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The Global ETD Search service is a free service for researchers
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Showing 21 to 30 of 31 (0.037 seconds)Spelling suggestions: "subject:"muy debord"" "subject:"muy rebord""
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Expérience et représentation du sujet : une généalogie de l'art et de la pensée de Guy Debord / Experience and representation of the subjectFerreira zacarias, Gabriel 24 October 2014 (has links)
Intellectuel évoluant aux marges des institutions, Guy Debord (1931-1994) fut l’auteur d’une pensée et d’un art hétérodoxes. Cette thèse tente de refaire le chemin de son expérience intellectuelle grâce à l’étude des documents inédits conservés au « Fonds Guy Debord » de la Bibliothèque nationale de France. Sont étudiés les manuscrits de ses œuvres, les documents préparatoires de ses films et, plus particulièrement, ses nombreuses fiches de lecture, afin d’établir une généalogie des concepts et des idées de l’auteur, en resituant Debord dans le contexte de son époque. Le grand débat qui animait alors la pensée française, partagée entre les vagues opposées de l’existentialisme et du structuralisme, se concentrait en effet sur l’affirmation ou la disparition du « sujet ». Debord ne participe pas directement à cette querelle et s’intéresse fort peu aux auteurs de la mode. Néanmoins, son œuvre constitue une réponse à ce débat, réponse donnée, d’abord, par l’élaboration d’un art expérimental qui remet le sujet en situation, en recherchant les déterminations objectives qui affectent la subjectivité ; ensuite, par l’élaboration d’une théorie – la théorie du « spectacle » – qui voit la séparation entre l’expérience et la représentation comme le propre de la modernité capitaliste ; enfin, par le développement d’une écriture – littéraire et cinématographique – qui puise dans le travail du détournement et de la citation le moyen de dépasser la séparation « spectaculaire » entre le sujet et le langage. / Guy Debord (1931-1994), always on the margins of cultural and intellectual institutions, authored a heterodox style of thought and art. Through extensive archival research in the “Fonds Guy Debord”, a collection of unpublished notes and manuscripts in the Bibliothèque nationale de France, this thesis seeks to retrace Debord’s intellectual experience. These documents allow for the creation of a genealogy of the author’s key concepts and enable us to situate him in the intellectual context of his times. Contemporary French thought was dominated by existentialism and structuralism. Discussion of the empowerment and disappearance of the “subject” was therefore central. Although Debord took no direct part in these disputes, expressing disinterest in the authors then in vogue, his works did respond to this debate: First of all, in his experimental art, which places the subject in a “situation” and thereby seeks to discover the objective determinations that affect subjectivity; secondly, in his theoretical work – in particular, the theory of the spectacle –, in which capitalist modernity is characterized as a growing separation between experience and representation; and thirdly, in his literary and cinematic works, in which the practice of détournement appears as a method for a subjective re-appropriation of representation.
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Handling Authenticity: A Discourse Analysis of Interviews with Signs-following PreachersDubay, Chelsie M 01 December 2014 (has links)
The National Geographic Channel’s miniseries “Snake Salvation” resurrected a vested interest with the heavily documented practices of signs-following believers in central Appalachia. The current body of scholarship surrounding these congregations focuses mostly on oral history narratives and explanations of religious fundamentalism; a critical analysis of the discourse shared by these congregation members is noticeably absent.
This thesis explores selected interviews with George Hensley, Andrew Hamblin, Jamie Coots, and Alfred Ball through the interdisciplinary application of discourse analysis paired with social disclosure theory to unveil the underlying struggles with power and personal beliefs expressed by each pastor. The research performed throughout this study spans interviews collected and published from the 1940s to 2014. Through a discourse analysis performed on these interviews coupled with support from sociological and communicative theoretical frameworks, this study looks to highlight struggles with power and authenticity present for signs-following pastors.
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Investigation Of The Home, A Metaphor For BelongingEldridge, Jeremy 01 January 2013 (has links)
The research done for this investigation deals with both the motivation of the artist, the personal history and the individual's artistic process. This process is examined through two bodies of art work dealing with the home as a metaphor. The shared themes of belonging, loss and longing are further reinforced by "visual cues" represented in the photographic works. For the Home Divided series, I approached the style of the photographs and the subject matter through indexical photographs of multi-unit homes and the visual representation of a distinct and bilateral division of the structure. The imagery presented in this series deals directly with the historical use of landscape in photography and the house or home as the subject. This series is motivated by my personal experience with a fractured family unit and experience with the fractured notion of the home. The second part of this study examines and records the artist's exploration of space and surroundings in the series, Chez Moi. The images document occupied structures at night with a visual focus being on a light source within the structure. There are shared elements that exist between both bodies of work that elicit feelings of searching and belonging. The separation from the viewer and the subject is further reinforced by the layer created that separates the photographer from the subject through the lens of the camera. The concept of the flâneur, introduced by Charles Baudelaire is an integral part of the artist's process, finding a sense of place and belonging in a foreign environment. The written portion of this investigation gathers materials and information that deals with the conception of the family unit and the house that is literally, and metaphorically, utilized in the notion of home. This focus on the structure as a metaphor for home has further reaching v implications than the structure itself. Findings show that a Western view of community and belonging is rooted in a place of stability in one's community. The basis for personal growth within that community has a direct impact on an individual's development in it. (Goldburgh, 67) The fractured nature of my experience and emotions tied with the notions of home, are expressed through both A Home Divided and the Chez Moi series photographic series. Within this investigation there are references to the artist's memories and experiences that are in contrast and discord with the traditional concept of acceptance and belonging.
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Graffiti Architecture: Alternative Methodologies for the Appropriation of SpaceSabatini, Gerald Andrew January 2008 (has links)
No description available.
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L’influence de la résurgence des questions mémorielles sur la représentation du Japon dans les blockbusters sud-coréens : analyse de la répétition de l’Histoire dans « Fantôme » (1999), « 2009 Lost Memories » (2002) et « Péninsule » (2006) / The influence of the resurgence of memorial issues on the representation of Japan in South Korean blockbusters : analysis of the repetition of History in "Ghost" (1999), "2009 Lost Memories" (2002) and "Peninsula" 2006)Pasquier, Aurélien 18 May 2017 (has links)
Ce travail explore la figure de la répétition de l’Histoire entre la Corée (du Sud) et le Japon dans plusieurs blockbusters sud-coréens depuis 1998. Les années 1990 qui devaient voir la désintégration de l’État-nation sont celles qui marquent le retour des « nationalismes ethniques ». Ce retour des nationalismes qui suit la fin de l’affrontement des deux blocs se manifeste par une résurgence des questions mémorielles entre la Corée du Sud et le Japon. Dans notre première partie, nous analysons comment les problèmes liés à la colonisation qui ressurgissent dès le début des années 1990 transforment le Japon en nouvel « ennemi national » de la Corée du Sud, au moment où les relations entre les deux pays se développent et que la consommation des produits culturels de l’autre est sans précédent. La réaffirmation de l’État dans certains secteurs qui accompagne le nationalisme sud-coréen des années 1990 se concrétise par la mise en place de politiques en faveur du développement de l’industrie cinématographique nationale. L’alliance de l’État et de plusieurs chaebol (conglomérats sud-coréens) permet à l’industrie cinématographique sud-coréenne de redevenir populaire grâce à la production de blockbusters sud-coréens. Après avoir mis en évidence la proximité existante entre les superproductions hollywoodiennes, chinoises, argentines et les superproductions sud-coréennes, nous établissons l’existence de ce que nous nommons une « Aura nationale » au centre de la consommation de ces films et qui permet de les considérer comme des films nationaux, car malgré son caractère fictif, la nation a une réalité effective sur les populations des États-nations. Ayant mis en évidence que les blockbusters sud-coréens qui mettent en scène l’histoire nationale sont devenus le miroir du spectacle national et nous consacrons notre dernière partie à la représentation de la répétition de l’Histoire dans les trois films au centre de notre problématique. L’analyse de ces trois superproductions nous permet de comprendre que la lutte pour défendre l’histoire nationale dans la résurgence des questions mémorielles s’inscrit, à l’image de Louis Bonaparte décrit par Karl Marx, dans les luttes passées pour la défense de la souveraineté nationale. / This work explores the pattern of the repetition of the history between (South) Korea and Japan in several South Korean blockbusters since 1998. The 1990s, which was prophetised to mean the disintegration of the nation-state, marked the return of "ethnic nationalisms". The comeback of nationalisms that follows the end of the confrontation of the two blocs is manifested in the case of South Korea and Japan by a resurgence of memorial issues between the two countries. In the first part, we analyze how the issues from the colonial period that reappeared in the early 1990s transformed Japan into the new "national enemy" of South Korea at a time when relations between the two countries are developing and the consumption of cultural goods producted by the other side is unprecedented. The reaffirmation of the state in certain sectors that accompanies the South Korean nationalism of the 1990s is realized, among other things, by the establishment of policies in favor for the development of the national film industry. The alliance of the state and several chaebol (South Korean family conglomerates) allows the South Korean film industry to regain popularity through the production of South Korean blockbusters. After brought to light the proximity between Hollywood, Chinese, Argentinean blockbusters and South Korean blockbusters, we establish the existence of what we call a "national aura" at the center of the consumption of these films and which makes it possible to consider them as national films, for in spite of its fictitious character, the nation has real effects on the populations of the nation-states. The South Korean blockbusters staging the national history have become the mirror of the national spectacle and we devote our last part to the representation of the repetition of history in the three films at the center of our problematic. The analysis of the films allows us to understand that the struggle to defend national history in the resurgence of memorial issues is staged, like Louis Bonaparte described by Karl Marx, in the past struggles for the defense of sovereignty National level.
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Rebooting Brecht: Reimagining Epic Theatre for the 21st CenturyRice, Andrea 31 May 2019 (has links)
No description available.
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Freedom of InterpretationIvanov, Georgi 11 May 2012 (has links)
The photographic series Ideal Cities that I started in 2011 is inspired by the conflict between my idea of the “west” and my evolving experience in the United States. What struck me was the popularity of what I see as model experience – a spatial experience controlled by the Spectacle. In the terms of the Situationist International and its most prominent figure Guy Debord, the Spectacle is the collapse of reality into the streams of images, products and activities sanctioned by centralized monopolist business or state bureaucracy. Thus, personal experience is replaced with preconceived notions, which control the way people perceive and understand their surroundings.
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Frank O'Hara & the city : situationist psychogeography, postwar poetics, & capitalist culture.Shweiry, Zein 06 1900 (has links)
This dissertation adopts a fresh interdisciplinary perspective on reading the postwar urban poems of New York School poet Frank O’Hara. Through French Situationist philosophy, and particularly the writings of Guy Debord, the study explores the spatial and textual relations of O’Hara’s urban and cultural representations in postwar poetry. With the help of psychogeography and its “anti-techniques” of détournement and dérive, the research focuses on O’Hara’s uses of appropriation in constructing his urban assemblages.
The dissertation considers postwar poems from The Collected Poems of Frank O’Hara and offers Situationist readings and understandings of O’Hara’s modernist (urban and cultural) space. The choice of specific poems highlights O’Hara’s unequivocal inspiration by French poetry and focuses on their urbane, experimental and erotic aspects. The first two chapters propose ways in decoding psychogeographical approaches in poetic (de)composition for reading O’Hara’s poems, while the third delves into O’Hara’s uses of camp in dialogue with Situationist politics that highlight not only the capitalist and the cultural, but also the erotic and the queer. / Cette thèse expose une nouvelle perspective interdisciplinaire quant à la lecture des poèmes d’après-guerre de le poète de New York School Frank O’Hara. Au travers de la philosophie de Situationiste Internationale, plus précisément des écrits de Guy Debord, cette étude explore les connections entre la poésie de Frank O’Hara et des propres représentation urbains et culturelles. Grace au notions de psychogeographie et ses « anti-technique » de détournement et dérive, cette recherche se concentre sur l’art d’appropriation qu’utilise O’Hara dans ses assemblages poétiques.
L’emphase mise sur les poèmes d’après-guerre tirés de The Collected Poems of Frank O’Hara illustre la vision de l’environnement moderniste de O’Hara. Les aspects urbains, expérimentaux, et érotiques inspirés de la poésie française sout mis en valeur par les poèmes choisir d’O’Hara. Les deux premier chapitres proposent une approche psychogeographique pour décomposer les images des poèmes de O’Hara tandis que le troisième chapitre examine l’utilization du « camp » en rapport avec la politique Situationiste qui souligne non seulement la capitalisme et la culture, mais aussi l’érotique et l’homosexualité.
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Varan-i-världen : Varan i form och innehåll i En dramatikers dagbok / Being-in-capitalism : The commodity in content and form in Diary of a PlaywrightStark Theander, Ellen January 2022 (has links)
This thesis explores the commodity as a motif in the first volume of Lars Norén’s Diary of a Playwright, as well as how this motif relates to reification and alienation, and in addition is reflected in the work formally. The study is oriented both towards the text’s depiction of the commodity and its reflections on its own depiction. These descriptions are read in light of Marxist theory and through comparisons with Walter Benjamin’s Passagenwerk, where the latter work also forms a connection to Martin Heidegger and Simone Weil in their capacity of important influences for Norén. Much like in the Passagenwek, the commodity acts as a secret structure in Diary of a Playwright. It organises the text and its seemingly disparate elements on a deeper level. The study contributes to a new understanding of one the greatest Swedish writers in the 20th and 21st centuries. Although the diary has not been the subject of much research, the predominant understanding of the work is, as with Norén’s other writings, largely characterised by a psychoanalytic perspective.
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A Pedagogy of Holistic Media Literacy: Reflections on Culture Jamming as Transformative Learning and HealingStasko, Carly 14 December 2009 (has links)
This qualitative study uses narrative inquiry (Connelly & Clandinin, 1988, 1990, 2001) and self-study to investigate ways to further understand and facilitate the integration of holistic philosophies of education with media literacy pedagogies. As founder and director of the Youth Media Literacy Project and a self-titled Imagitator (one who agitates imagination), I have spent over 10 years teaching media literacy in various high schools, universities, and community centres across North America. This study will focus on my own personal practical knowledge (Connelly & Clandinin, 1982) as a culture jammer, educator and cancer survivor to illustrate my original vision of a ‘holistic media literacy pedagogy’. This research reflects on the emergence and impact of holistic media literacy in my personal and professional life and also draws from relevant interdisciplinary literature to challenge and synthesize current insights and theories of media literacy, holistic education and culture jamming.
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