Par nature, le théâtre a partie liée avec le temps. Dans les sept pièces conservées de Sophocle, χρόνος est au cœur du discours des personnages, comme sujet de leur réflexion sur l’existence, mais aussi comme agent de la progression du drame. Au premier niveau, son action est destructrice, car l’homme de Sophocle, « homme d’un jour » (Aj.399 et Ant. 790), éprouve durement sa nature brutale, faite de revirements arbitraires, auxquels il résiste autant qu’il peut, à moins qu’il ne s’en joue. Mais au second niveau, celui de la dynamique de l’action, le temps est aussi constructeur de l’effet tragique. En atteste le lexique, important et varié, capable de rendre visible la fatalité en marche au sein de la tragédie. Ainsi, le temps, non représentable puisqu’il échappe à la mimèsis, peut servir de révélateur à la tension latente, qu’on appelle communément le tragique, concept flou et jamais véritablement défini par les textes, et qui va trouver ici une consistance poétique et une définition nouvelle dans l’observation des choix d’écriture du dramaturge. Ce faisant, c’est la démarche créatrice de Sophocle que l’on interroge. L’analyse du vocabulaire dans des passages choisis dément sa réputation d’auteur peu spectaculaire : retard, hâte, revirements, hasard, opportunité…sont mis en valeur au cœur des vers comme des indicateurs majeurs de la marche du drame vers sa fin. Et si l’on croise ensuite les données lexicales avec les marques de l’énonciation et les éléments des rites civiques qui affleurent dans les textes, on distingue alors la concaténation assurant la cohésion des ensembles et forgeant la temporalité propre à chaque pièce. Du rapport contraint entre le temps dramatique et le temps scénique, Sophocle a tiré des effets originaux qui forment sa poétique. Comme l’aède-démiurge d’Homère, le dramaturge construit ses tragédies en charpentier de l’effet tragique. Il fabrique un présent dramatique parsemé de signes indiciels marquant le passage de χρόνος. Ce présent, troublé par le passé qui s’y déploie encore, est celui de l’inadaptation du héros, tout à la fois temps de l’urgence, du retard, de l’immobilité qu’il faut conjurer pour que la perspective d’un futur puisse prendre forme. La tragédie sophocléenne s’avère finalement très consciente d’elle-même, développant un langage performatif qui entraîne à l’action, disant le rapport sensible de l’homme au temps et tout à la fois sa propre relation au temps qui la compose.MOTS-CLÉS : tragédie-effet tragique-deixis-temps-temporalité / By nature, theatre and time are linked. In Sophocles’ seven remaining tragedies, χρόνος is in the heart of the characters’ speeches, as a subject of their thought about human life, but first of all, as an agent of the progressing plot. On the first level, his action is destructive, because Sophocles’ hero, “a man of one day” (Aj. 399 and Ant.790), is afflicted by the brutal nature of time, made of arbitrary reversals to which he tries to resist to, as much he can, unless he makes light of them. But, on the second level, action in progress, time is also constructive of the tragic effect. This is attested by many and diverse words, showing fate going through the tragedy. So, time, that is impossible to represent on stage, because it is outside of the mimesis, reveals the hidden tension, commonly named the tragic, a woolly concept, never really defined by the texts, which will find here a poetic consistency and a new definition by the observation of the playwright’s choices. Thus, it is Sophocles’ creative reasoning that is analysed. According to the vocabulary in some passages selected, his reputation of not being a very spectacular author is belied: delay, haste, reversals, luck, opportunity… are highlighted in the texts, as major indicators of the action progressing to its end. And then, by crossing the lexical data, the enunciation marks and elements of civic rituals showed on the surface of the texts, we can then clearly distinguish the logical sequences of events making the tragedies’ coherence and the own temporality of each work. Sophocles builds his tragedies like a “carpenter” of the tragic effect. He makes up a dramatic present scattered with a plenty of signs showing χρόνος going through. At the end, Sophoclean tragedies are conscious of their own structure, because they develop a performative language to speak about the sensitive relation between man and time, and also, about their relation with time making of their poetic organization.KEYWORDS: tragedy-tragic effect-deixis-time-temporality

Esta tese se propõe a uma análise de como o tempo se instala na dramaturgia de Anton Tchékhov. Nas peças longas do dramaturgo, seus personagens são colocados diante de um cenário de profunda crise histórica, ideológica e familiar, que os leva a uma constante reflexão sobre o sentido de sua experiência temporal. Com frequência refletem sobre seu presente vazio de sentido e o comparam às lembranças do passado ou às expectativas de futuro. No entanto, seus discursos raramente se sintonizam e cada um parece habitar uma temporalidade distinta, de modo que o efeito final é o de um movimento dramático centrífugo e dispersivo. Assim, ao povoar suas peças com uma multiplicidade de experiências temporais ligadas à espera, ao tédio, à memória, à melancolia, aos desejos, à recusa, aos sonhos e utopias, o dramaturgo rompe com o presente absoluto do drama tradicional, que se baseava no diálogo intersubjetivo e na ação decidida dos personagens em um presente estável. Por meio da análise de peças como Platónov, Ivánov, A Gaivota, Tio Vânia, mas, principalmente, de As Três Irmãs e O Jardim das Cerejeiras, pretende-se demonstrar como desestabilização desse presente absoluto e a instalação dessa multiplicidade de temporalidades se articulam em torno de uma ironia dramática que impede que determinadas experiências temporais se sobreponham às demais. Tal ironia, feita de diálogos e acontecimentos dramáticos de outro tipo, soma-se à introdução de pausas, silêncios e momentos de estase, que abrem o drama à expressão de experiências temporais então já em franca experimentação na poesia e no romance modernos. O conjunto revela a complexidade da experiência temporal da província russa em um período de crise, ao mesmo tempo em que põe em xeque a sincronização temporal que, na modernidade burguesa, homogeneizou experiências temporais muito distintas. Ao fazê-lo, a obra não se acomoda à uma temporalidade de crise de fim de século e se abre de modo radical, transformado a multiplicidade temporal instalada na forma em dispositivo para a acomodação de temporalidades futuras o que contribui de modo decisivo para que Tchékhov se torne mais atualizável nas diferentes épocas e culturas. / This dissertation analyses how time is settled in Anton Chekhov\'s dramaturgy. In his major plays, his characters are set against a backdrop of deep historical, ideological, and family crisis that leads them to a constant reflection on the meaning of his temporal experience. They often discuss their meaninglessness present and compare it to memories of the past or expectations of the future. However, their speeches rarely tune in and each seems to inhabit a distinct temporality, so the final effect is that of a centrifugal and dispersive dramatic movement. Thus, by populating his plays with a multitude of temporal experiences linked to waiting, boredom, memory, melancholy, desires, refusal, dreams and utopias, the playwright breaks with the \"absolute present\" of traditional drama, which it was based on intersubjective dialogue and the decisive action of the characters in a stable present. Through the analysis of plays such as Platonov, Ivanov, The Seagull, Uncle Vanya, but mainly The Three Sisters and The Cherry Orchard, we intend to demonstrate how destabilization of this absolute present and the settlement of this multiplicity of temporalities are articulated in several ways by a dramatic irony that prevents certain temporal experiences from overlapping each other. Such irony, made of dialogues and dramatic events of another kind, is connected to the introduction of pauses, silences and moments of stasis, which open the drama to the expression of temporal experiences then already in frank experimentation in modern poetry and novel. The whole of the work reveals the complexity of the Russian province\'s temporal experience in a period of crisis, while at the same time calls into question the temporal synchronization that, in bourgeois modernity, has homogenized very different temporal experiences. In so doing, the work does not accommodate itself to an end-of-century crisis temporality and opens up radically, transforming the temporal multiplicity settled in the form into a device for the accommodation of future temporalities - which contributes decisively to that. Chekhov becomes more \"updatable\" in different times and cultures.

The Empty Portrait forefronts a new experience of the portrait for all participants involved: the photographer, the subject, and the viewer. Breaking away from the camera, the materiality of the photograph, and the portrait as a locus of identity are central aspects of this new experience. As it challenges the relationship between photography and temporality, The Empty Portrait attempts to blur the boundary between the photographic and cinematic image, asking the viewer to look and contemplate further.

This dissertation explores the ways that women authors of science fiction have altered conventions of utopia and science fiction in order to revise conceptions of gender, sexuality, the body, and the environment. I examine several twentieth-century feminist critical dystopias that continue to betray genre and form, and to shape the science fiction being written at this moment. Each of the works demonstrates particular elements that facilitate its revisionary power: challenging and deconstructing sex/gender systems, blending utopian and dystopian conventions, and engaging in temporal play. By doing so they accomplish a range of tasks: disrupting generic and historical conventions, blending genres, redefining utopia, and making connections with present realities in order to make a case for social change, particularly for female and queer subjects. Though many of the texts are considered canonical by sf standards, and have been widely praised and critiqued in academic publications, each one continues its project of resistance in the light of the genre and of ever-evolving theories of gender, sexuality, race, and identity. As a scholar of gender and queer theory, I find within sf an extraordinary realm of potential for those willing to challenge norms and imagine new possibilities. In their rejection of system and form, the authors render impure the genre of science fiction, providing a new space in which utopian ideals can become literary and cultural resistance.

This autoethnography uses narrative inquiry within an anticolonial theoretical framework. As a White Italian male settler living on Turtle Island, I bring survivor experience to psychiatric definitions of “psychosis,” or what I call psychosic narrative, and to broader literatures for the purpose of decolonizing “mental” relations. Using reflexive critiques, including feminist antiracism, I question my own privileges as I consider the possibilities of Mad culture to disturb authorizations of practices like forced electroshock and drugging. Using journals, salient themes of experience are identified, including “delusion,” “psychosis,” “madness,” and “illness,” especially as they appear in texts about politics, culture, and theory. A temporally rigorous narrative approach to my readings allows for a self-reflexive writing on such themes in relation with antiracist anticolonial resistance. Thus a White psychiatric survivor resistance to psychiatry and its social (local) history is related to the problematic of global Western neoliberal heteropatriarchy in psychological institutional texts. Survivor testimonies bring critical madness and disability theories as they pertain to racialization and constructions of sex/uality and gender. Rather than present a comprehensive analysis, this narrative inquiry is generated from the process of research as it was experienced in order to represent and question its epistemological grounds.

The goal of this thesis is to study the transformation of architectural space with the aid of artistic production. By questioning architectural production as a non-static process open to alteration and intervention, this condition is claimed to enlarge the frontiers of architecture in terms of interdisciplinary contributions and new design methods. Inspired by the course ARCH 524, conducted by Assoc. Prof. Dr. Aysen Savas in the METU Department of Architecture, this study aims to understand the possible ways of transforming architectural space by the defined function of exhibition. The condition of exhibiting is claimed to manifest a &ldquo / temporary&rdquo / and reciprocal relation between the architectural space and the artwork / therefore, it redefines architectural space as a temporary entity open to intervention.For this reason, &ldquo / site-specific artwork&rdquo / is believed to play a pragmatic role in the creation of the &ldquo / new space&rdquo / . This study will focus on the selected works of the artist Esther Stocker. Stocker&rsquo / s productions offer systematic and analytic (re)readings that analyze and decipher spatial qualities. Her productionsare claimed to shift the conventional definitions of architectural terminology and introduce physical, visual and cultural/social levels of understanding both for the built, and the yet-to-be-built space. Throughout this study, the transformation process is commonly referred to as (re)construction, and/or (re)definition, which will, at the end of the process, generate a &ldquo / new space&rdquo / open to continuous transformation. The analysis of the same space will provide new intellectual agents for the promotion of theoretical methods in architectural education and practice.

In the "Art of the Short Story" Hemingway elaborates on his concept of omission as it relates not only to prose writing, but to the special case of writing short stories. Hemingway develops two models to describe his short stories: on the one hand, he describes short stories like "The Sea Change" in terms of omission and exclusion, in terms of leaving the story out of the short story, and on the other, he refers metaphorically to "The Snows of Kilimanjaro" as an airplane loaded with story material which would be enough for four novels. Both models suggest a doubling of the concept of story---in the case of the story left out of the story, Hemingway makes a distinction between the text of the published short story and the underlying events and facts (the story), and in the case of the "loading" of "The Snows in Kilimanjaro" he distinguishes between the vehicle part and the cargo part. This doubling of the story in Hemingway's short stories can be examined in terms of first and secondary narratives using Gérard Genette's analytical method of study of narrative discourse. First and secondary narratives emerge as a result of temporal discordances between the order of the events narrated in the text of the short story and the chronological order of the events in the story. Thus the effect of the doubling of the story can be mapped onto the dynamic interplay of surface first narratives and submerged, fragmentary secondary narratives in the case of the stories characterized by omission, and in the case of the short stories with loaded narratives, onto the interplay between temporally differentiated first and secondary narratives. Hemingway slides the temporal plane of his first narratives into the future and outside the temporal plane of important events which are then evoked by the characters as secondary narratives capable of affecting the surface dynamics of the first narrative. Instead of presenting the information about these temporally omitted or differentiated events in the discourse of an objective narrator, Hemingway relies on characters' discourse to evoke and thus recreate in a subjective, fragmentary way the story left out.

Today, individuals can relatively easily meet and communicate with each other over great distances due to increased mobility and advances in communication technology. This also allows intimate relationships to be maintained over large geographical distances. Despite these developments, long-distance relationships (LDRs), i.e. intimate relationships maintained over geographical distance, remain understudied. The present thesis aims to fill this knowledge gap and investigates how intimate partners who live so far away from each other that they cannot meet every day make their relationship ongoing beyond face-to-face interaction. Theoretically, this study departs from a symbolic interactionist viewpoint that invites us to study phenomena from the actor’s perspective. Conceptually, the thesis builds on the recent development in sociology of intimate lives that sees intimacy as a relational quality that has to be worked on to be sustained, and that focuses on the practices that make a relationship a relationship. Empirically, the thesis is based upon 19 in-depth interviews with individuals from Latvia with long-distance relationship experience. The thesis consists of four articles. Article I studies the context in which LDRs in Latvia are maintained, focusing on the normative constraints that complicate LDR maintenance. Article II analyses how intimacy is practiced over geographical distance. Article III examines how long-distance partners manage the experience of the time they are together and the time they are geographically apart. Article IV explores the aspect of idealization in LDRs. Overall, the thesis argues for the critical role of imagination in relationship maintenance. The relationship maintenance strategies identified within the articles are imagination-based mediated communication (creating sensual/embodied intimacy, emotional intimacy, daily intimacy and imagined individual intimacy); time-work strategies that enable long-distance partners to deal with the spatiotemporal borders of the time together and the time apart; and creating bi-directional idealization. The thesis is also one of the few works in the field of intimate lives in Eastern Europe and analyses the normative complications that long-distance partners face in their relationship maintenance in Latvia.

The present essay concerns Walter Benjamin’s thought regarding history and temporality as he articulated it in his last work that was only published posthumously: ”Über den Begriff der Geschichte”. The purpose is to analyze Benjamin’s construction of historical materialism and to suggest a reading of it as directed towards an opening of history. For Walter Benjamin, every moment presents itself as a possibility of radical otherness: a possibility for things to be different. In this essay, I therefore want to concentrate on key concepts constituting such possibility, namely, remembrance [Eingedenken] and redemption [Erlösung]. I will further examine their relation to the specific experience of the past. Following Benjamin, in this essay I am constructing a critique of positivist concepts of linear time and Marxist teleology in regard to history and temporality. Another purpose is to establish an alternative concept of history and temporality as it is to be found in Benjamin’s own thought. Furthermore, the essay seeks to engage in a dialog with Benjamin’s historical reflection in an attempt of capturing the Benjaminian concepts of dialectical image and now-time [Jetztzeit] and by doing this to envisage a genuine break from the notion of historical progress. In presenting such a break as a possibility of opening up history, I seek to raise the question of political action [Aktion]. As demonstrated in the essay, the notion of action, its ethics and politics, is to be found, both implicitly and explicitly, in the way Benjamin develops the persona of the historical materialist and in his concept of redemption, but the analysis must start with a thorough investigation of the concept of remembrance [Eingedenken], without which Benjamin’s meaning cannot be understood.

This autoethnography uses narrative inquiry within an anticolonial theoretical framework. As a White Italian male settler living on Turtle Island, I bring survivor experience to psychiatric definitions of “psychosis,” or what I call psychosic narrative, and to broader literatures for the purpose of decolonizing “mental” relations. Using reflexive critiques, including feminist antiracism, I question my own privileges as I consider the possibilities of Mad culture to disturb authorizations of practices like forced electroshock and drugging. Using journals, salient themes of experience are identified, including “delusion,” “psychosis,” “madness,” and “illness,” especially as they appear in texts about politics, culture, and theory. A temporally rigorous narrative approach to my readings allows for a self-reflexive writing on such themes in relation with antiracist anticolonial resistance. Thus a White psychiatric survivor resistance to psychiatry and its social (local) history is related to the problematic of global Western neoliberal heteropatriarchy in psychological institutional texts. Survivor testimonies bring critical madness and disability theories as they pertain to racialization and constructions of sex/uality and gender. Rather than present a comprehensive analysis, this narrative inquiry is generated from the process of research as it was experienced in order to represent and question its epistemological grounds.