The aim of this dissertation is to define and account for experiences of musical connectivity by exploring the relationship between joint musical action and social experience through a combination of ethnographic and empirical methods. Live sitar and tabla duo performance, in the Hindustānī tradition, forms the focus of the studies. Through its approach and scope, this research contributes to a broadening of knowledge and understanding of how people play music together, and experience varying feelings of 'togetherness' while doing so, from an interdisciplinary, non- Western perspective. The dissertation first considers the various musical and social concepts and behaviours that characterize Hindustānī performance. This is followed by an in-depth analysis of a commercial recording by master musicians Pt. Nikhil Banerjee and Zamir Ahmed Khan, in which the formal, rhythmic, and micro-temporal interactions are explored from a relational, socially-driven perspective. Lastly, qualitative and quantitative data collected through a case study carried out in Varanasi, India, involving close collaboration with expert informants Shyam Rastogi (sitar) and Sandeep Rao (tabla) together with the participation of five other local musicians are presented and discussed. Nine audio-visual performances were recorded, and performers were subsequently interviewed regarding aspects of their social experience whilst playing. Performances were then analysed in order to relate performers' musical interactions with their self-reported feelings of sociality, both generally and at specific moments of their performance. These various results are used to support a novel model of musical connectivity, based on (i) ethnographic insight gathered through fieldwork, (ii) formal and informal interviews with numerous Indian musicians, and (iii) the author's auto-ethnographic account of his practice as a sitar student. This model and the phenomenological insights that it presents are explored in detail in the concluding chapter.

Este trabalho se situa na fronteira entre as artes cênicas e a psicologia, particularmente o Construtivismo Semiótico-Cultural em Psicologia. Nosso problema central é compreender como o estudo sobre narrativas alegóricas construídas em espaços intersubjetivos cênicos e a construção desses espaços podem nos auxiliar na proposição de novas estratégias pedagógicas, seja no nível mesmo da sala de aula, seja na esfera da sala de ensaio (teatro). A articulação teórica desenvolvida será apresentada a partir da elaboração de um esquema que contemple aspectos balizadores do surgimento das narrativas: negociações intra e intersubjetivas e a fricção dessas, construção de espaços intersubjetivos, ilusão de apreensão total das intencionalidades e expectativas do outro e pluralidade dos conhecimentos. Esse esquema foi desenvolvido a partir da tentativa de análise de recortes da experiência empírica que originou esta pesquisa. Os trechos analisados, e que sarão apresentados, advieram de duas naturezas de registro: vídeo-gravações das etapas de construção de Dramaturgias Consensuais e anotações no caderno de campo do pesquisador. O Projeto Dramaturgias Consensuais compreende a elaboração de um texto dramatúrgico e de um espetáculo teatral resultante do mesmo, com crianças e adolescentes entre 08 e 14 anos. Chegar ao consenso atua como problematizador da ação interativa-criativa. A articulação entre as artes cênicas e a psicologia surgiu da necessidade de compreender: 1 - como a noção de espaço intersubjetivo e de negociação de sentido da experiência podem nos auxiliar na compreensão dos participantes da pesquisa, ou seja, sujeitos em processo de criação,nos sentidos das proposições de BOESCH, LINELL, MARKOVÀ, ROMMETVEIT, SIMÃO, VALSINER; 2 como a construção de narrativas pessoais, necessárias ao processo criativo, modula a constituição subjetiva; nesse sentido articulamos as considerações de Walter Benjamin sobre narrativa, conhecimento alegórico e instância representacional do sujeito (EU), com recortes das obras dos já citados autores do Construtivismo Semiótico-Cultural em Psicologia, no que concerne ao item 1 / This research work lies on the border between dramatic arts and psychology, particularly the Semiotic-Cultural Constructivism in Psychology. Our central problem is to understand how the study of allegorical narratives built on intersubjective scenic spaces and the construction of these spaces can help us in the proposition of new teaching strategies, whether in classroom, whether in rehearsal room (theater). The developed theoretical formulation will be presented from the establishment of a scheme that covers guide aspects of the narratives emergence: intra and intersubjective negotiations and their friction, construction of intersubjective spaces, illusion of totally seizing the others intentions and expectations, and knowledge plurality. This scheme was developed from the attempt to analyze an extract of the empirical experience that led to this research. The analyzed excerpts, that will be here presented, derived from two different sources of register: Video-recordings of Consensual Dramaturgies building steps, and the notes on the researcher\'s field diary. The Consensual Dramaturgies Project includes the preparation of a dramaturgical text and a theatrical show, which follows it, with children and adolescents between 08 and 14 years of age. To reach consensus acts as the problematization of the interactive-creative action. The relationship between dramatic arts and psychology came from the need to understand: 1- how the notion of intersubjective space and the negotiation of the experiences meaning can help us understanding the research participants, ie subjects under process of creation, towards the propositions of BOESCH, LINELL, MARKOVÀ, ROMMETVEIT, SIMÃO, VALSINER; 2- how the construction of personal narratives, which are necessary for the creative process, modulates the subjective constitution; in this sense we articulate the considerations by Walter Benjamin on narrative, allegorical knowledge and representational body of the subject (Self), with excerpts from the works of the already mentioned Semiotic-Cultural Construtivism in Psychology, with respect to item 1

Este estudo organiza-se como pesquisa bibliográfica no campo da literatura psicanalítica, vetorizada pela experiência clínico-institucional da autora e pela pergunta formulada: o que se pode pensar, a partir da psicanálise, sobre as condições de constituição e preservação do espaço onírico comum e compartilhado da equipe em instituições de cuidado? Parte da hipótese de que a equipe tem entre suas funções a de metabolizar a experiência de seu espaço intersubjetivo para restaurar a capacidade de sonhar daqueles que a compõem e daqueles a quem se endereça sua tarefa, e assim os tratar. Objetiva assim contribuir para identificar e discutir operadores clínico-teóricos da psicanálise pertinentes ao cuidado e trabalho das equipes dessas instituições. Para tanto, passando pela discussão sobre a intersubjetividade na psicanálise e o papel do outro nos processos de constituição do psiquismo e de subjetivação, recorre a conceitos da metapsicologia dos conjuntos intersubjetivos, de René Kaës, a compreensões do sonhar apoiadas nas teorias de Bion e Winnicott e ao pensamento contemporâneo sobre clínica psicanalítica de grupos e instituições (desenvolvido por autores ligados à Université Lyon-2, como Gaillard, Pinel, Vidal). Sugere que as condições para que a equipe opere como um aparelho de sonhar a clínica institucional relacionam-se àquelas que possibilitam a experiência e o espaço transicional (Winnicott) / This study is organized as a bibliographic research of psychoanalytical literature which dialogues with the authors clinical experience on institutions and with the question: based on psychoanalysis, what can be thought about the constitution and preservation of the shared onyric space of professional teams in care institutions? It assumes that, among its functions, the professional team has to metabolize its intersubjective space experience, in order to restore the dreaming capacity of those who compose it and of those to whom its task is addressed and, finally, treat them. It aims to contribute to identify and discuss some psychoanalytic clinical-theoretical operators which are adequate for the care and the work of professional teams in socio-assistance and care institutions. Thus, through some discussion of the intersubjectivity in Psychoanalysis and of the role of the other in the processes of the constitution of the psychic and subjectivation, it uses concepts from the metapsychology of shared psychic spaces (Kaës), from Bions and Winnicotts comprehension of the dream, and from contemporary production about the psychoanalytic clinic of groups and institutions (developed mainly by authors related to Université Lyon- 2, as Gaillard, Pinel and Vidal). It suggests that the conditions for the group to operate as an apparatus for dreaming the institutional clinic relate to those that enable transicional experience and space (Winnicott)

The aim of this study was to explore learning experience of EFL elementary school students during peer-led English picturebook discussions. This study primarily addressed the following aspects: 1)elements that constituted EFL learners¡¦co-construction in terms of intersubjectivity; 2) the processes of co-construction among EFL learners; 3) the relationships between EFL learners¡¦perceptions of English picturebook discussion experience and their participation in co-construction. The present study adopted a single instrumental case study and recruited four sixth-grade EFL learners in Kaohsiung City. Procedures of data collection included observations and interviews, lasting from June 2009 (excluding July and August) to January 2010. The researcher transcribed the data and employed the constant comparative method for data analysis. In addition, the researcher adopted Matusov¡¦s (1996) idea of intersubjectivity as her analytical framework in the later stage of the data analysis. The study showed the following results. First, the four EFL learners¡¦co-construction constituted both agreements and disagreements. Second, during the processes of meaning co-construction, the four EFL learners drew on single and multiple resources to clarify confusions and extend meanings. Third, during the English picturebook discussions, the four EFL learners¡¦perceptions of peer interaction and participation towards co-construction were mutually affected. The findings of this study are consistent with Matusov¡¦s (1996) concept of intersubjectivity for revealing that some disagreements may encourage co-construction among the four EFL learners. Also, this study echoes Wertsch¡¦s (1979, 1984) idea of situation definition and demonstrates the nature of the four EFL learner¡¦s shifting perceptions when interpreting the activity of English picturebook discussions. For further studies, researchers can explore why some of the disagreements among students cannot encourage co-construction. In addition, future studies can investigate the fluctuating nature of situation definitions and the mutually affected ways of the learners¡¦situation definitions. For EFL elementary teachers who are interested in incorporating English picturebook discussions into peer-led group activities, this study provides two pedagogical implications. First, EFL teachers are encouraged to pay more attention to students¡¦ co-construction processes in peer-led English picturebook discussions, instead of only focusing on the product of co-construction. Second, EFL teachers are suggested to be aware of possible factors that can negatively affect students¡¦willingness to participate in group discussions, such as peer influence and peer pressure.

Photographic, film and video representations of dying and dead subjects bring to light delicate balancing acts of agency involving representational perspective. In this thesis, I examine contemporary, lens-based artworks by Sarah Charlesworth, Eric Fischl (whose sculptural medium is an exception), Alejandro Gonzalez Innaritu, Gillian Wearing, Andres Serrano, Nan Goldin, AA Bronson and Jorge Zontal, as well as works by photojournalists Richard Drew and Theresa Frare, to show how they effectively convey facets of identity to dying and dead subjects. The voice, visuality, touch and embodiment (in particular, the body's weight and its materiality) are considered dimensions of intersubjectivity in order to explore how they foster access to the dying or the dead. My hypothesis is that, despite the avenues of intersubjective agency that appear to be foreclosed to the dying and the dead, the artists negotiate the following, significant challenges: how to bear witness to suffering without enacting visual mastery; how to grant a voice to or engage in dialogue with a silenced subject; how to touch the other without inflicting injury. Through the artists' divergent representational paradigms, the terms of intersubjectivity will be shown to equally involve the potential for reverence as well as for representational violence and it is upon this duality that the ethical concern hinges. The degrees of photographic transparency invoked by the artists alter the emergence of identity and the extent to which it reflects the perspective of the dying and the dead or, alternatively, becomes a framework of distortion. In terms of subject matter, the causes of death to the subjects represented, all of which are non-fictional, are AIDS-related illness, falling from buildings and violence (sometimes self-inflicted). Conceptually, I will be relying upon the phenomenological models of Maurice Merleau-Ponty, the photographic theories of Roland Barthes, the feminist met

The project is to unfold the dialogical aspects of human subjectivity as expressed through the existential phenomenology of Heidegger's Being and Time. The investigation is divided into three parts. / Part I offers an interpretation of Heidegger's concept of subjectivity with emphasis on the movement from inauthenticity to authenticity. In order to mediate the more traditionally existentialist reading of Dasein's authenticity, I situate Being and Time within Heidegger's larger phenomenological project. This opens up the possibility of thinking about Being-in-the-world and Being-towards-death in terms of a lived intentionality in which Dasein has its own Being as its object. Although Dasein in its everydayness generally only comports toward its own Being in the manner characteristic of empty intentionality, this intention can be fulfilled. This fulfillment constitutes Dasein's authenticity. / Part II poses the question: What is dialogue? I illustrate that there are two figures of dialogue---conversation and encounter. Conversation is an exchange between participants which maintains a particular flow and thematic unity, and is based on the structure of question and response. Its possibility rests in the otherness of the participants with respect to one another and in their ability to mediate this difference through some shared basis of meaning. Encounter, on the other hand, is an event of meeting between participants in which the alterity of the other is thrown into high relief by the challenge which it poses to the self, thereby throwing into question both the self and the meaning in which it dwells. Nevertheless, both conversation and encounter can be shown to be dialogical relative to a constellation of concepts. Dialogue is an engagement with alterity marked by a simultaneous continuity and discontinuity with the other. This engagement bears a relation to meaning and is the ground of responsibility and questionability . / In Part III, this notion of dialogue is used to interpret Dasein's subjectivity and its becoming authentic. I argue that Dasein's everydayness can be understood as a conversationality in the third person which is transformed into the first-person conversationality of authentic historizing through an encounter with radical alterity in anxious Being-towards-death.

In this study, I conduct a genealogical analysis of intersubjective assessment practices. With the help of Foucault (1926-1984) as well as other writers who provide genealogical insights, I set out to examine the effects of productive power within the realm of intersubjective assessment practice. My key concern, guided by Foucault, was to investigate the forms of power, trace its pathways and explore the discourses involved. The study was carried out in a high school located within a city suburb. The key participants were three teachers within the learning areas of Maths, Languages (English Home Language) and Arts and Culture and their respective learners. Data was reduced from video transcripts, observations, and documents. Taking on the genealogical role of “specific intellectual” (Foucault, 1984), I attempted to “disturb” the truth of intersubjective assessment by standing up against the current of new ideas in assessment. I aimed to challenge the things that came across as natural or unquestionable about intersubjective assessment. As part of this project, I tell two stories. In the first, I show through a look into the limitations of the past “objective” view of assessment, how the present “intersubjective” view has been conceptualised. I portray this move from the “objective” to the “intersubjective” view as a story of victory- which I go on to challenge through genealogical analysis. In the other story, I provide a perspective of actual practices of intersubjective assessment. My aim is to show that both stories are tied up in power, substantiating this study’s decision to explore the phenomenon of intersubjective assessment via a genealogical approach. This genealogical analysis revealed a complexity of struggles on the part of teachers and learners in their intersubjective assessment practices. The sense was conveyed that the actual complexity of intersubjective assessment is back-grounded in the many petty and detailed practices in and around it. Some of these include, the conflicting subjectivities on ii the part of both teachers and learners; the impact of the school’s order mark system on intersubjective assessment; the impact of oppositional discourses in existence beneath the surface of schooling life; the panoptic hold those in power have over individual bodies, and the extent to which normalizing practices, both from sources external and internal to the school, impact on intersubjective assessment practices. A pervasive discourse revealed by the analysis was that of “composed performances” of intersubjective assessment. The study found that overt and covert forms of Accountability within the context of the study constructed teachers and learners as compliant subjects rather than autonomous and critically questioning individuals. This study demonstrates that Foucault’s (1926-1984) theories, methods and the model constructed for this study are respectively relevant, valuable and effective when investigating power in intersubjective assessment. Foucault’s suggestions for genealogical inquiry have enabled a perspective of “different things” that exist within the notion of intersubjective assessment. It has revealed points of “fragility”, possibilities for resistance and openings for change within the practice of intersubjective assessment. / Thesis (Ph.D.) - University of KwaZulu-Natal, Pietermaritzburg, 2009.

The following study is an attempt to understand the fundamental ethics of Emmanuel Levinas and the phenomenology of G. W. F. Hegel as philosophies of intersubjectivity. In this study we hope to make an important contribution to Levinas scholarship by historically locating Levinas' interpretation of Hegel's Phenomenology of Spirit in the twentieth century French-Hegelian tradition. The historical location of Levinas' thought concerning Hegel is important because a French-Hegelian reading of the Phenomenology of Spirit is not a textually accurate portrayal of Hegel's thought. We will argue that a French-Hegelian reading of the Phenomenology of Spirit actually misinterprets the meaning of "teleological" time and "the end of history" in Hegel's text, and that it does so for expressly political purposes. We will argue that Levinas' French-Hegelian misinterpretation affects both his portrayal of Hegel's phenomenology and his own ethical phenomenology. Locating Levinas' Hegel in a French-Hegelian tradition is important for understanding his phenomenology because Levinas negatively situates his own ethical account of intersubjectivity against what he takes Hegel's phenomenology of intersubjectivity to consist in. As a consequence, Levinas goes to great lengths in Otherwise than Being to describe time as "diachronous" in direct contradistinction to what we will argue is a French-Hegelian misreading of "teleological" time in Hegel's Phenomenology of Spirit . After we establish a proper reading of Hegel's phenomenology of intersubjectivity, and we establish how Levinas misunderstands the Phenomenology of Spirit from a French-Hegelian perspective, we will be able to access the viable similarities that actually inhere between their purportedly "diametrically opposing" phenomenologies of intersubjectivity. These similarities will give us a logical point of contact between the two philosophers in terms of which we can normatively evaluate their respecti

Using a modified, systematic literature review I will examine issues of subjectivity, gender, and differnce in relation to psychoanalytic feminist theory. Psychoanalytic feminism evolved out of a reaction to classical psychoanalytic theory. In particular, the works of Chodorow (1978), Kristeva, (1977, 1989) and Benjamin (1988) were used. The literature revew will discuss the development of these theoretical perspectives and the understanding of subjectivity, gender and difference in psychoanalytic feminism and the implication this has for clinical practice.

Thesis (PhD) - Australian Graduate School of Entrepreneurship, Swinburne University of Technology - 2008. / Submitted for the degree of Doctor of Philosophy, Australian Graduate School of Entrepreneurship, Swinburne University of Technology, 2008. Includes bibliographical references (p. 212-236).