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[ES] El presente estudio se centra en el análisis de la praxis teatral, a partir del montaje esceno-performativo: Descripción de un cuadro, texto de Heiner Müller, y dirección de Madeleine Loayza, con la finalidad de exponer la importancia de la «tensión erótica» (entendida como energía vital asociada a Eros) presente en la poíesis del acontecimiento teatral. Nos enfocaremos en los dispositivos contrahegemónicos (a los que caracteriza su gesto irreverente y crítico) presentes en el fenómeno sensoperceptivo y receptivo, el mismo que involucra la relación del actor-operador/performer con los diversos elementos que intervienen en la producción de dicha poíesis y su alcance en el espectador. La investigación incluye la poíesis convivial, productiva y la poíesis receptiva enfocadas en el proceso y en el resultado. En este contexto se observa, analiza e interpreta el modo en que acontece dicha tensión, emplazándonos desde el rol de artista-investigadora/espectadora. El estudio concluye con el soporte conceptual y el diseño de la investigación-creación: Mujer en llamas; donde la investigadora se asume como artista-investigadora/directora, actriz y dramaturga. Observar cómo se constituye el fenómeno sensoperceptivo y receptivo de la poíesis, al develarse el modo en que opera la «tensión erótica» y su alcance en el espectador, en tanto dispositivo de resistencia contrahegemónico por medio de mecanismos y formas de producción liminales, para lo cual se ponen en discusión las características de operación del dispositivo, de acuerdo con las particularidades del montaje propuesto. El estudio contempla, desde una perspectiva analítica, las teatralidades contemporáneas, pertenecientes al campo de la Teatrología, con énfasis en la dimensión performativa del signo teatral que destaca los aspectos espacio/temporales y kinésicos. Nos referirnos al análisis de la dinámica de la ejecución del signo en escena (que involucra al espectador), más que limitarnos a identificar la estructura de los signos teatrales; esta perspectiva desplaza al eje de la literatura dramática como referente canónico para abordar la experiencia escénica. Enfatizar el rol del cuerpo en el fenómeno sensoperceptivo y receptivo, entre el actor y el espectador, nos remite a la visión nietzscheana que toma como referente la tragedia griega (siglos V y IV a. C), retomada luego por Artaud y otros pensadores de su tiempo desde el campo de la filosofía; esta perspectiva potencia el rol del espectador en la dinámica escénica desde la auto-alteración y la capacidad crítica y autocrítica. De allí que el concepto liminalidad presente en Descripción de un cuadro, posea un carácter político importante en tanto contrahegemónico como antiestructura. Los parámetros para observar la operatividad de la «tensión erótica» se advierten en los dispositivos poéticos, que configuran su poíesis en las modalidades productiva, receptiva y convivial. En el montaje Descripción de un cuadro, el dramaturgismo, las prácticas performáticas; el análisis del «convivio» entre los diversos materiales o matrices que intervienen en el proceso de factura de la obra, como dispositivos poéticos, constituyen los pilares que sustentan el proceso de investigación-creación. En lo que respecta al soporte conceptual y exposición del diseño del montaje Mujer en llamas, este se desarrolla a partir de la metodología que guía el enfoque del presente estudio, con el objetivo que pueda ser incorporada y replicada en otros procesos creadores. / [CA] El present estudi es centra en l'anàlisi de la praxi teatral, a partir del muntatge esceno-performatiu: Descripció d'un quadre, text de Heiner Müller, i dirección de Madeleine Loayza amb la finalitat d'exposar la importància de la «tensió eròtica» (entesa com a energia vital associada a Eros) present en la poiesis de l'esdeveniment teatral. Ens centrarem en els dispositius contrahegemónicos (caracteritzats pel caràcter irreverent i crític) presents en el fenomen sensoperceptiu i receptiu, el fenomen mateix que involucra la relació de l'actor-operador/performer amb els diversos elements que intervenen en la producció d'aquesta poíesis i el seu abast en l'espectador. La investigació inclou la poíesis convivial, productiva i la poíesis receptiva enfocades en el procés i en el resultat. En aquest context s'observa, analitza i interpreta la manera en què esdevé aquesta tensió, emplaçant-nos des del rol d'artista-investigadora/espectadora. L'estudi conclou amb el suport conceptual i el disseny de la investigació-creació: Dona en flames; on la investigadora s'assumeix com a artista-investigadora/directora, actriu i dramaturga. Observar com es constitueix el fenomen sensoperceptivo i receptiu de la poiesis, al develarse la manera en què opera la "tensió eròtica" i el seu abast en l'espectador, en tant dispositiu de resistència contrahegemònic per mitjà de mecanismes i formes de producció liminals, per a això es posen en discussió les característiques d'operació del dispositiu d'acord amb les particularitats del muntatge proposat. L'estudi contempla des d'una perspectiva analítica les teatralitats contemporànies pertanyents al camp de la Teatrología, posant especial èmfasi en la dimensió performativa del signe teatral que destaca els aspectes espai/temporals i kinèsics. Ens referirm a l'anàlisi de la dinàmica de l'execució del signe en escena (que involucra a l'espectador), més que limitar-nos a identificar l'estructura dels signes teatrals; desplaçant-nos de l'eix de la literatura dramàtica com a referent canònic a l'experiència escènica. Emfatitzar el rol del cos en el fenomen sensoperceptiu i receptiu, entre l'actor i l'espectador, ens remet a la visió nietzscheana que pren com a referent la tragèdia grega (segles V i IV a. C), represa després per Artaud desde l'escena i per altres pensadors del seu temps des del camp de la filosofia; perspectiva es potencia el rol de l'espectador en la dinàmica escènica, des de l'acte-alteració i la seua capacitat crítica i autocrítica. Per aquest motiu el concepte liminalitat present en Descripció d'un quadre, poseeix un caràcter polític important en tant contrahegemónico com a antiestructura. Els paràmetres per a observar l'operativitat de la «tensió eròtica» s'adverteixen en els dispositius poètics que configuren el seu poíesis en les modalitats productiva, receptiva i convivial. En el muntatge Descripció d'un quadre, el dramaturgismo, les pràctiques performatives; l'anàlisi del "convivio" entre els diversos materials o matrius que intervenen en el procés de creació de l'obra, com a dispositius poètics, constitueixen els pilars que sustenten el procés d'investigació-creació. Pel que fa al suport conceptual i exposició del disseny del muntatge Dona en flames, aquest es desenvolupa a partir de la metodologia que guia la perspectiva del present estudi, amb l'objectiu que puga ser incorporada i replicada en altres processos creatius. / [EN] This research focuses on the analysis of theatrical praxis, coming from the sceno-performative staging of: Description of a painting, written by Heiner Müller, and directed by Madeleine Loayza, in order to expose the importance of the "erotic tension" (understood as vital energy associated with Eros) present in the poiesis of the theatrical event. We will focus on the against-hegemonic devices (which characterizes its irreverent and critical gesture) present in the sensoperceptive and receptive phenomenon, which also involves the relationship between the actor-operator/performer with the various elements that intervene in the production the mentioned poiesis and its scope to the spectator. For this reason, the research includes convivial productive poíesis and receptive poíesis, focused on the process and the result. Under this context, the way in which this tension occurs is observed, analyzed and interpreted, summoning us from the role of artist-researcher/spectator. The study concludes with the conceptual support and design of the research-creation: Woman on fire; where the researcher is assumed as artist-searcher/director, actress and playwright. Observes how the senso-perceptive and receptive phenomenon of poíesis is constituted, the way in which "erotic tension" operates and its scope to the spectator is revealed, as a device of against-hegemonic resistance that uses mechanisms and forms of liminal production, for which the operating characteristics of the device are discussed according to the particularities of the proposed assembly. The research considers contemporary theatricalities as an analytical approach, that belong to the field of Theatrology, with emphasis on the performative dimension of the theatrical sign that highlights the spatial/temporal and kinesic aspects. We are interested in analyzing the dynamics of the enforcement of the sign on stage (which involves the viewer), rather than limiting ourselves to identify the structure of the theatrical signs; this perspective displaces the axis of dramatic literature as a canonical reference to address the stage experience. Giving emphasis to the role of the body in the sensory-perceptual and receptive phenomenon, between the actor and the spectator, refers us to the Nietzschean vision that takes as a reference the Greek tragedy (5th and 4th centuries BC), later taken up again by Artaud and other thinkers and philosophers of this period; In this way, the role of the spectator in the scenic dynamics is also enhanced, from self-alteration and their critical and self-critical capacity. Therefore, the concept of liminality in Description of a painting has an important political character as bot: against-hegemonic and anti-structural. The parameters for observing the operability of the "erotic tension" are seen in the poetic, devices that configure its poiesis in the productive, receptive and convivial modalities. In the staging of Description of a painting; the playwriting, the performative practices, the analysis of the "conviviality" between the various materials or matrices that intervene the invoice process of the work as poetic devices, constitute the pillars that support the research-creation process. Regarding the conceptual support and design exhibition for the staging of Woman on Fire, it is developed by the methodology that guides the focus of this study, with the aim that it can be incorporated and replicated in other creative processes. / Loayza Cabezas, GM. (2021). La osadía de Eros. La «tensión erótica», dispositivo contrahegemónico de la poíesis teatral, de "Descripción de un cuadro" a "Mujer en llamas" [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/179975

<p dir="ltr">This dissertation explores questions of personal change and the power of narrative with respect to both an individual and to the wider social environment. In chapter one, I explore the connections between the various facets of liminality and agency, with a focus on how it is that people can consciously craft specific ways of being an agent. In chapter two, I explore the nature of disagreements that involve our most fundamental commitments from within the context of Ludwig Wittgenstein’s posthumous <i>On Certainty</i>. Wittgenstein was pessimistic that argumentation could help in such cases, yet left it an open question as to whether they could be otherwise resolved. Here, I suggest the practice of storytelling as one strategy to resolve these disagreements. Finally, in chapter 3, I examine recent takes on conspiracy theories that include evaluating conspiracy theories as contrarian claims to secret knowledge as well as highlighting the political function that many conspiracy theories can play. Here, I will develop a claim that is common to both camps: conspiracy theories tell stories. By analyzing the characters and narrative structures at play in conspiracy theories, we can gain a deeper understanding of why conspiracy theorists think they know what they know, why particular conspiracy theories reference certain groups or agents rather than others, and why some tropes appear and reappear in conspiracy theories.</p>

Gjenskinn is a graphic novel about feeling stuck, and the attempt to walk it off. The comic follows the young student Mia as she leaves her apartment around midnight to go buy snacks, ending up on a trip that is both longer and more social than planned.  Exploring themes of melancholia through excessive overthinking and awkward conversations, Gjenskinn tries to put images to feelings it's hard to put words to. It is a story about finding your way back (from the store), told with both humor and seriousness. / Gjenskinn er en grafisk roman om følelsen av å stå fast og forsøket på å gå det av seg. Historien følger den unge studenten Mia når hun forlater leiligheten sin litt før midnatt for å kjøpe snacks, på en tur som både blir lengre og mer sosial enn planlagt. Tegneserien utforsker tema som melankoli gjennom alt fra kontinuerlig overtenking til kleine samtaler, og prøver å sette bilde på følelser det er vanskelig å sette ord på. Det er en historie om å finne veien tilbake (fra butikken), fortalt med både humor og alvor.

Im Rahmen der Performancekunst in Nordamerika und Europa seit 1970 lassen sich Performances ausmachen, die sich inhaltlich mit dem Sterben befassen. Die vorliegende Dissertation widmet sich der Frage, inwiefern sich die existenzielle Performancekunst als Medium zur Evokation von Sterblichkeitsbewusstsein eignet. Den Untersuchungsgegenstand bilden 19 Performances, die als existenzielle Performancekunst bezeichnet werden. Die Performer*innen zeigen ihr „Spiel mit dem Sterben“ oder laden dazu ein, bei der Auseinandersetzung mit dem Sterben mitzuspielen. Es wird analysiert, auf welche Weise sich die elf Performer*innen in existenzieller Performance mit Sterblichkeit befassen. Dabei fällt auf, dass es einerseits eine spielerische, liminoide Auseinandersetzung mit dem Thema gibt. Andererseits lassen sich existenzielle Performances ausmachen, die eine ernste, liminale Auseinandersetzung mit der Sterblichkeit aufzeigen, da sich der Künstler/die Künstlerin Schmerzen zufügt bzw. zufügen lässt oder gar in die Gefahr begibt, während der Performance zu sterben. Jene dichotomischen Aspekte, wie sie bereits der Anthropologe Victor Turner beschrieb, werden konkretisiert mit existenzieller Performancekunst in Zusammenhang gebracht und zudem auf Überlegungen der Theaterwissenschaftlerin Erika Fischer-Lichte zur Liminalität bezogen und weiterentwickelt. Im Fokus stehen somit auftretende und sich auflösende Dichotomien, sowie die Interpersonalität zwischen Performenden und Teilnehmenden. Darüber hinaus werden Primäraspekte existenzieller Performancekunst herausgearbeitet. Die Primäraspekte und die dichotomischen Aspekte werden im Hinblick auf die Evokation von Sterblichkeitsbewusstsein untersucht. Die vorliegende Dissertation reflektiert darüber hinaus Fragen der Medialität von existenzieller Performancekunst. / Within the context of performance art in North America and Europe since 1970 several performances that consider mortality can be identified. This dissertation deals with the question, whether existential performance art is suitable as medium to evoke an awareness of mortality. The research object consists of 19 performances that are designated as existential performance art. The performers show their „play with dying“ or invite to participate in the involvement with dying. It is analysed in which kind of way the eleven performer deal with mortality in existential performance art. As can be noticed, on the one hand there is a ludic and liminoid involvement with dying. On the other hand art performances can be identified that demonstrate serious and liminal involvement with dying, because of the artist`s willingness to suffer or even to run the risk of losing his or her life while performing. Those dichotomic aspects, as already described by anthropologist Victor Turner, are made concrete and brought into connection with existential performance art in this dissertation. Furthermore the dissertation refers to Erika Fischer-Lichte`s thoughts concerning liminality, but extends the ideas related to existential performance art and mortality. Oscillating dichotomies are focussed on as well as the interpersonal encounter between performer and participant. Primary aspects of existential performance art are worked out. Both dichotomic and primary aspects are examined concerning their role in evoking an awareness of mortality. Moreover this dissertation reflects on mediality of existential performance art.

This dissertation presents an investigation into three works by the South African artist Pauline Gutter (b. 1980) that were originally shown in her exhibition Opslag (2008) [this title is almost impossible to translate; it can refer to the sound of a gun, or it can mean to butcher something; it has an association of suddenness]. The works that were selected for scrutiny in this dissertation are Uit die blou van onse hemel [translated as From our blue skies; or Ringing out of our blue heaven – the first words of the erstwhile South African anthem] (2004), Into the landscape I (2007), and Landskap naby Zastron [Landscape close by Zastron] (2006). The choice of works was based on the particular mode of and imaginative re-presentation of the landscape that can be discerned in each of these works – different, yet conceptually quite similar. I argue that Gutter‟s landscape works in the exhibition Opslag (as representative of the thematic concerns of the show as a whole) are indicative of an imaginative re-presentation of a liminal experience (which is informed to a large degree by the artist‟s acute awareness of the threat posed by cruel and rampant attacks on the farming community). This liminal experience, as embodied in the artworks, is in its turn a reflection of the liminal existence as lived and interpreted by the artist‟s perception of her environment and community – speficially, the Boer farming community of South Africa, and even more specificially, in the Free State Province. Those aspects of a liminal experience that can be gleaned from a reading of the selected works Uit die blou van onse hemel, Into the landscape, and Landskap naby Zastron, are powerlessness, instability, the transitory shift of status, disorientation, isolation, marginalisation, and uncertainty. I argue, furthermore, that the imaginative re-presentation of the liminal experience is achieved by means of certain strategies and approaches towards landscape painting that are associated with the sublime. Where the sublime, in the context of the re-presentation of the landscape is often associated with a sense of being overwhelmed, even with awe, I demonstrate that Gutter achieves what Coetzee (1988:49) refers to as a singularly distinct understanding of the sublime with reference to the unique character of the South African landscape. In this sense, specific themes associated with the sublime (portraying things like problems, the sudden and the unexpected, darkness [that connotes uncertainty], danger, fearsomeness, and emptiness [that relates to isolation]) can be related with elements of the liminal. By identifying the themes of sublime representation, the reading of the works demonstrate firstly Gutter‟s unique and distinct application of sublime landscape painting. Secondly, it emerges that the portrayal of the liminal is achieved by means of these strategies towards landscape painting, and thirdly, that the imaginative re-presentation of the liminal is suggestive of a particular dimension of the existence of the contemporary Boer/farming community. Gutter‟s reflection of and on the landscape demonstrate a particularly poignant projection of a theme onto the landscape, and seems to suggest that while the liminal experience is potentially a place of growth and renewal, it can also induce a sense of paralysis as a result of the overwhelming uncertainty experienced by the particular community. / MA (History of Art), North-West University, Potchefstroom Campus, 2014

This dissertation presents an investigation into three works by the South African artist Pauline Gutter (b. 1980) that were originally shown in her exhibition Opslag (2008) [this title is almost impossible to translate; it can refer to the sound of a gun, or it can mean to butcher something; it has an association of suddenness]. The works that were selected for scrutiny in this dissertation are Uit die blou van onse hemel [translated as From our blue skies; or Ringing out of our blue heaven – the first words of the erstwhile South African anthem] (2004), Into the landscape I (2007), and Landskap naby Zastron [Landscape close by Zastron] (2006). The choice of works was based on the particular mode of and imaginative re-presentation of the landscape that can be discerned in each of these works – different, yet conceptually quite similar. I argue that Gutter‟s landscape works in the exhibition Opslag (as representative of the thematic concerns of the show as a whole) are indicative of an imaginative re-presentation of a liminal experience (which is informed to a large degree by the artist‟s acute awareness of the threat posed by cruel and rampant attacks on the farming community). This liminal experience, as embodied in the artworks, is in its turn a reflection of the liminal existence as lived and interpreted by the artist‟s perception of her environment and community – speficially, the Boer farming community of South Africa, and even more specificially, in the Free State Province. Those aspects of a liminal experience that can be gleaned from a reading of the selected works Uit die blou van onse hemel, Into the landscape, and Landskap naby Zastron, are powerlessness, instability, the transitory shift of status, disorientation, isolation, marginalisation, and uncertainty. I argue, furthermore, that the imaginative re-presentation of the liminal experience is achieved by means of certain strategies and approaches towards landscape painting that are associated with the sublime. Where the sublime, in the context of the re-presentation of the landscape is often associated with a sense of being overwhelmed, even with awe, I demonstrate that Gutter achieves what Coetzee (1988:49) refers to as a singularly distinct understanding of the sublime with reference to the unique character of the South African landscape. In this sense, specific themes associated with the sublime (portraying things like problems, the sudden and the unexpected, darkness [that connotes uncertainty], danger, fearsomeness, and emptiness [that relates to isolation]) can be related with elements of the liminal. By identifying the themes of sublime representation, the reading of the works demonstrate firstly Gutter‟s unique and distinct application of sublime landscape painting. Secondly, it emerges that the portrayal of the liminal is achieved by means of these strategies towards landscape painting, and thirdly, that the imaginative re-presentation of the liminal is suggestive of a particular dimension of the existence of the contemporary Boer/farming community. Gutter‟s reflection of and on the landscape demonstrate a particularly poignant projection of a theme onto the landscape, and seems to suggest that while the liminal experience is potentially a place of growth and renewal, it can also induce a sense of paralysis as a result of the overwhelming uncertainty experienced by the particular community. / MA (History of Art), North-West University, Potchefstroom Campus, 2014

In this study, the intersections between Equine Assisted Psychotherapeutic interventions and adolescence are explored. Equine Assisted therapeutic work has recently gained much popularity in the field of psychology, due to many reported benefits, which include the value of the use of the horse as a tool in psychotherapy. Adolescence is acknowledged to be a difficult transitional phase, punctuated with many challenges, such as identity development. As this study is conducted by a trainee psychotherapist and researcher, the work also contains a reflexive exploration of these fields, with personal reflections regarding the researcher‟s own experience in the fields. This study is framed as a transtheoretical bricolage, which includes elements of reflexivity, heuristics, transpersonal, and phenomenological research approaches. Data was gathered from individual interviews with co-researchers, focus group interviews, personal reflections, and inclusion of non-verbal information from the horses who formed part of this study. Data analysis was done by means of a Thematic Data Analysis. The research findings reflect themes on different levels, which are: content themes, process themes, meta-reflections on the research process, and a meta-analysis of the research and individual developmental process which took place in the production of this work / Psychology / M.A. (Clinical Psychology)

Thesis (MA (Afrikaans and Dutch))--Stellenbosch University, 2008. / This thesis is a comparative literature study of a Dutch and an Afrikaans novel that can be read by the youth and adults alike and display similarities with regard to genre, content, structure and theme. The novels are Winterijs (2001) by Peter van Gestel and Roepman (2004) by Jan van Tonder. Chapter 1 serves as an introduction. In chapter 2 concepts such as “crossover literature”, “cross publication”, “dual audience authors” and “dual audience literature” are discussed. Chapter 3 presents an overview of the theory that provides a conceptual framework for this study. The method of investigation that is followed by Helma Van Lierop-Debrauwer and Neel Bastiaansen-Harks (2005) in their study of the similarities and differences between an adolescent novel for the youth and an adolescent novel for adults is used, as well as the theory of Victor Turner (1969) on the concept of liminality. As it provides a useful method for approaching and analyzing the two texts, the above mentioned theories are applied to Winterijs and Roepman in Chapters 4 and 5, with specific reference to the representation of a male child narrator with liminal characteristics. In chapter 6 the similarities and differences between the two novels are pointed out and summarized. Conclusions are drawn and possibilities for further research are presented in chapter 7.