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"Thèse présentée à l'Université Laval comme exigence partielle du doctorat en théologie offert à l'Université de Sherbrooke en vertu d'un protocole d'entente avec l'Université Laval." / Les arts martiaux japonais proposent différentes approches dont Fune vise le développement spirituel de l’être. Or, en s’acculturant, cette vision originale des arts martiaux n ’aurait-elle pas dû s'ouvrir à d’autres horizons spirituels, tel le christianisme, par exemple? Ce n’est malheureusement pas le cas. Dans la culture francophone occidentale, l’approche spirituelle repose sur un rapport exclusif entre Fart martial et la tradition religieuse japonaise, dont le zen. L’objectif de cette recherche est d’amorcer une réflexion critique sur ce type de rapport exclusif. Pour atteindre cet objectif, après avoir exploré certaines avenues, nous avons choisi de référer à un exemple représentatif: Roland Habersetzer. Auteur de nombreux ouvrages sur les arts martiaux, Habersetzer se distingue plus particulièrement dans le domaine du karaté, où il est passé maître. Dans l’un de ses ouvrages, il oriente le discours spirituel du karaté dans un rapport exclusif avec le bouddhisme zen. Nous contestons la thèse d’Habersetzer en nous appuyant sur une relecture de la dimension spirituelle des arts martiaux japonais. À cet effet, nous avons postulé que la dimension spirituelle des arts martiaux est une création culturelle, l’aboutissement d’une tension dynamique entre deux pôles de la culture japonaise: le profane et le sacré. C’est à partir de cette perspective que nous avons abordé notre investigation, basée sur une méthodologie mettant l’accent sur l’analyse de contenu. Notre exploration nous a permis de démontrer que le discours actuel soutenu par le maître Habersetzer trahit le sens fondamental que la culture japonaise véhicule sur la dimension spirituelle des arts martiaux dans son propre pays. À partir d’un objectif qui vise essentiellement le développement spirituel de la personne, la diversité des options religieuses et martiales offrent, au lapon, un éventail de possibilités. En ne tenant pas compte de ce point de vue, le discours d’Habersetzer encourage l’existence d’une situation contradictoire qui prive actuellement les Occidentaux d’un héritage spirituel qui leur permettrait d’aborder un art martial à partir de leurs propres convictions religieuses.

Seriemediet inkorporerar lingvistiska och ikoniska tecken för att uttrycka etiska, moraliska, sociala och politiska budskap, vilka kan slätas över av en underhållande och tilltalande form. Detta gör mediet lämpligt för en retorisk analys. Ett omdiskuterat ämne inom seriemediet är dess gestaltning av kvinnor, å ena sidan i form av stereotypa könsroller och underrepresentation av verkligt intressanta kvinnliga karaktärer, å andra sidan sexualiserande porträtteringar, våld och övergrepp. Denna uppsats undersöker hur våld mot kvinnor gestaltas i mötet mellan olika typer av bilder och texter i ett och samma serieförfattarskap. Undersökningen genomförs med hjälp av Roland Barthes ”Rhétorique de l’image” (1964) och teorin om the male gaze som Laura Mulvey diskuterar i artikeln ”Visual pleasure and narrative cinema” (1975). Analysen inspireras av en komparativ metod beskriven av Lennart Hellspong i Metoder för brukstextanalys (2001). Uppsatsen granskar utdrag ur Watchmen, Batman: The Killing Joke och The League of Extraordinary Gentlemen av Alan Moore, en av vår tids mest ansedda författare inom seriemediet, också känd för att porträttera våld mot kvinnliga karaktärer.  Uppsatsens påvisade en ambivalens i porträtterandet av våld mot kvinnor i utdragen ur Alan Moores graphic novels, samt behovet av att problematisera såväl Alan Moores serier som Laura Mulveys the male gaze, men också möjligheten att använda hennes och Barthes teorier inom retorikdiskursens och seriemediets ramar för att granska hur samspelet mellan bild och text kan uttrycka olika typer av budskap och attityder.

Diploma thesis "I become speech." Death and Return of the Author in the Perspective of Philosophy of Identity focuses on the question of inclusion of the author into the interpretation of literary text and aims to highlight the fruitfulness of such inclusion as well as some of its dangers. The thesis is divided into three parts. In the first part the author of the thesis presents a polemic account of some antiauthorial approaches, especially the "death of the author" as appearing in the texts of R. Barthes, M. Foucault and Jacques Derrida, along with a short mention of antiintentionalism of W. K Wimsatt and M. C. Beardsley and a theory of the model author by U. Eco. The common feature of the aforementioned antiauthorial theories is a reductive idea of the author and his relation to text - the problematic aspects of authorial interpretation, which their texts wish to make evident, is then only a consequence of the problematic underlying notion of the author-subject. The second part of the thesis intends to present an alternative theoretical understanding of the "real author" using the philosophy of identity od J. Butler and P. Bourdieu. These authors are proposing a theory of a person who is not understood as a "real thing" that would be available for a complete delimitation, description and...

The aim of this thesis is to undertake a comparative study of contemporary British and German-language playwriting, with an eye specifically towards possible reasons and solutions for the problematic situation of German-language playtexts in Britain. I will first conduct a stylistic analysis of a selection of British and German-language playwrights, focusing on the differences in representation of interiority through dialogue and narration. I will then introduce a phenomenological lens that will expand this literary analysis by looking at specific stagings of these texts, and at the use of gestures in particular. Tracing the performative implications of dialogue and narration in their relationship with gestures, I will suggest that while dialogue mostly requires metonymical gestures, the phenomenology of narration is better served by a more metaphoric use. This is followed by a chapter on translation, which will look at the specific problems and chances posed by narration and so-called ‘postdramatic’ plays in general. After these theoretical considerations, I will scrutinise my findings in a practical environment in two major steps. The first step is a comparative rehearsal observation of one German and one British director and their work with contemporary playtexts. My main question will be in how far the tendency towards dialogue in British plays and towards narration in German-language plays is matched by corresponding trends in the directors’ formal language. Furthermore, I will contextualise the work of these two directors in the larger field of directing in their respective countries. The second and final step of my practical investigation will be an implementation and testing of the previous theses in two directing projects of my own. I will again focus on rehearsal methodologies, attempting to find out which methodologies are particularly useful for the rehearsal of narrative playtexts and thereby hoping to formulate some first ideas for the specific requirements of German-language playtexts in a British context.

This thesis presents the work of a contemporary German playwright Roland Schimmelpfennig in a wider context. In the main chapter, the author focuses on the analysis of five Schimmelpfennig's plays that have been performed also on Czech theatre stages. The analysis emphasizes the elements of a dramatic structure that Schimmelpfennig uses in an innovative way: epization of texts, unrealistic treatment of dramatic time, elements of magic realism etc. The author also pays attention to a general characteristic of a contemporary German-speaking theatre with respect to the topics that it deals with. A significant part of the work is devoted to classifying Roland Schimmelpfennig's work in the historical and theoretical context of a contemporary German-speaking theatre. A book called Die Rückkehr der Helden by a German author Nikolaus Frei, which questions some opinion on the recent development of theatre presented in a book Postdramatisches Theater by Hans Thiese Lehmann, has become a crucial source for this thesis. Nikolaus Frei copes with the question of animateness/inanimateness of theatre and by using extracts from particular dramatic texts by contemporary authors proves a possible continuity of mimesis, realistic acting and conflicts on the stage until the 21st century. In conclusion, it is possible...

The subject of this dissertation is the introduction and reception of science fiction literature in Sweden 1950–1968. Apart from considerations on science fiction as a genre and market category, and a brief survey of science fiction published in Sweden before the year 1950, the dissertation scrutinizes the Swedish publishers’ attempts at introducing both domestic and translated science fiction, the reception of the genre in Swedish literary criticism, the magazines Häpna! (1954–1966) and Galaxy (1958–1960), and the foundation of a Swedish science fiction fan culture. Science fiction was established as a category on the Swedish book market in the early 1950s, with several attempts to launch single works or whole series of mainly translated fiction. Between 1952 and 1968, roughly 30 publishing firms published over 160 books marketed as science fiction, with an apex in the late 1950s. Few publishers were successful, however, and most of the series were discontinued within just a few years of their inception. Meanwhile, in Swedish literary criticism, science fiction was increasingly perceived as a deficient form of commercial entertainment. A few of the exceptions were Harry Martinson (1904–1978), with his space epic Aniara (1956), and the translated author Ray Bradbury (b. 1920), who came to be considered as surpassing the boundaries of the genre. With the magazine Häpna!, a Swedish science fiction fan culture was contrived, with fans forming clubs, arranging conventions, disseminating fanzines, and, eventually, starting their own publishing firms and magazines. In the Swedish literary system, science fiction became a semi-separate literary circuit of production, distribution and consumption, and, concurrently, a growing autonomous subfield of cultural production, with its own forms of specific symbolic capital, doxa, and instances of consecration.

Made available in DSpace on 2016-04-27T17:27:27Z (GMT). No. of bitstreams: 1 Edison Silvestre Petenussi Silva.pdf: 3671113 bytes, checksum: 0213ca62fbae90f771744562024b91bb (MD5) Previous issue date: 2009-04-30 / This present work has as objective a discussion about the statute of photographic image, its uses and characteristics from an analysis of the work of plastic artist Rosângela Rennó and from the approach of two philosophers, Walter Benjamin and Roland Barthes. It was presented a brief historic of the birth of photography and after, an introduction of the ideas of Walter Benjamin, specially his considerations about the work of art and its technical reproduction. Subsequently, it was introduced the considerations about photography developed by French philosopher Roland Barthes in his famous book Camera Lucida . It was examined the work of plastic artist Rosângela Rennó in the light of these philosopher s works. The analysis is about a specific work, Bibliotheca a compiled images redeemed by artist and reused as support for the development of her artistic universe. The issue of photography as a possibility of memory rescue, the massification of photographic images and the appropriation of existing images resignified in the art guided this dissertation / O presente trabalho possui como objetivo a discussão sobre o estatuto da imagem fotográfica, seus usos e características a partir da análise da obra da artista plástica Rosângela Rennó e das abordagens de dois pensadores, Walter Benjamin e Roland Barthes. Tratamos inicialmente de um breve histórico do nascimento da fotografia e posteriormente uma introdução ao pensamento de Walter Benjamin, especialmente suas considerações acerca da obra de arte e sua técnica de reprodução. Posteriormente a isso introduzimos as considerações sobre fotografia elaboradas pelo pensador francês Roland Barthes em seu célebre livro A Câmara Clara . Examinamos a obra da artista plástica Rosângela Rennó sob a luz das teorias dos pensadores em questão. A análise destina-se a uma obra específica, a Bibliotheca , um compilado de imagens resgatadas pela artista e reutilizadas como suporte para o desenvolvimento do seu universo artístico. A questão da fotografia como possibilidade de resgate da memória, a massificação das imagens fotográficas e a apropriação de imagens existentes ressignificadas na arte pautam a presente dissertação

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國立政治大學研究所碩士論文提要 研究所別： 英國語文研究所 論文名稱： 閱讀溫特森«銘刻在身»的爽 指導教授： 劉建基教授 研究生： 張惠慈 論文提要內容： （共一冊，約 31500 字，分五章） 本研究關於溫特森的《銘刻在身》旨在探究在閱讀此文本過程中，不同程度及不同形式的爽(jouissance)。此研究將著重於三方面：其一，追求愛情的爽；其二，在幻想中永恆的爽；其三，閱讀文本《銘刻於身》的爽。本論文將分五個章節。 我在第一章的前半部簡介溫特森及她的小說，在後半部，描繪拉岡心理學中三個限界（幻真界[the real]，想像界[the imaginary]，及象徵界[the symbolic]），及此三界與爽的交互作用。這三個限界及爽，將是本研究的理論基石。 第二章的討論旨在解釋，為何敘述者著迷於不斷陷入愛情，及為何露伊絲在小說結尾莫名其妙的消失了。乍看之下，敘述者對露伊絲的愛相當矛盾：敘述者對露伊絲宣稱其無窮的愛，卻又刻意地悄悄的遠離了她。然而事實上，敘述者的矛盾行為堪稱合理：因為愛與失去是共生的。在浪漫愛情故事裡，一段介於愛的主體(the loving subject)及被愛客體(the loved object)之間的距離是必要的。表面上，愛的主體（敘述者）的追求過程裡看來痛苦，而實際上他正無意識的，享受著對被愛客體無限的追求時的爽。在這迷戀他者的過程中，主體實際上是自我迷戀(narcissism)，而在這自我迷戀的過程中，主體將其自我理想(an ego-ideal)投射在被愛客體上，並美化被愛客體成為一理想的自我(an ideal ego)。 在第三章，我將對敘述者迷戀愛情的現象做更深入的探討：到底敘述者打算由露伊絲的完美形象中挖掘什麼，以及為何敘述者得與一個理想戀人，住在一個理想愛情的幻象之中？我發掘出其中最主要的原因來自於，主體懼怕被去勢及懼怕象徵界中的無能（例如婚姻、老去、死亡）。主體具有一個原生的欲望：期待完滿及永恆（此欲望是期待回歸幻象界以及獲得爽），然而在現實世界（象徵界）的短缺及壓迫之下，回歸的可能被榨乾。幻象(fantasy)於是成為主體（敘述者）的護欄，它一方面讓主體相信自己是全能，另一方面它掩蔽事實，讓主體忘卻自身的不完整和無能為力。 在第四章，我跳出單單在文本內容中的討論，進而探討文本與讀者之間的關係；本討論的立論基礎為羅蘭巴特的書寫式文本(writerly text)。在文本╱讀者及露伊絲╱敘述者之間，有一類似的有趣現象：文本之於讀者正如同露伊絲之於敘述者。在這兩個情況當中同時都有一被動的客體(the desired or probed object)勾引探索中的主體(the probing subject)，然後再由主體的追求中脫逃而去。閱讀《銘刻於身》，表面上痛苦萬分，而實際上卻令人陶醉：因為閱讀的爽正源自於，作者刻意設計的不確定因素(uncertain elements)。這些不確定因素，一方面玩弄讀者，一方面也在文本上形成一未填滿的空間，其特徵就是不斷的衍生(endless generation)－－讀者可以參與創造各式各類的可能性，而意義的系統將不斷延伸。一個單一的文本，在此不斷延伸的系統下，便成了多重文本，而閱讀此類書寫式文本之樂趣，就在於讀者不得不參與創造意義的過程。 最後我在第五章的結論部份，總結了愛與閱讀的爽具有相同的條件與模式：在追求的主體（讀者與愛的主體）與被追求的客體（文本及被愛客體）之間，空間與距離是不可避免的要素，因為隱藏在人體內的爽本身就是一個矛盾體。 Chapter One Introduction Chapter Two The Jouissance of Pursuing Love Chapter Three The Jouissance of Being Immortal in Fantasy Chapter Four The Bliss of Reading Written on the Body: A Writerly Text with Jouissance Chapter Five Coda / Abstract In this study of Jeanette Winterson’s Written on the Body I would like to explore jouissance in different forms and levels in the process of reading this novel. The emphasis will be laid upon three aspects: first, the jouissance of pursuing love; secondly, the jouissance of being immortal in fantasy; and thirdly, the jouissance of reading this novel. The thesis is divided into five parts. In the first chapter, the beginning section is devoted to a general introduction of Jeanette Winterson and her novels; in the ensuing section, I will picture the interrelationships between the three registers—the real, the imaginary, and the symbolic—and jouissance in Lacanian psychoanalysis, which will be adopted as the interpretative model to account for the theme of jouissance in the whole thesis. In the second chapter, I will stress on the narrator’s exalted love toward Louise and the construction of his/her ego. On the surface, it is odd that the narrator’s sublime love for Louise contradicts his/her decision—to leave Louise; however this paradox is reasonable, because love and loss is in fact symbiosis. A distance between the loving subject and the loved object is necessary in the case of romantic love; though painful, the loving subject enjoys itself in the act of endless pursuit for the loved object, which is actually an ideal ego of the subject’s self. The paradox of love in company with suffering explains the narrator’s addiction in love and the disappearance of Louise. In the third chapter, my interest is getting deeper: what does the narrator want to grub out of the ideal image of Louise, and why does the narrator have to live in the fantasy of ideal love and to be with an ideal lover? The principal cause that I will explore is the fear of being castrated and of the impotency of the symbolic. The subject has an essential desire to be integral and immortal (which is the concept of the real and is allied to jouissance), but there are forces from the reality (or the symbolic) to drain this desire. Therefore, fantasy becomes a protective talisman for the narrator (as well as for every subject) to forget its fragmentation and inability. In the fourth chapter, the interrelation between the text and the reader is the dominant consideration, and Roland Barthes’ theory of writerly text that engenders bliss (jouissance) will be the critical base. There is an interesting formula between the text/the reader and Louise/the narrator. The text for the reader is similar to Louise for the narrator: in both situations, the desired one seduces and slides from the probing other. Reading Written on the Body on the surface is painful and irritating; in a sense, the act of reading is ecstatic. The origin of the bliss of reading is the uncertain elements intentionally created by the author. The unfilled space in the text that entertains readers is characterized by its feature of endless generation—various possibilities are created, and the network of meanings extends. Therefore, to conclude the whole scheme of love and reading in the fifth chapter, I will point out that a space or a distance between the pursuing subject (the reader or the loving subject) and the pursued object (the text of the loved object) is inevitable because jouissance inherent in the human body is in its essence paradoxical.