This research arose from my experiences as a curate in England’s Northwest seeking to embody God’s love in the pastoral care of men with addiction and mental health issues (dual diagnosis), reflecting a wider societal issue around the care of people with that combination of problems, and the under-recognised role of clergy as unofficial ‘front-line mental health workers’. This is a role that clergy get little training to discharge effectively, and so the research methodology employed was that of a Constructivist Grounded Theory as I’ve attempted to use insights from a variety of disciplines to act as a ‘scaffold’ in order to work out what clergy could meaningfully and consistently offer. Treatment for those with a dual diagnosis is difficult and often unsuccessful because it requires a collaborative relationship between patient and carer where often there may be a lack of acceptance that the issues exist. Insights were sought then from a related, but different field, namely midwifery and obstetrics, engaging with intrauterine death – where the mother may not have completely accepted the realities that they face. Interviews were conducted with clergy in the field, midwives and obstetricians. Accounts of the experiences of dual diagnosed individuals were sought through existing evidence in the public sphere to minimise the risk of harm for research subjects. Analysis of the research data revealed that pastoral care in those situations of complex bereavement are about embracing the tension between absence and presence, and helping people through that liminality, to reappropriate their grief and expectations of what life ‘should be’ to ‘how life is’ and ‘how life might be in the future’. The significance of the role of objects is explored with particular emphasis on ‘memory boxes’, and their nearest equivalents in the field of dual diagnosis. These insights are connected to the academic study of the Doctrine of the Trinity, particularly focussing on the work of Sarah Coakley, with a thorough exploration of the metaphor of dance that has evolved around the concept of ‘perichoresis’ with connections made between doctrine and modern insights from dance studies. The result is a renewed pastoral paradigm that is collaborative, dynamic, liminal, and with an acceptance that care is not simply about ‘being present’, but about resourcing people for ‘absence’ as well through a poiesis that emphasises the freedom of the cared for, whilst encouraging and seeking what will motivate them to enter into the liminal space, a movement through which will enable their greater flourishing. This paradigm has implications beyond those with a dual diagnosis, and can be extended into pastoral care in its widest sense.

No description available.

Made available in DSpace on 2018-08-23T21:57:03Z (GMT). No. of bitstreams: 1 tese_12297_Dissertação completa.pdf: 1620159 bytes, checksum: 53a91341cf603309899e2c677c830cfb (MD5) Previous issue date: 2018-06-26 / Trata-se de uma abordagem sobre a problematização da arte enquanto poiesis no pensamento de Martin Heidegger. Essa temática é apresentada em correlação com a questão da verdade compreendida como aletheia, abertura do Ser. Dessa forma, tem por objetivo ressaltar a relação entre a totalidade da experiência artística em sua unidade com a verdade, contrariamente à compreensão radicalizada na tradição moderna com o domínio do conceito de consciência. Portanto, aborta o panorama no qual a questão da verdade em sua relação com a experiência da arte se sustenta, tanto historicamente quanto filosoficamente, no pensamento do filósofo alemão, restituindo sua relação com o elemento da linguagem mundo - e com a finitude facticidade - que constituem a compreensão humana. Para tanto, abordam-se aspectos relevantes da terminologia heideggeriana para compreender a virada hermenêutica em seu pensamento, assim como, também, a abertura da experiência e da interpretação com o objetivo de indicar, ao leitor, como foram articuladas essas noções na constituição do primado ontológico do Dasein, conceito chave para acender ao percurso de pensamento de Heidegger no que concerne às artes. Para acompanhar esse percurso, a presente pesquisa se respaldou nas interpretações de Hans-Georg Gadamer, identificando questões motrizes para a crítica e a teoria das artes, tais como as nuances que envolvem as discussões sobre consciência histórica, juízos estéticos, consciência estética e a autocertificação das artes. Dessa forma, revisa o legado da modernidade e da estética a partir de Kant e Hegel buscando entender o alcance dos estudos de Heidegger no que se refere às artes suas relações e novas configurações na contemporaneidade. Assim, recorre às interpretações de Giorgio Agamben, Benedito Nunes, Gerd Bornheim, Manuel António de Castro, Hannah Arendt, Paul Ricoeur, Joseph Kosuth, Thierry de Duve, Emmanuel Carneiro Leão, Luiz Camillo Osório, entre outros, bem como à interpretação das contribuições de Marcel Duchamp, Friedrich Hölderlin e Vicent van Gogh. Nesse viés, analisou-se o ensaio A Origem da Obra de Arte que, juntamente com os escritos da compilação Caminhos do Campo, apresentam as argumentações de Heidegger ao estudo da linguagem. Palavras-chave: Arte poiesis - verdade - hermenêutica linguagem consciência contemporaneidade historicidade. (versão provisória)

Made available in DSpace on 2014-06-12T18:32:27Z (GMT). No. of bitstreams: 2 arquivo7410_1.pdf: 1939541 bytes, checksum: e2ad008e4bd304be3fef88ff6c1917bf (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2007 / Este estudo procura elaborar o conceito de Poiesis de Transversão da Memória a partir da leitura entrecruzada do romance-idéia Catatau, de Paulo Leminski, com os textos de René Descartes e Henri Bergson. De início, o percurso da leitura discorre sobre as articulações que determinam a questão do método entre esses autores. Em seguida, atendendo sempre às nuances que presidiram a elaboração de Catatau, o movimento da leitura se adentra na Poiesis de Introversão, com vistas a sondar os procedimentos construtivos no âmbito das leis que nortearam a elaboração da linguagem do romance-idéia para, deste modo, ensejar a continuidade das reflexões no plano da Poiesis de Extroversão, por meio da qual se sublinha as eventuais relações entre o texto e o contexto extra-verbal ao qual a obra se refere. Por fim, arrematando o percurso, como resultado da interação do movimento da leitura entre estes dois planos, propõe-se o trabalho da Poiesis de Transversão da Memória, que é o vetor essencialmente voltado à experiência do ato criador, suscitado durante o encontro favorecido pela leitura entre o texto e o leitor

Allowing the interaction of two dynamic forces that vie for dominance to be a form, a new character emerges. The character of the new form is present in the qualities of its making. / Master of Architecture

Guided by the question of what does photography bring into being, 'Against Indexicality' is a proposition to rethink the foundation of the philosophy of photography - to rethink the supposed relation of truth between the photograph and the world. Taking Indexicality as a messy and convoluted conceptual field comprised of the notions of pointing, stillness, and fragmentation, this study works to untangle the three from each other, separately challenging each individual notion. In analysing each of the three through their conceptualisation by prominent thinkers, including Charles S. Peirce, Susan Sontag, Henri Bergson, Walter Benjamin, André Bazin, Rosalind Krauss, Jacques Derrida, and Roland Barthes, and examining them against and through examples of photographic images, this study points to the imprecisions, insufficiencies, and incompatibilities of Indexicality in relation to the photographic image and form. Undoing Indexicality as a field, this study resists Indexicality as a paradigm, proposing a new theoretical framework for photography: rather than looking at photographic images as truth bearers that can evidence the photographed, it proposes to look at photographic images as formations that form a thought out of the photographed. In that, this study works to remedy the Indexicality fever, or compulsion, which it identifies as the root cause of theoretical mess within the philosophy of photography. By evincing that Indexicality is a wrong, albeit necessary, solution to a problem that is to do with identifying the relation of the photograph to the world, it not only lifts photography out of a Procrustean bed in which it was never comfortable, but also allows for a new solution to develop. This solution is the theory of photo-poiesis: a move beyond the materiality and away from the referentiality of photography towards its being in the world and the thought that it forms and brings-forth - towards thinking.

Zugl.: Freiburg (Breisgau), Univ., Diss.

The thesis research is situated within the field of Architecture. Its principle objective is the articulation of arguments for a new theory of architecture as an architectural poetics, and related to this, a new form of discourse as poetry of an architectonic order. The research was initiated through a series of questions that architects confront when asked to create and to speak about what can be understood to be(come) frameworks for (unknown) life. It thus deals with the question of the unknown and, related to this, the question of open form. It develops on the idea that a concept of inhabitation may be feasible exclusively on the basis of a theory that extends the well known two-valued logic that has been dominant in the Western world since the times of classical metaphysics. Rooted in philosophy, the research extends contemporary architectural and critical theory, notions from poets such as Paul Celan, Marguérite Duras and Samuel Beckett, and research in second order cybernetics – the latter with an emphasis on Gotthard Günther’s writings on Non-Aristotelean logic. The text’s focus is on the notion of Architecture as a transcendental concept. It advances the understanding of Architectural Design as a performative process that creates borders rather than borderlines, limits rather than limitations and, is therefore, a discipline of radical communication that always seeks to extend itself towards an Other – the unknown – addressing it without previously quantifying it to render it provable. The research furthers the field of Architecture by contributing to it a new theory in the form of an architectural poetics. It addresses questions of design with a procedural framework in which critical engagement is an intrinsic principle, and offers an alternative to existing discourses through a poetry of architectonic order that is open to the future.

A pesquisa visa estabelecer que os campos definidos como ARTE, DESIGN e NARRATIVA têm limites muito mais fluidos, mutáveis e permeáveis do que, de fato, reconhecemos atualmente, e pretende fazer isso problematizando suas fronteiras. Parte-se da hipótese de que a categorização desses campos em áreas estanques, aparentemente estabelecidas e claras, é rasa, artificial, arbitrária, não dá conta de uma visão diagramática da produção contemporânea nos três campos referidos, em suas fronteiras e intersecções, nem alcança a profundidade de relações de origem e de influência cruzada entre os campos. Através de análise e revisão teórica, partindo da própria estrutura das narrativas formativas e das narrativas críticas nas três áreas e em áreas de fronteira, decorrem potenciais revisões internas dos campos e de suas intersecções, uma visão atualizada da complexidade das relações entre os três campos e novas possibilidades formativas, além de uma visão crítica dos discursos acessórios e de proposições metodológicas. Do ponto de vista metodológico, de fato, a investigação apoia-se em pesquisa bibliográfica, discussão de dispositivos de exemplo e análise teórica baseada em teorias-chave dos campos descritos, ARTE, DESIGN, NARRATIVA e suas hibridizações potenciais. Também através da apresentação de dispositivos próprios que expandem as questões centrais da investigação em outros suportes e interfaces, a discussão, que tem origem prática, poética e empírica, e toma uma forma teórica, linear, analítica, mas tem também conclusões, ou possibilidades, novamente práticas, poéticas e empíricas. O intuito é a tradução de um pensamento cuja origem é prática e poética, mas também bibliográfica, em uma análise teórica, transdisciplinar, com um possível desdobramento metodológico, a proposição de uma metodologia abdutiva. Apresentada por meio de dois discursos, teórico/analítico e criativo/artístico, a pesquisa trata das possibilidades formativas em campos próximos, ARTE, DESIGN e NARRATIVA, suas potenciais influências, cruzamentos, e de como é crítica para a atividade formativa e teórica nesses campos a diferença entre discursos prescritivos/propositivos e discursos descritivos/analíticos. Do ponto de vista teórico, a discussão baseia-se nos conceitos de Praxis e Poiesis de Agamben, na noção de estética de Pareyson e de arte contemporânea de C. Cauquelin, na semiótica Peirciana, partindo da leitura de L. Santaella, e de conceitos específicos de Danto, Pross e Belting sobre Arte; Cardoso, Dune, Raby e Coles sobre Design; e Caillois e Campos aplicados sobre Narrativa. / The research aims to establish that the fields defined as ART, DESIGN and NARRATIVE have limits that are much more fluid, changeable and permeable than we actually recognize today, and intends to do so by problematizing their borders. It is based on the hypothesis that the categorization of these fields into watertight areas, apparently established and clear, is shallow, artificial, arbitrary, does not account for a diagrammatic view of contemporary production in the three fields mentioned, in their borders and intersections, nor does it reach the depth of relations of origin and cross-influence between fields. Through theoretical analysis and revision, starting from the very structure of the formative narratives and the critical narratives in the three areas and in frontier areas, not only potential internal revisions of the fields and their intersections take place, but an updated view of the complexity of the relations between the three fields and new formative possibilities, as well as a critical view of the accessory discourses and methodological propositions. From a methodological point of view, the research is based on bibliographic research, discussion of example devices and theoretical analysis based on the key theories of the fields described, ART, DESIGN, NARRATIVE and their potential hybridizations. Also, through the presentation of original devices/artwork that expand the central questions of research in other supports and interfaces, the discussion, which has practical, poetic and empirical origins, and takes a theoretical, linear, analytical form, but also has conclusions, or possibilities, again practical, poetic and empirical. The intention is the translation of a thought whose origin is practical and poetic, but also bibliographical, in a theoretical and artistic transdisciplinary analysis, with a possible methodological unfolding, the proposition of an abductive methodology. Presented through two discourses, theoretical/analytical and creative/artistic, the research deals with the formative possibilities in nearby fields, ART, DESIGN and NARRATIVE, their potential influences, crossings, and how critical it is for the formative and theoretical activity in these fields the difference between prescriptive/propositional discourses and descriptive/analytical discourses. From a theoretical point of view, the discussion is based on the concepts of Agamben\'s Praxis and Poiesis, on the notion of Pareyson aesthetics and contemporary art by C. Cauquelin, on the Peircean Semiotics, based on the reading of L. Santaella, and specific concepts from Danto, Pross and Belting on ART; Cardoso, Dune, Raby and Coles on DESIGN; and Caillois and Campos applied on NARRATIVE.

A pesquisa visa estabelecer que os campos definidos como ARTE, DESIGN e NARRATIVA têm limites muito mais fluidos, mutáveis e permeáveis do que, de fato, reconhecemos atualmente, e pretende fazer isso problematizando suas fronteiras. Parte-se da hipótese de que a categorização desses campos em áreas estanques, aparentemente estabelecidas e claras, é rasa, artificial, arbitrária, não dá conta de uma visão diagramática da produção contemporânea nos três campos referidos, em suas fronteiras e intersecções, nem alcança a profundidade de relações de origem e de influência cruzada entre os campos. Através de análise e revisão teórica, partindo da própria estrutura das narrativas formativas e das narrativas críticas nas três áreas e em áreas de fronteira, decorrem potenciais revisões internas dos campos e de suas intersecções, uma visão atualizada da complexidade das relações entre os três campos e novas possibilidades formativas, além de uma visão crítica dos discursos acessórios e de proposições metodológicas. Do ponto de vista metodológico, de fato, a investigação apoia-se em pesquisa bibliográfica, discussão de dispositivos de exemplo e análise teórica baseada em teorias-chave dos campos descritos, ARTE, DESIGN, NARRATIVA e suas hibridizações potenciais. Também através da apresentação de dispositivos próprios que expandem as questões centrais da investigação em outros suportes e interfaces, a discussão, que tem origem prática, poética e empírica, e toma uma forma teórica, linear, analítica, mas tem também conclusões, ou possibilidades, novamente práticas, poéticas e empíricas. O intuito é a tradução de um pensamento cuja origem é prática e poética, mas também bibliográfica, em uma análise teórica, transdisciplinar, com um possível desdobramento metodológico, a proposição de uma metodologia abdutiva. Apresentada por meio de dois discursos, teórico/analítico e criativo/artístico, a pesquisa trata das possibilidades formativas em campos próximos, ARTE, DESIGN e NARRATIVA, suas potenciais influências, cruzamentos, e de como é crítica para a atividade formativa e teórica nesses campos a diferença entre discursos prescritivos/propositivos e discursos descritivos/analíticos. Do ponto de vista teórico, a discussão baseia-se nos conceitos de Praxis e Poiesis de Agamben, na noção de estética de Pareyson e de arte contemporânea de C. Cauquelin, na semiótica Peirciana, partindo da leitura de L. Santaella, e de conceitos específicos de Danto, Pross e Belting sobre Arte; Cardoso, Dune, Raby e Coles sobre Design; e Caillois e Campos aplicados sobre Narrativa. / The research aims to establish that the fields defined as ART, DESIGN and NARRATIVE have limits that are much more fluid, changeable and permeable than we actually recognize today, and intends to do so by problematizing their borders. It is based on the hypothesis that the categorization of these fields into watertight areas, apparently established and clear, is shallow, artificial, arbitrary, does not account for a diagrammatic view of contemporary production in the three fields mentioned, in their borders and intersections, nor does it reach the depth of relations of origin and cross-influence between fields. Through theoretical analysis and revision, starting from the very structure of the formative narratives and the critical narratives in the three areas and in frontier areas, not only potential internal revisions of the fields and their intersections take place, but an updated view of the complexity of the relations between the three fields and new formative possibilities, as well as a critical view of the accessory discourses and methodological propositions. From a methodological point of view, the research is based on bibliographic research, discussion of example devices and theoretical analysis based on the key theories of the fields described, ART, DESIGN, NARRATIVE and their potential hybridizations. Also, through the presentation of original devices/artwork that expand the central questions of research in other supports and interfaces, the discussion, which has practical, poetic and empirical origins, and takes a theoretical, linear, analytical form, but also has conclusions, or possibilities, again practical, poetic and empirical. The intention is the translation of a thought whose origin is practical and poetic, but also bibliographical, in a theoretical and artistic transdisciplinary analysis, with a possible methodological unfolding, the proposition of an abductive methodology. Presented through two discourses, theoretical/analytical and creative/artistic, the research deals with the formative possibilities in nearby fields, ART, DESIGN and NARRATIVE, their potential influences, crossings, and how critical it is for the formative and theoretical activity in these fields the difference between prescriptive/propositional discourses and descriptive/analytical discourses. From a theoretical point of view, the discussion is based on the concepts of Agamben\'s Praxis and Poiesis, on the notion of Pareyson aesthetics and contemporary art by C. Cauquelin, on the Peircean Semiotics, based on the reading of L. Santaella, and specific concepts from Danto, Pross and Belting on ART; Cardoso, Dune, Raby and Coles on DESIGN; and Caillois and Campos applied on NARRATIVE.