Six mots. Six mots avec 720 possibilités de combinaisons se retrouvent dans l’ordre initial après seulement six tours, dans une permutation à rétrogradation croisée. Six mots qui résonnent plusieurs fois à la fin des vers qui changent de signification, comme le kaléidoscope modifie les couleurs. Ce mécanisme a un nom : la sextine lyrique. Une forme poétique, une série numérique, une musique lointaine. La sextine lyrique est le symbole de la rencontre des savoirs, des racines communes à des sciences désormais lointaines et séparées en sphères de compétences spécifiques. Cette étude se propose de retrouver, de reconnaître intuitivement ce sens commun d’appartenance entre musique, mathématiques et poésie en reparcourant les traces de l’histoire de la sextine lyrique, ses transformations et d’autres formes d’approches, en se questionnant sur les mécanismes qui sont partie intégrante de la formation de la parole en tant que son, et sur la manière dont ce son se transforme en signe, comment ce signe redevient son, le nombre symbole, forme, rythme ; pour finir vient la proposition et l’étude d’une nouvelle variante de la sextine lyrique dans un projet de réalisation d’un spectacle proposé sous forme d’expérience de recherche. / Six words. Six words with 720 possibilities of combinations meetS in the initial order after only six tours, in the permutation with crossed degradation. Six words which resound several times at the end with the verses which change meaning, as the kaleidoscope modifies colors. This mechanism has a name: the lyric sextine. A poetic shape, a numeric series, a distant music. The lyric sextine is the symbol of the meeting of the knowledges, the common roots to sciences henceforth distant and separated in spheres of specific skills. This study suggests finding, recognizing intuitively this common sense of membership between music, mathematics and poetry running over the tracks of the history of the lyric sextine, its transformations and the other forms of approaches, by questioning on the mechanisms which are integral part of the training of the word as sound, and on the way this sound is transformed into sign, how this sign becomes again sound, the number symbol, shape, rhythm. To finish comes the proposition and the study of a new variant of the lyric sextine in a project for realization of a show proposed in the form of research experience.

Thesis (Ph.D.)--Duquesne University, 2009. / Title from document title page. Abstract included in electronic submission form. Includes bibliographical references (p. 233-243) and index.

As a point of political and ethical contestation in U.S. American discourse, the “abortion debate” asks us to consider questions of choice, life, morality, and identity embedded with/in unequivocally conflicting axiological matrices. Consequentially, women who’ve had abortions are left caught in-between the cultural chasm between stigmatizing discourses. Framing abortion narratives within Turner’s (1969) conceptualization of liminality, this project aims to nuance the conversation from a performative autoethnographic orientation (Spry, 2011) which attends to ethical, aesthetic, and epistemic dimensions of narrative (re)construction. Layered narrative and poetic fragments (re)constitute the ruptured “truthfulness” of my abortion experience (Žižek, 2008) while (re)centering epistemological foundations of abortion discourse through subjugated corporeal knowledges (Foucault, 1980). By “talking back” (hooks, 1989) to neoliberal postfeminist discourses, this autoethnographic project seeks to performatively (re)construct the abortion experience through a language of liminality and explore the potentials of an alternative “imaginary” (Irigaray, 1991; Cixous, 1976, 1998).

No description available.

Abstract Framed within a wholly Indigenous paradigm - Gayanehsragowah - my dissertation is a counterstory constructed to engage colonialism in a decolonizing research and writing project. I chose story, an autoethnographic novel, as form to represent Indigenous reflexive method; a metaphoric text performed to unlock metaphor’s meaning, once known, I see through to and refract truth upon my own life story implicit within that text. To illustrate human potential for healing and self-change, I construct pedagogical relationship between lived experience and theoretical meaning in interlocking and entangled threads inseparable from form, not possible in conventional thesis organization. Tadoda:ho, the Great Law icon for transformation centers my inquiry into effects of cultural, social and political disconnection from Hodinohso:ni: systems; in particular, I examine historical unresolved grief carried both over the life span and across generations. I use Denzin’s approach to critical personal narrative, Ellis’s autoethnographic method and Richardson’s creative analytical practice to create an interpretive text comprised of short stories, poetry, conversations, dialogue, visual representation and layered accounts. My inquiry reveals Battiste’s transforming energy flux, which I call spirit, manifests in Indigenous language structures, and similar to Ellis’s evocative and analytical texts, once voiced through writing, creates change in the universe and in self. Critical reflection and representation of an Indigenous world in constant motion to renew livingness lends key knowledge that reconnection to ancestral histories, lands, and cultures restores Indigenous identity to resolve the trauma of historical grief. As Gayanehsragowah is performative healing narrative, my inquiry intends to add new knowledge of Indigenous story as form with power to inform self-change. / Thesis (Ph.D, Education) -- Queen's University, 2013-03-06 14:34:46.945

For over 2000 years, miners extracted lead from the moorland of southeastern Peak District. By the early twentieth century the landscape underwent an economic and demographic transformation, as local authorities and heritage groups have ‘naturalised’ the industrial landscape of the southern Peak District, presenting it as a pastoral idyll. These preservation policies occlude the industrial remains by sanitising its diverse past, providing only a partial telling of the landscape. This thesis is about critically assessing these on-going preservation policies, by rethinking the idea of heritage through current cultural geography ideas of landscape, heritage and remembering. Therefore, this thesis argues for an enacted landscape that is perceived and practiced in many ways. This thesis aims to do three things. First, to critically rethink heritage practices of English rural landscapes. Second, to recover the lost ‘minor histories’ of a landscape through a presentation of alternative landscape histories. Third, to contribute to creative methods of landscape research by using an ethnographic approach of oral history, aural recordings, and personal drawing to the study it. The outcome is a constellated and entangled analysis of the rural landscape that recovers the forgotten stories and challenges the authorised heritage discourse of the English rural landscape.

Why do people go into rooms to watch other people speak? What is it that is taking place when a performer walks onto a stage, or steps up to a microphone, and, in the silence that has fallen, begins to speak? This thesis considers both the pleasures and the anxieties that attend such public acts of speaking, and responds in particular to the kinds of utterances that announce themselves as in some way 'non-serious'. It takes, as its founding example, comedian Stewart Lee saying, of Top Gear presenter Richard Hammond, 'I wish he had died in that crash', before adding, 'it's just a joke ... like on Top Gear'. This, I suggest, is a complex moment that calls into play many of the key questions of performative theory, restaging them within the context of early twenty-first century Britain, where speech is mediatized and monetized as a form of entertainment. Against this backdrop, the thesis draws on key works by Shoshana Felman and Judith Butler, to argue that the ethics that emerges from such an enquiry would be one based on our mutual, shared unknowingness about what our bodies 'say' when we stand up to speak. Crucially, this might also be an ethics responsive to a certain kind of funniness. This thesis examines performances that are attuned to this kind of funniness: the stand-up comedy of Stewart Lee; the philosophical performance of J.L. Austin; the postmodern theatricality of Kinkaleri, and the stalled conversations via which the practice of performance studies itself takes place. Acknowledging the rhetoric by which its own 'voice' is figured, this thesis both narrates and stages moments of confusion between bodies and figures, examples and jokes, theory and performance. It aims to discover how such confusions, and the pleasure and anxiety they induce, might become politically useful.

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 191-202). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 191-202). Also available on the Internet.

This dissertation aims to establish a philosophical framework, described from the spectator’s viewpoint, for the analysis of the embodiment process of Qi in Taiwanese hypermedial theatre works, which subtly convey a traditional Chinese aesthetic of Qi. This traditional Chinese aesthetic based on the idea of Qi suggests that the spectator participates in the development of certain Qi-energy, which is inherent in and continuously transmitted between humans and various other beings or things. The establishment of the spectator-work relation with respect to Qi-energy suggests that there are potential communication pathways between humans and the cosmos. I explore how the world model based on Qi is realised in Taiwanese hypermedial theatre through the spatial configuration of the spectator-work relation. I argue that this world model based on Qi indicates a mode of existence in which both the spectator and the multiple media used in the work are transformed and become certain beings that are cultivated by Qi and originally merge with each other. The spectator’s reactions to a theatre work emerge, as I contend, as performative acts that interact with and continue the flow of Qi. Furthermore, these acts generate a performative space that corresponds to a spiritual and cosmological aspect of Qi. This framework provides a complement to the phenomenological discourses of performative space in the context of new media and hypermedial theatre studies. In Chapter 2, I examine the correlation between the constitution of performative space and the channelling of agency in contemporary Western theatre. Based on this examination, I propose that in the course of such constitution, three aesthetic actions of agency occur: sharing agency between the spectator and the work leads to the inter-activity between the two sides; meanwhile, it also leads to the spectator’s embodiment and presence in the mixed realms of the physical and the mediated. Chapter 3 elucidates the philosophical concepts, spatial implications, and practices of Qi in the context of Confucianism. I propose a connection between Qi and agency without substituting the latter entirely with the former, as the operations of the two systems respectively lead to different world models. With reference to Chiang Nien-feng’s phenomenological interpretation of the poetic arising of Qi (hsing) and Mathias Obert’s research into Qi’s performative feature in Chapter 4, I explore two issues. First, I examine how the poetic arising of Qi is expressed in the spectator’s performative acts in an encounter with a theatre work; secondly, I investigate how this poetic arising of Qi gives rise to the constitution of performative space through the spatial configuration of the spectator-work relation based on the Qi world model. I then develop a framework of Qi-arising Space for my further analysis of the constitution of performative space in relation to the embodiment of Qi in Taiwanese hypermedia theatre works and discussion of the three aesthetic actions of agency from the Qi worldview. Finally, in Chapter 5, with three case studies in this genre of the theatre, I analyse the similarities and differences between the operations of agency and Qi regarding the constitution of performative space and interrogate the characteristics of the aesthetic actions of agency and Qi. This study proves the value of the knowledge of Qi in the field of hypermedial theatre and offers an intercultural understanding to the existing notions in the field.