Doble Identidad conveys my experience as someone who struggles with their cultural identity. Through the expository modes of self-reflexivity, participatory, experimental, and poetics, the film displays the factors that molded my cultural identity. My childhood memories and interactions with my loved ones help me tell the story of how my cultural identity has and continues to leave me with feelings of inadequacy of not being Mexican or American enough.

La problématique est de suivre comment Le Clézio, en faisant de l'espace une donnée fondamentale, parvient à en faire une donnée déterminante de l'altérité linguistique et à créer un style qui se construit au fil du changement. Cette caractéristique est aussi génératrice d'une identité particulière: grâce à ces espaces revisités tant par la fiction que par le déplacement, Le Clézio fait de l'écriture un espace d'autocréation et de quête de l'identité personnelle. Loin de s'abandonner à l'autobiographie directe et différente de l'autofiction, l'écriture leclézienne s'interroge sur un possible rapport entre le vivre et l'écrire. Elle se veut une possibilité d'exister et de revivre à chaque fois un passé ancestral que l'auteur n'a jamais connu. En cela, elle est réintégration de l'ailleurs dans une perspective de re-conquête de soi. Le Clézio a opté pour une esthétique du divers qui a fait du déplacement un principe fondamental, une sorte d' « errance sur la terre errante ». C'est pour cela que la langue se fait, elle aussi, mobile, une langue qui change à la frontière de l'Ici, là où le français se fait également voix de l'autre dans toute sa différence et voix de l'auteur. L'errance dont Le Clézio a renouvelé le sens depuis Le Livre des fuites touche tous les détails de la création littéraire. Nous assistons à une mobilité constante qui est plutôt "mobilisme" comme chez Bergson, là où la langue se fait parole écrite perpétuellement renouvelée. Ce choix esthétique a tout un soubassement philosophique qui s'inscrit dans la perspective de la rupture avec la pensée occidentale. Le Clézio revendique une nouvelle manière d'être au monde profondément liée à la circonstance. La mobilité appliquée à tous les détails de l'écriture, se trouve ontologiquement transposée en un devenir autre constant qui se présente comme trait définitoire d'un sujet qui vit mal la sédentarisation. Ainsi, le «je », libéré de toute historialité particulière, est toujours en quête d'un espace vital en perpétuel changement. En fait, l’Etre, dans la perspective leclézienne, est plutôt Etre-à. Loin de la conception cartésienne, Le Clézio fait de l'espace une des principales composantes d'un cogito qui est plutôt praxis dans le sens où le sujet doit quitter le cadre de la pensée, qui est aussi une prison, vers l'ouverture sur le monde. L'être-à leclézien est un passage du penser au vivre et du vivre à l'exister dans le sens d'une habitation poétique. C'est en dépassant l'autoréflexivité que le sujet se réalise en tant qu'entité non exclusivement cérébrale. / The main question is to explain how Le Clézio, while considering space a fundamental dimension, manages to make it a determining factor in the linguistic otherness and thus creates a style that is built all the way through change. This feature generates a unique identity. In fact, thanks to these revisited spaces both by fiction and displacement, Clézio is writing a space of self-creation and quest for personal identity. Far from yielding to direct autobiography which is different from autofiction, Le Clézio’s writing questions a possible relationship between living and writing. His writing claims the possibility to live and relive whenever an ancestral past is evoked and that the author has never known. As such, it is the reintegration of the somewhere in the perspective of self re-conquest. Le Clézio opted for an aesthetic of diversity that has made of displacement a fundamental orientation, a kind of "errance sur la terre errante". That is why language is made mobile. It is a language that changes on the borders of “the Here” and where French itself becomes a voice for the other in all its differences and also a voice of the author. The Errand that Le Clézio has renewed its meaning in Le Livre des fuites affects the very details of literary creation. We are witnessing a constant mobility is rather "mobilism" as with Bergson, where language is rendered a perpetually-renewed written word. This aesthetic choice is a whole philosophical foundation that fits in the context of the break with Western thought. Le Clézio boasts a new way of being in the world profoundly related to circumstantiality. Mobility applied to all the details of writing is ontologically transposed into another constant becoming that delimits a subject who badly lives settlement. Thus, the "I", free of any particular historicity, is still in search of a vital space in perpetual change. In fact, Being, according to Le Clézio is rather Being. Away from the Cartesian conception, Le Clézio renders space a major component of a cogito which is rather praxis in the sense that the subject must leave the framework of thought, which is also a prison, to the opening of the world. The Le Clézien l’être-à is a passage from thinking to living and from living to existing in the sense of poetic dwelling. It is by going beyond self-reflexivity that the subject is self- realized as an entity that is not exclusively cerebral.

This thesis explores the transformation of the mirror's symbolic role in the poetry and visual art of late nineteenth-century Paris. For centuries the mirror has been associated with both truth and artifice, whether in religion, popular culture, art, or theories of aesthetics. In the context of nineteenth-century literature, M.H. Abrams uses the mirror to represent the age-old idea of the artist as an objective reflector of the world, juxtaposing this with the nineteenth-century notion of the artist as a subjective lamp. However, this thesis shows that, far from being abandoned as a symbol of artistic expression, the mirror motif was reclaimed and reinterpreted by Baudelaire and his artistic and poetic successors. The thesis argues that their works highlight the distortions and ambiguities that the mirror can produce, using it as a motif to challenge and alter our mode of vision. This thesis focuses on the visual and poetic culture of Paris between 1850 and 1900, when mirrors were increasingly visible in a range of public and private settings. Building on Walter Benjamin's descriptions of Paris as a city of mirrors and a locus of multiple, shifting gazes, the thesis examines how the perceptual experiences of modernity feed into the development of the mirror's symbolic role. Through a series of close readings, the thesis analyses the dynamics of mirror-vision and explores the shared preoccupations of art and poetry in their treatment of subjectivity, vision, and self-reflexive artistic practices. The thesis is arranged into three sections, examining texts by Charles Baudelaire, Henri de Régnier, Jules Laforgue, Stéphane Mallarmé, and Marie Krysinska, and artworks by Edgar Degas, Edouard Manet, Henri de Toulouse-Lautrec, Berthe Morisot, and Mary Cassatt. The first section assesses Baudelaire's works as a turning point for the mirror's symbolic significance, particularly examining how Baudelaire reinterprets the association between mirrors and femininity. The second section explores this latter connection in the art and poetry of Baudelaire's late nineteenthcentury successors. The third section examines the mirror's appearance in various ambiguous or ill-defined spaces, assessing how this affects the reader's or viewer's perceptions. I conclude that in the art and poetry of this period, the mirror becomes an emblem of self-reflexivity. Through works that prioritise mobility, multiplicity, and fragmentation, these artists and poets subvert the mirror's associations with mimesis in order to expose the dynamic uncertainty of vision and artistic representation.

No description available.

RODRIGUES, Adriano Messias. A transformação semiótica da filosofia transcendental clássica. 2011. 123f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Filosofia, Fortaleza (CE), 2011. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2013-11-08T14:30:08Z No. of bitstreams: 1 2011-DIS-AMRODRIGUES.pdf: 1251543 bytes, checksum: fb11c225ab7ef962ca5b48e436bebd05 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2013-11-08T14:58:27Z (GMT) No. of bitstreams: 1 2011-DIS-AMRODRIGUES.pdf: 1251543 bytes, checksum: fb11c225ab7ef962ca5b48e436bebd05 (MD5) / Made available in DSpace on 2013-11-08T14:58:27Z (GMT). No. of bitstreams: 1 2011-DIS-AMRODRIGUES.pdf: 1251543 bytes, checksum: fb11c225ab7ef962ca5b48e436bebd05 (MD5) Previous issue date: 2011 / This paper is on the theme of the transformation of Philosophy held by Karl-Otto Apel from the radicalization of linguistic and pragmatic twist by showing the ineradicable nature of linguistic praxis for the general knowledge by means of a strict self-reflexive attitude of thought along with the language on the assumptions of the irrefutable argument as such. To this end, we investigate the main theoretical features for a semiotic transformation of the classic transcendental philosophy, especially the three-dimensional Peircean semiotics. Moreover, the objective is to demonstrate that a self-reflexive philosophy is able to justify scientific propositions as well as ethical and moral standards. The end of this research points to the relevance of the proposal of Apel when he faces the challenge imposed by the “historicization” of the thought, not through an “untranscendentalizing” posture towards reason but in the way of an eventual non-metaphysical foundation – beyond the social and historical contingencies, thereby reflecting what is specific of the philosophical reflection as the themes of the universal principles of our thinking and acting. / Neste trabalho aborda-se o tema da transformação da filosofia realizada por Karl-Otto Apel a partir da radicalização da reviravolta linguístico-pragmática através da demonstração do caráter ineliminável da práxis linguística para o saber em geral por meio de uma atitude estritamente autorreflexiva do pensamento unido à linguagem sobre as pressuposições irrecusáveis da argumentação enquanto tal. Para tanto, investigam-se os principais delineamentos teóricos para uma transformação semiótica da filosofia transcendental clássica, especialmente a semiótica tridimensional peirceana. Ademais, objetiva-se demonstrar que uma autofundamentação reflexiva da filosofia é capaz de justificar inclusive as proposições científicas e as normas ético-morais. No final desta pesquisa, aponta-se para a relevância da proposta apeliana ao enfrentar o desafio imposto pela historificação do pensar, não por meio de uma postura destranscendentalizante da razão, porém, pelo caminho de uma fundamentação última não metafísica para além das contingências histórico-sociais, retomando assim, o específico da reflexão filosófica enquanto tematização dos princípios universalíssimos de nosso pensar e agir.

abstract: Buddhism is thriving in US-America, attracting many converts with college and post-graduate degrees as well as selling all forms of popular culture. Yet little is known about the communication dynamics behind the diffusion of Buddhist religious/spiritual traditions into the United States. Religion is an underexplored area of intercultural communication studies (Nakayama & Halualani, 2010) and this study meets the lacuna in critical intercultural communication scholarship by investigating the communication practices of US-Americans adopting Asian Buddhist religious/spiritual traditions. Ethnographic observations were conducted at events where US-Americans gathered to learn about and practice Buddhist religious/spiritual traditions. In addition, interviews were conducted with US-Americans who were both learning and teaching Buddhism. The grounded theory method was used for data analysis. The findings of this study describe an emerging theory of the paracultural imaginary -- the space of imagining that one could be better than who one was today by taking on the cultural vestments of (an)Other. The embodied communication dynamics of intercultural exchange that take place when individuals adopt the rituals and philosophies of a foreign culture are described. In addition, a self-reflexive narrative of my struggle with the silence of witnessing the paracultural imaginary is weaved into the analysis. The findings from this study extend critical theorizing on cultural identity, performativity, and cultural appropriation in the diffusion of traditions between cultural groups. In addition, the study addresses the complexity of speaking out against the subtle prejudices in encountered in intercultural communication. / Dissertation/Thesis / Ph.D. Communication 2013

FundaÃÃo de Amparo à Pesquisa do Estado do Cearà / Neste trabalho aborda-se o tema da transformaÃÃo da filosofia realizada por Karl-Otto Apel a partir da radicalizaÃÃo da reviravolta linguÃstico-pragmÃtica atravÃs da demonstraÃÃo do carÃter ineliminÃvel da prÃxis linguÃstica para o saber em geral por meio de uma atitude estritamente autorreflexiva do pensamento unido à linguagem sobre as pressuposiÃÃes irrecusÃveis da argumentaÃÃo enquanto tal. Para tanto, investigam-se os principais delineamentos teÃricos para uma transformaÃÃo semiÃtica da filosofia transcendental clÃssica, especialmente a semiÃtica tridimensional peirceana. Ademais, objetiva-se demonstrar que uma autofundamentaÃÃo reflexiva da filosofia à capaz de justificar inclusive as proposiÃÃes cientÃficas e as normas Ãtico-morais. No final desta pesquisa, aponta-se para a relevÃncia da proposta apeliana ao enfrentar o desafio imposto pela historificaÃÃo do pensar, nÃo por meio de uma postura destranscendentalizante da razÃo, porÃm, pelo caminho de uma fundamentaÃÃo Ãltima nÃo metafÃsica para alÃm das contingÃncias histÃrico-sociais, retomando assim, o especÃfico da reflexÃo filosÃfica enquanto tematizaÃÃo dos princÃpios universalÃssimos de nosso pensar e agir. / This paper is on the theme of the transformation of Philosophy held by Karl-Otto Apel from the radicalization of linguistic and pragmatic twist by showing the ineradicable nature of linguistic praxis for the general knowledge by means of a strict self-reflexive attitude of thought along with the language on the assumptions of the irrefutable argument as such. To this end, we investigate the main theoretical features for a semiotic transformation of the classic transcendental philosophy, especially the three-dimensional Peircean semiotics. Moreover, the objective is to demonstrate that a self-reflexive philosophy is able to justify scientific propositions as well as ethical and moral standards. The end of this research points to the relevance of the proposal of Apel when he faces the challenge imposed by the âhistoricizationâ of the thought, not through an âuntranscendentalizingâ posture towards reason but in the way of an eventual non-metaphysical foundation â beyond the social and historical contingencies, thereby reflecting what is specific of the philosophical reflection as the themes of the universal principles of our thinking and acting.

Les textes de Maria Velho da Costa et de Teolinda Gersão sont habités par des paysages, des archétypes et des autoréflexivités configurés dans des marges, lieux périphériques, qui révèlent simultanément la place centrale occupée par le sujet féminin. La notion de paysage, matière de la première partie de cette étude, s’articule avec celle d’archétype (de relation archétypique) et d’autoréflexivité, notions traitées respectivement dans la deuxième et troisième parties, à travers - une coordonnée commune - l’espace envisagé sous les trois aspects suivants : le physique, le social et le mental. Les paysages apparaissent dans une marge physique par rapport au centre occupé par le sujet qui les construit. Les archétypes de l’Amazone, de la Sorcière et de la Folle, dans lesquels les personnages féminins se retrouvent, actualisent leur exclusion du cercle social en les renvoyant vers les marges périphériques que peuvent être la nature sauvage ou l’asile psychiatrique. L’autoréflexivité à la marge du texte, « à côté » de ce qui serait censé être le contenu de l’œuvre, s’avère un lieu marginal par rapport au centre traditionnellement occupé par la diégèse. L’intention sous-jacente à cette étude est d’analyser les configurations de paysages, d’archétypes, de relations archétypiques et de réflexions sur l’écriture au sein des récits fictionnels, qui manifestent une dimension marginale périphérique et paradoxalement contribuent à l’actualisation des subjectivités et des quêtes identitaires « au féminin » recherchées par les Auteurs, les narratrices et les personnages femmes dont la vitalité centrale déstabilise dichotomies et dualismes. / The texts of Maria Velho da Costa and Teolinda Gersão are inhabited by landscapes, archetypes and self-reflexivity configured in margins, peripheral zones, that simultaneously unveil the central place occupied by the female subject. The matter of the first section of this work, the concept of landscape hinges on the ones of archetype [the archetypal relation] and of self-reflexivity - both being respectively dealt with in the second and in the third sections of this work - through a co-ordinate they share: space considered in these three aspects, the physical, the social and the mental. Landscapes appear in a physical margin in relation to the centre inhabited by the subject that builds them. Embodied by female characters, the archetypes of the Amazon, the Witch and the Madwoman emblematize these characters’ being excluded from the social circle as they are being pushed off to the periphery, whether it be the wilderness or the lunatic asy! lum. Situated in the margins of the text, “beside” the would-be content of the work, self-reflexivity turns out to be a marginal place with regard to the centre, traditionally held by the diegesis. This study aims at analysing configurations of landscapes, archetypes, archetypal relations and reflections on writing within fictions that, while possessing a peripheral and marginal dimension, still manage to paradoxically contribute to rendering female subjectivities and identity quests sought by the Authors and the female narrators and characters whose central vitality unsteadies dichotomies and binary oppositions.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation proposes to examine the actions of self-promoting and self-referential character undertaken by the television companies inside their own schedule, in order to constitute yours identity and to promote yours image and trademark: in this somewhat circular gear, usually use its communication and discursive device for their own benefit. Thus, the research analyzes, in terms of a discursive semiotics, some of the procedures adopted by the television companies to constitute its identity, to project its image and trademark and to promote the quality of its products, in order to make public viewer loyal. This is a difficult task, especially in the case of affiliated stations that need to develop this promotional process in two directions, not always convergent: the head and its own network. To realize the objectives, the research has as its object of study two sitcoms, The New Program (RGT, 2004) and Off the Air (RBS TV, 2011), whose central theme is exactly the televisual production and television companies backstages. / A presente dissertação propõe-se a examinar as ações de caráter autopromocional e autorreferencial empreendidas pelas emissoras de televisão no interior de sua própria programação, com vistas a constituir sua identidade e promover sua imagem e marca: nessa engrenagem um tanto circular, elas costumam-se utilizar de seu dispositivo comunicativo e discursivo em benefício próprio. Assim, a pesquisa analisa, na perspectiva de uma semiótica discursiva, alguns dos procedimentos adotados pelas empresas de televisão para construir sua identidade, projetar sua imagem e marca, e divulgar a qualidade de seus produtos, com vistas a fidelizar o público telespectador. Trata-se de uma tarefa difícil, principalmente no caso das emissoras afiliadas que precisam desenvolver esse processo promocional em duas direções, nem sempre convergentes: a da cabeça de rede e a sua própria. Para dar conta dos objetivos, a investigação toma como objeto de estudo dois sitcoms, o Programa novo (RGT, 2004) e Fora do ar (RBS TV, 2011), cuja temática central é exatamente a produção televisual e os bastidores das emissoras de televisão.

This is a systemic practice doctorate where research is undertaken through a social and relational constructionist lens (McNamee and Hosking, 2012) under a broader umbrella of systemic qualitative research practice. A philosophical orientation to inquiry is taken, offering a way of exploring encounters, and specifically conversations in practice, in an embodied relational and dialogical way from within the experience. This locates me as an active participant alongside other active participants, and self- and relational reflexivity feature centrally within a systemic approach to practice and inquiry. The specific inquiry focus is on embodied, reflexive processes as I engage with others in everyday conversations on issues that matter to different professional and non-professional individuals and community groups; it is a complex ecology. Systemic, embodied, relational concepts are explored through a lens that sees inquiry as philosophically informed. This acknowledges the professional, personal and multiple contexts that inform both the doing and being in each conversation within practice and inquiry. The multi-versa of individuals and groups, professional and non-professional are examined through attention to moments of conversation portrayed through vignettes and dialogical excerpts. I try to capture a sense of the living dynamic of each of the interactions through attention to my multi-vocal inner dialogue and the multiplicity of felt experiences within these conversations where I am moved, stirred, unsettled and fully embodied: I become the case study in the ebbs and flows of this experience. How I inform these processes, and how I am informed by the responses of others, comes under close scrutiny. Attention is given to reciprocal responses, my internal dialogue, as I respond to what has gone before, external moves within these relational unfolding conversational encounters, how the conversation is experienced by those involved, and how we move on together. This inquiry focuses on embodied relational processes within the multiple complex dynamic of these conversations, unpacking our ways of ‘going on’ together (Wittgenstein, 1953). Autoethnography (Finlay, 2002; Ellis, 2004; Etherington, 2004), self- and relational reflexivity (1992), Coordinated Management of Meaning (CMM) (Pearce, 1994), and the process of writing itself are some of the concepts employed to enter this complexity. The unique additional inquiry tool introduced, alongside these, is the personal metaphor of rock climbing. This is chosen because of the fit I consider it has within a conceptual frame of relational embodiment, emphasising the ‘I’, a systemic practitioner and climber, as an embodied being with other embodied beings in conversation. I enter this process of inquiry with openness to enable change and to be changed, and I hope to challenge some established ideas about research. I consider the extent to which the metaphor illuminates embodied, self- and relationally reflexive processes in the context of systemic inquiry. The usefulness and application of this metaphor is tested as an embodied reflexive tool. I explore whether ways of thinking about and understanding embodied relational and dynamic processes can be extended. New features that come to light in the process of this inquiry are explored and the insights that may emerge, along with possible contributions to systemic inquiry and practice, are considered. The wider use of metaphors emerging through the dialogue that people offer to describe experience and to capture a sense of lived moments opens further potential for new learning. The reflexive scope and use of metaphor generally is discussed at the end, along with personal and professional learning from the process of writing and inquiry. I propose a new lens to reflexive inquiry that is suited to systemic practice, embodied reflexive inquiry in which I draw attention to embodied reflexive detailed features within interactions between people. This has wide-ranging applications in systemic and other contexts, including community settings, systemic therapy, training and supervision and across different professional networks, and is explored here. My hope is that this inquiry will to add to the growing field of systemic inquiry texts.