This thesis investigates, through a body of interdisciplinary artwork, the representation of the grotesque body. It examines how it might be possible to manipulate the iconography of attraction and repulsion in contemporary art with the aim of confusing the binary opposition of what signifies pleasure and disgust. Each of the three artworks function to draw the audience into a powerful and affective relationship with representations that are simultaneously appealing and revolting. Using a number of modes and techniques to disrupt the dyad, including audience interaction and the use of seductive visual forms, the work focuses on my body as a site for the development of new knowledge about the representation of the non-preferred body. By bringing together otherwise unrelated discourses such as horror and formalist abstract painting, the artwork in this study attempts to call into doubt received wisdom about the nature of beauty and ugliness. There are a lexicon of different artistic mediums explored in this project including performance, installation, video and photography. The engagement with these disciplines represents an attempt to speculate on how we know and experience the body in an increasingly mediatised world. This research is also a key means of highlighting how our understanding of the body is informed by the differing effects of timebased, photographic and performative media. By creating a series of dialogues between the live and the virtual, timebased and static imagery, and the fragmentary body and its relationship to the holistic body, this project seeks to activate in the viewer/participant, a critical self-reflexivity. I ask how it is possible to know and experience corporeality in a virtual world of digitally manipulated bodies.

O espaço moderno produz segundo uma lógica de simultaneidade paisagens contrastantes e com caracteríscas de ocupação distintas. A cidade de Vitória revela uma paisagem de dimensão singular e plural, de natureza fragmentada: a paisagem da região nordeste, correspondente à orla marítima, expressa a riqueza e os signos da cidade global, criando assim, uma condição antagônica à paisagem da região noroeste, cujos ecossistemas naturais e humanos coexistem precariamente. Essas assimetrias espaciais representam um processo dialético de inclusão e exclusão social inerentes à modernidade. A pesquisa teve por objetivo analisar a paisagem da Baía Noroeste no âmbito do município, buscando compreender os processos sociais e espaciais cumulativos que impuseram profundas transformações à sua base natural e sócio-espacial, considerando os seguintes aspectos: os impactos e correspondências que se estabelecem entre as regiões - nordeste e noroeste - a partir da instauração do capital industrial e da solicitação de um espaço compatível com a modernização; a forma como a região da Baía Noroeste se integra à produção e à gestão empresarial do município; os desafios e expectativas que se apresentam para a paisagem e a comunidade da Ilha das Caieiras a partir de sua inserção no Pólo Turístico; e por fim, a discussão da importância da participação da população na preservação do ecossistema manguezal como elemento estruturador da paisagem, da identidade e da cultura urbana capixaba. Desse modo, pretende-se uma nova abordagem sobre a paisagem do lugar, mostrando que a globalização se configura, não pela ausência de referenciais locais, mas por um excesso de representações ideológicas materializadas no cotidiano que redefinem seu conteúdo. E nesse contexto, mostrar que, a articulação do espaço econômico inclui o político, não apenas como externalidade, mas como estruturante na conformação da paisagem. / Modern space simultaneously produces contrasting landscapes with different characteristics in terms of urban ocupation. In this context, the city of Vitória unfolds diversified and fragmentary landscapes of both single and plural dimensions: the coastal northeast area expresses the wealth and signs of the global city as opposed to the northwestern area, whose natural and human ecosystems coexist in a precarious way. Such spatial assimetries represent a dialectical process of social inclusion and exclusion inherent in modern times. The main objective of this research was to analyse the Northwestern Bay landscape within the municipal boundaries. It seeks to understand the social and spatial cumulative processes that deeply altered its natural and social-spatial basis taking into account the following aspects: the impacts and co-relations between the two regions (northeast and northwest) after the industrial establishment which demanded a different urban space compatible with modernization; the ways through which the Northwestern Bay area is integrated with the municipal production and management; the challenges and expectations of the Caieiras Island landscape and community since its insertion in the tourism industry and finally the importance of community participation and empowerment towards the preservation of the mangrove ecosystem as an important landscape structural feature which expresses local capixaba cultural identity. The dissertation offers a new approach to local landscape processes and shows that globalization is expressed not by the lack of local references but by the implementation of an ideological model materialized into ordinary life which ends up reshaping landscape forms. In this context, the research shows that the articulation of economic space includes the political sphere, not merely as an external influence but as a vital infra-structural instance in the configuration of landscape

O espaço moderno produz segundo uma lógica de simultaneidade paisagens contrastantes e com caracteríscas de ocupação distintas. A cidade de Vitória revela uma paisagem de dimensão singular e plural, de natureza fragmentada: a paisagem da região nordeste, correspondente à orla marítima, expressa a riqueza e os signos da cidade global, criando assim, uma condição antagônica à paisagem da região noroeste, cujos ecossistemas naturais e humanos coexistem precariamente. Essas assimetrias espaciais representam um processo dialético de inclusão e exclusão social inerentes à modernidade. A pesquisa teve por objetivo analisar a paisagem da Baía Noroeste no âmbito do município, buscando compreender os processos sociais e espaciais cumulativos que impuseram profundas transformações à sua base natural e sócio-espacial, considerando os seguintes aspectos: os impactos e correspondências que se estabelecem entre as regiões - nordeste e noroeste - a partir da instauração do capital industrial e da solicitação de um espaço compatível com a modernização; a forma como a região da Baía Noroeste se integra à produção e à gestão empresarial do município; os desafios e expectativas que se apresentam para a paisagem e a comunidade da Ilha das Caieiras a partir de sua inserção no Pólo Turístico; e por fim, a discussão da importância da participação da população na preservação do ecossistema manguezal como elemento estruturador da paisagem, da identidade e da cultura urbana capixaba. Desse modo, pretende-se uma nova abordagem sobre a paisagem do lugar, mostrando que a globalização se configura, não pela ausência de referenciais locais, mas por um excesso de representações ideológicas materializadas no cotidiano que redefinem seu conteúdo. E nesse contexto, mostrar que, a articulação do espaço econômico inclui o político, não apenas como externalidade, mas como estruturante na conformação da paisagem. / Modern space simultaneously produces contrasting landscapes with different characteristics in terms of urban ocupation. In this context, the city of Vitória unfolds diversified and fragmentary landscapes of both single and plural dimensions: the coastal northeast area expresses the wealth and signs of the global city as opposed to the northwestern area, whose natural and human ecosystems coexist in a precarious way. Such spatial assimetries represent a dialectical process of social inclusion and exclusion inherent in modern times. The main objective of this research was to analyse the Northwestern Bay landscape within the municipal boundaries. It seeks to understand the social and spatial cumulative processes that deeply altered its natural and social-spatial basis taking into account the following aspects: the impacts and co-relations between the two regions (northeast and northwest) after the industrial establishment which demanded a different urban space compatible with modernization; the ways through which the Northwestern Bay area is integrated with the municipal production and management; the challenges and expectations of the Caieiras Island landscape and community since its insertion in the tourism industry and finally the importance of community participation and empowerment towards the preservation of the mangrove ecosystem as an important landscape structural feature which expresses local capixaba cultural identity. The dissertation offers a new approach to local landscape processes and shows that globalization is expressed not by the lack of local references but by the implementation of an ideological model materialized into ordinary life which ends up reshaping landscape forms. In this context, the research shows that the articulation of economic space includes the political sphere, not merely as an external influence but as a vital infra-structural instance in the configuration of landscape

When remains are found in a fragmentary state, skeletal reconstruction aids forensic anthropologists in recreating general traits of the biological profile such as age, sex, ancestry and stature, reveals trauma, and reproduces visual facial likenesses. Previously an ignored area of forensic anthropology, the present study explored the error present when fragmentary skeletal remains are measured and those measurements are applied to statistical programs such as FORDISC 3.1 (Jantz and Ousley 2005) for classification. The study utilized 72 tibiae of white-tailed deer (Odocoileus virginianus), fragmented into varying states to find the difference in measurements before and after fragmentation. The study found that, while there was a difference in measurements after reconstruction, the difference was on average less than 2 mm for all dimensions of the bone and less than the generally accepted level of interobserver error in osteometrics. On average, the bones decreased in size, partially due to the effects of maceration and drying, and the total change due to fragmentation was considered minimal compared to other sources of error. When applied to FORDISC 3.1 (Jantz and Ousley 2005), this difference in measurements did not result in the misclassification of a previously identified individual. The recommendation therefore is to utilize fragmentary skeletal remains, when an accurate reconstruction can be determined, to maximize the information potential of those remains.

Στόχος του παρόντος πονήματος, είναι η παρουσίαση της αποσπασματικά σωζόμενης τραγωδίας "Πειρίθους" και η αναφορά σε όλα τα προβλήματα που απασχόλησαν τη φιλολογική έρευνα, η οποία διατρέχεται από ερωτήματα που ανακύπτουν συνήθως από την ενασχόληση με έργα αποσπασματικού χαρακτήρα, όπως η πλοκή, οι ήρωες που πρωταγωνιστούν και η πιθανή διάρθρωση της δομής της. Κυρίαρχο και πρωτεύον ερώτημα, ωστόσο, υπήρξε ευθύς εξαρχής για την τραγωδία "Πειρίθους" το θέμα της πατρότητας του έργου. Τέτοιου τύπου θέματα καθώς και πιθανές απαντήσεις παρουσιάζονται στην εργασία αυτή, μαζί με αναφορά σε προβλήματα που συνδέονται με τη μελέτη του ίδιου του κειμένου και προκύπτουν μέσω της γραπτής παράδοσης και αναπαραγωγής του μέσα στους αιώνες που ακολούθησαν τη γέννησή του έως και σήμερα. / The aim of this essay is to present the fragmentary tragedy "Peirithous" and the reference to all the problems that occupied the literary research, which is traversed by questions that arise usually from engaging in fragmentary works, such as the plot, the characters that leadership and the possible formation of the structure. However, the dominant and primary question from the beginning for the tragedy "Peirithoos", was the issue of authorship. Such questions and possible answers are presented in this paper, along with reference to problems associated with the study of the text itself and emerge through the written tradition and play through the centuries that followed his birth until today.

The Digital Marmor Parium is a project of the Alexander von Humboldt Chair of Digital Humanities at the University of Leipzig (http://www.dh.uni-leipzig.de/wo/dmp). The aim of this work is to produce a new digital edition of the so called Marmor Parium (Parian Marble), which is a Hellenistic chronicle on a marble slab coming from the Greek island of Paros. The importance of the document is due to the fact that it preserves a Greek chronology (1581/80-299/98 BC) with a list of kings and archons accompanied by short references to historical events mainly based on the Athenian history.

Made available in DSpace on 2014-12-17T14:00:14Z (GMT). No. of bitstreams: 1 MarcioANR_DISSERT.pdf: 3232985 bytes, checksum: e5e39ac43a1bfd877e2c4cbde4b5f657 (MD5) Previous issue date: 2011-04-14 / We try to relate this research with other logic, to discover a path of practical approach to approach a creation composed of fragments and a search of parameters for the aesthetics of appropriation. Accordingly, we find relationship with the theater composed of fragments, where different styles are appropriate theatrical and representational styles are merged with each other. Discusses in the first chapter on the theater composed of fragments, and stroll through lanes of the strategies of some directors in the ways of the contemporary scene. In the second chapter we seek procedures and concepts of atmosphere Mikhail Tchekhov (TCHEKHOV, 1996), and the transition from point-to-point by Scott McCloud (2005). In the third part we describe the observation of the experiment conducted by the students of the Bachelor's Degree in Regional Theatre at the University of Cariri in Juazeiro, Cear?, in 2010. Using the methodology of "pesquisa-a??o", observing that the scenic writing end of the experiment, called "Toque Me", and the presentation in the cities of Crato and Barbalha, in August 2010, contained elements of the strategies from theater fragmentary scenes and conceptual contents of contemporary theater / Tentamos nos relacionar nessa pesquisa com outra l?gica, descobrir um caminho de abordagem pr?tica para nos aproximarmos de uma cria??o composta de fragmentos e uma busca de par?metros para a est?tica da apropria??o. Nesse sentido, encontramos rela??o com o teatro composto por fragmentos, onde diferentes est?ticas teatrais s?o apropriadas e os estilos de representa??o s?o mesclados uns com os outros. Discorreremos no primeiro cap?tulo sobre o teatro composto de fragmentos, e percorreremos pistas atrav?s das estrat?gias de alguns encenadores nos caminhos da cena contempor?nea. No segundo cap?tulo buscamos procedimentos e conceitos de Atmosfera de Mikhail Tchekhov (TCHEKHOV, 1996), e a transi??o de aspecto-a-aspecto de Scott McCloud (2005). Na terceira parte descrevemos a observa??o do experimento realizado com os alunos do curso de Licenciatura em Teatro na Universidade Regional do Cariri, em Juazeiro, Cear?, no ano de 2010. Utilizando a metodologia da pesquisa-a??o, observarmos que a escrita c?nica final do experimento, denominado Toque-me , e a apresenta??o nas cidades do Crato e Barbalha, no m?s de agosto de 2010, continham elementos das estrat?gias do teatro de fragmentos e os conte?dos conceituais do teatro contempor?neo

In this thesis I attempt to outline the unwritable foundation of the writing of Maurice Blanchot (1907–2003), through the notion of the disaster. By tracing the writing of the unwritable in L’Écriture du désastre [1980] I argue for the need to return to the late work of Blanchot which has often been left aside, due to its inability to coincide with a fixed position within a theoretical field. This mobility, which situates Blanchot in the gap between philosophy and literature, is traced through an approaching reading that intends to examine how the unwritable unfolds as an understanding that differs from the established narrative of the absolute negativity which is deemed to determine Blanchot’s thinking. Rather my reading emphasizes on the affirmative aspects of writing that emerge in the literary composition of the disaster, through Blanchot’s attempt to write the event that has always already happened and thus exists on the outside of writing. By examining the manner in which this unwritability overlap with the non-diachronic dimensions of the fragmentary writing of Blanchot, I suggest that his notion of writing is constituted by that which cannot be written. This, in turn, eventuates in an affirmation of the very withdrawal which makes writing unwritable. Through Roland Barthes’ idea of the pleasure of the text this affirmative aspect is further demonstrated in order to realize a greater understanding of the relation between writing and the other, philosophy and literature.

Dans ce mémoire, tant dans la partie création que recherche, je m’emploie à penser l’expérience du sublime. Je dis « expérience » parce que le sublime n’est ni un contenu ni une forme. C’est le fait pour le sujet d’éprouver et d’épouser ses propres limites, à savoir celles du corps et de l’entendement. Confronté aux bornes de son imagination, il découvre sa vocation métaphysique et aspire à ce qui le dépasse. En un mot, il y va d’une expérience paradoxale, car ce qui vulnérabilise renforce à la fois. J’aborde dans ma nouvelle, Le testament de Cassandre, cette épreuve du sublime par laquelle la souffrance se fait offrande. Le personnage éponyme en fait l’expérience dans sa portée la plus tragique. Renonçant à s’affranchir de la mort au nom de ce qui la rattache aux siens, Cassandre préfèrera le néant avec eux à l’éternité seule. S’il n’y a pas de lieu à proprement parler du sublime, il y a des espaces où il est susceptible de surgir, d’éclore. Le fragment, écriture de la dissémination et de l’organicité, en est un. À l’instar du sublime, il s’offre comme une force à l’œuvre plutôt qu’une forme donnée. De là la pertinence de les étudier ensemble, dans des œuvres où ils se rencontrent, et selon une approche esthétique, domaine par excellence du sensible. C’est dans cette perspective que mon essai, L’épreuve initiatrice, esthétique du sublime dans À travers un verger de Philippe Jaccottet et Les Amandiers de Thierry Hentsch, se penche sur les récits fragmentaires de Jaccottet et de Hentsch qui, en butte à l’inconcevable, avouent leur désœuvrement, mais accusent le coup, se ramassent et s’y exposent, encore. / My goal in the following work, as much in the research component as the creative component, is to think the « experience » of the sublime. I say « experience » because the sublime is neither form nor content. It is the subjective act of grasping and surpassing our own limits as they manifest in the mind and body, specifically with regards to the faculty of understanding. Confronted with the frontiers of our imagination, we come to know our metaphysical calling and we seek to transcend it. This experience is paradoxical in the sense that it renders us vulnerable, while also strengthening and reinforcing us. In my short story Le testament de Cassandre, I explore the challenge of coming to grips with the sublime. As the titular character traverses great suffering – the sublime’s tragic gift – she must choose between freedom from death or a lifetime with those she loves. Faced with this cruel choice, Cassandre prefers the cold embrace of nothingness to an eternity alone. The sublime has no single domain, although there are spaces where it is more likely to emerge or to bloom. Writing in fragments (fragmentary writing) – a style that is at once organic and diffuse – is one of those spaces. Like the sublime, writing in fragments resists form while transmitting force and power. Hence the pertinence of studying this style and the sublime together in works where they are both present. It is from this perspective that my essay The Initiating Test: The Aesthetic of the Sublime in À travers un verger by Philippe Jaccottet and Les Amandiers by Thierry Hentsch, examines the fragmentary accounts of Jaccottet and Hentsch who, in the face of the unthinkable, admit to their own lassitude while simultaneously blaming their circumstances, only to gather themselves anew to be exposed once again.

Ce mémoire en recherche-création s’intéresse à la quête identitaire, et / ou au désir de tracer son propre chemin en réinterprétant les événements du passé. Le roman TRANSHUMANCES raconte le pèlerinage d’Alice sur la via Podiensis, qui relie la commune du Puy-en-Velay en France, à Santiago de Compostela en Espagne. Elle marche. Elle marche pour oublier, pour enterrer ses morts, pour avancer, ailleurs. Elle marche et fait de nombreuses rencontres. Par la conversation et la contemplation, elle tente d’apaiser les maux qui la rongent. Elle marche et apprivoise ce chemin mythique, mystique, cette route qui mène le croyant à la rencontre de Dieu et qui pousse l’impie à la rencontre de lui-même. Alice fait la connaissance de John. Ils se racontent des blagues et des secrets, partagent repas et larmes, deviennent frères d’ampoules et rentrent à la maison, changés. L’essai I ended up being my own trout (jeux de fragments avec Éric Plamondon) explore quant à lui à l’écriture fragmentaire, en s’intéressant particulièrement aux effets qu’opèrent les fragments sur la lecture. Éric Plamondon, avec sa trilogie 1984, utilise la forme fragmentaire afin de jouer avec le lecteur : il le fait douter de ses certitudes et le guide vers une vision manipulée de l’Histoire. Le lecteur est alors confronté à la pluralité des interprétations et doit s’imposer comme auteur de sa propre lecture. / This M.A thesis combines research and creative writing to focus on the tension between searching for and creating one’s identity, both acts which can only be achieved through the (re)interpretation of the past. The novel TRANSHUMANCES tells the story of Alice’s pilgrimage on the via Podiensis, which connects Puy-en-Velay, France, to Santiago de Compostela, Spain. There, she walks. She walks to forget, to bury her dead, to move forward, to be elsewhere. Through conversation and contemplation she tries to fight her gnawing anxiety. She walks to harness the power of the mythical and mystical road: the road that leads the believer to a meeting with God, the godless to a meeting with himself. Alice meets John. They exchange jokes and secrets, share meals and tears, become blister brothers and return home, changed. The essay I ended up being my own trout (jeux de fragments avec Éric Plamondon) explores fragmentary writing, with particular attention to the effects of the fragment on the act of reading. Éric Plamondon, with his trilogy 1984, playfully uses the fragmentary form to encourage the reader to doubt his certainties and to guide him towards a manipulated version of history. The reader is thus confronted with a plurality of interpretations and must acknowledge his position as the author of his own reading.