- About
-
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.
Search results
Showing 121 to 130 of 130 (0.054 seconds)Spelling suggestions: "subject:"corporeal""
| 121 |
The Constitution of Movement in Rudy Wiebe's Fiction : A Phenomenological Study of Three Mennonite NovelsSigvardson, Malin E. January 2006 (has links)
This study investigates movement as a phenomenon of constituting directedness in the Canadian writer Rudy Wiebe’s Mennonite novels. In Peace Shall Destroy Many (1962), in The Blue Mountains of China (1970), and in Sweeter Than All the World (2001), the phenomenon of movement is complexly at work as a decisive factor on numerous levels of constitution. Employing the concept of phenomenological directedness, the study elucidates phenomena central to the kinetic-kinaesthetic materiality of the three works. Focusing on textual nuances of kinaesthetic accentuation, the investigation highlights ways in which directedness shapes subjectivity rather than vice versa. Kinetic reality emerges as something torn between distance as a separating interval and distance as a remote intimacy manifesting an elision of the span between source-point and terminus. Such discrepancy shapes a sense of existential inconsecutiveness, in which an intriguing diminishment of feeling is a heightening of the affective life. This state of affairs is frequently aligned with faith as world-withdrawal. The wandering of persecuted believers is a theological process that at any given time can reduce itself to an external, purely geographic enterprise, thus becoming a substitute for faith. Nevertheless, the phenomenon of perpetual travel has the capacity to produce an overarching bonding-affect at the constituting heart of a community whose kinetic life is inseparable from the movement of regeneration.
|
| 122 |
Intercorporeality and technology : toward a new cognitive, aesthetic and communicative paradigm in the performing artsChoinière, Isabelle January 2015 (has links)
The goal of this thesis was to reassess the relationship between the moving body and technology, and more specifically, to focus on recent perspectives in the performing arts which inscribe new manifestations and dynamics of cross-pollination between the somatic and technology. According to Dr. Andrea Davidson, 'Such research has rarely been formally identified with the specialised field of somatics' (2013, p.3). The thesis thus proposes to reflect on the experience and conception of the performative body in the link it entertains with technology. Investigating this relationship, it defines a new paradigm, that of an 'interfaced intercorporeality'. This paradigm is constructed with special attention to a different relationship revealed between the interface and the notion of a corporal potentiality or 'interval'. In particular, the thesis focuses on the concept of a 'collective body' based on this relationship and on practical research conducted within the framework of my research, along with the methodology that supported it. The research and creative work that are presented derive from experiments I conceived, conducted and participated in making. My analysis is thus based on direct experience. The relationship between the somatic and technology notably led me to focus on the notion of embodied cognition or 'bodily knowledge' and for this, to re-examine the work of Maurice Merleau-Ponty. As a consequence, this return to the experiential also required revisiting definitions given by the Greeks concerning the aesthetic as a reference to sensation and the ability to perceive. The thesis approaches the body as the ground and basis for creating work, as well as for testing the effect(s) that technology has on it. Experiments conducted sought to develop greater sensory and perceptual awareness in order to invest the relationship of somatics/technology in a dimension that could potentially constitute a transformation of self, of one's relationship to others and to the world. Merleau-Ponty's phenomenological existentialism formed the basis for explorations made to forge links between the somatic and technology. However, it is important to clarify that my intention was not to make an analysis of phenomenology per se. It was rather referenced as a means to explain the framework of my research in relation to lived experience, sensation, and specifically, to my creative approach involving new technologies. Merleau-Ponty's methodology includes subjective, first-person accounts of 'lived experience'. Third-person accounts, or so-called 'objective' positions, are also included. These accounts are then shown to evolve towards an ecosystem of interaction and movement in order to experience and test the production of theory and practical experimentation involved in the methodology I adopted. The thesis incorporates knowledge from several disciplines, but principally from the field of dance and technology. Highlighting sensorial and perceptual phenomena related to the transformation of the body through technology and subjective experience, it takes into account an interdisciplinary perspective that is linked to this problematic. The thesis begins with an introduction to phenomenology in which the concepts and positions of Merleau-Ponty are outlined, including those of anti-dualism, the lived body, the ontology of the body, corporeality, intercorporeality and the flesh. Chapter 1 looks at the evolution of this philosophical movement throughout history and continues with a history of the body in phenomenology, an analysis of certain applications of phenomenology in the field of dance and subsequently, in the specific field of dance related to technology. Chapter 2 comprises a literature review. It also presents the bases of reductionist thinking, the proposition of a return to integrative thinking and issues concerning instrumentalisation, the double and the complexification of the self. It further examines the history of ideas surrounding the relationship between the body and technology, notions of the real-virtual-actual and a history and problematics of the interface. It concludes with a presentation of theories on the notions of potentiality, the interval and real-time. Chapter 3 presents my artistic background, an historical overview of the trends and principal ideas that have influenced my work, as well as an examination of the field of dance and technology from the point of view of its history and more recent developments. Chapter 4 is dedicated to an analysis of the research methodologies employed in the practical research for this thesis and identifies related issues. An analysis of problems encountered with existing methodologies notably highlights a need to invest in other methodological modes for practical research of an interdisciplinary nature. The chapter continues with a presentation of some of the methodologies currently used in the field of dance related to technology. The principles underpinning the specific creative research methodology I experimented with are then presented, proposing an adaptation of the aforementioned methodologies in order to respond to the dynamics of collective research of an empathic nature that are specific to my approach and also in order to invest in the link between the somatic and technology my project proposes. This proposition modestly attempts to respond to the lack of methodologies observed in the field of artistic practical research. A discussion of the experimentation involved in the practical research for the thesis is made in Chapter 5. Two creative experiments are analysed. Their aim was to investigate and develop a collective physical body composed of five dancers in constant contact, whose movement and relationships create what I call a 'collective sound body'. This collective entity produces sound in real-time which is simultaneously spatialised. The analysis takes into account the ways these two bodies are interdependent and constantly interrelated. Schematically, the first experiment served as a basis on which to found principles related to the collective body, while the second experiment developed them. The chapter further outlines creative strategies that were employed to test principles of self-organisation linked to sensation and stemming from the somatic techniques employed. It also returns to some of Merleau-Ponty's main concepts that were implemented and tested in performative experience: intercorporeality, the lived body, the dynamic of continual transformation and the principle of coexistence. Lastly, Merleau-Ponty's investigation of sensation and perception and his concept of sensory chiasms are related to the experiments' multisensory exploration and theme of intersubjectivity which are then proposed as leading to the possibility of intercorporeality. Chapter 6 forms the conclusion and seeks to identify new knowledge generated in the thesis. Essentially articulating another vision of the performative body as developed through its contact with technology, the findings, both practical and theoretical, bring to light a different understanding of the body rendered through a dissolution of psychophysical borders in the development of the performative model I called the 'collective body'. The thesis further proposes that the 'collective body' and its evolution as the 'collective sound body', open up the path to a new approach to interfaces and further, to what I propose as a theory of interfaced intercorporeality. This research aims to reintroduce the body and its specific intelligence in the understanding and building of relationships that can be renewed. The technology used in these experiments was considered as a physicality and the activator of a reconfiguration of sensory-perceptual processes that the thesis argues can lead to the final paradigm of 'interfaced intercorporeality' it proposes.
|
| 123 |
Conflitos, territórios e identificações: o encontro de experiências nas torcidas organizadas Cearamor e M.O.F.I / Conflicts, territories and identifications: the meeting of experiences in the twisted ones organized Cearamor and M.O.F.IRIBEIRO, Josiane Maria de Castro January 2010 (has links)
RIBEIRO, Josiane Maria de Castro. Conflitos, territórios e identificações: o encontro de experiências nas torcidas organizadas Cearamor e M.O.F.I. (2010). 213f. Tese (Doutorado em Sociologia) – Universidade Federal do Ceará, Departamento de Ciências Sociais, Programa de Pós-Graduação em Sociologia, Fortaleza-CE, 2010. / Submitted by nazareno mesquita (nazagon36@yahoo.com.br) on 2011-11-29T14:22:49Z
No. of bitstreams: 1
2010_tese_JMDECR.pdf: 2509242 bytes, checksum: 21b460002fd3d17138fe1d1da19a64de (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2011-11-29T16:58:00Z (GMT) No. of bitstreams: 1
2010_tese_JMDECR.pdf: 2509242 bytes, checksum: 21b460002fd3d17138fe1d1da19a64de (MD5) / Made available in DSpace on 2011-11-29T16:58:00Z (GMT). No. of bitstreams: 1
2010_tese_JMDECR.pdf: 2509242 bytes, checksum: 21b460002fd3d17138fe1d1da19a64de (MD5)
Previous issue date: 2010 / This thesis discusses the networks of social experiences and identifications articulated in cheerleaders of football Cearamor MOFI in the city of Fortaleza. It analyzes the actions taken by young fans organized in search of anthropological density. It discusses the relationship between the circuit of funk balls, the 80 and 90, in Fortaleza, and cultural and symbolic universe of organized supporters of football in its current configuration. Refers to the uses and inversions of the stigma by members of the cheerleaders, who subvert the classifications that define them as thugs, criminals and supporters of gratuitous violence. It analyzes the way of life of organized fans, highlighting the investment in the virile embodiment, the sociability of conflict and territorial identification. / Discute as redes de experiências sociais e identificações articuladas nas torcidas organizadas de futebol Cearamor e M.O.F.I., na cidade de Fortaleza. Analisa as ações empreendidas pelos jovens torcedores organizados, em busca de densidade antropológica. Problematiza a relação entre o circuito dos bailes funks, das décadas de 80 e 90, em Fortaleza, e o universo simbólico e cultural das torcidas organizadas de futebol na sua formação atual. Versa sobre os usos e inversões do estigma pelos integrantes das torcidas organizadas, que subvertem as classificações que os definem como vândalos, bandidos e adeptos da violência gratuita. Analisa o modo de vida dos torcedores organizados em Fortaleza, destacando o investimento na corporalidade viril, na sociabilidade de conflito e na identificação territorial.
|
| 124 |
Význam tance v historii a dnes / The Importance of Dance in the History and TodayBYSTRICKÁ, Jana January 2007 (has links)
This dissertation covers with exploring the meaning of dance in human life in the history and today. It specialises on dance in the leisure time field and its therapeutic use and describes the evolution of dance since it´s ever been mentioned and its importance to human life at that time. The first part of the dissertation is concentrating on the history of dance in Bohemia and abroad. The chapters chart the time horizon of dance since antics till nowadays. In the highlighted periods of time it tries to elevate the meaning of dance form, which was characteristic for the actual period. The second part of the dissertation focuses on the meaning of dance as a free time activity and concentrates on recent trend {--} belly dance. The last part of the dissertation covers the meaning of dance as a therapeutic instrument in dance movement therapy.
|
| 125 |
Le geste martial comme expérience : esthétique de l’« être-là »-ninja / The martial gesture as experience : aesthetics of "being-here"-ninjaHmida, Salah 29 September 2018 (has links)
Il s’agit, dans ce travail, de trouver le geste qui renouvelle l’identité cicatrisée que le «guerrier » en nous recherche, à travers la pratique martiale définie comme habitation holiste d’un corps-soit, ce que Varela appelle « l’inscription corporelle de l’esprit ».Un être, par l’effet d’un art et par la compréhension de « l’expérience de l’expérience » que constitue la performativité du geste en général, peut-il jamais faire Un avec les choses qui l’entourent et qui l’enveloppent ? Il y a à parier que s’il y arrivait, il lui serait donné de saisir à la fois le caractère mythique des choses en tant qu’il est immanent à leur présence et cette présence en tant qu’oeuvre existentielle. L’art martial ninja constitue une telle réussite. Cette thèse en interroge les effets … / This work consists in finding the gesture that renovates the healed identity, a “worrior” withinus is looking for, through a martial practice defined as a holistic dwelling of a body-being.This is what Varela calls “the corporeal inscription of the spirit”.Is a being able to make one with the things surrounding and covering it, through the effect ofart and the comprehension of “the experience of the experience”, that the performativity of thegesture generally constitutes? It would bet, if possible, that it would be able of creating, at thesame time, the mythic aspect of things, having been inherent to their presence, and creatingthis presence as an existential art-workNinja martial art builds such a success, the effects of which are questioned by this thesis...
|
| 126 |
Dokonalá žena : analýza filmových postav umělých ženských bytostí z perspektivy postmoderních a post-teoretických přístupů k tělu a konstituování identity / The perfect woman : the analysis of movie characters of artificial female beings from the perspective of postmodern and post-theoretical approaches to the body and the identity constitutionBubeníčková, Kateřina January 2016 (has links)
The thesis focuses on the analysis of the basic types of the film characters portraying artificial women: creatures who combine "femininity" (humanity) and technology, and who show female sexual characteristics or features that are stereotypically perceived as female-like (e.g. female cyborgs, female androids, female robots). The characters are analyzed and approached from the perspective of postmodern philosophy and post-theory studies; the forming of their body and identity is analyzed on the account of the narrative. The aim of the thesis is to explore whether the film representations of female cyborgs are similar to real cyborgs in the sense that they bring liberalization from the point if view of posthumanism and cyberfeminism, or whether they can only be perceived as the prime form of the Foucaltian body-as-machine, i.e. perfectly controllable precise technicist bodies which are created by the current power dispositions. The characters are divided into four categories, based on their predominant physical and "social" functions: a sexbot, a domesticated artificial woman, a destructive artificial woman and an emotional/intelligent artificial woman. The following identification and interpretation of the body, identity, relationships and the narrative structures are based on the theoretical...
|
| 127 |
Analýza filmových postav kyboržek z perspektivy postmoderních a post-teoretických přístupů k tělu a konstituování identity. / The analysis of movie characters of cyborg-woman from the perspective of the postmodern and post-theoretical approaches to the body and the identity constitution.Bubeníčková, Kateřina January 2016 (has links)
The thesis focuses on the analysis of the basic types of the film characters portraying artificial women: creatures who combine "femininity" (humanity) and technology, and who show female sexual characteristics or features that are stereotypically perceived as female-like (e.g. female cyborgs, female androids, female robots). The characters are analyzed and approached from the perspective of postmodern philosophy and post-theory studies; the forming of their body and identity is analyzed on the account of the narrative. The aim of the thesis is to explore whether the film representations of female cyborgs are similar to real cyborgs in the sense that they bring liberalization from the point if view of posthumanism and cyberfeminism, or whether they can only be perceived as the prime form of the Foucaltian body-as-machine, i.e. perfectly controllable precise technicist bodies which are created by the current power dispositions. The characters are divided into four categories, based on their predominant physical and "social" functions: a sexbot, a domesticated artificial woman, a destructive artificial woman and an emotional/intelligent artificial woman. The following identification and interpretation of the body, identity, relationships and the narrative structures are based on the theoretical...
|
| 128 |
Gut Feeling : Art and Food Digested: Figuring a Post-Human Intestinal TurnGuarino Werner, Sarah January 2023 (has links)
This thesis aims to develop a new methodological concept better to understand art and curating in a post-human setting. Departing from a post-humanist ontology, my initial idea was to analyse contemporary artworks dealing with food and trace and substantiate a figuration of the gut/intestinal system (connected to post-human notions as the ideas of trans- corporeality, vibrant matter, etc.) and how it could create a productive reading of these works. During my research on food-related art projects, I realised that the gut-figuration has broader implications and could function as a tool to understand the contemporary art world and curating at large, through a post-human lens. Accordingly, I suggest my thesis to be a contribution to what I would like to name an “intestinal turn”, a contemporary post-humanist, trans-corporeal understanding of art that could change how art is perceived and how the subjectivity of the artist, and curatorial work, could be understood today.
|
| 129 |
Transactional Bodies: Politics, Pedagogies, and Performance Practices of the San Francisco Bay AreaCulbreth, Mair Wendelin 31 May 2018 (has links)
No description available.
|
| 130 |
Technik und Bildung in der verwissenschaftlichten LebensweltLumila, Minna 02 June 2023 (has links)
Die Studie versucht, Husserls Modell einer nicht-wissenschaftlichen Lebenswelt für pädagogische Untersuchungen zum Verhältnis von Technik und Bildung in der verwissenschaftlichen Welt zu öffnen. Sie diskutiert Entwicklungsprobleme der Spätmoderne unter pluralen Fragestellungen und führt Ansätze und Traditionen zusammen, die unterschiedliche Wege zur Weiterentwicklung der modernen Bildungstheorie beschritten haben. Im Zentrum steht die Frage, wie moderne Technik einerseits als lebensweltliche Entfremdung des Menschen problematisiert und andererseits als Produkt menschlicher Freiheit und Weltgestaltung gewürdigt werden kann. In vier Kapiteln werden die methodischen Ansätze und Antworten vorgestellt, die der Philosoph und Pädagoge Eugen Fink (1905–1975), der Philosoph Martin Heidegger (1889–1976), der Philosoph und Erziehungswissenschaftler Theodor Litt (1880–1962) und der Soziologe Helmut Schelsky (1912–1984) auf die Frage nach dem Verhältnis von Bildung und Technik gegeben haben. Im Durchgang durch ihre Positionen wird ein Konzert erarbeitet, dessen Originalität darin liegt, Abstimmungsprobleme von Bildung, Technik und Lebenswelt aus postdualistischer, praxistheoretischer sowie posthumanistischer Perspektive zu thematisieren. / The study attempts to open Husserl's model of a non-scientific lifeworld for pedagogical investigations of the relationship between technology and “Bildung” in the scientific world. It discusses developmental problems of late modernity under plural questions and brings together approaches and traditions that have taken different paths to the further development of modern “Bildungs”-theory. The central question is how modern technology can be problematized on the one hand as the alienation of human beings from the world of life and on the other hand be appreciated as a product of human freedom and the shaping of the world. Four chapters present the methodological approaches and answers that philosopher and educator Eugen Fink (1905–1975), philosopher Martin Heidegger (1889–1976), philosopher and educationalist Theodor Litt (1880–1962), and sociologist Helmut Schelsky (1912–1984) have given to the question of the relationship between education and technology. In the course of their positions, a concert will be developed whose originality lies in addressing the coordination problems of “Bildung” (education), “Technik” (technology) and “Lebenswelt” (lifeworld) from a post-dualist, praxis-theoretical as well as post-humanist perspective.
|
Page generated in 0.0923 seconds