Dissertationen: „Subjectivity“

1

Filas, Michael Joseph. „Cyborg subjectivity /“. Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/9369.

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2

Vardomskaya, Tamara Nikolaevna. „Sources of Subjectivity“. Thesis, The University of Chicago, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10812973.

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Subjectivity is the phenomenon of the apparent truth of a predicate depending on a perspective of evaluation, such that one person may sincerely assert a proposition p while another may sincerely assert not-p. Among the numerous analyses of the semantics of subjective predicates (Lasersohn 2005, Stojanovic 2007, Stephenson 2007, MacFarlane 2014, Barker 2002, a.o.), few consider what makes them differ from objective ones: what makes delicious allow faultless disagreement while wooden or red do not? Assumptions that subjective and objective predicates differ In their semantics (do not have truth conditions as per expressivism, have another index or argument as per relativism or contextualism) ignore the fact that the same predicate may be subjective in a context where it is loosely defined and objective in a context where it is stringently defined. E.g. the truth of good figure skater is objective to trained figure skating judges but subjective to casual TV watchers.

I provide a relatively theory-neutral analysis of what makes subjective predicates what they are. I argue that objective predicates are precisely those for which there is a reliable consensus of what evidence matters (to distinguish from a reliable consensus as to whether propositions containing them are true: we do not know whether there is life on other planets, but we know what it would take to prove it). For subjective predicates, and propositions containing them, there is no reliable and socially enforced consensus as to what evidence matters, and how much, and what does not, and for some predicates, there cannot be. Thus, speakers are allowed, in a pragmatic context, to perceive the evidence differently (to have different taste perceptions due to genetic differences in smell receptors) or to classify it differently (looking at a painting, to judge whether it is excellent or poor based on differing prior expertise in painting). If we allow differing perceptions or different categorizations to be valid, we have a subjective predicate.

As a follow-up, I explain the selection criteria of find (NP ) (Predicate) - `I find the soup disgusting/wonderful’ - which is known (Saebo2009 a.o.) to select for subjective constructions. I argue that find actually selects for direct experience of its object, as was proposed by Stephenson (2007), and I address subsequent criticisms of that analysis and extend it to modal expressions such as `I find the Cubs winning unlikely,’ which had not been previously considered in the literature. I conclude by showing how my analysis fits into different theories (expressivism, relativism, contextualism, metalinguistic negotiation) by providing them with clearer selection criteria for not only what a subjective predicate is, but why it is so.

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3

Rice, William Robertson. „Subjectivity in grading: The role individual subjectivity plays in assigning grades“. Miami University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=miami1623317108089967.

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4

Joussellin, Charles. „Se plaindre de la douleur“. Thesis, Paris Est, 2014. http://www.theses.fr/2014PEST0019.

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Nous analysons ce qu'est la douleur pour l'homme. Expérience humaine radicalement subjective, la douleur ne peut pas s'objectiver. Pour l'appréhender nous préférons à l'auto évaluation quantitative de la douleur l'hétéro-évaluation de ce que l'homme douloureux montre de lui-même par la médiation de son corps et surtout ce qu'il dit de cette expérience : la mise en récit. D'où l'importance de se tourner vers l'homme douloureux, pour qui la douleur est une pensée et une souffrance.L'homme qui se plaint de douleur fait part à autrui d'un « mal-être » dans lequel le sens qu'il attribue à l'expérience vécue possède une grande importance. Douloureux, sa présence au monde est altérée. Se plaindre de douleur représente une adresse au cœur de l'intersubjectivité où de nombreux phénomènes subjectifs s'échangent, s'entrecroisent et s'influencent. La forme de la plainte dépendra de nombreux facteurs dont les enjeux et les circonstances. Pour s'apaiser, l'homme douloureux, surtout celui dit douloureux chronique, doit bénéficier d'une reconnaissance première, réciproque et mutuelle, et d'une recherche de sens.L'engagement réciproque sollicité par se plaindre de douleur représente une rencontre intersubjective tendue qui se déroule entre une indifférence redoutée et une reconnaissance espérée, au risque du ressentiment : un chemin audacieux vers un champ des possibles. Une mise à l'épreuve de l'humanisation de l'autre au cours de laquelle des échanges produisant une déshumanisation ou une réhumanisation se succèdent
We analyze what pain feels like to humans. Radically subjective human experience, pain cannot be objectified. In order to apprehend it we prefer hetero-assessment rather than quantitative self-assessment of pain. What painful man shows from himself through the mediation of his body and especially what he says about his experience: the story-telling. This is what explains the importance of being more attentive to the painful man, to whom pain is a thought and suffering.The man who complains about pain expresses to others his bad feelings in which the meaning he attributes to the experience has a great importance. In pain, his presence in the world is altered. Complaining about pain represents a request in the heart of intersubjectivity where many subjective phenomena are exchanged, intersected and influenced. The form of the complaint will depend on many factors, including challenges and circumstances. To soothe, the painful man, especially for the patients with a chronic pain, must receive a first recognition, reciprocal and mutual, and a search for meaning.The mutual commitment sought by complaining of pain represents a tensed intersubjective meeting which takes place between a feared indifference and a hoped recognition, with the risk of experiencing resentment: a bold path to a field of possibilities. A testing of the humanization of the other while trades will pass through producing dehumanization or re-humanizing

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5

Moran, Anthony F. „Modernity, racism and subjectivity /“. Connect to thesis, 1995. http://eprints.unimelb.edu.au/archive/00001238.

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6

Briginshaw, Valerie A. „Dance, space and subjectivity“. Thesis, University of Chichester, 2001. http://eprints.chi.ac.uk/861/.

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7

Innes, Paul. „Subjectivity in Shakespeare's sonnets“. Thesis, University of Stirling, 1990. http://hdl.handle.net/1893/3508.

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This thesis undertakes a study of Shakespeare's sonnets that seeks to locate them in the determinate historical circumstances of the moment of their production. Subjectivity in the sonnets is read as the location of a series of conflicts which are ultimately socio-historical in nature. Contemporaries identified the sonnet form as a discourse of the aristocracy, especially in its manifestation of courtly love. Shakespeare's sonnets attempt to manage the pressures that the history of the late sixteenth century impose upon this discursive formation from within the genre itself. The first and second chapters of the thesis set out the historical framework within which the generic requirements of the sonnet were played out, and discuss the tensions which result. Chapter three reads the first seventeen sonnets in the light of this work, arguing against a view of these particular poems as a homogeneous group of marriage sonnets. These sonnets set out the homosocial considerations that underpin the relationship between the addressor and the young nobleman in a way that foreshadows the conflicts that are played out in later poems. Chapter four traces these conflicts in terms of the subjectivity of the young man, noting that the historical crisis in the ideology of the aristocracy renders his subject-position unstable. Chapter five relates this result to the related subjectivity of the adressor, the poetic persona of the poems, and reads his position as noting the disjunctions in the dominant ideology, while nevertheless being unable to move away from its interpellation of his position. Chapter six notes the consequent disruption of gendered identity, both for the "dark lady" and the poetic persona himself. The conclusion argues for a materialist perspective on the sonnets' problematising of subjectivity in the Renaissance.

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8

James, David Neil. „Hegel's theory of subjectivity“. Thesis, University of Sussex, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400364.

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9

Stowell-Smith, Mark. „Race, psychopathy and subjectivity“. Thesis, Manchester Metropolitan University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296488.

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10

David, Hugh Alexander. „Development of a subjectivity“. Thesis, University of Leicester, 2013. http://hdl.handle.net/2381/27801.

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This thesis presents an ethnographic account of an investigation into whether productivity is a useful concept in service sectors where quality is subjectively determined, in the context of how training and education can contribute to an organisation’s effectiveness. The ethnographic interest stems principally from the difficulties encountered in pursuing this research question. At an early stage, the researcher decided to identify the sectors of interest through quantitative analysis of economic data. This proved problematic as the analysis became involved and, though eventually published, would have been difficult to justify within the context of a social science thesis. Accordingly, the researcher switched to a means of identification based on the literature. However, the quantitative analysis had led him to take a fairly literal reading of the research question, and in the first interview this proved highly problematic, leading to significant interactional troubles. The interview did not ‘settle out’ in the researcher’s mind; as a result, the researcher used detailed textual analysis, particularly conversation analysis, to understand what in intersubjective terms had occurred during the interview. The impact of the interview on the researcher was sufficiently profound to change his emotional orientation towards the research question, and the researcher has detailed how his subjectivity has developed through the research process. This has led ultimately to the reflection that his approach had been perhaps too literal, too direct; and that a more circuitous approach might perhaps have yielded a less contested, richer and more extensive set of materials which might then have allowed the researcher to address the research question indirectly by using for example discourse analysis. It is perhaps the documentation of the trajectory towards this ultimate reflective realisation, and the conversation analysis (with accompanying self-commentary) of interactional trouble in a qualitative research interview, that form the contribution of this thesis.

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11

Ault, Amber Lynne. „Science, sex, and subjectivity /“. The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487861396027452.

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12

Woodlock, Natalie. „Subculture and Queer Subjectivity“. ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2531.

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My work explores subculture as a form of cultural resistance to the dominant ideology. I'm concerned with the ambiguous relationship we occupy as subjects to the material produced by popular culture, and how this is digested and understood by female viewers and cultural outsiders. The specific temporality of the queer subject is a key theme in my work.

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13

Scarr, Edward. „Subjectivity in crisis : an ethnographic analysis of subjectivity in a veteran motorcycle club“. Phd thesis, Canberra, ACT : The Australian National University, 2013. http://hdl.handle.net/1885/155538.

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This study is an ethnographic analysis of an Australian veteran motorcycle club and its members. Two goals have directed this research. The first goal was to shed light on the War Fighters Motorcycle Club and its part in what is a secretive and inaccessible subculture by means of original ethnographic research. To achieve this I used the data collection methods of qualitative interviews and participant observation. The second goal was to theorise the experiences of club members who are also Vietnam War veterans, using a grounded theory methodology and drawing upon a tradition in continental philosophy. A theoretical model adapted from the work of Nietzsche and Warren was developed to theorise their changing sense of personal identity as Vietnam veterans and motorcycle club members. This model represents an original framework for theorising subjectivity that has undergone a form of crisis. Three key phases, theorised as rupture, disconnection and reconnection, were identified in the changing subjectivity of these veteran bikers: their return from Vietnam to a hostile Australian reception, their ongoing feelings of isolation and a lack of acceptance, and, for some, a sense of recovered identity. This analysis of members of the War Fighters, in their double liminal status as veterans and bikers, has provided the opportunity for an exploration of the link between experiential and interpretive conditions of acting upon a coherent sense of self. This framework may also have useful application to other groups who have experienced significant trauma.

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14

Peters, Stephen. „Language, subjectivity, and meaningful change“. Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=95245.

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Drawing from analyses of both fiction (Chinua Achebe's novel Things Fall Apart and Franz Kafka's short story A Report to an Academy) and graduate student writing, this thesis discusses the relationship between individuals and language. I start from the premise that our attempts to make meaning of ourselves and the world around us depend on the cultural patterns of language use we either voluntarily or are obliged to acquire. In three independent but related chapters, I explore the implications of this premise for subjectivity formation, paying particular attention to the ways we know ourselves, our ability to engage in critical reflection, and the manner in which we represent ourselves in language. The overall goal of this thesis is to examine the possibilities and limitations of individual autonomy and agency in social discourse. Together, these three chapters serve to outline some considerations for conceptualizing the participation of the subject in social change by identifying the function of language learning to transition and integrate individuals into particular cultural contexts.
Basée à la fois sur l'analyse d'uvres de fiction (Chinua Achebe's Things Fall Apart, et Franz Kafka's « A Report to an Academy ») et sur des travaux rédigés par des étudiants de second cycle, cette thèse traite de la relation entre les individus et la langue. Je pars du postulat que les efforts que nous mettons pour tenter de comprendre qui nous sommes et le monde dans lequel nous vivons dépendent des schémas culturels d'usage linguistique que nous acquerrons volontairement ou sommes forcés d'acquérir. Dans trois chapitres indépendants mais interreliés, j'explore l'influence de ce postulat sur la formation de la subjectivité, en portant une attention particulière sur la manière dont nous nous connaissons nous-mêmes, sur notre capacité à faire preuve de réflexion critique et sur notre façon de nous représenter à travers la langue. L'objectif général de cette thèse est d'examiner les possibilités et les limitations du positionnement et de l'autonomie individuelle au sein du discours social. Ensemble, ces trois chapitres suggèrent certaines avenues permettant de conceptualiser la participation du sujet dans le changement social, en identifiant la fonction d'apprentissage de la langue afin de permettre aux individus de s'adapter et de s'intégrer dans des contextes culturels particuliers.

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15

Vidali, Anna. „Forbidden history and/as subjectivity“. Thesis, Goldsmiths College (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261724.

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16

Wilson, Scott. „Elizabethan subjectivity and sonnet sequences“. Thesis, Cardiff University, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293055.

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17

Wilde, Anthony Edward. „Levinas : subjectivity, affectivity and desire“. Thesis, University of Hull, 2013. http://hydra.hull.ac.uk/resources/hull:8617.

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The thesis argues that Emmanuel Levinas’s later concept of ethical subjectivity, explicated in his late work Otherwise than Being or Beyond Essence, can really only be understood by taking into account the very early work On Escape. The thesis argues that the concept of ethical subjectivity emerges from his work via his attempts to articulate transcendence. Transcendence itself is ultimately identified with ethics. My thesis traces his continued attempts at a satisfactory conception of transcendence through the early works (Existence and Existents and Time and the Other), and via his other major work Totality and Infinity. On Escape articulates a very specific notion of need in terms of a need for escape which forms the conceptual seeds of Levinas’s idea of transcendence, and which will ultimately become his notion of metaphysical Desire. His notion of ethics as the arresting of the spontaneous ego’s conatus by the face of the Other, will turn out to ultimately requires the articulation of ethical subjectivity. The notion of ethical subjectivity is made possible, and thus his work reaches maturity, by the introduction of the notion of the trace. I argue that the idea of subjectivity as openness and vulnerability and the notion of an otherwise than being can be traced to the early work. My thesis takes as its starting point Levinas’s engagement and criticism of the philosophy of Martin Heidegger. I argue that Levinas can best be understood as always in some sense in conversation with Heidegger.

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18

Worlow, Christian D. „Shakespeare and Modeling Political Subjectivity“. Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc407853/.

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This dissertation examines the role of aesthetic activity in the pursuit of political agency in readings of several of Shakespeare’s plays, including Hamlet (1600), A Midsummer Night’s Dream (1595), The Tempest (1610), the history plays of the second tetralogy (1595-9), Julius Caesar (1599), and Coriolanus (1605). I demonstrate how Shakespeare models political subjectivity—the capacity for individuals to participate meaningfully in the political realm—as necessitating active aesthetic agency. This aesthetic agency entails the fashioning of artistically conceived public personae that potential political subjects enact in the public sphere and the critical engagement of the aesthetic and political discourses of the subjects’ culture in a self-reflective and appropriative manner. Furthermore, these subjects should be wary auditors of the texts and personae they encounter within the public sphere in order to avoid internalizing constraining ideologies that reify their identities into forms less conducive to the pursuit of liberty and social mobility. Early modern audiences could discover several models for doing so in Shakespeare’s works. For example, Hamlet posits a model of Machiavellian theatricality that masks the Prince's interiority as he resists the biopolitical force and disciplinary discourses of Claudius's Denmark. Julius Caesar and Coriolanus advance a model of citizenship through the plays’ nameless plebeians in which rhetoric offers the means to participate in Rome’s political culture, and Shakespeare’s England for audiences, while authorities manipulate citizen opinion by molding the popularity of public figures. Public, artistic ability affords potential political subjects ways of not only framing their participation in their culture but also ways of conceiving of their identities and relationships to society that may defy normative notions of membership in the community.

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19

Kabwe, Mwenya. „Towards performing an afropolitan subjectivity“. Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8160.

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Includes abstract.
Includes bibliographical references (p. 32-34).
Emerging directly from three devised performances conducted as practical research projects in the exploration of my thesis, the production supported by this explication titled Afrocartography: Traces of Places and all points in between, (Afrocartography) is located within a series of works that explore an Afropolitan subject position. Towards the goal of articulating a theatrical form, style and aesthetic of this so called Afropolitan experience, the first section of this paper serves to locate the term Afropolitan within a personal contextual frame from which the paper progresses.

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20

Litvak, Violetta. „In the Theater of Subjectivity“. VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1392.

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This thesis tracks the formal and conceptual development of my work during the two years of graduate study at the VCU Photography and Film Department. It describes the influence of photography on my evolution as an artist and contextualizes my desire to expand the practice beyond the traditional limitations of the medium. It recounts my experimentations with assemblage, video and installation and their contribution to my understanding of spatial and temporal dimensions in the formal construction of my work.In part, the thesis is also a statement of my convictions about art making. It discusses theimportance of perception and subjective experience, as well as the role of personal history in my work.

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21

Domingues, José Maurício. „Sociological theory and collective subjectivity /“. Basingstoke ; London : New York : Macmillan press ; St. Martin's press, 1995. http://catalogue.bnf.fr/ark:/12148/cb37486615t.

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22

Taplin, Roslyn Ellen. „Climate Change: A Different Subjectivity?“ Thesis, Griffith University, 2015. http://hdl.handle.net/10072/365822.

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The issue of the environment first emerged as a focus in contemporary art practice in the 1970s. However, climate change art as a new direction in environmental art has only been an area of significant focus since the early 2000s. As a creative intervention, it is a reaction to the global phenomenon of the build-up of greenhouse gases in the Earth’s atmosphere, the urgent need for greater diplomatic cooperation internationally and sustained domestic policies and programs to mitigate and adapt to climate change. This doctoral research explores the role of visual art in producing new strategies to mediate the urgency of the climate change issue. My studio practice involving drawing, digital imagery, video and installation has been plaited with three lines of inquiry. First, how may contemporary art address speeches and reports associated with negotiations on climate change? Second, how may people living in varying localities and communities across the globe contribute to mitigating climate change impacts via their multiple efforts? Third, is it possible that climate change art may contribute to an altered subjectivity within viewers and some realisation of future implications of climate change and the ethics of inaction?
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
Full Text

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23

Brott, Simone. „Impersonal effects : architecture, Deleuze, subjectivity“. Thesis, The University of Melbourne, Faculty of Architecture Building and Planning, 2007.

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24

Zelada, Manuel. „Truth and Subjectivity in S. Kierkegaard’s Postscriptum“. Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/119242.

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The following commentary offers an analysis of subjective truth in Soren Kierkegaard’s Concluding Unscientific Postscript to his Philosophical Fragments. Our intention is to discuss Kierkegaard’s reflections on subjective truth, in order to show that, rather than claiming that the subject’s interiority defines truth (subjectivism), Kierkegaard thought that truth supposes more than the subject itself.
El siguiente texto ofrece un análisis del sentido del término verdad subjetiva para el pensamiento kierkegaardiano a partir de las reflexiones presentes en el Postscriptum no-científico y definitivo a Migajas Filosóficas. La intención de este trabajo es recoger las reflexiones sobre la objetividad y la subjetividad que Kierkegaard desarrolla en relación con la verdad subjetiva para mostrar que, lejos de afirmar que es la interioridad del sujeto la que determina la verdad (subjetivismo), esta implica siempre algo más allá del sujeto mismo.

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Thomas, Susan Mary. „Archaeology and subjectivity : an analysis of the place of subjectivity in interpretative and writing practices“. Thesis, University of Cambridge, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.627066.

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26

González, Casares Santiago Victor. „Recherches phénoménologiques en vue d’un phénomène à-plusieurs : nos-otros (Des-plazados)“. Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040181.

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« Nous ? ». Interroger l’apparition diffuse du phénomène collectif, à-plusieurs, « nous ». Utiliser les parenthèses de la méthode (epoché) pour entrevoir le soi du phénomène collectif et échapper aux guillemets métaphysiques, « nous », et à la rature ontologique, nous. Penser le Nous ! depuis l’évolution des différentes réductions phénoménologiques, retracer une histoire de la méthode au travers le phénomène de l’inter-subjectivité. D’abord, par la tentative de la réduction transcendantale à l’objectité d’un « nous transcendantal » obtenu par « analogie accouplante » : envers l’autre comme moi (Husserl). Heidegger et la réduction ontologique à l’étantité comme déploiement de la question d’un Dasein avec des autres (Mitdasein). Lévinas et la réduction éthique au visage de l’autre, pour l’autre. Socialité première, au-delà de l’essence, autrement qu’être, ancrée dans la dissymétrie originaire d’un « nous responsable : Je-Vous, vous-Je ». Enfin, la réduction érotique (Marion) au visage de l’autre aimé, détaché du visage universel de l’éthique car individué par son amour ; lui aussi aimant comme moi : « nous amoureux : Je-Tu, Tu-Je ». Mais pas encore Nous ! Le « nous » transcendantal en reste aux vécus de conscience du sujet constituant. Le Mitdasein n’atteint pas l’autre en tant que tel, nous. L’universel de l’éthique se perd dans l’anonymat et l’érotique comporte la déception du tiers en départ. Pouvons nous penser le Nous ! en phénoménologie ? Tout « Je » est un « nous », tout « Vous » est un « nous », mais Nous !? Qu’en est-il de Nous !? Serait-ce un « nos-otros », un Nos-otros des-plazados ?
“We?”. To question the confusing appearance of the collective phenomenon, ‘by-many’, “we”. Utilize the method’s brackets (epoché) in order to investigate the self of the collective phenomenon and escape thus the metaphysical quotation marks “we”, and the ontological deletion, we. To think the “we” throughout the evolution of the different phenomenological reductions, retrace a history of its method focusing on the inter-subjective phenomenon. First of all, through the endeavor of the transcendental reduction to objectity of a “transcendental we” obtained by “analogical pairing”: towards the other as me (Husserl). Heidegger and his ontological reduction to being-ness as the deployment of the questioning of a Dasein with others (Mitdasein). Lévinas and the ethical reduction to the face of the other, for the other. The initial sociability, beyond essence, otherwise than being, anchored in the original dissymmetry of a “responsible we: I-Thou, Thou-I”. Finally, the erotic reduction (Marion) to the face of the loved one, detached from the universal face of ethics thus individuated by its love ; him loving as me : “enamored we: I-You, You-I”. But not yet We! The transcendental “we” rests in the conscience of the constituting subject. The Mitdasein does not reach the other as such, we. The ethical universal losses itself in the anonymity and the erotic entails the deception of the departing third person. Can we think the We! In phenomenology? Every “I” is a “we”, every “You” is a “we”, but We!? What about We!? Could it be a “nos-otros”, a Nos-otros des-plazados?

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27

Monforte, Enric. „Gender, Politics, Subjectivity: Reading Caryl Churchill“. Doctoral thesis, Universitat de Barcelona, 2000. http://hdl.handle.net/10803/1659.

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This doctoral dissertation approaches three plays written by British playwright Caryl Churchill (1938- ): Cloud Nine (1979), Top Girls (1982), and Blue Heart (1997). Her plays deal mainly with systems of oppression and their effects on the individual or on groups of people. These systems of oppression, reminiscent of the Foucauldian power structures, exert their restrictive power over the dispossessed -the working class, women, or gays and lesbians.

The main objective of this dissertation is to demonostrate how a gender and politics-oriented approach to theatre can help to subvert some of the patriarchal and conservative assumptions implicit in traditional theatre. In this respect, the three plays analysed share the presence of recurrent themes: patriarchal society, the nuclear family, colonisation at several levels (race, gender, sexuality), and the capitalist system.

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28

Shefer, Tamara. „Discourses of heterosexual subjectivity and negotiation“. Thesis, University of the Western Cape, 1999. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=init_3537_1177926176.

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It is widely acknowledged that there are problems with the way in which heterosexual relationships are negotiated. A critical focus on heterosexuality has been particularly stimulated by feminist discourse on gender power relations and the global imperative to challenge HIV infection. In the South African contextthere has been a growing on researching and education about (hetero)sexuality, particularly in the wake of the continued increase in HIV prevalence rates which are highest among young black, South Africans.

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Tulloch, Rowan Christopher English Media &amp Performing Arts Faculty of Arts &amp Social Sciences UNSW. „Powerplay: video games, subjectivity and culture“. Publisher:University of New South Wales. English, Media, & Performing Arts, 2009. http://handle.unsw.edu.au/1959.4/43519.

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This thesis examines single-player video gaming. It is an analysis of video game play: what it is, how it functions, and what it means. It is an account of how players learn to play. This is done through a set of close readings of significant video games and key academic texts. My focus is on the mechanisms and forces that shape gameplay practices. Building on the existing fields of ludology and media-studies video-game analysis, I outline a model of video game play as a cultural construction which builds upon the player's existing knowledge of real world and fictional objects, scenarios and conventions. I argue that the relationship between the video game player and the software is best understood as embodying a precise configuration of power. I demonstrate that the single-player video game is in fact what Michel Foucault terms a 'disciplinary apparatus'. It functions to shape players' subjectivities in order to have them behave in easily predicted and managed ways. To do this, video games reuse and repurpose conventions from existing media forms and everyday practices. By this mobilisation of familiar elements, which already have established practices of use, and by a careful process of surveillance, examination and the correction of play practices, video games encourage players to take on and perform the logics of the game system. This relationship between organic player and technological game, I suggest, is best understood through the theoretical figure of the 'Cyborg'. It is a point of intersection between human and computer logics. Far from the ludological assumption that play and culture are separate and that play is shaped entirely by rules, I show video game play to be produced by an array of complex cultural and technological forces that act upon the player. My model of video game play differs from others currently in circulation in that it foregrounds the role of culture in play, while not denying the technological specificity of the video gaming apparatus. My central focus on power and the construction of player subjectivities offers a way to move beyond the simplistic reliance on the notion that rules are the primary shaping mechanism of play that has, to date, dominated much of video game studies.

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30

Bigley, Michael Erik. „Musicality, subjectivity, and the Canterbury tales“. CONNECT TO THIS TITLE ONLINE, 2007. http://etd.lib.umt.edu/theses/available/etd-05312007-110614.

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31

Matheson, Mark H. „Politics and subjectivity in Shakespearian drama“. Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314425.

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32

Missenden, Kirstie. „Premature sexual maturation : subjectivity and discourse“. Thesis, University of East London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.532412.

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33

Streete, Adrian George Thomas. „Calvinism, subjectivity and early modern drama“. Thesis, University of Stirling, 2001. http://hdl.handle.net/1893/12800.

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This thesis examines the connections between Calvinism and early modern subjectivity as expressed in the drama produced during the reigns of Elizabeth I and James I. By looking at a range of theological, medical, popular, legal and polemical writings, the thesis aims to provide a new historical and theoretical reading of Calvinist subjectivity that both develops and departs from previous scholarship in the field. Chapter one examines the critical question of 'authority' in early modern Europe. I trace the various classical and medieval antecedents that reinscribed Christ with political authority during the period, and show how the Reformers' conception of conscience arises out of this movement. In chapter two, I offer a parallel reading of Reformed semiotics in relation to the individual's response to two specific loci of power, the Church and the stage. Chapter three brings the first two chapters together by outlining the development of Calvinist doctrine in early modem England. Chapter four offers a theoretical reading of the early modern 'unconscious' in relation to the construction of England as a Protestant nation state against the threat of Catholicism. In the next four chapters, I show how the stage provided the arena for the exploration of Calvinist subjectivities through readings of four early modern plays. Chapter five deals with Christopher Marlowe's Doctor Faustus and in particular the Calvinist conception of Christ interrogated throughout the play. Chapter six looks at The Revenger's Tragedy in relation to the question of masculine lineage and the Name-of-the-(Calvinist)-Father. Finally, in chapters seven and eight, I examine two of William Shakespeare's plays, Macbeth and Antony and Cleopatra. In the first, I demonstrate how the play's concern with witchcraft brings about a parody of providential discourse that is crucial to an understanding of Macbeth's subjectivity. And in the second, I excavate the use of the biblical book of Revelation in Antony and Cleopatra in order to show how an understanding of the text's 'religious' concerns problematises more mainstream readings of the drama.

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Lorenc, Theodore Eliot. „Soul, logos and subjectivity in Plotinus“. Thesis, King's College London (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.435359.

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35

Sotelo, Castro Luis Carlos. „Participation cartography : performance, space, and subjectivity“. Thesis, University of Northampton, 2009. http://nectar.northampton.ac.uk/2966/.

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This study presents the term Participation Cartography as an overarching category of analysis for a wide range of artistic practices that, in one way or another, enable participants to position themselves subjectively in relation to a given performed space. By re-defining cartography from a discipline concerned with the visual representation of the observable world into a performance praxis that requires audience participation, enabling participants to position themselves in relation to a given performed space, I expand the range of practices considered by previous literature. Further, I raise issues in relation to the connections of subjectivity, space, performance, and cartography. My argument is that Participation Cartography describes a type of practice in and through which the Subject who moves in space is both mapped and positioned. By linking Felix Guattari’s (1995) term ‘cartography of subjectivity’ with Deirdre Heddon’s (2008) investigation on autobiographical tours made by artists (‘autotopographies’), Participation Cartography locates the practices here under study within a terrain that blurs everyday life and art, autobiography and representation of subjects-in-movement. In so doing, Participation Cartography expands previous notions such as ‘psychogeography’ (Kanarinka, 2006, McDonough, 2002), ‘collaborative mapping’ (Sant, 2004), ‘locative media’ (Hemment, 2006) and ‘autotopography’ (Heddon, 2008). Participation Cartography describes a type of social activity or, in Allan Kaprow’s terms, a kind of ‘participation performance’ (Kaprow, 2003) that enables participants to present the self (Goffman, 1990) as a being-in-motion within the public arena of performance. Michel De Certeau’s (1984) ‘The Practice of Everyday Life’ is used as a theoretical model to analyse the tensions raised by Participation Cartography between the artists’ strategies, the participants’ performances, and the representations of those performances that remain. Positioning, as used within a field in social psychology called ‘Positioning Theory’ (Harre and Van Langenhove, 1999) is applied to the analysis of the practices here under study. Participation Cartography turns the spectator into a participant. More concretely, participants are turned into both producers and users of cartographies of the Subject they co-produce with others. As a self-reflexive practice that creates agency, it enables participants to fabricate interconnections between performance, space, and subjectivity, blurring the boundaries between art and therapy. Key practices that are discussed in this thesis include a locative media project by Jen Southern (UK) and Jen Hamilton (Canada) titled Running Stitch (2006), Untitled Action for the Arches (2005), a live art work by Kira O’Reilly (Ireland), and my own collaborative pieces, The Shoemakers’ Ball (2006) and We the Colombia National Team (2003)

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Crossley, Emilie. „Volunteer tourism, subjectivity and the psychosocial“. Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/61298/.

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Volunteer tourism is an increasingly popular practice that provides tourists with the opportunity to contribute to community development or environmental projects, usually in Third World countries. This research explores the potential of volunteer tourism to develop cross-cultural understanding, transform tourists into more charitable, ethical subjects and foster more reciprocal relations between tourists and visited communities. The research uses a longitudinal methodology to follow ten young people from the UK through time and space as they embark on a journey to Kenya with a commercial volunteer tourism provider. Using a combination of repeated in-depth interviews and participant observation, I show how volunteer tourists produce understandings, or ‘imaginaries’, of poverty, authenticity and care that simultaneously enable and constrain their ability to act ethically. I argue that the complexities of the volunteer tourism encounter can only be understood through a psychosocial account of subjectivity that articulates the point of suture between the social and the psychological. Drawing on Lacanian psychoanalytic theory to interpret the volunteer tourists’ narratives, I show that it is possible to approach the psychological in tourism studies in a non-reductive and culturally engaged way. This psychoanalytic reading provides insight into how volunteer tourists’ perceptions are refracted through cultural fantasies of the non-Western Other, how they are confronted by the demands of contradictory ideological injunctions and how their investment in consumer identities presents a barrier to ethical transformation. The thesis concludes that in order to harness volunteer tourism’s potential as a means of achieving social transformation, greater attention must be paid to subjectivity and the psychosocial as a way of understanding the social demands, desire and investments experienced by volunteer tourists.

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Gray, Joshua N. W. „Wittgenstein on subjectivity : a phenomenological interpretation“. Thesis, University of Hull, 2014. http://hydra.hull.ac.uk/resources/hull:10889.

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38

Cupo, Dimitra. „Toward a Theory of Female Subjectivity“. ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1219.

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Poststructuralist accounts of gender provide a useful theoretical space to unpack the workings of power and domination as they structure the organization of our language, representations, concepts, and discourse in general. One significant flaw of this theory is a failure to adequately account for the social realm of embodied individuals, social interactions, and interpretive moments. In this paper, I offer conventional femininity as a particular type of gendered habitus that highlights this theoretical flaw as it necessarily links what is promising and useful about poststructuralist accounts of gender with the physical, social, interactive, and interpretive everyday lives of women.

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Bernhagen, Lindsay M. „Sounding Subjectivity: Music, Gender, and Intimacy“. The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365258753.

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40

Banea, Carmen. „Extrapolating Subjectivity Research to Other Languages“. Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271777/.

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Socrates articulated it best, "Speak, so I may see you." Indeed, language represents an invisible probe into the mind. It is the medium through which we express our deepest thoughts, our aspirations, our views, our feelings, our inner reality. From the beginning of artificial intelligence, researchers have sought to impart human like understanding to machines. As much of our language represents a form of self expression, capturing thoughts, beliefs, evaluations, opinions, and emotions which are not available for scrutiny by an outside observer, in the field of natural language, research involving these aspects has crystallized under the name of subjectivity and sentiment analysis. While subjectivity classification labels text as either subjective or objective, sentiment classification further divides subjective text into either positive, negative or neutral. In this thesis, I investigate techniques of generating tools and resources for subjectivity analysis that do not rely on an existing natural language processing infrastructure in a given language. This constraint is motivated by the fact that the vast majority of human languages are scarce from an electronic point of view: they lack basic tools such as part-of-speech taggers, parsers, or basic resources such as electronic text, annotated corpora or lexica. This severely limits the implementation of techniques on par with those developed for English, and by applying methods that are lighter in the usage of text processing infrastructure, we are able to conduct multilingual subjectivity research in these languages as well. Since my aim is also to minimize the amount of manual work required to develop lexica or corpora in these languages, the techniques proposed employ a lever approach, where English often acts as the donor language (the fulcrum in a lever) and allows through a relatively minimal amount of effort to establish preliminary subjectivity research in a target language.

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McKernan, John Francis. „Truth, objectivity and subjectivity in accounting“. Thesis, Connect to e-thesis, 2001. http://theses.gla.ac.uk/970/.

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Thesis (Ph.D.) - University of Glasgow, 2001.
Ph.D. thesis submitted to the Faculty of Social Sciences, University of Glasgow, 2001. Includes bibliographical references. Print version also available.

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Elliott, Mary Jane. „Transmigratory subjectivity in contemporary latina fiction /“. Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/9315.

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43

Videmanis, Johanna Hannelore. „Subjectivity as semiosis: A Peircean perspective“. Thesis, Videmanis, Johanna Hannelore (1993) Subjectivity as semiosis: A Peircean perspective. Honours thesis, Murdoch University, 1993. https://researchrepository.murdoch.edu.au/id/eprint/51490/.

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The onto-epistemological status of the person is the subject of much current debate, which centres around the question 'Are humans active agents with freewill or are their thoughts and actions merely products of their sociopolitical environment?' My analysis of Peirce's contention that a person is a sign has been an attempt to contribute to the debate by providing a metaphysical foundation on which we can base the explanation of the nature of human agency within communal semiosis. Two specific characteristics of the sign and semiosis constitute the fecundity of Peirce's theory: haecceity (or dialogical action/reaction) and continuity. For Peirce, every sign is always a sign, in the form of its representation, for the subsequent one in an infinite process of semiosis, or sign translation. Haecceity means that all signs are actively engaged with each other in a complex interrelationship: the person as a sign, although constrained by communal semiosis, actively participates within it. Continuity, which underlies the dynamic semiosic process, allows the transference of some similarity of meaning along a particular chain of signification. But since all signs are also continuous with each other, elements from various other signs may enter into a particular interpretative act. In other words, signs grow: semiosis is inherently creative. The person, as a creative sign, has the ability to impute meaning into individual semiosis, and therefore, does not remain imprisoned within established communal meaning. In fact, with its continued usage, or haecceity with other signs, the new sign, may penetrate the established network of communal signs. Therefore, by accepting Peirce's contention that a person is a sign, we have established the basis for a coherent theory of active agency who is both influenced by and participates within communal semiosis.

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Ciuca, Diana M. „Reducing Subjectivity: Meditation and Implicit Bias“. Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/cmc_theses/1213.

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Implicit association of racial stereotypes is brought about by social conditioning (Greenwald & Krieger, 2006). This conditioning can be explained by attractor networks (Sharp, 2011). Reducing implicit bias through meditation can show the effectiveness of reducing the rigidity of attractor networks, thereby reducing subjectivity. Mindfulness meditation has shown to reduce bias from the use of one single guided session conducted before performing an Implicit Association Test (Lueke & Gibson, 2015). Attachment to socially conditioned racial bias should become less prevalent through practicing meditation over time. An experimental model is proposed to test this claim along with a reconceptualization of consciousness based in meditative practice.

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McLeod, Shaun, und shaun mcleod@deakin edu au. „Chamber: Dance improvisation, masculine embodiment and subjectivity“. Deakin University. School of Communication and Creative Arts, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20061207.114658.

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46

Mandell, Deena. „Fathers and child support, discourse and subjectivity“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0007/NQ35236.pdf.

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47

Warder, Kristen M. „Her self becoming, Dionne Brand's poetic subjectivity“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0018/MQ47973.pdf.

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48

Carboni, Camilla. „Film spectatorship and subjectivity : semiotics, complications, satisfactions“. Thesis, Link to the online version, 2007. http://hdl.handle.net/10019/1671.

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49

Cristian, Alin. „Perspectives on Ricoeur's early hermeneutics of subjectivity“. Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61099.

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In this thesis I examine the initial stage of Paul Ricoeur's hermeneutics of the "I am," focusing particularly on the question of method.
In Chapter 1 I analyze how psychoanalysis opens a space for Ricoeur's hermeneutics of "I am" by redirecting doubt towards the origins of meaning. I will try to show that the premises of this hermeneutics--the analogy between subjective manifestations and texts--preclude strong methodological commitments.
The Second Chapter focuses on the main argument Ricoeur makes in favor of method. His attempt to set in motion a dialectic between phenomenology of subjectivity and structuralism will be questioned with respect to the power this dialectic has to capture the "I" as the generative moment of the interpreted series of subjective manifestations.
Finally, with the analysis of Heidegger in Chapter 3, it will become apparent that the very framework of discussion in terms of subject-object, structure-event, signifier-signified has to be replaced by an ontological approach and that from this perspective subjectivity is ultimately beyond the grasp of any methodology. (Abstract shortened by UMI.)

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Short, Susan Eva. „Machine dreams : cyborg cinema and contemporary subjectivity“. Thesis, Lancaster University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397045.

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Dissertationen zum Thema „Subjectivity“

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