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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 121 to 130 of 130 (0.026 seconds)| 121 |
Beyond the colonization of human imagining and everyday life : crafting mythopoeic lifeworlds as a theological response to hyperrealityLauro, Reno E. January 2012 (has links)
This work takes up urban historian Lewis Mumford's concern for the phenomena of planned and imposed ordering of human life and societies. Mumford (and others) suggests the problem consists in the use of external plans, technologies (and media) to manipulate, dominate, and even coerce forms of life. It is seen at its worst in war, and even forced systems like Nazism and Stalinism. But these phenomena also take more attractive and seemingly enriching forms. We will focus (along with Daniel Boorstin and Umberto Eco in their own way) on forms which have massively developed in 20th and 21st century society: market and consumer saturation, shaped by dominating mass electronic media. This situation is developed imaginatively, and inventively, yet problematically, in Jean Baudrillard's theory of Hyperreality –a critique of the Western hyper-consumer and media saturated world. But his methods and pictures are not followed here. We take up a very different approach and diagnosis; This approach has become increasingly multidisciplinary: phenomenological, praxeological, anthropological, and philological. We build it up in a reading of human lifeworlds in philosophers Martin Heidegger and Ludwig Wittgenstein, and anthropologist Tim Ingold. This work does not go in for a picture of language (and cinema) as a system of signification, but as Ludwig Wittgenstein describes it, as tools always already involved in forms of life. We also offer a unique characterization of corporeal imagining and the imaginative creation of lifeworlds, paving the way for what is described as philological resistance: this resistance is seen in the development of a certain praxeological philology and fully realized in the 20th century author J. R. R. Tolkien's mythopoeic concerns. We focus particularly on what we call the double- transfer: the cyclic structure between human artistry and life-world building, each shaped by the other. We endeavor, along with Mumford and others, to counter colonization and find various less manipulated and un-coerced forms of life, and their informal organizing structures. We examine in detail Tolkien's literary and philological project; and the 20th and 21st century's first art form –cinema. Through the philosophical exploration of cinematic craft in Gilles Deleuze, and in the craft of Terrence Malick we see, and are taken up in, the inextricable relationship between how we make, what we make and how we live everyday life.
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Den mångfasetterade Guden : Att inte begränsa Gud / The multifaceted God : Not to limit GodSöderberg Almén, Björn January 2020 (has links)
Detta är en uppsats som tar sig an, på ett semantiskt sätt, ordet Gud och människors syn på vad ordet Gud har för betydelse. Genom att göra en idéanalys av Jonna Bornemarks analys av Nicolas Cusanus för att se om detta kan vara en väg för att ge en mera mångfasetterad bild och värde av ordet Gud och gudsbilden till den scientistiska människan i Sverige. Uppsatsen tar avstamp i att försöka visa på de nycklar Cusanus filosofi ger genom Jonna Bornemarks tolkning av Cusanus i Det omätbaras renässans. / Nicholas Cusanus levde mellan åren 1401 och 1464. Cusanus var astronom, matematiker, teolog och filosof. En verklig renässansmänniska. Cusanus var en man som var på gränsen mellan skolastiken på medeltiden och renässansens mera kosmopolitiska livshållning som tiden gav. Cusanus var starkt influerad av den mystiken som bland annat Mäster Eckhart stod bakom. Den mystika negativa teologin som talade om att det är enklare att beskriva vad den kristna Gud inte är, än att berätta vad som Gud är. Cusanus studerade både Aristoteles och den Plotinos nyplatonska filosofin. Denna filosof kom jag kontakt med genom Cusanus lilla bok Gudsseendet med stort innehåll, vilket han skrev som en guide till munkarna i Tegernsee. Den behandlar den sinnliga bilden och de begrepp som gör att man kan se det som kan finnas bakom den ikoniska bilden. Den ikoniska bilden uppfattar Cusanus vara det djup som en bild kan vara bärare av. Det symboliska värdet på den bild som väcker åskådarens reflektion och reaktion. Den ikoniska bilden är bärare av detta djup som kan vara en utlösande av det personliga symboliska värdet för den specifika bilden. I Gudseendet är det en ikon som Cusanus kallar för ”Guds ikon”. Cusanus öppnade dörrar för mig i hur man kan tänka om att inte ser med de fysiska sinnena, utan måste använda sitt inre öga för att kunna se det som är större än det jag bara kan med de fysiska sinnena erfara. Startpunkten till denna uppsats är att kanske kunna förstå hur människan kan komma närmare det som inte sinnligt kan erfaras, den kunskapen menar Cusanus behöver människan för att vara en hel människa. Bornemark tar Cusanus filosofi till dagens samhällsproblem med att samhället alltid vill mäta allting. Studiens inriktning är att försöka svara på de frågor som uppsatsen ställer inför Bornemarks tolkning av Cusanus filosofi. / <p>På grund av corona utfördes framläggningen online.</p>
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Dissemination Rhizome: How to Do (Political) Things With AffectMonea, Alexander Paul 17 December 2012 (has links)
No description available.
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Hyperrealitet, perceptionsfenomenologi och relationsinramning : Prövandet av en teoretisk förklaringsmodell med utgångspunkt från en kritisk undersökning av forskning om naturens läkande egenskaper.Järpeskog, Timo M. January 2018 (has links)
Denna masteruppsats diskuterar naturens läkande effekt på människan genom att analysera nuvarande forskningsläge i både svenskt och internationellt perspektiv. Analysen förstås genom en teoretisk modell som baserar sig på ekologisk perceptionsfenomenologi, hyperrealitet och relationsinramning. Uppsatsens slutsats är att naturens läkande effekt kan förklaras med en perceptiv relation mellan människan och den mer-än-mänskliga världen, men också, att mer forskning behövs. / This master thesis discusses the healing properties of nature on the human being through an analysis of current Swedish and international research. The analysis is made by using a theoretical model based on ecological perception phenomenology, hyperreality and relational frame theory. The conclusion of the thesis is that the healing properties of nature may be explained by the perceptive relation between the human being and the more-than-human world, but also that more research is needed.
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The artist's role as collector of memory and selfThomas, Lee Ann 11 1900 (has links)
Artworks that use found or appropriated images and objects
often function as collections. These collections simulate the
everyday collections of mementos and souvenirs that come to
represent aspects of an individual's personality and past. The
collections of objects mirror the individual's collection of memories
that help to define himself and provide a means of communication
with others. The artist as collector takes on roles similar to that of
storyteller and anthropologist, providing a narrative of conscious
preservation. Through various devices of display and denial a
curiosity cabinet I Wunderkammer representing and simulating a
Self is created and the role of collector is passed on to the viewer. / Art History, Visual Arts & Musicology / Thesis (M.A. (Art History))
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深海水域展示設計之研究 ─以台灣海生館之「世界水域館」為例萬 榮 奭, Wang, Jung Shih Unknown Date (has links)
【中 文 摘 要】
博物館功能主要為「展示、教育、研究、典藏」，其中「展示」為博物館與大眾接觸最直接的方式。在現代科技發展中，「展示」的觀念與形式也有所改變，互動式展示日受重視，虛擬呈現的比例亦逐漸加重。
本研究以「國立海洋生物博物館」之BOT專案「世界水域館」《深海水域》電子展示設計為主題，以實務個案為例，探討自然博物館如何規劃與製作深海水域的生態展演，與如何利用〝虛擬實境〞、〝人工智慧〞與〝即時運算〞等尖端技術，架構出「世界第一」無水水族館的展示模式。
往昔自然生態展示以活體展示為主，即複製生態空間讓水中生物悠遊水族箱內。但為了超越時空，讓全球代表生態皆能集中於特定展示館內，遂有電子展示的觀念與製作，以擬仿物取代真實，創造尚‧布希亞的「超真實」世界。
本研究於製程的影音紀錄與相關人員的訪談中，歸納、整理出發展生態電子展示設計的因素與理想，探討製作上的困難之處，同時也以研究者觀點對展示設計過程提出檢討與建議。
深海水域生態在陸地上展示係屬跨越時空的創舉，本個案不但為台灣首例，在世界上亦為先驅。創新嘗試，成果雖不如預期，但以整個專案的具體呈現而言，實為相關領域之前鋒。本研究認為，整理與探討本個案，對未來電子展示設計與製作皆有參考價值；同時，由本個案所建置的生態電子展示平台，亦為台灣博物館界提供國際化的新思維，對博物館未來的展示設計奠定了新的基礎，創造一個新的開始。 / Abstract
The main functions of museums are demonstration/exhibition, education, research and collection/preservation. “Exhibition” provides the most direct link between a museum and the public. As modern science and technology continue to develop, the concepts and formats of “exhibition” have also evolved. Interactive exhibits become more valued, and virtual simulation approaches have also increased in proportion.
The focus of this research study is the electronic display design for the Waters of the World – BOT (Build-Operate-Transfer) Project, pioneered by the National Museum of Marine Biology & Aquarium. This study uses this project as a case study to explore
how a Nature museum planned and produced an exhibit of The Deep Sea waters ecology, and with the use of the most advanced technology such as VR (Virtual Reality), AI (Artificial Intelligence), and the “real-time operation,” etc., how the museum built the world’s first protocol for a water-less aquarium.
In the past, ecological exhibits mainly constituted real living creatures, by duplicating
the ecological environment necessary for underwater creatures to survive in an
aquarium. But, in order to go beyond the limitation of space and time, and to
facilitate the presentation of global ecology within a specific exhibition space, the electronic display concept and production has thus been introduced. It is to imitate reality and create a world of hyper-reality, as depicted by Jean Baudrillard.
Relying on historical video and audio records, and actual interviews with key people
on the project, this research study summarized factors and objectives of the original design, and discussed difficulties encountered in the production process. In addition,
the study also provided input and recommendations concerning the design process.
The exhibition of The Deep Sea waters ecology on land is a pioneering act, second to
none. The case is not only a 1st in Taiwan, but also a 1st of its kind in the world. Although the new attempt has not exactly achieved the expected outcomes, it did
initiate a pioneering work within ecology demo field. The researcher believes that
the case study is a valuable reference for future electronic display design and
production. In the meantime, the ecological electronic-platform created by this
project provides an international perspective, and establishes a new milestone for
further development in the future.
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Acting and its refusal in theatre and film.McCurdy, Marian Lea January 2014 (has links)
This thesis examines works of theatre and film that explore a refusal of acting. Acting has traditionally been considered as something false or as pretending, in opposition to everyday life, which has been considered as something real and truthful. This has resulted in a desire to refuse acting, evident in the tradition of the anti-theatrical prejudice where acting is considered to be seductive and dangerous. All the works that I examine in this thesis are relatively recent and all of them explore the paradox that in our (postmodern) times a gradual reversal has occurred where everyday life is seen as more and more false or as pretending or simulating (ie. containing acting and theatricality) and conversely, acting in theatre and film has become the place where people have begun searching for reality and truth and where ‘acting’ and pretending in life can be revealed and refused. The result of this paradox - and what I also discuss as a confusion of acting and living - is that the place in which acting can be refused has shifted; the ethical desire to refuse acting (in theatre and in life) is turning up in the aesthetic domain of acting itself.
In my first chapter I study works by filmmaker István Szabó and playwright Werner Fritsch, who represent the desire to refuse acting in the context of fascism where theatrical and filmic spectacle was used by the Nazis to seduce the population and where actors during this period also experienced an inability to separate their political and artistic lives. In my second chapter I look at the way Genet’s The Balcony and Ang Lee’s Lust, Caution explore the desire to refuse acting as a result of a confusion of acting and living in the context of sexual (sadomasochistic) role-play. And in my third chapter I examine the way Warhol’s The Chelsea Girls, von Trier’s The Idiots and Affleck’s I’m Still Here represent a refusal of acting and theatricality altogether, responding to the way that ‘acting’ in life may have become an all-pervasive substitute (a simulation) for living. Foundational to the development of this thesis and a major source of material is my analysis of three theatrical productions with Free Theatre Christchurch, directed by Peter Falkenberg, in which I was involved as an actor and in which a refusal of acting was explored.
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從布希亞解讀詹姆斯喬伊斯的《都柏林人》 / A Baudrillardian reading of James Joyce’s Dubliners李欣娟, Lee, Xin Juan Unknown Date (has links)
本篇論文旨在探討，將尚．布希亞所觀察到的擬仿物應用到詹姆斯．喬伊斯的《都柏林人》之可能性。擬仿物是一種自我指涉、和真實脫離關係的符號，且擬仿物的誕生即代表了真實的死亡。擬仿物的論證有助於解釋《都柏林人》中二元對立的瓦解，例如真實∕想像，民族主義∕帝國主義，精神性∕物質性，加害者∕被害者，過去∕現今等。除此之外，其他和布希亞擬像理論相關的概念如墨比絲環迴繞的否定性、退卻的歷史，和內爆，都能闡釋都柏林中意義的蒸發。從＜會議室裡的常春藤日＞中的民主選舉擬仿物，＜賽車之後＞中的民族認同擬仿物，＜阿拉比＞中的商品擬仿物，＜伊芙琳＞中的父權擬仿物，＜一抹微雲＞中的國界擬仿物，到＜死者＞中的歷史擬仿物，喬伊斯的都柏林人在察覺真實的消失之後，感到震驚或無法反應。儘管喬伊斯典型的結局透露出一絲灰暗，將布希亞應用至喬伊斯，確實提供都柏林人從二元對立的結構中獲得自由的機會。
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The artist's role as collector of memory and selfThomas, Lee Ann 11 1900 (has links)
Artworks that use found or appropriated images and objects
often function as collections. These collections simulate the
everyday collections of mementos and souvenirs that come to
represent aspects of an individual's personality and past. The
collections of objects mirror the individual's collection of memories
that help to define himself and provide a means of communication
with others. The artist as collector takes on roles similar to that of
storyteller and anthropologist, providing a narrative of conscious
preservation. Through various devices of display and denial a
curiosity cabinet I Wunderkammer representing and simulating a
Self is created and the role of collector is passed on to the viewer. / Art History, Visual Arts and Musicology / Thesis (M.A. (Art History))
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Ghost Hunting and A Moroccan Forest: a geography of MadnessLehnert, Matthew R. 27 November 2013 (has links)
No description available.
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