Les dernières décennies du XXe siècle et la première du XXIe sont capitales dans la redéfinition culturelle de l’identité frontalière mexicaine. De fait, elles cristallisent la plupart des grands symboles postmodernes : la fin des idéologies nationalistes, l’essor d’une culture industrielle de masse, la déconstruction de la relation antérieure entre le Mexique et les Etats-Unis. La littérature semble y atteindre une nouvelle définition de l’identité, de l’espace, de l’Histoire et de la construction narrative. Dans cette perspective, la production littéraire de Basse-Californie est un bon exemple : bien séparée du monde culturel de Mexico, elle a construit un système de valeurs et un réseau éditorial dédiés à la frontière et à son univers. Ce travail vise avant tout à cartographier et définir les grands aspects de la création littéraire de ces quarante dernières années en Basse-Californie. / The last decades of the XXth century and the first of the XXIth are of paramount importance in the cultural definition of the Mexican borderland identity. Actually, they epitomize most of the central postmodern symbols: the end of the nationalist ideologies, the rise of a massive industrial culture, the deconstruction of the former relationship between Mexico and the USA. The literature seems to reach a new definition of identity, space, History and storytelling. In this perspective, Baja California’s writing production is quite a good sample: well-separated from Mexico City’s cultural world, it has built an internal system of values and a publishing network of its own, dedicated to the border and its universe. This work intends to map out and define the main aspects of Baja California’s last forty years of literary creation.

The objective of the thesis is to enhance the role of poetry within the literacy education at grammar schools, which has been on the edge of teacher's and student's interest since a while. Following the existing binding rules of education the thesis is made to build up a positive attitude to poetry in students and targets to improve their knowledge and personal approach to this part of literature. While being focused on that its content struggles to extend their theoretical skills of literary interpretation as well as practical ones. Last but not least the thesis would like to avoid the stereotypes teachers keep about poetry and its application at school.

No description available.

This thesis deals with fifteen seasons of Dejvice Theatre within the years 1992-2007 with special focus on two ensembles for which the Dejvice Theatre became the home scene. The first ensemble was formed by ALD DAMU students under the direction of Jan Borna. After its leave the ensemble has been replaced by yet another ALD DAMU students' ensemble this time under the direction of both pedagogue and director Miroslav Krobot. The goal of the thesis is to point out the transformations of production poetics within the fifteen years in which the two mentioned ensembles have acted in Dejvice Theatre.

This submission explores the development of collaborative computer music creation and the role of the Musical Assistant, or Computer Music Designer, or Live Electronics Designer, or RIM (Réalisateur en informatique musicale) and does so primarily through the consideration of a series of collaborations with composers over the last 18 years. The submission documents and evaluates a number of projects which exemplify my practice within collaborative computer music creation, whether in the form of live electronics, tape-based or fixed media work, as a live electronics performer, or working with composers and others to create original tools and music for artistic creations. A selection of works is presented to exemplify archetypes found within the relational structures of collaborative work. The relatively recent development of this activity as an independent metier is located within its historical context, a context in which my work has played a significant role. The submission evidences the innovative aspects of that work and, more generally, of the role of the Computer Music Designer through consideration of a number of Max patches and program examples especially created for the works under discussion. Finally, the validation of the role of the Computer Music Designer as a new entity within the world of music creation is explored in a range of contexts, demonstrating the ways in which Computer Music Designers not only collaborate in the creation of new work but also generate new resources for computer-based music and new creative paradigms.

In this thesis, I will examine the difficulties of documenting ephemeral art and the possible solutions that archivists, curators, artists and other museum professions have come up with. I will begin by presenting a background of the history of performance art, which was the impetus for all ephemeral art to come. Then I will present case studies of three artists: Allan Kaprow, Eva Hesse, and Richard Tuttle, and their archival processes, all of which provide very different approaches to similar artistic problems. Finally, I will discuss the implications of re-performance and re-creation of ephemeral artworks.

This thesis discusses the work of theatre director Krzysztof Warlikowski, which holds an important place within Polish and world theatre, although it remains little known in the UK. It argues that that existing approaches to Warlikowski’s theatre are inadequate as they focus too much on the perspective of an interpreter of productions who decodes the meaning of the performance. Instead Warlikowki’s work should be approached from the perspective of an observer of the complex creative processes that lead to performance and determine its relationship with the audience. The connection between actors and spectators takes the form of an ‘encounter’ that offers a particular experience of theatregoing. It aims to challenge the existing customs of spectatorship and is based on destabilising and violating the sense of safety of both actors and spectators while expanding their experience of performance beyond the ‘here and now’.This thesis asks questions about the distinctive conditions that make possible the type of encounter that lies at the heart of Warlikowski’s oeuvre and distinguishes it from Polish repertory theatre. The theoretical framework of ‘intertheatricality’ facilitates identification of the matrix of elements that inform this encounter. These elements are constituted by: 1.The strategies that have led Warlikowski to become a successful director and enabled him to create a new way of theatre-making and communication with audience; 2. The complex processes of the creation of his ensemble of actors; 3. The family-like setting and the collaborative nature of rehearsals; 4. The status of actors who become the co-authors of performance and their idiosyncratic involvement in the creation of shows that cross the borders between work and life; and finally, 5. The role of the audience that becomes an integral element of the performance making process. Seeing Warlikowski’s work from the perspective of performance as event shows it not as a static and completed artefact, but as a fleeting, transient process that is open to changes and resonates with the outside world. Through its focus on creative processes, this approach sheds new light on the theatre of Warlikowski. It shows how he integrates the actors and audience into his performance making process, and also helps to demonstrate his impact on the status of audience within Polish mainstream theatre post-1989.

Taken In is a collection of poems about coming to terms with death, love, and the social responsibilities people owe to each other.

Notre travail s'élaborera autour d’une hypothèse centrale : L’écho inédit trouvé par la trame narrative et scopique proposée par Daech s'explique par son adéquation avec les affres des subjectivités contemporaines. Il s’agit donc d’étudier les conditions de cette rencontre, qui capte le sujet errant dans les eaux troubles de l’archaïque, avec une offre de mort distillée par le dévoiement d’un pseudo-islam de cruauté semblant apporter l’illusion d’une réponse. Car, d’emblée, chez les jeunes sujets que nous recevons, la « greffe » fantasmatique prend, telle une rencontre passionnelle entre un sujet agonique et une solution miracle qui vient lui offrir la possibilité de s’extraire d’une subjectivité faite d’inconsistance, d’abandonner l’effroi et le vide au profit d’un remplissage lénifiant. Leur terrorisme ne naît pas d'un projet idéologique mais tire sa vigueur d'un désastre subjectif auquel il donne forme. En cela, l'imagerie de Daech vient actualiser le collapsus Réel/Imaginaire (imaginaire grandiose mais de mort) chez ces sujets agoniques. L'obscène est alors exhibé, la pulsion scopique déchainée. Demeure l'archaïque pur qui scandera la vie et les actes d'un sujet de la discontinuité, au titre du retour du clivé, répétition à l'identique du mortifère. Nous proposerons un exposé de la clinique des sujets volontaires au martyr à partir de notre expérience de clinicien en prison, dans le cadre d’une mission dédiée à la prise en charge de sujets revenant de Syrie, ayant voulu s’y rendre, ou témoignant d’une bascule mortifère en détention vers des trajectoires de mort au nom de Dieu. Pour ce faire, nous étudierons l’institution carcérale comme un lieu privilégié de la remise en scène des éprouvés précoces d’agonie et d’effroi chez des sujets aux prises avec un véritable chaos subjectif, toile de fond de toute appétence radicale actuelle selon nous. Nous étudierons ensuite les ressorts psychiques d’un tel processus : l’addiction, le préjudice, leur dialectique avec l’Idéal, pour interroger ces formes de mélancolies contemporaines chez des sujets qui ne parviennent au sentiment d’existence que dans le projet de mort divine. Nous tenterons d’illustrer notre hypothèse selon laquelle la dissolution d’un Moi inconsistant en un Moi Idéal nihiliste est la clé de compréhension de ce que l’on nomme actuellement « radicalisation », dans sa forme la plus extrême, celle des demandeurs de martyre, les chahids. / Our work will be built around a central hypothesis : The unheard echo found by the narrative and scopic plot proposed by ISIS, is explained by its adequacy with the pangs of contemporary subjectivities. It is thus a question of studying the conditions of this encounter which captures the subject, wandering in the troubled waters of the archaic with a death offer distilled by the deviation of a pseudo-Islam of cruelty that seems to bring the illusion of ‘answer. Because from the outset in the young subjects that we receive, the « transplant » fantasy takes, such a passionate meeting between an agonistic subject, and a miracle solution that comes to offer the possibility of getting out of a subjectivity made of inconsistency to abandon fright and emptiness in favor of a lenient filling. Their terrorism is not born of an ideological project but draws its force from a subjective disaster to which it gives shape. In this, the imagery of ISIS comes to actualize the collapse Real / Imaginary (imaginary grandiose but death) in these agonic subjects. The obscene is then exhibited, the impulse scopic unleashed. The pure archaic remains that will punctuate the life and the acts of a subject of discontinuity, in the name of the return of the cleave, a repetition identical to the mortifère. In this paper, we are going to do a clinical study of subjects willing become martyrs based on our experience of a clinical psychologist in detention. The framework of this mission is dedicated to treatement of subjects coming back from Syria, or who has wanted to go there, or else showing a sudden morbid bascule, towards death trajectories in the name of god. We will focuse on the psychic incounscious motivations of such process : addiction, prejudice and their dialectic with the Ideal to interrogate these forms of contemporary melancholia for subjects who can only reach feeling of existence in project of divine death. We will try to illustrate our 3ypothèses according to which the dossilution of an inconsistent Ego in an nihilist Ideal Ego is the key to an understanding of what we currently call radicalization, in its most extreme form, that of people aspiring to martyrdom, wandering in the morbid zone of the archaic, the “chahids”.

This project addresses the problem of monovalent interpretations of habit’s role in a creative means of living within the literature. Analyses tend to opt for an either/or logic, in which the majority of research conducted reflects a detrimental, constraining role for habit as regards creativity while responses to this dominant position still operate under a singularly-positive understanding of habit. Introducing a multivalent conception of habit is a component within the broader purpose of challenging dominant conceptions of political improvement or “progress” (acknowledging how historically- and contemporarily-loaded such a term remains), while leaving open the much-needed potential for change. The research demonstrates the dangerous, immobilizing interaction between individual habit formation and the modern, linear teleological focus on political prediction and destination. Concurrently, it points to the benefits to creativity habit can provide when individual habituation is immersed in a different sense of political engagement. This bipartite argument is made through a Bergsonian method, built up from the intuitive primacy of flow and becoming and their decomposition into apparently stable forms and relations. Inspiration is drawn not only from the works of Bergson, but also Deleuze, Heidegger, and successors. By examining the multiple lines internal to habit, the research prescribes the importance of a balanced approach to the direction of political effort between a sense of improvement which advances to livable destinations and a sense which departs from unlivable locations. This is not a balance of the middle way, but of the constant passage between polar extremes (a both/and logic of habit) and individual negotiation amongst free and constrained political actions. By opening up the complexities of habit, subsequent work can interrogate further social and political elements which enable the persistence of teleological ideology and develop new political mechanisms to promote meaningfully diverse engagement and openness to the radically unpredictable. / Graduate