Theatre and performance have historically been thought of in terms of the temporal while visual arts have been consigned to the field of spatial representation. Performance’s temporality, the fact that it happens in time, is highlighted in many discourses as performance’s greatest asset. This thesis investigates what we can find out about performance’s temporality by examining the material conditions of production and reception. By placing the focus off the event of performance and exploring issues around labour, work and leisure time; the art historical and economic relationship of performance and visual art; and the material remains of performance, the thesis seeks to reveal how performance’s temporality functions within a capitalist society. The research sets performance’s duration against different economies of time. It does this within a framework of cultural materialism and the materiality of performance while also situating the work art historically. It investigates the sites of negotiation between performance and the capitalist economy’s temporal logic and interrogates how cultural understandings of time affect experiences of attending to performance’s temporality. In focusing on performance work of both extremely long and short duration, as well as more traditionally staged, theatrical performance, the thesis maps out a genealogy of performance interested in making its temporality visible and often tangible. Placing different art forms alongside performance allows for a symbiotic relationship and thus facilitates new and productive ways of thinking about temporality and duration. Such an approach also makes it possible to identify any blind spots in the theorisations of the temporal in performance studies. The thesis thus proposes a re-evaluation of the terms used in discussion on temporality in performance with a focus on the social, economic and material relations within the production and reception of performance.

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Dans cette thèse nous avons cherché et développé un modèle du traitement de l'aspect dans les langues naturelles. Notre objectif a été d'élaborer un modèle détaillé et explicatif qui montre la possibilité de traiter l'aspect sur un nombre choisi d’énoncés tout en suivant des contraintes fortes de parcimonie et de plausibilité cognitive. Nous avons réussi à mettre au point un modèle original dans sa réalisation, mais aussi dans ses résultats : des explications nouvelles sont données pour le traitement d'interprétations comme la répétition, la perfectivité ou l'inchoativité ; tout en dévoilant un phénomène original dit de "prédication". / The purpose of this work is to design and to implement a computational model for the processing of aspect in natural language.Our goal is to elaborate a detailed and explicative model of aspect. This model should be able to process aspect on a chosen number of sentences, while following strong constraints of parsimony and cognitive plausibility. We were successful in creating such a model, with both an original design and an extensive explanatory power. New explanations have been obtained for phenomena like repetition, perfectivity and inchoativity. We also propose a new mechanism based on the notion of “predication”.

Some String or Another: Fiction and Nonfiction Stories of Connection, a creative thesis, explores patterns of change in stories from the perspective of connection and disconnection. The preface examines the effects of temporal disconnection, the relationship of conflict and connection to narrative rhythm, and the webs of connection formed during the process of creation. Included in the body of the work are six fiction stories, one metafiction story, and two nonfiction essays.

This thesis brings together two important aspects of Feminist Theory, the problem of reconceptualising community in terms of difference, and the role of temporality and futurity within feminist visions of the political. I argue that rethinking community directly entails a rethinking of temporality. This is initially suggested in my examination of the work of anthropologists Carol Greenhouse and Johannes Fabian, who argue that conceptions of time play an important role in social methods of ??managing?? difference. I then turn to an analysis of a number of different feminist accounts of community in order to show that, in each case, the attempt to rethink community in terms of an openness to diversity is invariably accompanied by a contestation of dominant linear temporal concepts. I suggest that these accounts represent a shift to an understanding of time as fractured, dislocated or out of joint. While this shift is explicit in some of the work I examine, specifically in Linnell Secomb and Rosalyn Diprose??s work, for the most part, the problem of temporality is not explicitly thematised. I therefore seek to uncover an emerging critique of linear temporality within feminist accounts of community, while also arguing for a greater recognition of the way time systems shape the way we understand and relate to difference. In order to extend the contestation of linear temporality developed in the first section, I turn to the work of Jacques Derrida. I extend the gesture towards a dislocated time by examining Derrida??s deconstruction of Aristotle??s account of time and his quasi-concept, diff??rance. Both of these accounts challenge the self-presence of the now. What proves to be particularly important for the problem of community is the way this fundamental dislocation suggests a reworking of social understandings of the heritage, transformation and political action. This suggestion is developed through an analysis of two of Derrida??s later essays ??The Other Heading?? and ??Psyche: Inventions of the other??, where I draw out his claim that an openness to the coming of the other involves both the active disruption of convention and tradition as well as a passive relation to an open and incalculable future. I conclude this thesis by arguing that Derrida??s account of time, as a disruptive exposure to alterity, is a provocative candidate for a model of temporality congenial to feminist projects of reconceptualising community. Accordingly, this thesis makes a unique contribution to feminist theory by connecting two significant but often separate concerns, in the process providing new avenues for feminist theorisations of community.

This thesis brings together two important aspects of Feminist Theory, the problem of reconceptualising community in terms of difference, and the role of temporality and futurity within feminist visions of the political. I argue that rethinking community directly entails a rethinking of temporality. This is initially suggested in my examination of the work of anthropologists Carol Greenhouse and Johannes Fabian, who argue that conceptions of time play an important role in social methods of ??managing?? difference. I then turn to an analysis of a number of different feminist accounts of community in order to show that, in each case, the attempt to rethink community in terms of an openness to diversity is invariably accompanied by a contestation of dominant linear temporal concepts. I suggest that these accounts represent a shift to an understanding of time as fractured, dislocated or out of joint. While this shift is explicit in some of the work I examine, specifically in Linnell Secomb and Rosalyn Diprose??s work, for the most part, the problem of temporality is not explicitly thematised. I therefore seek to uncover an emerging critique of linear temporality within feminist accounts of community, while also arguing for a greater recognition of the way time systems shape the way we understand and relate to difference. In order to extend the contestation of linear temporality developed in the first section, I turn to the work of Jacques Derrida. I extend the gesture towards a dislocated time by examining Derrida??s deconstruction of Aristotle??s account of time and his quasi-concept, diff??rance. Both of these accounts challenge the self-presence of the now. What proves to be particularly important for the problem of community is the way this fundamental dislocation suggests a reworking of social understandings of the heritage, transformation and political action. This suggestion is developed through an analysis of two of Derrida??s later essays ??The Other Heading?? and ??Psyche: Inventions of the other??, where I draw out his claim that an openness to the coming of the other involves both the active disruption of convention and tradition as well as a passive relation to an open and incalculable future. I conclude this thesis by arguing that Derrida??s account of time, as a disruptive exposure to alterity, is a provocative candidate for a model of temporality congenial to feminist projects of reconceptualising community. Accordingly, this thesis makes a unique contribution to feminist theory by connecting two significant but often separate concerns, in the process providing new avenues for feminist theorisations of community.

SACRAMENTO, Robério Augusto Leal. Vou pra rua!: narrativas de formação de jovens estudantes das escolas do centro de Fortaleza nos anos 1980. 2016. 95f. –Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-Graduação em Educação Brasileira, Fortaleza (CE), 2016. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-09-14T16:09:46Z No. of bitstreams: 1 2016_tese_ralsacramento.pdf: 968489 bytes, checksum: 09d819aa4a068f20a1821b5de7b664fe (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-09-15T14:57:19Z (GMT) No. of bitstreams: 1 2016_tese_ralsacramento.pdf: 968489 bytes, checksum: 09d819aa4a068f20a1821b5de7b664fe (MD5) / Made available in DSpace on 2017-09-15T14:57:19Z (GMT). No. of bitstreams: 1 2016_tese_ralsacramento.pdf: 968489 bytes, checksum: 09d819aa4a068f20a1821b5de7b664fe (MD5) Previous issue date: 2016 / O centro da cidade de Fortaleza tem sua essência construída historicamente com a modernização do estado quando se tornou capital. Todos os símbolos de desenvolvimento econômico, cultural e educacional estiveram presentes neste espaço. Graças ao crescimento populacional e expansão para áreas periféricas, a educação no centro da cidade foi vista como rito de passagem para o amadurecimento dos jovens cearenses. Esta pesquisa se constitui em uma análise das experiencias de jovens estudantes no centro, evidenciando o processo educacional da formação que este espaço proporcionava. A experiência de estudar em escolas do centro da cidade também era marcada por aprendizados que se tornavam possível graças a vivências alheias aos conhecimentos escolares e sua transmissão. Todas estas experimentações poderiam ser tidas como sintomas de um desvio de conduta, rebeldia, irreverência e mau comportamento. Através das narrativas de estudantes de escolas do centro na década de 1980, buscamos explicitar os processos de assunção da autonomia e da maioridade proporcionados pelas experiências contidas na formação escolar e através da sociabilidade presente no centro da cidade. A metodologia da pesquisa se pauta no uso de fontes orais, imagens extraídas dos jornais locais, explicitando o período analisado, alémimagens do arquivo pessoal dos entrevistados, onde podemos vislumbrar os aspetos enfatizados pelos seus objetivos.

How is a process of serial drawing understood to record the phenomenological stream of consciousness that underpins it? This research question emerges from a hypothesis driving the research: that when considered as a form of expression which speaks in a particular way (Tormey, 2007), drawing re-presents ( records ) the stream of consciousness underpinning it in a rather fundamental manner. The purpose of this first person, practice-led research is to question how this hypothesis is understood, treating it as an assumption to be tested via practice and theory combined. Within the research this hypothesis is linked to both the wider assumption that drawing records thought (Rosand, 2002) and to the contemporary idea that drawing is a form of perpetual becoming (Hoptman, 2002; de Zegher & Butler, 2010) given the temporality which underpins the act of drawing. To help facilitate investigation of the hypothesis, the assumption that drawing records thought is duly suspended (bracketed) for the duration of the research, allowing the structure and process of serially developed drawing (Chavez, 2004) in conjunction with first-person methods for approaching phenomenal consciousness (Varela & Shear, 1999; Depraz, 1999) to investigate it in practical terms. The significance of the research resides in a scrutiny of the drawing process, undertaken in close relation to Husserl s (1931/2012; 1950/1999) Phenomenology. As a result, the phenomenon of drawing is re-described as a self-temporalizing phenomenon, emphasising how the appearance of drawing (noun) not only re-presents the prior act of drawing (verb) which produced it, but also provides the practitioner with a look ahead, indicating the hope and expectation of drawings not yet made. This claim emerges via the specific manner in which my serially developed drawings demonstrate re-presenting the streaming of consciousness described (in Husserlian terms) as the self-temporalization of consciousness, experienced within the duration of now. This phenomenological description of how drawing operates builds upon Rawson s (1969/1987) statement regarding the special charm of drawing - the underlying quality of movement that drawings (noun) exhibit on the basis they were drawn. Husserl s protentional focus on hope and expectation (de Warren, 2009) allows the research to expand upon this idea, describing the underlying movement within drawing as a form of self-temporalization that also points ahead to what is not yet drawn. This forward looking, practitioner centred claim is intended to compliment the focus on trace and memory that a proportion of the current critical discourse on drawing remains engaged with (Newman M, 1996; Tormey, 2007; Newman & de Zegher, 2003; Derrida J, 1993).

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The thesis focuses on intercultural comparison of temporality models. The time in this research is being examined as a social-cultural category: as the basic component of the social system determining its entire dynamics and serving the purpose of organization and synchronization of its inner components. It intends to capture the cultural function of temporality model, its connection with the economical, historical, cosmological and religious system of the society and with its inner stratification. The focal point of the thesis lies in the comparison of the cyclical temporality models (as we find them among the indigenous nations and archaic cultures) with linear quantitative models of time within the modern societies (especially the Western civilization) and with comparative examination of the "sources" and "purposes" of time in both cultural types. Keywords Time - Culture - Temporality