Thesis (Ph. D.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

Thesis (Ph. D.)--Wesleyan University, 2005. / CD-ROM includes recorded examples and figures. Includes bibliographical references (v. 4, leaves 957-999)

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O ser humano como corpo é o tema central deste trabalho. A fim de se ter uma visão geral do assunto se busca, na primeira parte, saber, de maneira sucinta, qual o tratamento do corpo nas reflexões antropológicas de diversas correntes filosóficas e teológicas. A segunda parte tem como finalidade fornecer subsídios para a definição do ser humano como corpo. Para tanto se busca compreender o conceito soma em Paulo, mas não fazendo uma exegese dos seus textos, e sim tomando por base vários intérpretes do seu pensamento. A terceira parte divide-se em duas fases: inicia-se com uma análise do conceito ser humano no pensamento do biólogo Humberto Maturana. Tal procedimento busca aprofundar e ampliar a definição de que o ser humano é corpo. A seguir, estabelece-se um diálogo entre os aportes de Paulo e de Maturana a propor um esboço desse ser humano que é corpo. A quarta parte busca avaliar dois discursos bioéticos e procura delinear algumas implicações dessa definição antropológica para a bioética. / The human being as body is the central topic of this dissertation. In order to get an overview of the topic, the first part briefly discusses how the human body is dealt with in the anthropological reflections made by some philosophical and theological perspectives. The second part describes possible contributions for the definition of the human being as body. For that purpose it tries to understand the concept of soma in Pauls thinking, not by offering a direct exegesis of Pauls texts, but by refering to suggestions made by some of his interpreters. The third part undertakes an analysis of the concept of human being proposed by the biologist, Humberto Maturana. This procedure aims at elaborating on and broadening his definition that the human being is body. Then it establishes a dialogue between the views of Paul and Maturana with the purpose of delineating a concept of the human being as body. The fourth part advances some conclusions by evaluating two bioethical discourses and by sketching some implications of this anthropological definition for bioethics.

In this thesis I investigate the theoretical or philosophical notion/archetype of the Dionysian in relation to the transgressive female body in performance. I do so through 1) an investigation into the theories behind the Dionysian and the transgressive; 2) an examination of the performative practice of the transgressive female body; and 3) a personal exploration of the theatrical practice. 1) In the first chapter I introduce and thoroughly explore the archetypal concept of the Dionysian, and identify its significance because of its intrinsic association with the transgressive. I associate it with its oppositional force, the Apollonian, which is similarly significant because it is through the Dionysian disruption of the Apollonian from which the very notion of the transgressive springs. Through a review of Camille Paglia's seminal text on the subject of the Dionysian¹, this chapter provides a historical, mythological and theoretical context for the schism between the two archetypal aesthetics, starting from the description of the mythology of the ancient Greek gods, Dionysus and Apollo, and unpacks the transgressive nature of the Dionysian. Drawing on concurring theories of Friedrich Nietzsche and Julia Kristeva, as well as Hans Thies-Lehmann's writings on post-dramatic theatre², Chapter One attempts to firmly establish the inherent link between the Dionysian and theatre and performance, as well as the Dionysian and the transgressive, and provide a thorough theoretical framework for the rest of the thesis. 2) The second chapter investigates the work of two female performance artists³ who (re)present⁴ their bodies as transgressive in performance, namely Marina Abramovic and Karen Finley. It critically examines specific performance works of theirs, and through this examination it explores how they (re)present their bodies as transgressive in performance, and why they do so. This chapter furthermore establishes the connection between the transgressive female performing body, as (re)presented by Abramovic and Finley, and the Dionysian. In so doing it explores how they negotiate this ancient aesthetic or practice in a contemporary performance context. I believe that these performance artists are in fact striving to celebrate and reclaim the Dionysian within their work, and I attempt to establish this within this chapter. 3) The third chapter of this thesis analyses my own practical exploration of the transgressive female body in performance in a piece entitled Bleeding Mermaid (2008). It examines this exploration in the context of the theory of the Dionysian, as well as investigating how and why I (re)presented my body as transgressive in the performance. The analysis furthermore questions how I understand my work on the (re)presentation of the transgressive female body in relation to, and within the context of, Finley and Abramovic's work on the same subject. Through this investigation, I aim to establish a link between the Dionysian and the transgressive female performing body; and investigate the motivation(s) behind the (re)presentation of the transgressive female body in performance. I hope to open up a pathway to the reclamation of the Dionysian, both in performance practice and research. ¹Paglia, Camille. Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson. England: Penguin Books, 1990. ²Lehmann, Hans-Thies. Postdramatic Theatre. Trans. and Intro. Karen Jürs-Munby. London and New York: Routledge, 2006. ³Performance Art began around the 1960s in Europe and America. It is performance with a sense of immediacy – in that it is hard to replicate as it interacts with each unique audience – it is thus effectively a fresh/new experience each time. It breaks the boundaries of traditional theatre (form, structure, venue, time etc) and is often shocking or provocative in nature. It mixed the aesthetics of theatre and art, often taking place in installation settings. Performance Art has developed and morphed throughout the years, and is also referred to as Live Art in Britain. A performance artist is someone who produces performance art. It is possible that Performance Art no longer exists/is possible because it no longer shocks or affects the audience. ⁴My use of the brackets in (re)presented/(re)present throughout this thesis is because I would like to make simultaneous reference to the words/connotations of "presentation" and "representation", without being bound to the connotations of illusion/falseness/non-reality as is associated with the word "representation" (in opposition to the concept of the "real"), and thus be left only with the one-dimensional approach/meaning of "presentation".

No / A new hybrid method of moments (MoM)/finite-difference time-domain (FDTD), with a sub-gridded finite-difference time-domain (SGFDTD) approach is presented. The method overcomes the drawbacks of homogeneous MoM and FDTD simulations, and so permits accurate analysis of realistic applications. As a demonstration, it is applied to the short-range interaction between an inhomogeneous human body and a small UHF RFID antenna tag, operating at 900 MHz. Near-field and far-field performance for the antenna are assessed for different placements over the body. The cumulative distribution function of the radiation efficiency and the absorbed power are presented and analyzed. The algorithm has a five-fold speed advantage over fine-gridded FDTD.

Thesis (Ph. D.)--University of Chicago. / Includes bibliographical references. Also available on the Internet.

Thesis embargoed for an indefinite period - full text not available

<p>Abstract</p><p>The aim is to find out the teachers´ different point of views regarding what and why it´s important to teach children about the human body and in what way educationists can teach this knowledge. Seven teachers are asked, through qualitative interviews, about their point of views on teaching the human body in pre-school.</p><p>The teachers don`t seem to reflect upon the subject, which shows that a development of knowledge needs within the area.</p><p>Fist of all the children´s spontaneous questions direct what the educationists talk about with the children. The most frequently mentioned questions are about the circulation of the blood and the digestion organs. The teachers think it´s important that the children get knowledge about the human body in order to get a better opinion of their own bodies and themselves. It´s also important because this is the basis of other kind of knowledge, for instance the knowledge about animals.</p> / <p>Sammanfattning</p><p>Syftet med undersökningen är att ta reda på pedagogers olika synsätt angående vad och varför det är viktigt att lära barnen om människokroppen, och på vilka sätt man kan förmedla denna kunskap. Sju pedagoger är genom kvalitativa intervjuer tillfrågade om deras synsätt på undervisning om människokroppen i förskolan.</p><p>Pedagogerna verkar inte reflektera så mycket över ämnet, vilket tyder på att en kunskapsutveckling behövs inom området. Det är i första hand barnens spontana frågor som styr vad pedagogerna talar med barnen om. De organsystem som omnämns oftast och som anses viktigast att lära barnen är cirkulationssystemet och matspjälkningssystemet.</p><p>Pedagogerna anser att det är viktigt att barnen får kunskap om människokroppen för ökad kroppsuppfattning och självuppfattning, men också att det ligger som grund för andra kunskaper, exempelvis om djur.</p>

Access to abstract permanently restricted to Ball State community only / Access to thesis permanently restricted to Ball State community only / School of Physical Education, Sport, and Exercise Science

This two-part thesis includes a critical preface and a collection of my poems. Using three poems-Louise Glück's "Lullaby," Bob Hicok's "Poem for My Mother's Hysterectomy," and Nick Flynn's "Memento Mori"-the critical preface examines how, in poetry, the transformation of a body negotiates trauma and triggers a conceptual shift, the creation and revision of identity, and the release of the duende's inspirational force. The collection of poetry that follows seeks to transfigure the body as a way to explore the nuanced traumas of human experience.