"2004". / Thesis (PhD)--Macquarie University, Division of Society, Culture, Media & Philosophy, Department of Critical and Cultural Studies, 2005. / Bibliography: p. 315-327. / Introduction -- Aporias and openings in the architecture of the mind's eye: deconstructing pure visuality in Descartes -- Visuality, universal flesh and phenomenal circularity: visio-corporeal generality with Merleau-Ponty -- Corporeal envisionings as power-knowledge: Foucault and diffuse visio-governmentality -- The grammatology of visuality: visio-corporealising Derrida's "science" of the trace -- Conclusion. / The conception of visuality within what Jacques Derrida understands as the 'metaphysical epoch' demands revision in order to produce a fully post-metaphysical theory of visuality. Drawing upon the corporeal phenomenology of perception in Maurice Merleau-Ponty, the politico-cultural conception of visuality in Michel Foucault and the trace philosophy of vision in Jacques Derrida, visualities are theorised here as dynamic 'corporeal tracings' immanently bearing politico-cultural forces. Elements of these three major thinkers are here brought into generative dialogue and welding which, for instance, relocates the corporealism of Merleau-Ponty in terms of the trace dynamics conceived by Derrida and which in turn insists upon the visio-corporeality of general writing that Derrida largely elides. A rereading of Rene Descartes on vision is advanced in the light of this theory that deploys Derrida's deconstructive method to detect the aporias and self-deconstructions within a characteristic metaphysical discourse of pure visuality that overtly elides both corporeality and the trace (understood in the theory of corporeal tracings as inseparable). -- Merleau-Ponty is critiqued from a post-dualist position on the role of the mind and the body in the experience of visuality, Foucault's ideas on bodies, visualities and diffuse powers are developed through the notion of'visio-govemmentality' and Derrida's conceptions of grammatology and the trace are redefined in terms of an emphasis on visiocorporeality. New terms and concepts emerge from these engagements that extend and elaborate visuality theory in terms of fully post-metaphysical domains of understanding. There is a commitment throughout to three theoretical positions: corporealism, culturalism and holism or what is termed here 'total contextualism'. These positions enable the fully post-metaphysical theorisation of visualities as dynamic and complex corporeal tracings encompassing both human bodies and total visio-corporeal contexts. / Mode of access: World Wide Web. / 327 p

Cette étude s’affronte à des poètes qui ne parlent plus spécifiquement de la danse. Elle parcourt les œuvres d’Henri Michaux, de Paul Celan, d’André du Bouchet et de Bernard Noël pour entendre sous le silence thématique de la danse la quête d’une forme de convergence plus élémentaire. D’un pli en deçà des mots qui s’opère à la genèse des gestes expressifs et convie danseurs et poètes à une même expérience du corps interne, de ses sentis infra-motiles et de ses inchoations de mouvement. De là naît un nouvel horizon comparatiste qui rend possible une autre façon de lire la poésie. Car un poème certes ne danse pas, mais il est porté par une certaine dansité qui renvoie au mouvement corporel qui le sous-tend et qui mobilise la motricité du lecteur. Cette trajectoire de l’infra nous déporte aux racines de tout acte créateur et nous permet d’envisager une poétique des arts à partir de l’expérience chorégraphique. Une réévaluation esthétique qui s’ente sur le savoir-sentir du corps dansant et fonde le concept de dansité en lui construisant un abécédaire (ressources motrices communes aux actes de danser et d’écrire) et une grammaire (principaux rythmes qui ressourcent le mouvement). / This study meets poets who don’t properly write about dance. Immersing ourselves in the works of Henri Michaux, Paul Celan, André du Bouchet and Bernard Noël, we try to perceive beneath the thematic silence of dance, the quest for a more elementary form of convergence. This quest is also a confluence out of which expressive gestures are born, before words are formulated; soulful movements which invite dancers and poets to enjoy a common experience of the inner body, its infra-motile stirrings, its inchoate motion. This gives rise to a new comparatist horizon, paving the way for a different experience of reading poetry. For a poem indeed does not dance, but is supported by a certain « dansité » -dancity-, which alludes to the corporeal movement underlying the poem and which appeals to the reader's own motricity. Following this trajectory at the limbo and origin before movement happens, transports us to the root origin of every act of creation, and enables us to envision a poetics for the arts, one which would have the choreographic experience at its core.

Made available in DSpace on 2014-12-17T14:00:18Z (GMT). No. of bitstreams: 1 CarlaPM_DISSERT.pdf: 3215570 bytes, checksum: eba1e4312339fc642bcdc7da3ddb36ec (MD5) Previous issue date: 2013-03-25 / The present dissertation has begun with an investigation about the application of the Technique of the Corporeal Mimesis, systematized by the Lume, Interdisciplinary Center for Theatrical Research of Unicamp, associated with the matrix of Rural Maracatu, specifically of the group Cambinda Brasileira (Nazar? da Mata PE), with the purpose of promote the training and the composition work of the actor. Starting from an empirical methodology, which used the analysis of practical experiences the application process of the Corporeal Mimesis and the construction of a theater play associated with bibliographical research, I could investigate possible ways of re-signification of this technique, using components related to the ritual and the game present in the popular event in question, and experience such paths through the conception of the play Cravo do Canavial / Essa disserta??o se deu a partir de uma investiga??o sobre a aplica??o da T?cnica da M?mesis Corp?rea, sistematizada pelo Lume, N?cleo Interdisciplinar de Pesquisas Teatrais da Unicamp, associada ? matriz do Maracatu Rural, especificamente do grupo Cambinda Brasileira (Nazar? da Mata PE), a fim de fomentar o treinamento e o trabalho de composi??o do ator. A partir de uma metodologia emp?rica, que se utilizou da an?lise de experi?ncias pr?ticas processo de aplica??o da Mimese Corp?rea e montagem de espet?culo teatral associada ? pesquisa bibliogr?fica, pude investigar caminhos de poss?vel resignifica??o desta T?cnica, utilizando elementos referentes ao ritual e ao jogo presentes na manifesta??o popular em quest?o e experimentar atrav?s da concep??o do espet?culo Cravo do Canavial tais caminhos

Obwohl die Theatralisierung der Musik ein entscheidender Aspekt der Neuen Musik ist, der im Szenario nach 1945 noch mehr an Bedeutung gewinnt, kann die aber auch als Ausdruck einer musikalischen Wende zum Leib verstanden werden. Um von einer Wende zum Leib in der Musik zu sprechen, muss man auch eine Form des Dualismus zu überwinden. Durch die Werke avantgardistischer Komponisten wird in dieser Arbeit versucht, ein Verständnis der Musikwahrnehmung aufzubauen. / It is our thesis that, even though the theatricalization of music is a crucial aspect of the Neue Musik – one that gain even more prominence on the post-1945 scenario –, it is also an expression of a corporeal turn in music. To speak of a corporeal turn in music also means an attempt to overcome a form of dualism. It is an attempt to unify music making and music perception. This is what will be attempted here. Through the works of avant-garde composers, an attempt to build an understanding of music perception in the context of a corporeal turn in music will be made. From the perception of the body and corporeity to the move from “listening” to “perceiving” and, finally, in the concept of the work of music as a phenomenal field, a physiological perception of the avant-garde will be developed.

Since the 2015 migration crisis, Frontex has expanded and increased its information-gathering on migrants. This has led to controversial activities post-2015 despite the Agency’s self-perceived humanitarian identity. The aim of this thesis is to analyze Frontex’s problem representation of migration in the Agency’s annual Risk Analysis Reports from 2015-2022 on the basis of postcolonialism and corporeal research to problematize the implicit assumptions that make Frontex’s expansion and increased control of migrants intelligible and how this is justified despite the Agency’s stated humanitarian ambitions. To this end, the thesis adopts a poststructuralist methodological approach based on Bacchi’s (2009) and Bacchi & Goodwin’s (2016) account of the WPR-model. In the analysis and concluding discussion, I argue that postcolonial and patriarchal power relations reinforce gendered and racialized constructions of the migrant body as a Terrorist, Victim, or Liar, which leads to a supposed need for increased information to separate the illegitimate from the legitimate migrant. How this is made intelligible as a “humanitarian” effort can be found in the production of abject bodies, either to be expulsed or transformed, where humanitarianism only applies to the feminized Victim while the masculinized Terrorist must be defeated. By depicting increased information and control as a humanitarian commitment to the saving of Victim lives, the Agency’s expansion is represented as a humanitarian effort.

In this dissertation, I examine the complex role that the body played in early modern constructions of judgment. Moving away from an overreliance on anti-theatrical texts as the authority on the body in Shakespeare's plays, my project intervenes in the field Shakespearean studies by widening the lens through which scholars view the body's role in the early modern theater. Through readings of four plays—Richard II, Hamlet, King Lear, and The Winter's Tale—I demonstrate that Shakespeare uses a wide range of ideas about the human body from religious, philosophical, medical, and cultural spheres of thought to challenge Puritan accusations that the public theater audience is incapable of rational judgment. The first chapter outlines the parameters of the project. In Chapter 2, I argue that Richard II draws parallels between the theatrical community and the community created through the sacramental experiences of baptism and communion to show that bodies play a crucial role in establishing common experience and providing an avenue for judgment. In Chapter 3, I argue that Shakespeare establishes correspondences between bodily and social collaboration to show how both are needed for the memory-making project of the theater. In the next chapter, I show how Shakespeare appropriates what early moderns perceived of as the natural vulnerability in English bodies to suggest the passionate responses associated with impressionability can actually be sources of productive judgment and self-edification. I argue the storm models this passionate judgment, providing a guide for audience behavior. In Chapter 5, I argue that the memories created by and within the women in The Winter's Tale evoke the tradition of housewifery and emphasize the female role in preservation. Female characters stand in for hidden female contributors to the theater and expose societal blindness to women's work. Through each of these chapters, I argue that Shakespeare's plays emphasize the value of bodily experience and suggest that the audience take up what I have termed "corporeal judgment."

An examination of Teresa of Avila and John of the Cross, applying modern theories of gender and sexuality to the textual analysis of a selection of primary written works and biographical works, in order to determine the roles that they play, not only in the case of these two saints of the Catholic Church, but also within the mystical tradition as a whole.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-09-17T17:46:09Z No. of bitstreams: 1 doutorado_tese_DEFINITIVA_PARA_IMPRESSAO.pdf: 17118891 bytes, checksum: 16106a13c84726dc0dd25b5ce9456694 (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-09-17T20:15:47Z (GMT) No. of bitstreams: 1 doutorado_tese_DEFINITIVA_PARA_IMPRESSAO.pdf: 17118891 bytes, checksum: 16106a13c84726dc0dd25b5ce9456694 (MD5) / Made available in DSpace on 2018-09-17T20:15:47Z (GMT). No. of bitstreams: 1 doutorado_tese_DEFINITIVA_PARA_IMPRESSAO.pdf: 17118891 bytes, checksum: 16106a13c84726dc0dd25b5ce9456694 (MD5) / A presente tese investiga o processo de desenvolvimento da consciência corporal na criança que dança e intitula-se “O corpo lúdico no ensino-aprendizagem da dança”. As questões que nortearam a pesquisa foram: o que é atividade lúdica como vivência corporal e estética? Que efeito a experiência do lúdico na dança produz em relação ao conhecimento do próprio corpo? Partiu-se da hipótese de que a experiência lúdico-corporal é primordial na construção de um processo metodológico, para o ensino da dança, que favorece a consciência corporal. Esta pesquisa fundamenta-se no conceito de complexidade, elaborado por Morin (2002), compreendendo o corpo como simultaneamente uno e múltiplo e na ludicidade, abordada por Luckesi (2000) como fenômeno do interno e do integral, que está na base da educação de corpo integrado. A pesquisa de campo foi realizada em classe de Preparatório do Curso Experimental de Formação para Bailarinos, da Escola de Teatro e Dança da Universidade Federal do Pará (ETDUFPA) e envolveu nove crianças de sete a nove anos que participaram de um curso experimental. Como procedimento metodológico de pesquisa privilegiou-se o enfoque etnográfico, numa abordagem de pesquisa-ação. Foi aplicada a técnica de entrevista e, como instrumentos, o questionário, o diário de classe e storyboard. Os dados foram tratados qualitativamente, procedendo-se a análise dos resultados à luz de referencial teórico. Concluiu-se que o processo ludicidade, ou jogo/dança num trabalho de consciência através do movimento é significativo na preparação do corpo lúdico, tanto na infância, quanto na adolescência ou idade adulta. / The present thesis investigates the development process of the corporeal conscience in children who dance and is titled “The Ludic Body at the Teach-and-Learn of the Dance”. The questions that guided this research were: what’s ludic activity as corporeal experience and aesthetics? What effect the ludic experience at the dance produces about the corporeal knowledge? It parted from the hypothesis that the ludic corporeal experience is a basal in the construction of a methodological process, for the teaching of the dance, which encourages the corporeal conscience. This research is based on the concept of complexity, elaborated by Morin(2002), understanding the body as simultaneously one and multiple and on the ludicity, approached by Luckesi (2002) as phenomenon of the intern and the integral, that is on the basis of the integrated body education. The field Research was developed in the preparatory class of the experimental course of ballet dancers, of the School of Dance and Theater of Pará’s Federal University (ETDUFPA) and involved nine kids aged seven to nine years that participated of an experimental course. As methodological procedure for researching, the ethnographical emphasis was privileged, in a research-action approach. It applied an interview technique and, as tools, the quiz, the gradebook and the storyboard. The data were treated qualitatively, proceeding to the analysis of the results based on the theoretical reference. It concluded that the ludicity process or dance\playing in a conscience work through the movement is significant in the preparation of the ludic body, be it in childhood, adolescence or in adult age. / Questa tesi indaga il processo di sviluppo della coscienza corporale nel bambino che danza e si intitola “Il corpo ludico nell’insegnamento-apprendimento della danza”. Le domande che hanno guidato la ricerca sono: cos’è l’attività ludica come vissuto corporale e estetico? Che effetto produce l’esperienza del ludico nella danza nel processo di conoscimento del proprio corpo? Siamo partiti dall’ipotesi che l’esperienza ludico-corporale é primordiale nell’insegnamento della danza, favorendo la coscienza corporale. Questa ricerca si fondamenta nel concetto di complessità elaborato da Morin (2002) que interpreta il corpo come, contemporaneamente, uno e multiplo e nella ludicidade, abbordata da Luckesi (2000) quale fenomeno dell’interno e dell’integrale, che è alla base dell’educazione del corpo integrato. La ricerca di campo è stata effettuata nelle Aule Preparatorie del Corso Sperimentale per Ballerini della Scuola di Teatro e Danza dell’Università Federale del Pará (ETDUFPA) alle quali hanno partecipato nove banbini con età compresa tra sette e nove anni. Quale procedimento metodologico de ricerca abbiamo privilegiato l’approccio etnografico in una prospettiva di ricerca-azione. È stata applicata la tecnica dell’intervista e, come strumenti, il questionario, il registro di classe e lo storyboard. I dati sono stati trattati qualitativamente, avanzando nell’analisi dei risultati sulla base della referenza teorica. Abbiamo concluso che il processo di ludicità, o gioco/danza, in un contesto de presa di coscienza per mezzo del movimento, é significativo nella preparazione del corpo ludico, sia nell’infanzia quanto nell’adolescenza e nell’età adulta.

La propriété foncière du Code civil, unitaire par principe, s’accommode difficilement de l’ubiquité du droit de superficie, comme en attestent les incessants débats doctrinaux sur le sujet. Le volume immobilier moderne a répondu aux besoins de division du sol du corps social. Toutefois, en dématérialisant l’immeuble, le volume déstabilise fortement la théorie classique de la propriété. La présente thèse définit un concept de sol appropriable et divisible dans le sens de la hauteur, sans renier la propriété du code. Pour cela, le sol, incluant le dessous et le dessus, est perçu comme relevant du monde tangible. Ce bien est ensuite appréhendé en trois dimensions par un procédé de géométrisation. Le sol volumique correspond à une nouvelle phase plus abstraite de conceptualisation du sol. Cependant, la chose sensible signifiée par le concept, le sol ou fonds de terre selon les juristes demeure la même ; seule sa représentation a évolué. Dans cette perspective, le sol en volume devient individualisable et appropriable sur le modèle du sol parcellisé en deux dimensions, indispensable à une propriété individuelle et exclusive. Ainsi, la propriété du Code civil via ses dispositions actuelles, notamment les articles 552, 518 et 544, s’applique à un volume immobilier comme à une parcelle. Ce modèle de propriété passant de l’unité à la division, est complété par un droit de superficie simple, droit réel fondé sur les articles 553, 543 du Code civil et le droit de jouissance spéciale. Suivant la thèse moniste, la propriété du sol en volume, qui n’est autre que le concept de propriété du code appliqué à un sol tridimensionnel, concilie la théorie classique de la propriété et celle du doyen Savatier. / The concept of land property in the Civil Code, unitary by principle, has always been in difficulty when facing the ubiquitous “droit de superficie”, as evidenced by the never-ending doctrinal debates. The modern concept of property “volume” has responded to the social need for division of the land. However, with volume, real estate properties become incorporeal things and destabilize the classical theory of property, which is synonymous with corporeal things. This thesis defines a concept of land property appropriable and divisible relative to height, compatible with the Civil Code’s land law. For this, land, including the subjacent and superjacent domains, is perceived as part of the tangible world. This land is then comprehended in three dimensions via a geometrical approach. Land with three-dimensional significance corresponds to a new phase of conceptualization of the land that is more abstract. The physical part, however, which the concept refers to, ie the land, remains the same; only its representation has evolved. Applying this perspective, the land expressed as a volume becomes a unit appropriable on the model of land divided in two dimensions. Consequently, the concept of property in the Civil Code under its current wording, notably clause 552, but also 518 and 544, applies to land expressed as a volume as to a parcel. This property model able to divide the land vertically as well as horizontally is also capable to organize a land division comparable to a long lease. This complementary concept is based on clauses 553, 543 of the Civil Code. Developing the monistic thesis, the ownership of the land when seen as a volume reconciles the theory of the dean Savatier and the classical theory of property.

Subject matter of my diploma paper is {\clqq} Tax burden of road transfer in select entrepreneurial subject``. My aim is optimise tax charge of road transfer in this entrepreneurial subject. I define long-term corporeal property, manners of its acquisition and its depreciation in introductory part. Further, I describe taxes and compulsory charges, which closely bear with road transfer. I focus on tax charge in factual company, which carries bussiness in road transfer in the end. I investigate tax stress at tax and duties, which directly bear with road transfer. It is about road tax, consumer tax of mineral oils, value added tax (VAT), the duties from usages of motorways and high-roads and finally insurance of responsibility for damage caused operation of motor vehicle. I compare tax burden of two particular trucking systems the company has available and I propose options available to a possible reduction of tax charge in these two freighters.