Approche esthétique de l’œuvre cinématographique de Brian De Palma. La problématique s’articule entre esthétique du montage et violence de l’image. En premier lieu, le texte interroge le mode de découpage privilégié par Brian De Palma en soulignant l'importance du plan-séquence et du split screen. L'usage du plan-séquence est, notamment, rapporté à la question du défaut de vision, phénomène considéré comme central. Un second moment de cette thèse est consacré à l'étude des personnages. Des personnages anti-héros, marginaux. L'accent est particulièrement mis sur le corps féminin. Regard et voyeurisme revient à la question du découpage privilégié par Brian De Palma. Comment Brian De Palma utilise-t-il le regard pour accéder à la violence ? Qu’est-ce que regarder chez Brian De Palma ? Comment les éléments voyeuristes depalmiens se construisent-ils à partir du langage cinématographique ? Le cinéma de Brian De Palma s’annonce aussi savant et complexe, entre classicisme et modernisme. Comment Brian De Palma travaille-t-il l’œuvre hitchcockienne pour offrir une conception nouvelle ? Comment violenter l’image pour extraire son invisible ? / An esthetically pleasing approach to Brian De Palma's cinematographic work. The issue revolves around editing aesthetics and image violence. First, the text questions the cutting mode favored by Brian De Palme, stressing the importance of sequence-shot and split screen. The use of sequence-shot is in particular brought by the issue of lack of vision, a phenomenon considered as central. A second point of this thesis is devoted to the study of the characters. Anti-hero characters, drop outs. Emphasis is particularly placed on the female body. And voyeuristic gaze returns to the issue of cutting by Brian De Palma. How does Brian De Palma use eyes to see violence ? What is the meaning of « looking » to Brian De Palm a? How are De Palma's voyeuristic elements constructed from film language ? Brian De Palma's film also promises to be clever and complex, between classicism and modernism. How does Brian De Palma use Hitchcock's work in order to offer a new design? How assaulting the image to get its unseen part ?

No description available.

No description available.

The main topic of this thesis is separation of points and w∗ -derived sets in dual Banach spaces. We show, that in duals of reflexive spaces w∗ -derived set of a convex subset coincides with its w∗ -closure. We also show, that subspace of a dual reflexive space is norming, if and only if it is total. Later we show, that in the dual of every non-reflexive space we can find a convex subset whose w∗ -derived set is not w∗ -closed. Hence, this statement is a characterisation of reflexive spaces. Next we show, that subspaces in duals of quasi-reflexive spaces are norming, if and only if they are total. Later we show, that in the dual of every non-quasi-reflexive space we can find a subspace which is total but not norming; thus, the previous statement is a characterisation of quasi-reflexive spaces. We also show, that for absolutely convex subsets of duals of quasi-reflexive spaces w∗ -derived set coincides with w∗ -closure. In the last section we define w∗ -derived sets of higher orders and show, that in the dual of every non-quasi-reflexive separable Banach space there exist subspaces of order of each countable non-limit ordinal and no other. 1

In this dissertation the author embarks on a journey of storying and re-storying her life. Autoethnographic evocative personal narratives are used as the method of presentation. Congruent with a postmodern stance, the text repositions the reader as a co-participant in dialogue. In this journey there is a move from a reductionistic understanding of "self" to an understanding of "self" as socially constructed, multiple and changing processes. The author's process of differentiation is embodied and informed by this changing view of "self" as part of, being informed by, shaping and being shaped by the conversations she co-creates in dialogical contexts. This means taking a double-sided, reflexive view of relationships and systems, opens a space for a flexible way of being and imparts sensitivity to the discourses she co-creates. This journey entails taking action that keeps a self-reflexive dialogue going, allowing for different voices to emerge and various encounters to become possible. / Psychology / M.A. (Clinical Psychology)

This qualitatively oriented Practical Theology research project was based on a narrative enquiry into the spiritualities of five Christ-followers. These conversations occurred within a small group context, and were aimed at enabling the participants to co-author preferred spiritual ways of being. Because of my commitment to reflexive research practice, other voices and perspectives were invited into the research process. Besides sharing in numerous reflexive conversations with my supervisors, I brought into the group three 'outside voices'. By sharing their stories, these 'outside voices' challenged privatised expressions of spirituality, introducing a 'hermeneutic of suspicion' into the research process and enabling the research participants to wrestle with the challenges of a compassionate and ethical spirituality. In this conversational journey I was able to engage the central research question of whether a group narrative approach can facilitate the intention of Practical Theology to transform human life. / Philosophy, Practical and Systematical Theology / M. Th. (Practical Theology with specialisation in Pastoral Therapy)

This thesis is a critical examination of the UK defence discourse. It is an exploration of the dominant explanation of defence in the UK in 2015, as evidenced by the artefacts of the discourse - most importantly, by the voices of those within the community. In doing so, this thesis seeks to challenge the notion that there is only one right way to manage and judge the notion of defence, highlighting the cultural and contextual dependence of such ideas, and the dangers which arise from it. In asking the simple question what is defence? I have aimed at identifying the references and experiences, through the deployment of an ethnographic approach, which are drawn on to construct the dominant understanding. In doing so, I have sought to distinguish that which is considered legitimate by the dominant managerial narrative and in what contexts. My findings are illustrated in the form of a power structure within which language and symbolism, and their influence on practice, together build the defence community's expression of identity. The predominance of managerialism in today's explanation of defence in the UK and the failings I have identified as a result, are perceivable throughout the UK public sector. Therefore, the restrictive nature of the narrative in excluding creativity and innovation in the defence sector, also has implications for wider public sector reform in the UK and abroad. The primary contribution this thesis makes rests in the application of the ethnographic approach and a post-structuralist three-pillared framework to a discipline which has traditionally been analysed from an organisational or political perspective. The hope is that, in applying this same approach in multiple contexts, a greater understanding of the mechanisms sustaining dominant explanations can be gained, as well as of the importance of legitimised spaces for innovation and creativity in reform processes.

Dans cette thèse entreprise entre les études littéraires et intermédiales et l’histoire et la critique des arts, nous articulons le rapport de compatibilité entre l’impératif promotionnel auquel doit répondre l’artiste aux fins de promotion de son oeuvre et les conséquences éthiques générées par sa réponse. Nous y analysons notamment les réponses d’artistes dont les pratiques furent classées sous la rubrique de la critique institutionnelle. Par l’entremise d’une série d’études de cas, notre analyse couvre une période historique qui traverse la fin des années 1960 jusqu’au tournant 1990 (Marcel Broodthaers, Louise Lawler, Christopher D’Arcangelo, Andrea Fraser). Nous avons opté pour une méthodologie composite, empruntant à l’analyse du discours et à l’histoire et à la critique des arts. En prenant comme cadre de référence les dernières recherches de Michel Foucault sur les questions de l’éthique et de la critique, la portion de l’oeuvre de Judith Butler qui concerne l’éthique et la performativité, l’analyse pragmatique de Mieke Bal et les analyses sociologiques de Pierre Bourdieu, nous proposons une relecture d’une sélection d’objets littéraires et visuels issus de l’appareil publicitaire et dont le statut et la fonction sont marqués par l’ambivalence, combinant – sans en annuler l’effectivité – la critique à la promotion. Nous démontrons ainsi que les aspérités de la critique peuvent être conservés dans l’espace apriori inapproprié de la publicité, et que cette critique relève de l’éthique. En somme, nous démontrons comment l’articulation de la critique à l’éthique concerne l’ethos de l’artiste, mais aussi celui de l’universitaire. / In this thesis, written between several disciplines (intermedia and literary studies, art history and art criticism), I aim to examine the relationship of compatibility between the promotional imperative artists are compelled to adopt in order to publicize their work via institutions, artists’ response to this imperative, and the resulting ethical consequences. My analysis focuses on this response as articulated by artists whose practices are characterized by criticality and reflexivity, and who have been classified under the rubric of institutional critique. Through a series of case studies, I cover a period spanning the late 1960s to early 1990s, with a focus on the work of Marcel Broodthaers, Louise Lawler, Christopher D’Arcangelo and Andrea Fraser. I aim to address this lacuna by way of a broad-based methodological approach, drawing from discourse analysis, art history and art criticism. Using a referential framework that encompasses Michel Foucault’s later research on ethics and critique, Judith Butler’s work on ethics and performativity, the pragmatic analyses of Mieke Bal, and Pierre Bourdieu’s sociological examination, I propose a rereading of several literary and visual objects that, while produced in a promotional context, are characterized by a certain ambivalence of status and function, combining as they do critique and promotion in such a way as that both modes remain operative. In this sense, I hope to demonstrate that the sometimes abrasive nature of critique can be maintained within the ostensibly unsuitable space of promotion, and that this critique is fundamentally ethical in nature. In sum, I will show how the articulation of ethical critique has bearing on the ethos of both the artist and the academic.

On peut identifier une longue pratique autobiographique en Afrique, si l’on remonte aux Confessions de St Augustin, et l’écriture de soi s'est de surcroît développée dans les langues africaines, aux époques précoloniales puis coloniales. C’est toutefois à l’initiative d’anthropologues et d’éducateurs africanistes que les premières autobiographies africaines (souvent rédigées par des instituteurs ou des élèves) ont été collectées, tandis que parallèlement émergeait une écriture autobiographique dans le roman africain francophone. Avec le combat anticolonial, apparaît une forme nouvelle : l’écriture de mémoires par de grands acteurs politiques africains, qui accentue la dimension réflexive des écritures africaines de soi. A l’ère postcoloniale, l’autobiographie tend à devenir de plus en plus intellectuelle, oscillant entre l’essai autobiographique et l’auto-analyse. A partir d’un corpus majoritairement francophone et anglophone, composé d’auteurs aussi divers que Wole Soyinka, Kwame Anthony Appiah, Joseph Emmanuel Nana Appiah, William E. B. Du Bois, Léopold-Sédar Senghor, Lamine Gueye, Amadou Hampâté Bâ, Valentin Yves Mudimbe, Achille Mbembe, Célestin Monga, Barack Obama, Paulin Hountondji ou Rasna Warah, notre thèse retrace les mutations des écritures africaines de soi, de l’ère coloniale à l’époque postcoloniale, en insistant au passage sur les formes de dialogue qui s’établissent entre ceux-ci et les penseurs africanistes français, pour lesquels l’autobiographie fut bien plus qu’un récit de vie. Dans ces perspectives d’histoire et de sociologie littéraire, nous empruntons à Jérôme Meizoz sa notion de posture pour étudier les positionnements esthétiques, politiques et littéraires des écrivains et penseurs africains dans les champs littéraires africains et occidentaux. Nous mettons également en relief diverses modalités de l’auto-réflexivité en confrontant les écritures africaines de soi avec certaines autobiographies intellectuelles de penseurs et écrivains afro-américains. Cette mise en regard permet une réflexion sur les "postures postcoloniales" de nos auteurs, et débouche sur une nouvelle problématique : la visée postraciale ou le dépassement des projets et des interprétations racialistes de l’histoire et de l’identité qui ont caractérisé nombreuses idéologies africaines comme le panafricanisme et la négritude. En nous appuyant pour finir sur l’idée de « postblackness » désormais en vogue aux États-Unis, nous tâchons de montrer que le postracial reste malgré tout davantage un horizon qu’une réalité des écritures africaines de soi, du milieu du XXe siècle au seuil du XXIe siècle. / We can identify a long autobiographical practice in Africa, if we go back to the Confessions of St. Augustine, and selfwriting has moreover developed in African languages, in pre-colonial and colonial times. At the initiative of anthropologists and Africanists, the first African autobiographies (often written by teachers or students) were collected, while autobiographical writing simultaneously emerged in the French African novel. With the anti-colonial struggle, memoirs were written by leading African politicians, which emphasized the reflexive dimension of African selfwritings. In the postcolonial era, autobiography tends to become more intellectual, oscillating between autobiographical and self-analytic projects. Through a predominantly french-and english speaking corpus, consisting of authors as diverse as Wole Soyinka, Kwame Anthony Appiah, Joseph Emmanuel Nana Appiah, William E. B. Du Bois, Léopold-Sédar Senghor, Lamine Gueye, Amadou Hampâté Bâ, Valentin Yves Mudimbe, Achille Mbembe, Célestin Monga, Barack Obama, Paulin Hountondji or Rasna Warah, our dissertation traces back the mutations of African selfwriting, from the colonial times to the post-colonial era, emphasizing the dialogues established between African authors and French Africanist thinkers, for whom autobiography was much more than a life story. In these literary historical and sociological perspectives, we borrow from Jerome Meizoz his notion of “posture” to study the esthetical, political and literary positions, of various writers and thinkers in African and Western literary fields. We also highlight how self-reflexivity occurs by confronting African self writings to some intellectual autobiographies produced by African-American thinkers and writers. This comparison allows a reflection on the "postcolonial posture" of our authors, and leads to a new problem : the post-racial project that runs through the racialist interpretations of history and identity that characterized many African ideologies such as Pan-Africanism and negritude. Ultimately relying on the idea of "postblackness" now in vogue in the United States, we strive to show that the postracial remains nevertheless a horizon more than a reality of African writings itself, the mid-twentieth century to the twenty-first century.

Submitted by Reginaldo Santos Junior (reginaldo.pereira@univasf.edu.br) on 2015-08-18T18:11:37Z No. of bitstreams: 1 tese Reginaldo - depósito.pdf: 2606580 bytes, checksum: 5d6758214e3f66176399faf5c3b02852 (MD5) / Approved for entry into archive by Maria Auxiliadora da Silva Lopes (silopes@ufba.br) on 2015-08-28T15:42:12Z (GMT) No. of bitstreams: 1 tese Reginaldo - depósito.pdf: 2606580 bytes, checksum: 5d6758214e3f66176399faf5c3b02852 (MD5) / Made available in DSpace on 2015-08-28T15:42:12Z (GMT). No. of bitstreams: 1 tese Reginaldo - depósito.pdf: 2606580 bytes, checksum: 5d6758214e3f66176399faf5c3b02852 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Ao migrarem do trabalho em educação dos espaços escolares para o trabalho na educação corporativa (EC), os profissionais de educação se deparam com lacunas de conhecimentos e saberes necessários para atuarem fora das instituições convencionais de ensino. Este estudo aborda esse problema, partindo da seguinte questão orientadora: Como o ingresso em uma nova comunidade discursiva na corporação modifica cognitivamente o profissional de educação? Para respondê-la, definimos como objetivo geral compreender como este profissional se apropria das práticas discursivas da educação corporativa e realiza o deslocamento entre as comunidades discursivas escola - corporação, construindo formações discursivas, identidades e saberes profissionais para atuar nesses espaços.Trata-se de um estudo qualitativo, que encontrou lastro epistemológico no Doutorado em Difusão do Conhecimento, através da perspectiva desse em produzir conhecimentos interdisciplinares e desenvolvimento de pesquisas sobre a relação entre conhecimento e sociedade, utilizando metodologias subsidiadas pela análise cognitiva e modelagem de conhecimento. A pesquisa foi desenvolvida na perspectiva da Análise de Discurso francesa (ADf) e se propôs a realizar uma Análise Cognitiva (Anco) a partir da ADf. A tese se constituiu a partir da elaboração de um marco teórico sobre a materialidade do discurso e sua indissociabilidade da ação, no qual os conceitos de discurso, ideologia, formação discursiva (FD), sujeito, interdiscurso, comunidade discursiva, na perspectiva da ADf proposta por Pêcheux e Orlandi, ao lado dos conceitos de reflexividade, habitus, conhecimento tácito, saber e identidades profissionais, segundo as perspectivas de Polaniy, Giddens, Schon, Dubar e Caria foram discutidos para fornecer o referencial inicial da compreensão do fenômeno. Ainda, no marco teórico, foi proposta uma noção de educação corporativa elaborada na pesquisa, cuja construção foi subsidiada pelo processo de revisão sistemática da literatura, o qual ofereceu um quadro geral sobre a produção discursiva do tema e a sua justificativa científica diante das lacunas identificadas nas produções acadêmicas, dentre as quais destacamos a análise deste fenômeno a partir da perspectiva dos sujeitos, educadores, que trabalham com a EC. O marco metodológico da pesquisa está ancorado no referencial epistemológico oferecido pela perspectiva da ADf, que funciona como o dispositivo de leitura do corpus produzido e está estruturado a partir dos conceitos desenvolvidos no marco teórico. Os resultados encontrados na análise da produção discursiva de cinco sujeitos em estágios diferenciados da carreira docente e trabalho com a EC em duas corporações nos permitiram compreender o processo de apropriação das práticas discursivas, formações discursivas (FD), identidades e saberes profissionais que a mudança para a EC deflagrou, caracterizando a dinâmica cognitiva destacada em torno do processo que denominamos de (in)fluxo sócio-cognitivo na proposição inicial, o qual está marcado pela confluência de elementos sociais nos pensamentos individuais, provocando contínuas oscilações nos sujeitos, através das distintas posições ocupadas por eles na entre-posição escola-corporação, a partir dos seus deslizamentos pelas divergentes FD desses espaços, movimento efetuado para assimilarem e equacionarem as contradições sociais em que vivem e trabalham. O estudo contribui para o estabelecimento científico da Anco, através da realização de uma análise dos processos cognitivos dos sujeitos nos seus percursos escola-corporação e constrói uma proposta metodológica para a análise cognitiva baseada em produções discursivas. / ABSTRACT In migrating from educational work in school spaces to educational work in corporate education (CE), education professionals are faced with gaps in knowledge and knowledge necessary to act outside the conventional educational institutions. This study addresses this issue, based on the following guiding question: How does the start of a new discourse community in the corporation cognitively modify the education professional? To answer this question, we defined a general objective of understanding how this professional appropriates the discursive practices of corporate education and moves between the discursive school communities - corporation, building discursive formations, identities, and professional knowledge to act in these places. This is a qualitative study, which uses, as its epistemological ballast, the Doctoral in Knowledge Dissemination; using this perspective to produce interdisciplinary knowledge and develop research on the relationship between knowledge and society, using methods subsidized by cognitive analysis and knowledge modeling. The research was developed from the perspective of the French Discourse Analysis (ADf) and sets out to perform a Cognitive Analysis (Anco) from the ADf. The thesis is constituted from the construction of a theoretical framework on the materiality of discourse and inseparability of action, in which the concepts of discourse, ideology, discursive formation (FD), subject, interdiscourse, discursive community (in view of the proposed ADf by Pêcheux and Orlandi), alongside the concepts of reflexivity, habitus, tacit knowledge, wisdom, and professional identities (from the standpoint of Polaniy, Giddens, Schon, Dubar and Caria) were discussed to provide the initial framework of understanding of the phenomenon. However, in the theoretical framework, we propose a notion of corporate education developed in the research, whose construction was subsidized by the systematic literature review process. This offered a general framework on the discursive production of the subject and its scientific justification on the identified gaps in academic productions, among which we highlight the analysis of this phenomenon from the perspective of individuals, educators who work with the EC. The research methodology is anchored in the epistemological framework offered by the Adf perspective, which functions as the reading device of the corpus and is organized based on the concepts developed in the theoretical framework. The findings yielded from the analysis of the discursive production from five subjects at different stages of the teaching career and work with the EC in two corporations allowed us to understand the process of appropriation of discourse practice, discursive formations (FD), and identities and professional knowledge that the shift to EC caused. These findings include cognitive dynamics highlighted around the process that we called in our initial proposal social-cognitive (in)flux, which is marked by the confluence of social elements in the individual thoughts, causing continuous fluctuations in the subjects through the different positions occupied by them. Namely, the in-between postions of school-corporation, which also involved slips from the divergent FD between these spaces, movement made in order to assimilate and equate the social contradictions in which they live and work. The study contributes to the scientific establishment of Anco, by conducting an analysis of the cognitive processes of the subjects in their school-corporation paths and also constructs a methodology for cognitive analysis based on discursive productions.