiento que cohesionaba el dominio de una superficie y el dominio de una línea era el expresado por un punto-movimiento y una línea-movimiento, también lo que él describía nos llevaba a atender que en aquella cohesión se distinguían aquellos dominios en tanto en el dominio de una línea activa se expresaba una superficie pasiva y en el dominio de una superficie activa una línea pasiva al mismo tiempo que el movimiento era descrito por aquel punto-movimiento y aquella línea-movimiento. Dicho de otro modo, en el dominio de la línea activa se presentaba el movimiento como un puntomovimiento y en el de la superficie activa como una línea-movimiento, y, en este sentido, como decía Boehm, teníamos que concebir que la energía original del punto permanecía virulenta (virulent) en tanto en cuanto los cohesionaba transformándose en el recorrido que expresaba aquel boceto. Para Klee, en cuanto considerábamos que aquel boceto era una presentación de la cohesión entre aquellos dominios, también se expresaban dos acontecimientos en Los tres casos: los de cortar y caer, que exponían, en la medida en que aquel boceto expresaba un movimiento, el ser de sensación que presentaba el dominio de lo abstracto. Por un lado, también hemos buscado considerar para el paso hacia aquel dominio la estructura que concibe Klee bajo una concepción constructiva y compositiva que diferencia un movimiento que en tanto implica una intuición (Intuition) desborda lo constructivo de la estructura. / Abril 2023

Thèse de doctorat : Philosophie : Paris 10 : 2009. Thèse de doctorat : Philosophie : Universidad nacional de San Martin : 2009. / Titre provenant de l'écran-titre.

Gilles Deleuze makes a paradox of ethics. Throughout his oeuvre, he establishes polarities (affirmation versus negation, difference versus identity, rhizome versus arborescence, etc.), and demonstrates rhetorically a preference for one pole over the other. This would seem to constitute, if not an obligation or imperative, at least an urgency, a suggestion that those who find his discussion compelling should favor that one pole and act in such a way as to promote it or move toward it. However, for a variety of reasons, it proves difficult or even impossible to put this 'ethics' into practice. / This thesis examines the reasons for this impossibility through close readings of four of Deleuze's texts, Nietzsche and Philosophy, Difference and Repetition, Anti-Oedipus, and A Thousand Plateaus. In each text, I highlight the polarities, showing where Deleuze's expressed preference lies. Then I demonstrate the obstacles to an implementation of this preference. Moving from text to text, I trace how Deleuze's attempts to deal with the question of ethics change over his career, becoming more sophisticated and opening up new problems and possibilities. / Although the nature of the paradox of ethics varies from case to case, I discover at least two difficulties in general. The first concerns the move from the abstract to the concrete: Deleuze often expresses a polarity in abstract or metaphysical terms, which collapses when extended into the concrete. Metaphysically, affirmation is sharply distinguished from negation; where affirmation creates difference, negation levels difference to produce homogeneity. Practically, however, it is impossible to locate this distinction in the world; no person, place, thing, or event can be said to be either affirmative or negative. / This relates closely to the second general difficulty, the insertion of the subject. Even if it were possible to make a practical distinction between two poles of value, it is impossible to locate the subject in relation to those poles. That is, even if the world can be said to behave affirmatively or negatively, the subject is only accidentally related to this behavior, and so ethics becomes a purely ontological matter, bearing no relation to the will or intention of a subject.

Thesis (M.Mus.) - University of Queensland, 2005. / Includes bibliography and discography.

No description available.

their rejection of classical anarchism, various postanarchist thinkers adopt a position of epistemological critique and reduce their metaphysics to a minimal conception of the self and broad, common knowledge statements about politics. Morality in the form of coercive rules or obedience to norms is rejected, whilst ethics in the form of guidelines or suggestions is taken to be desirable, and even necessary, for anarchist politics. The main argument of the thesis takes up the postanarchist critique of morality, taking seriously the concerns that essentialism, universals and representation are contestable and open to fallibility, and suggests that a further contradiction exists between anarchist principles and transcendent ethical systems. As long as postanarchist metaphysics appeal to transcendence, there is a possibility for anarchist ethics to become coercive. This work s original contribution to knowledge is the introduction of immanent metaphysics as a foundation for anarchist ethics. This is done primarily through the philosophy of Gilles Deleuze and his critique of transcendence. The argument begins by outlining Deleuze s metaphysics of difference which are to underpin the rest of the discussion on anarchist ethics. Following this, the thesis draws on the work of Deleuze and Guattari and others to explore the political and active aspects of immanent ethics. The final part sketches anarchist ethics in immanent modes of existence.

Thesis (Ph. D.)--University of Hong Kong, 2007. / Title proper from title frame. Also available in printed format.