This thesis argues that emotions and memories in a community are essential to shaping a common future. Furthermore, when performed on stage, these memories and emotions create a utopian experience that moves performers and audience members towards a brighter future. The foundation for this thesis is built upon the ideas of utopian performative theories combined with the Asian Ganzhi belief that every sixty years a new cycle of hope begins. This thesis also includes a practical work. I was invited to write and direct a cultural production for the 60th year anniversary celebration of The Church of Jesus Christ of Latter-day Saints in Taiwan. The practical experience of creating this production and the utopian theories and Ganzhi beliefs interacted throughout the process of creating the production and writing this thesis. These utopian and Ganzhi ideas influenced the production and the production tested the theories. Historical memories of one generation performed by and to the next generation is a way for a community to shape a brighter future together. The performance of the 60th year anniversary celebration was based on the re-creation, restoration and emotional connection of the members of the performing group to the personal historical memories of the previous generation. When the Taiwanese LDS members prepared, rehearsed and performed their cultural celebration in October of 2016, the production shaped a common, brighter future.

The main focus of this thesis is to understand the myriad ways in which crust punk as an expressive cultural form creates meaning, forms the basis for social formation (or music scene), and informs the ways in which its participants both interact with and understand the world around them. Fieldwork for this research was conducted during the summer of 2012 in Austin, Texas. Primary methodology included participant observation, semi-structured interviews, and online ethnography. Additional research data was collected over the last five years through my own personal involvement with the crust punk music scene. The first section examines the ways in which crust punk as a genre both continues to evolve by avoiding and disavowing genre definitions and boundaries. The second section addresses my particular experiences with the Austin, Texas crust punk scene. I separate and examine the differences within the scene among and between differing levels of participation in various scene practices. These practices include the everyday practices necessary to maintain the music scene, as well as “anarchist” practices such as squatting, train hopping, transiency, and refusal to work. In the final section, I argue that in the crust punk scene dystopian performatives enable an apocalyptic and dystopic view of the world, building upon Jill Dolan’s theory of utopian performatives. I also outline my theory on how dystopian performatives and apocalyptic rhetoric work together to inflect crust punk structures of feelings and social imaginaries.

La régulation, en tant qu'intervention normative de l'État sur la concurrence et les secteurs économiques où l'intérêt général est en cause, s'appuie, de par son essence juridique, sur les deux bras du droit, la fonction préventive et la fonction répressive de la loi. Cette essence, nonobstant, en raison d'un usage multi­sémantique et galvaudé du terme régulation, que ce soit au sein d'ordres juridiques différents ou dans des milieux scientifiques divers, devient un objet incertain de l'analyse juridico-scientifique. À partir du moment où, pourtant, nous nous permettons de concevoir la problématique juridique de la notion de régulation comme une dichotomie opposant deux types de normes au sein des systèmes de droit, soit les nonnes performatives, d'un côté, et les normes opérationnelles de la régulation, de l'autre, nous pouvons discerner, de ce fait, un plan normatif opposé à un plan opérationnel du droit de la régulation. Découlant des normes positives fondamentales, et encadrant la notion de régulation par ses principes, ses objectifs et ses biens ou intérêts juridiquement protégés, et plus précisément créant des responsabilités, ou salien, au plan opérationnel du droit, non seulement pour les entreprises et les citoyens, mais pour l'État et ses autorités, le plan normatif de la régulation met en cause d'autres notions fondamentales partagées par d'autres sciences, comme celle d'intérêt général. Cette approche multi-systémique de la régulation par son plan normatif n'exclut pas, au contraire, elle nous incite à mettre en opposition la régulation à son autre plan ou aspect, celui de norme opérationnelle des droits intrinsèquement dépendante de ses institutions, de ses procédés, de sa portée et de sa compétence, à partir du raisonnement inductif que la notion implique. Les systèmes juridiques propres aux économies émergentes d'Amérique du Sud - l'Argentine, le Brésil et le Chili -, grâce à leur qualité de systèmes hybrides, amalgamant des influences diverses, et plus singulièrement l'influence anglo-américaine et française, dans leur droit administratif unique, font émerger un droit de la régulation innovateur qui a survécu à ce que certains juristes et chercheurs ont appelé les « greffes juridiques », lors de la Réforme de la régulation. Par leur qualité, ils représentent ainsi un cas très instructif pour les études transdisciplinaires du droit et développement qui cherchent à définir la régulation depuis sa dimension essentielle : la prévention des méfaits économiques et l'opérationnalisation des droits économiques fondamentaux. / Regulation, as a State or government normative intervention over markets, from general competlt10n, to specific social and economic sectors, has, due to its essence, two arms, preventive and repressive. Such function, due to the multi-semantic use of the term in different legal systems and in diverse scientific milieus, is, nevertheless, a very pliable objet for legal analysis. As we conceive the regulation legal semantic problematic as a dichotomy opposing two types of norms within legal systems: normative or performative norms vs substantive or operational norms, we can distinguish, notwithstanding, amidst this amalgam called regulation, superior regulatory norms, or fundamental positive regulatory law, forming the canvas for the regulatory system, i.e., its principles, its goals, and its "protected interests", but most importantly, creating obligations, or salien, not only to firms and citizens, but to regulators and to States, based on the nature and interest of the object regulated. This approach also makes it possible to envisage operational regulatory norms, or proceduralizing regulation, for regulatory law also is also defined by its own institutions, its procedures, its enforcement, its scope and jurisdiction, thus its substance, from an inductive reasoning. Legal systems concerning emerging economies of South America, more precisely, Argentina, Chile and Brazil, owing a great deal to their quality of hybrid systems, mixing American and French influence in their unique Administrative law order, were successful not only in surviving, but thriving, from what some scholars call legal transplants, performed during the Regulatory Reform. In this quality, they are a very informative case for transdisciplinary studies in Law and Development aiming to define regulation for its main feature: prevention and operationalization of economic fundamental rights.

O conceito de 'acontecimento' emerge nas artes cênicas após a Segunda Guerra Mundial, no momento em que o conceito moderno, normativo de teatro – a configuração “drama“, se quisermos – é radicalmente criticado. Os primeiros Happenings dos anos 1950 e o seu desenvolvimento nas artes cênicas – por exemplo, no “Teatro-Happening“ de Tadeusz Kantor – contestam a ideia de obra de arte como forma acabada, previamente dada, assim como a divisão essencialista, modernista das artes. A arte se torna “arte conceitual“, arte que opera na percepção ready-made das coisas. Mas uma parte significativa da teoria teatral contemporânea, que emprega o conceito de 'acontecimento' e que defende os artistas cênicos não-mais-dramáticos contra críticas conservadoras, mobiliza, porém, ela mesma uma concepção conservadora e contraditória de acontecimento para entender o novo teatro. Nesta tese, faço numa crítica teórico-analítica dessa abordagem conservadora através do contra-conceito de 'desacontecimento' e da análise de quatro trabalhos contemporâneos: 'Bloody mess' e 'Speak bitterness', do grupo Forced Entertainment; 'Um circo de rins e fígados', da cia. Ópera Seca de Gerald Thomas; e 'Viagem a Nova York', da cia. Teatro Número Três.:SUMÁRIO // INHALT INTRODUÇÃO: Entre ovo e forma oval . . .1 PRIMEIRA PARTE, Discussão teórica 1. O acontecimento como experiência estética. . . 9 O problema do sensível. . .10 Estética da força esclarecida. . .12 Estética da força obscura. . .16 Arte estética ou estetização das formas (da arte também). . . 21 2. Teatro e acontecimento. . . 27 Sujeito e forma dramática. . . 34 Artaud e a perda de si. . . 37 Arte em processo. . . 41 3. Acontecimento sem (participação da) forma. . . 48 O acontecimento atordoante da Presença Real (1) - Féral e o “performer infrassimbólico”. . . 53 O acontecimento atordoante da Presença Real (2) - Fischer-Lichte e o “choque do corpo fenomênico”. . . 56 Uma missão sacrificial para o teatro contemporâneo. . . 58 O acontecimento atordoante da Presença Real (3) – Cassiano Quilici e a “experiência da não forma”. . . 59 Crítica do (novo) naturalismo performativo. . . 61 4. A forma do ponto zero da forma. . . 66 No beco sem saída do não pensamento. . . 69 Concluindo a primeira parte. . . 74 SEGUNDA PARTE, Análise de trabalhos 1. Desacontecimento do performativo: “teatro de escada rolante” (sobre o Forced Entertainment). . . 77 'Bloody mess' (2004), ou “alguma coisa em mim simplesmente não está acontecendo”. . . 79 Análise do solo de Cathy Naden. . . 85 'Speak bitterness' (1994) e o “nós” da confissão. . .98 2. Desacontecimento da informação: “algo de grave aconteceu. Não sei o que houve” (sobre 'Um circo de rins e fígados' (2005) da Ópera Seca). . .107 Uma missão para o ator Nanini . . .109 I. . .114 “Morfologias achadas em Júlio César, de Shakespeare”. . .117 O problema de não se ir ao teatro é confiar na própria realidade. . .125 II. . .130 III. . .135 IV. . .144 3. Desacontecimento do autobiográfico: o Marcio é um outro (sobre 'Viagem a Nova York' (2018) do Teatro Número Três) . . .155 I. . .155 Uma definição (literária) de “autobiografia”. . .156 Freitas e a crítica do teatro-sem-teatro autobiográfico. . .157 Dois modos apresentacionais da sinceridade autobiográfica. . .160 O problema do clichê da sinceridade. . .164 Produzindo a máscara nua do real: o irreal estruturante. . .166 A forma-relato objetiva como opressão da memória. . .168 Autobiografia como vida exemplar. . .170 Uma vontade técnico-midiática do teatro. . .172 II. . .175 Um aparato inusitado. . .178 Hiperfalsidades. . .183 A sinceridade formalizada é duvidosa. . .188 CONSIDERAÇÕES FINAIS. . .193 REFERÊNCIAS. . .199 ZUSAMMENFASSUNG AUF DEUTSCH // RESUMO EM ALEMÃO. . .203 / Der Begriff „Ereignis“ taucht bei den Darstellenden Künsten nach dem Zweiten Weltkrieg auf, als der moderne, normative Theaterbegriff – die Konfiguration „Drama“, wenn wir so wollen – radikal kritisiert wird. Die ersten Happenings der 50iger Jahre und ihre Entwicklung in den Darstellenden Künsten – z. B. bei Tadeusz Kantors „Theater-Happening“ – bestreiten die Idee des Kunstwerks als fertige, vorhergegebene Form, sowie die essentialistische, modernistische Abteilung der Künste. Die Kunst wird dann „Konzeptkunst“, also Kunst, die in die ready made (vorgefertigte) Wahrnehmung der Dinge hineinwirkt. Aber ein bedeutender Teil der zeitgenössischen Theatertheorie, welcher den Begriff „Ereignis“ benutzt und die „nicht-mehr-Dramatik“- darstellenden Künstler verteidigt, hält nichtdestotrotzt an einer widersprüchlichen, konservativen Vorstellung des Begriffs „Ereignis“ für das neue Theater fest. Meine Dissertation versucht deshalb eine theoretische und analytische Kritik an diesem konservativen Ansatz durch den Gegenbegriff „Unereignis“ und die Analyse von vier zeitgenössischen Werke: „Bloody mess“ und „Speak bitterness“ von Forced Entertainment; „Um circo de rins e fígados“ von Gerald Thomas Ópera Seca; und „Viagem a Nova York“ von Teatro Número Três.:SUMÁRIO // INHALT INTRODUÇÃO: Entre ovo e forma oval . . .1 PRIMEIRA PARTE, Discussão teórica 1. O acontecimento como experiência estética. . . 9 O problema do sensível. . .10 Estética da força esclarecida. . .12 Estética da força obscura. . .16 Arte estética ou estetização das formas (da arte também). . . 21 2. Teatro e acontecimento. . . 27 Sujeito e forma dramática. . . 34 Artaud e a perda de si. . . 37 Arte em processo. . . 41 3. Acontecimento sem (participação da) forma. . . 48 O acontecimento atordoante da Presença Real (1) - Féral e o “performer infrassimbólico”. . . 53 O acontecimento atordoante da Presença Real (2) - Fischer-Lichte e o “choque do corpo fenomênico”. . . 56 Uma missão sacrificial para o teatro contemporâneo. . . 58 O acontecimento atordoante da Presença Real (3) – Cassiano Quilici e a “experiência da não forma”. . . 59 Crítica do (novo) naturalismo performativo. . . 61 4. A forma do ponto zero da forma. . . 66 No beco sem saída do não pensamento. . . 69 Concluindo a primeira parte. . . 74 SEGUNDA PARTE, Análise de trabalhos 1. Desacontecimento do performativo: “teatro de escada rolante” (sobre o Forced Entertainment). . . 77 'Bloody mess' (2004), ou “alguma coisa em mim simplesmente não está acontecendo”. . . 79 Análise do solo de Cathy Naden. . . 85 'Speak bitterness' (1994) e o “nós” da confissão. . .98 2. Desacontecimento da informação: “algo de grave aconteceu. Não sei o que houve” (sobre 'Um circo de rins e fígados' (2005) da Ópera Seca). . .107 Uma missão para o ator Nanini . . .109 I. . .114 “Morfologias achadas em Júlio César, de Shakespeare”. . .117 O problema de não se ir ao teatro é confiar na própria realidade. . .125 II. . .130 III. . .135 IV. . .144 3. Desacontecimento do autobiográfico: o Marcio é um outro (sobre 'Viagem a Nova York' (2018) do Teatro Número Três) . . .155 I. . .155 Uma definição (literária) de “autobiografia”. . .156 Freitas e a crítica do teatro-sem-teatro autobiográfico. . .157 Dois modos apresentacionais da sinceridade autobiográfica. . .160 O problema do clichê da sinceridade. . .164 Produzindo a máscara nua do real: o irreal estruturante. . .166 A forma-relato objetiva como opressão da memória. . .168 Autobiografia como vida exemplar. . .170 Uma vontade técnico-midiática do teatro. . .172 II. . .175 Um aparato inusitado. . .178 Hiperfalsidades. . .183 A sinceridade formalizada é duvidosa. . .188 CONSIDERAÇÕES FINAIS. . .193 REFERÊNCIAS. . .199 ZUSAMMENFASSUNG AUF DEUTSCH // RESUMO EM ALEMÃO. . .203

Mit der kritischen Revision wissenschaftlicher Schreibweisen, die seit den 1990er Jahren vor allem im angloamerikanischen Diskurs von Performancetheoretikerinnen wie Della Pollock oder Peggy Phelan unter dem Begriff des Performative Writing unternommen wurde, tritt das Schreiben als Akt und Aktion sowie als Prozess und Produktion des Schreibenden in seinen eigenen Bedingungen hervor. Es kommt zu einer Verschiebung des Was zum Wie wodurch auch die Gestalt und Gestaltung von Struktur und Textur des Geschriebenen lesbar werden. Anhand von künstlerischen Auseinandersetzungen mit Formen der Übertragung von Bewegung in die Zeichnung und experimentellen Schreibprojekten der Verfasserin wird gefragt, was in den performativ verfassten Aufzeichnungen von Aufführungen sicht- und lesbar wird.

After sixteen intensive months, I quit my employed position as a security guard at a local hospital. By drawing on my autoethnographic experiences in the form of “ethnographic fiction writing”, as well as eight interviews with my former male colleagues, I explore how the guards’ constructions of masculinity intersect with their security assessment and subsequent application of force, chemical incarceration, and other coercive security tactics on involuntarily-committed mental health patients. The narratives are framed by the available literature on gender and masculinity within the security, police, prison and military institutions, as well as the theoretical notions of gendered institutions (Acker), hegemonic masculinity (Connell & Messerschmidt), doing gender (West & Zimmerman), and Dave Holmes’s application of Foucauldian biopolitical power to forensic healthcare settings. These concepts are used in tandem with a creative methodological tool to reveal the “messy”, “bloody” and “gendered” ways in which hospital life unfolds between the guard, the nurse, and the patient prisoner. By escaping more traditional forms of academic writing, I am able to weave raw, sensitive and reflexive thoughts and emotions into the research design and analysis. The analysis is divided into two narratives: “Us” and “Them”. “Us” emphasizes the gendered ways in which the hospital guard learns, reproduces, resists, lives up, or fails to live up to the masculine codes of the profession. Here, the guard must confront cultural demands to demonstrate physical prowess, authority and heroism during a patient battle. “Them” explores how hegemonic masculinity shapes the hierarchical and coercive relations between the guard, the nurse, and the patient, and reinforces psychiatrized discourses that promote punishment, pain, bureaucracy and control. Overall, these findings call for the abolition of physical restraint, chemical incarceration and other coercive security measures within our healthcare institutions, and encourage future research to give voice to the lived experiences of women guards and security management teams.

Cette thèse vise à améliorer la conception des systèmes multi-agents, par l'étude et la modélisation des capacités humaines de planification et d'interaction. Elle s'appuie sur une expérimentation psychologique durant laquelle des sujets humains avaient à résoudre un problème de planification en connaissances incomplètes.<br /><br />Les protocoles collectés au cours de cette expérimentation ont été analysés du point de vue de la planification et du point de vue des interactions. Ainsi, un modèle de la planification humaine et un modèle de l'interaction humaine ont pu être conçus.<br /><br />Ces deux modèles sont intégrés de façon homogène à une nouvelle architecture d'agent appelée BDIGGY. Parmi les modèles d'agents existants, le modèle BDI (Belief, Desire, Intention) offre un cadre intéressant pour la conception d'agents délibératifs capables de planifier et<br />d'interagir selon leurs états mentaux. Ainsi, l'architecture BDIGGY est née d'une fusion entre le système IGGY (un système pré-existant de planification humaine) et une architecture BDI étendue à la résolution coopérative de problèmes.<br /><br />Le modèle de l'interaction humaine introduit dans BDIGGY est sur deux niveaux :<br />1. il s'appuie sur la théorie des actes de langage pour modéliser les énoncés, à l'aide d'un ensemble de performatives (comme c'est le cas dans les ACL classiques) appliquées à des états mentaux ;<br />2. il utilise un modèle du discours, représenté par des automates temporisés, pour décrire la dynamique des conversations humaines, en remplacement des protocoles de communication jugés trop rigides.<br /><br />Les niveaux de l'énoncé et du discours sont liés par une sémantique des performatives. Cette sémantique décrit les pré-conditions et les post-conditions portant sur les états mentaux des agents, à la réception et à l'envoi de messages.<br /><br />Dans BDIGGY, l'interaction, la planification et les connaissances s'entrelacent grâce auxconcepts BDI.<br />L'architecture BDIGGY est validée en comparant au cours d'un test "à la Turing", les protocoles expérimentaux provenant de l'expérimentation psychologique et les protocoles générés par des agents BDIGGY, durant une simulation de la résolution du problème.

After sixteen intensive months, I quit my employed position as a security guard at a local hospital. By drawing on my autoethnographic experiences in the form of “ethnographic fiction writing”, as well as eight interviews with my former male colleagues, I explore how the guards’ constructions of masculinity intersect with their security assessment and subsequent application of force, chemical incarceration, and other coercive security tactics on involuntarily-committed mental health patients. The narratives are framed by the available literature on gender and masculinity within the security, police, prison and military institutions, as well as the theoretical notions of gendered institutions (Acker), hegemonic masculinity (Connell & Messerschmidt), doing gender (West & Zimmerman), and Dave Holmes’s application of Foucauldian biopolitical power to forensic healthcare settings. These concepts are used in tandem with a creative methodological tool to reveal the “messy”, “bloody” and “gendered” ways in which hospital life unfolds between the guard, the nurse, and the patient prisoner. By escaping more traditional forms of academic writing, I am able to weave raw, sensitive and reflexive thoughts and emotions into the research design and analysis. The analysis is divided into two narratives: “Us” and “Them”. “Us” emphasizes the gendered ways in which the hospital guard learns, reproduces, resists, lives up, or fails to live up to the masculine codes of the profession. Here, the guard must confront cultural demands to demonstrate physical prowess, authority and heroism during a patient battle. “Them” explores how hegemonic masculinity shapes the hierarchical and coercive relations between the guard, the nurse, and the patient, and reinforces psychiatrized discourses that promote punishment, pain, bureaucracy and control. Overall, these findings call for the abolition of physical restraint, chemical incarceration and other coercive security measures within our healthcare institutions, and encourage future research to give voice to the lived experiences of women guards and security management teams.

Decisions are performatives - or at least, they share important features with performative utterances that can elucidate our theory of what type of thought they are, and what they do. Namely, decisions have an analogous force to that of performatives, where the force of a propositional attitude or utterance is constituted by (i) its point, or purpose, which is mainly a matter of its direction-of-fit, and (ii) its felicity conditions. The force of both decisions and performatives is to bring into being the states of affairs represented in their intentional contents, merely in virtue of the decision or performative’s occurrence and the satisfaction of the felicity conditions they presuppose. The first chapter of the thesis explicates this general framework, and the second and third attempt to show some of the work it can do for a theory of decisions.

No description available.