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Dissertations / Theses on the topic 'Corporeality'
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Maudlin, Julie Garten. "Teaching bodies curriculum and corporeality /." Click here to access dissertation, 2006. http://www.georgiasouthern.edu/etd/archive/spring2006/julie%5Fg%5Fmaudlin/maudlin%5Fjulie%5Fg%5F200601%5Fedd.pdf.
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Thesis (Ed.D.)--Georgia Southern University, 2006."A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education" ETD. Includes bibliographical references (p. 141-156)
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Stuber, Dorian. "Waving, drowning, trauma, representation, corporeality." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0003/MQ42209.pdf.
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Walkerden, Nicola Catherine. "A Conflicted Corporeality of Cinema." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/15521.
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This practice driven research paper is an experimental exploration of the embodied cinematic situation in contemporary art. An assemblage of moments, it investigates how moving and mental images travel between the body and situation as an experience of time in contemporary arts practices. Written in the format of a screenplay, it is constructed as a montage loop of information discussing how the body and film measures and records time as experience in encountering performance, film and situations in expanded cinema. Encompassing topics such as the senses, neurofilmology, material engagement, philosophy, chronoception, situated conceptualisation, caves, and the double slit experiment in quantum mechanics, research draws on examples of creative works from contemporary art exhibitions, theatre and film. Discussion refers to production processes of 16mm film, method acting in performance, the genre of meta-films, the construction of situations and how the percept screen of the body auditions representations of experience.
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Lewy, Mordechay. "Corporeality in Jewish Thought and Art." Universität Potsdam, 2011. http://opus.kobv.de/ubp/volltexte/2011/5331/.
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The essay compares the dichotomous concepts of corporeality and spirituality in Judaism and Christianity. Through the ages, deviations from normative principles of beliefs could be discerned in both religions. These can be attributed either to the somewhat confrontational interaction between Jews and Christians in the Medieval urban environment or to the impact of Hellenic civilization on both monotheistic religions. Out of this dynamic impact emerged Christian art with a predilection to expressed corporeality, whereas Jewish religiosity found its artistic expression in a spiritual noniconographical mode. A genuine Jewish art and iconography could develop only after a certain degree of assimilation and secularization. Marc Chagall was the first protagonist of a mature expression of Jewish iconography.Im Essay werden Körperlichkeit und Spiritualität als dichotomes Begriffspaar im Judentum (und Islam) gegenüber dem Christentum verglichen. Im Geschichtsverlauf wurden bei beiden Religionen Abweichungen von den sogenannten normativen Glaubenssätzen festgestellt. Diese können sowohl auf gegenseitige Beeinflussung (Anpassung durch Konfrontation im Mittelalter zwischen Judentum und Christentum) wie auch auf externe Akkulturationsprozesse (Hellenisierungsprozess im antiken Judentum) zurückgeführt werden. Es entsteht ein dynamisches Wechselspiel, wobei in der christlichen Kunst eine allmähliche Verkörperlichung stattfindet, während sich die jüdische Religiosität und der Kunstausdruck auf eine Vergeistigung festlegen. Eine eigenständige jüdische Kunstsprache und Ikonographie konnte allerdings erst nach einem gewissen Assimilationsgrad und Säkularisierungsprozess entstehen. Bei Marc Chagall hatte sie ihre erste Reife erreicht.
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Shi, Yan, and 史言. "Dialectic of corporeality and poetical imagination." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B43785013.
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Nederberg, Annelie. "Corporeality in music for contemporary dance." Thesis, De Montfort University, 2012. http://hdl.handle.net/2086/9879.
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The focus of this thesis is how the body and its corporeal articulations can be used as a tool for composing for contemporary dance, with the aim of creating music with corporeal qualities that communicates on a physical level. For this purpose the author has collaborated with choreographers in a practice-based approach to examine how the body of the composer can be exploited in composition and performance, and how the voice can be exploited as a mediator between body movement and music. The body and its sensorimotor system is the foundation for our understanding of abstract concepts in music; the immaterial movement of music can serve as a foundation for a deep bodily-sensed understanding of complex concepts. By reversing this process of understanding, or rather by engaging in the action-perception loop of conceptual understanding, this understanding can help encapsulating abstract and complex concepts artistically in music. For this purpose the Feedback Instrument has been created, representing a direct way of engaging the sensorimotor system of the composer, where the intuitive body resonances are engaged in close connection with the sounding music.
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Phibbs, Suzanne. "Transgender identities and narrativity: Performativity, agency corporeality." Thesis, University of Canterbury. Sociology, 2001. http://hdl.handle.net/10092/4635.
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A study of transgender embodiment provides a unique vantage point from which to examine how people take up, and are constituted by, ideas about sex and gender. Discontinuities between the anatomical bodies and social identities of transgendered people trouble conventional understandings about bodies and selves. At the same time people who use gender reassignment technologies attach considerable authority to normalising discourses about bodies and identities, masculinity and femininity. This thesis explores subjectivity, agency, citizenship and community through analyses of conversations with 'transgendered' people in Australia and New Zealand.
The thesis consists of distinct but interrelated essays that explore the relationship between global technologies and the local achievement of identities. It illustrates how conversations about identity in transgendered social spaces are also discussions about the medicalisation of sex and gender and the social/institutional expectations associated with particular gender identities. Attention to the situated dimensions of social interaction suggests that it is not just discourses, but also corporeality and spaces, that make certain subject positions available to actors. Holding 'public stories' and the particularistic features of personal narratives in play, I argue that both stories and identities emerge from interaction - shifting and changing according to the spaces and times in which they are embedded.
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Bru-Domínguez, Eva. "Beyond containment : corporeality in Mercè Rodoreda's literature." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/2982/.
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This thesis examines constructions of corporeality in three novels by the Catalan author Mercè Rodoreda: El carrer de les Camèlies (1966), Mirall trencat (1974) and La mort i la primavera (1986), and the short stories: ‘Aquella paret, aquella mimosa’, ‘Una fulla de gerani blanc’ and ‘La meva Cristina’. The study is concerned with locating the author’s formulations of the body in relation to the Catalan socio-historical context and argues that by rendering corporeal representation problematic Rodoreda enters into dialogue with Catalonia’s own historical past, often challenging culturally specific social, sexual, political and aesthetic precepts. The thesis primarily draws on visual and spectatorship theory, urban and spatial studies and feminist analyses in order to explore the idea of the politically, culturally and gender coded body as limit or border. It covers four main areas of analysis: the idea of the body as surface, image and texture and the practices of viewing that objectify the body; the relationship between the body and domestic and urban space; the culturally and politically constructed body as limit; and the concept of the abject or open body which in Rodoreda’s literature is often the consequence of either social, visual or physical violence.
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Gushcha, L. "CORPOREALITY. BETWEEN THE SUBJECT AND THE BODY." Thesis, Національний авіаційний університет, 2014. http://er.nau.edu.ua/handle/NAU/15066.
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Dinter, Martin Tobias. "Lucan's epic body : corporeality in the Bellum Civile." Thesis, University of Cambridge, 2006. https://www.repository.cam.ac.uk/handle/1810/251995.
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Richardson, Ingrid, University of Western Sydney, and of Arts Education and Social Sciences College. "Telebodies and televisions : corporeality and agency in technoculture." THESIS_CAESS_XXX_Richardson_I.xml, 2003. http://handle.uws.edu.au:8081/1959.7/651.
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In this work, the author aims to trace some of the transformative effects of televisual technologies in contemporary post-industrial culture, and to critically assess their impact on the way knowledge is produced, and experience a sense of embodiment and social agency. The relation between humans and tools is questioned, and the hybridity of words such as technoculture and biotechnology is investigated, arguing that the separation of human and technology,and body and tool, at the level of both existence and knowledge is a synthetic distinction. Specifically, the author concentrates on some of the medium specific effects of postclassical visualising technologies, from high-end ensembles such as virtual reality and medical imaging apparatuses, to the mundane apparatus of television and the remote control device. Such ways of seeing, it is argued, collaborate in producing an emergent tele-body, or a telesomatic mode of perception and knowing which exceeds standard epistemologies of vision in both science and the everyday. This work thus aims to develop a theoretical and conceptual framework for understanding the variable effects of postclassical technovision and televisuality upon our modes of embodiment.Doctor of Philosophy (PhD)
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Večerskis, Donatas. "Intersection of intersubjectivity and corporeality. The phenomenological perspective." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2009~D_20090519_083444-55934.
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There are explored interconnections between corporeality and intersubjectivity in this thesis. Intersubjectivity is reflected in the light of openness of person’s thinking to otherness and in the light of Other’s alliance for possibility of recognition. Corporeality is perceived as a perspective of human being in the world; the research on the non-objective corporeality is being carried out along with connection to phenomena. It is being considered how fields of corporeality and intersubjectivity interconnect together and what this bond tells to us.
The aim of this thesis is to reveal, while analyzing fields of intersubjectivity and corporeality, the origin of intersubjectivity in experiences of various alterations, the particularity of corporeality and the intersections of both fields in the intercorporeality. In this thesis the dual research strategy is used: the philosophical texts are being analyzed (the major attention is directed to those texts of the authors, which are represented by the phenomenological tradition) and there is a constant turning back to the experience descriptions of phenomena.
The thesis consists of the introduction, three sections, conclusion and the list of literature used. The structure of the thesis is predetermined by the fulfillment of the aim set: the research of intersubjectivity leads to the field of corporeality, and the investigation of the latter finally opens up the new aspect of intersubjectivity – intercorporeality, which as the... [to full text]Disertacijoje tyrinėjamos kūniškumo ir intersubjektyvumo plotmės bei jų sąsajos. Intersubjektyvumas disertacijoje analizuojamas žmogaus mąstymo atvirumo kitybei ir Kito svetimumo pažinimo galimybės šviesoje. Kūniškumas apmąstomas kaip žmogaus buvimo pasaulyje perspektyva, atliekamas neobjektyvizuojantis kūniškumo ir su juo susijusių reiškinių tyrimas. Analizuojama, kaip tarpusavyje susijusios intersubjektyvumo ir kūniškumo plotmės, ir ką ši sąsaja byloja. Disertacijos tyrimo tikslas – tyrinėjant intersubjektyvumo, interkūniškumo plotmes bei jų sąsajas, atskleisti intersubjektyvumo kilmę įvairialypėse kitybės patirtyse, kūniškumo fenomeno specifiškumą ir abiejų šių plotmių saitus bei abipusę jų priklausomybę kaip interkūniškumą. Disertacijoje naudojama dvejopa tyrimo strategija: analizuojami filosofų tekstai, pagrindinį dėmesį sutelkiant į fenomenologinę tradiciją atstovaujančių autorių tekstus, ir nuolat atsigręžiama į patirtinį aprašomų fenomenų lauką. Disertaciją sudaro įvadas, trys dalys, išvados ir literatūros sąrašas. Disertacijos struktūrą lėmė išsikelto tyrimo tikslo įgyvendinimas: interubjektyvumo tyrimas atveda prie kūniškumo plotmės, o pastarosios tyrimas galiausiai atveria naują intersubjektyvumo aspektą – interkūniškumą, kuris, kaip abiejų plotmių sąsaja, yra tyrinėjamas paskutinėje dalyje.
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Allen, Kate Rose Dunning. "Mobial Corporeality in W. S. Merwin’s Ecopoetic Corpus." Case Western Reserve University School of Graduate Studies / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=case1459444066.
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Richardson, Ingrid. "Telebodies and televisions : corporeality and agency in technoculture." Thesis, View thesis View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/651.
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In this work, the author aims to trace some of the transformative effects of televisual technologies in contemporary post-industrial culture, and to critically assess their impact on the way knowledge is produced, and experience a sense of embodiment and social agency. The relation between humans and tools is questioned, and the hybridity of words such as technoculture and biotechnology is investigated, arguing that the separation of human and technology,and body and tool, at the level of both existence and knowledge is a synthetic distinction. Specifically, the author concentrates on some of the medium specific effects of postclassical visualising technologies, from high-end ensembles such as virtual reality and medical imaging apparatuses, to the mundane apparatus of television and the remote control device. Such ways of seeing, it is argued, collaborate in producing an emergent tele-body, or a telesomatic mode of perception and knowing which exceeds standard epistemologies of vision in both science and the everyday. This work thus aims to develop a theoretical and conceptual framework for understanding the variable effects of postclassical technovision and televisuality upon our modes of embodiment.
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Richardson, Ingrid. "Telebodies & televisions corporeality and agency in technoculture /." View thesis View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040723.150417/index.html.
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Milovanovic, Dara. "The Fosse Woman : analysis of femininity, aesthetics and corporeality." Thesis, Kingston University, 2018. http://eprints.kingston.ac.uk/42587/.
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Fosse style and ideas regarding gender have radicalised and politicised gender in popular dance on screen. This thesis examines the construction of femininity in Fosse‟s dance repertory for screen through choreography, filmic techniques, and performances by female dancers. Firmly situated in dance analysis, this research relies on an interdisciplinary methodology, which includes dance studies, gender studies, feminist film theory, and post-structuralism. Using theoretical discourses on masquerade, camp sensibility, and feminist film theory the analysis examines the way that female bodies are marked as feminine with choreography and screendance techniques to construct a theatrical performance of hyper-femininity as a political strategy to questions discourses surrounding representations of women in musical films. This thesis critically evaluates the aesthetic properties of spectacle, exaggeration, and artifice in Fosse‟s choreography and its effect on implications of femininity. Representations of femininity are considered in light of aesthetics, specifically excess exhibited through glamour and the grotesque, as a means to comment on gender performativity. This study concentrates on dancing performed by female dancers in Fosse‟s work for screen in order to highlight the construction of femininity as a factor to challenge the hetero-normative, patriarchal system, which surrounds film production and positions images of women as passive. Using poststructural theory, the analysis focuses on the creative labour and corporeal identity of female dancers to challenge Fosse as a sole author of the dances. The examination of historiography indicates that Fosse‟s iconographic dance style and innovation in the way that dance is filmed continues influence on popular dance choreography in the late twentieth and twenty-first century furthers the discussion on authorship and transmission of physical vocabularies through time. Looking through a feminist lens, this study seeks to examine corporeality as subjectivity in order to examine notions of agency and power of female dancers in Fosse‟s work by employing the idea that dance theorises femininity within the film format.
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Withers, Emma Jane. "Virtual corporeality : narrative and spectacle in Hollywood VR cinema." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/65820/.
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This thesis is an inquiry into the emergence, development and eventual transmutation of the 'virtual reality' (VR) subgenre. I critically intervene in discourse on cinema, digital media, phenomenology and science fiction (SF) to explore how these films refract and enact Hollywood cinema‘s engagement with digital media and imaging technologies. Given that these films are about bodily immersive mediated experiences, I argue, their reflexive displays of special effects technologies are far from anti- or contra-narrative, as certain analyses imply. My emphasis on the imbrication of narrative and spectacle motivates a critical questioning of further, often interrelated and mutually sustaining dichotomies between body and mind, cognition and affect, cinema and digital media, real and virtual, reflection and immersion. Via close textual analysis with a phenomenological leaning, I explore how these films variously disrupt such binaries. As both old and new media produce and address differently mediated publics, they adopt, adapt and assimilate the narrative-aesthetic modalities of other (digital) media, negotiating their impacts upon our phenomenological relations to the world and to cinema. Through reflexive allusions to their increasingly mediated extradiegetic contexts, they function to uphold cinema‘s ability both to present innovative technological spectacle and to represent contemporary experiential realities. I explore how earlier VR films Tron and The Lawnmower Man aesthetically and conceptually 'map' VR, and how Strange Days and The Matrix ambivalently explore the implications of intensified and widespread virtual experience in radically different ways. I characterise Avatar and Source Code as 'Post-VR' cinema, in which formerly upheld dichotomies – particularly between 'real' and 'virtual' – prove untenably anachronistic. I ultimately maintain the value of an approach to popular cinema which apprehends genre, context and convergence, while advocating sustained and detailed close analysis as a means of grasping cinema‘s narrative-aesthetic functions in the digital age.
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Scanlon, Julie. "Novel bodies : corporeality and textuality in contemporary women's fiction." Thesis, University of Sheffield, 2003. http://etheses.whiterose.ac.uk/14749/.
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This thesis queries whether a relationship between bodies in texts and the narratology and stylistics of texts might be reconceived beyond metaphor. Specifically, it examines the textual politics arising from the representation of ambiguously-bounded bodies. Each of the four contemporary women's novels that I examine represents disorderly bodies in the first-person narrative voice, and the implications of this for considerations of identity, agency and feminism are considered. The thesis is divided into five chapters, the first introducing the reader to theories that frame the subsequent close textual analyses of the novels. Chapter One contextualizes my work in relation to the existing parameters of discussions of textual-corporeal relations and considers approaches to the ambiguously-bounded body and its symbolic function in society, ranging from the work of Mary Douglas and Mikhail Bakhtin to that of Susan Bordo and Julia Kristeva. In Chapter Two, the transsexual metamorph of Angela Carter's The Passion of New Eve (1977) is examined in terms of its transformative properties and its relationship to intertextuality. The plural, fluid, lesbian bodies of Monique Wittig's The Lesbian Body (1973) are discussed in connection with the text's transitivity choices and manipulations of discourses, in Chapter Three. Chapter Four investigates the depiction of the ambiguously-gendered body of the narrator of Jeanette Winterson's Written on the Body (1992) in comparison with the novel's depiction of sexed bodies through a discussion of concealment, cliche, synecdoche and focalization. Chapter Five examines the anorexic body of Jenefer Shute's Life-Size (1992) and the representation of its relationship to language on diegetic and narrative levels. In the Conclusion to the thesis, I indicate the ways in which taking a stylistic or narratological approach to textual-corporeal relations can be productive in illuminating textual politics, particularly from a feminist perspective.
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Lori, Marco. "Stan Brakhage's spiritual imperative : its origins, corporeality, and form." Thesis, Birkbeck (University of London), 2017. http://bbktheses.da.ulcc.ac.uk/257/.
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This thesis examines the topic of film-maker Stan Brakhage’s occult-derived spirituality. The origins and contents of his positions about spirituality and art are traced back to an occult-derived philosophical tradition discussed by and subsequently associated with the poet Ezra Pound. Pound recovered and reworked certain occult-related beliefs which in turn had roots in a medieval synthesis of ancient Greek doctrines. These beliefs constitute a precise historical perspective against which to read and understand Brakhage’s apparently eccentric positions about art as spiritual revelation, trance states, the Muses, the artist as instrument, and the divine as ineffable. After defining the origins and substance of what I term Brakhage’s spiritual imperative, other aspects of his spiritual quest are considered. The corporeality as functional to it, positioning it beyond a mere metaphysical sphere, and the formal features through which such spirituality is articulated and manifested, constitute the other two directions of my investigation. The corporeality of the world is discussed as a vital part of Brakhage’s spiritual imperative in his stances towards science, sex, the body, and rhythm. The actual form through which it is manifested his spirituality in art, and the theoretical implications of that form, are the topic of the third and last part of the investigation. This form is identified as fragmentation, intended by Brakhage to produce not only a continuous present for the viewers of his work, but also to imply a precise model for reality. Such model relates Brakhage’s spiritual imperative with his lifelong aversion to what he regarded as constricting forms, such as narrative and grammatical structures. The thesis aims to demonstrate the origins and theoretical content of Brakhage’s spiritual ideas as occult-derived, mainly through Pound; and to assess the resulting spirituality as deeply intertwined with the corporeality of the world, and manifested through a form related to his critical stances towards language and narration.
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Amato, Danielle Anna. "Collage corporeality : body and technology in contemporary American performance /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3099913.
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Donnarumma, Marco. "Configuring corporeality : performing bodies, vibrations and new musical instruments." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/19202/.
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How to define the relationship of human bodies, sound and technological instruments in musical performance? This enquiry investigates the issue through an iterative mode of research. Aesthetic and technical insights on sound and body art performance with new musical instruments combine with analytical views on technological embodiment in philosophy and cultural studies. The focus is on corporeality: the physiological, phenomenological and cultural basis of embodied practices. The thesis proposes configuration as an analytical device and a blueprint for artistic creation. Configuration defines the relationship of the human being and technology as one where they affect each other's properties through a continuous, situated negotiation. In musical performance, this involves a performer's intuition, cognition, and sensorimotor skills, an instrument's material, musical and computational properties, and sound's vibrational and auditive qualities. Two particular kinds of configuration feature in this enquiry. One arises from an experiment on the effect of vibration on the sensorimotor system and is fully developed through a subsequent installation for one visitor at a time. The other emerges from a scientific study of gesture expressivity through muscle physiological sensing and is consolidated into an ensuing body art performance for sound and light. Both artworks rely upon intensely intimate sensorial and physical experiences, uses and abuses of the performer's body and bioacoustic sound feedback as a material force. This work contends that particular configurations in musical performance reinforce, alter or disrupt societal criteria against which human bodies and technologies are assessed. Its contributions are: the notion of configuration, which affords an understanding of human-machine co-dependence and its politics; two sound-based artworks, joining and expanding musical performance and body art; two experiments, and their hardware and software tools, providing insights on physiological computing methods for corporeal human-computer interaction.
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Ray, Bidisha. "Contesting Respectability : Sexuality, Corporeality and NonBhadra Cultures in Colonial Bengal." Thesis, University of Manchester, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504751.
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This thesis exam.ines sexual and corporeal elements of cultural discourses and practices in Bengali society in the wake of a supposed 'Bengal Renaissance'. In Victorian Bengal the project of constructing a 'respectable', modern Bengali self under seemingly all-pervasive white imperialist tutelage set in motion fraught rearrangements of traditional Bengali cosmologies of selfhood, class, aesthetics, politics, and moral ideals. This thesis explores the content and politics of the combative dynamics of colonial Bengali 'respectability' along the deeply embedded, frequently disruptive, but historiographically shadowed register of sexuality. If being 'respectable' in a bhadra/ok idiom meant the marginalisation of all matters sexual, this thesis questions how far this was possible. Focusing on the nineteenth and early twentieth centuries, this study recovers the noticeable presence, subjectivities and impact of a number of hitherto neglected social actors, such as prostitutes, stage actresses, practitioners of certain popular religious cults and dissonant elite gentlemanly groups, among others, in an environment known otherwise to be dominated by abstemious intellectual refinements. Through its use of a number of little-discussed historical sources, this study demonstrates various ways in which such groups represented not merely demographic addenda but were active and influential figures within the colonial Bengali landscape. By unlocking a range of powerful yet historically neglected voices and by problematising aspects of available historiography, this thesis contributes to knowledge about the networks of social relations, contradictions and contingencies prevalent in colonial Bengal during these years.
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Nederberg, Annelie. "The corporeosonic composer : corporeality, feedback and movement in electronic music." Thesis, University of Surrey, 2018. http://epubs.surrey.ac.uk/849804/.
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This artistic inquiry contributes to the field of performed and acousmatic electronic music by nuancing the relationship between musician and instrument as going beyond control into intimacy, immersion and shifting identities. The main streams of inquiry have been to explore conceptualisations of corporeality in electronic music and how such music can be created in relatedness with the gestural body. I have contextualised the inquiry with corporeality as movement (Sheets-Johnstone) and with the feedback works of Eliane Radigue. I have created a gestural feedback instrument, which has allowed me to explore the movements of the body and of electronic music in performance and composition and to explore the relatedness between musician and instrument. This instrument is explored practically and conceptually with the goal of reaching beyond technological descriptions and the concept control. Through my practice I have explored concepts such as touch (Peters and Parviainen), living individuals (Rodgers), behaviour (Smalley and Keep) and contemporary animism (Bird-David and Viveiros de Castro) in composed and performed music. The music and the performances have been analysed and the findings fed back into the research process. The inquiry is documented in video recordings, technical documentation and process notes. Symbolised by the concept the corporeosonic composer, I have outlined a nuanced form of relatedness between musician and instrument based on intimacy (Bennett) rather than control, and with an attitude in which movement is primary and sounds are seen as living, perhaps spiritual, agencies. Sounds thus leave the ontological status of objects to instead become subjects and dividual persons (Strathern). The relatedness between these sounding subjects and the musician has been conceptualised as corporeosonic states of relatedness, as different forms of literal and apparent touch (Peters), and as shifting identities within a context of contemporary animism (Willerslev and Hedeager).
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Clocker, Robert Allen 1967. "The urban exploratory circus : infrastructure for corporeality, connectedness, and virtuosity." Thesis, Massachusetts Institute of Technology, 1998. http://hdl.handle.net/1721.1/37189.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1998.Includes bibliographical references (p. 126-130).
A traditional form of cultural critique, the circus rests its appeal in presenting extremes of the familiar and by removing perceptual barriers between people. Rather than directly confronting problems, the circus generates ideas of living and creating, seeking the unfamiliar to frame a new understanding. This proposal operates at regional, urban, architectural and bodily scales to provide a forum for exploration. Travelling structures facilitate a circus school and a deployable autonomous infrastructure to generate sites. Once set in motion, the ongoing event of the circus cultivates meaning through this connection in scales, sites, and people to create a narrative of action.
Robert Clocker.
M.Arch.
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Vinebaum, Lisa. "Body of the nation : corporeality, territory, performance : Palestine and Israel." Thesis, Goldsmiths College (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521810.
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The thesis is rooted in the study of the complicated relationships between the body and territory - and by extension, the body and the nation - in Palestine and Israel. This framework allows me to elaborate a more detailed study of the Palestinian suicide bomber, considered in relation to the occupation of Palestinian-inhabited territory in the west Bank and Gaza. I draw on examples from visual culture in which the deceased suicide bomber is commemorated as a martyr, in this way presenting an idealized image of the Palestinian nation. I argue that there is a relationship between territory, the "body" of the nation, and the body of the suicide bomber/martyr, and one in which ideals of self-sacrifice and resistance are performed by the martyr. In so doing I theorize the performance of martyrdom, the staging of the self as a martyr by the suicide bomber to be, as a type of subject formation under occupation, and as the enactment of a resistant subjectivity. This study asserts that the actions of the Palestinian suicide bomber are intentional and linked to territorial encroachment on Palestinian lands. In so doing it positions itself in opposition to a majority of the research literature on the subject. This research makes an innovative contribution to the study of Palestinian martyrdom by removing the suicide bomber from its primary field of study in the West, terrorism and security studies, and situating it within the realm performance studies. It proposes new understandings of the Palestinian suicide bomber, considered in terms of corporeality, performance, intentionality and subjectivity. Additionally the thesis considers performance as a research methodology. The elaboration of my theoretical propositions emerged in part through performance, the staging of myself in a mimetic attempt to put myself in the place of the Palestinian martyr. Through performance I "act out" material under consideration in the thesis while also positioning myself in relation to it. In this way I insert myself into the thesis as a critical and positioned subject. The notion of the positioned subject is also central to the practice element, where I use performance to position myself outside of mainstream North American Jewish identity. I perform various Others of my own Jewish identity, in this way asserting a resistant subjectivity.
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Di, Prete Laura. ""Foreign bodies" : trauma, corporeality, and textuality in contemporary American culture /." New York : Routledge, 2006. http://catalogue.bnf.fr/ark:/12148/cb40144872h.
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Pollard, Matthew. "The bodies of Kleist, aspects of corporeality in his dramatic works." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0018/NQ44555.pdf.
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Pollard, Matthew. "The bodies of Kleist : aspects of corporeality in his dramatic works." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35047.
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This dissertation examines the representations of the body in the completed dramatic works of Heinrich von Kleist (1777--1811). While taking into account the psychoanalytical and philosophical approaches to Kleist, this project has Heiner Miller's words as its point of departure: that the theater represents the collision of ideas with the body. The forces of power, gender and authority leave their traces of this collision on the bodies of his characters, whose metaphorical and literal falls, wounds and recoveries speak their own gestural language.This study is organized on the principle of Kleist's use of genre designation, the approximate chronological order of his plays, and the representation of the body. Chapter one focuses on Die Familie Schroffenstein, Der zerbrochne Krug, and Amphitryon and the notion of bodily authenticity and integrity; chapter two, on Die Hermannsschlacht and Penthesilea, looks at the spectacle of violence and its effect on the body mobilized by emotional extremity; the third chapter, on Kleist's most celebrated works, Prinz Friedrich von Homburg and Das Kathchen von Heilbronn, examines aspects of gender and vulnerability. The conclusion views his essay "Uber das Marionettentheater" not as a key to understanding his works, but rather as a culmination of them, and investigates Kleist's writing on the wounded body and its connection to grace.
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Berggren, Elliott. "A Grotesque and Gothic Corporeality : Queer Transgression in Closer and Frisk." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-104217.
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This thesis investigates how two novels by Dennis Cooper, Closer and Frisk, conceive of queer sexuality as transgressing heteronormative notions of moral standards, and how they challenge these by elevating their subject matters to an excessive degree. Drawing on the concepts of the grotesque and the Gothic, this thesis explores the aesthetics of Closer and Frisk, focusing in particular on the way corporeality figures as a central aspect of how these texts explore the ways in which the body becomes a site for Cooper’s discourses of transgression. Furthermore, drawing on Lee Edelman’s notion of the queer subject as inherently opposed to the value of every social form and structure, it is argued that the adverse representations of Cooper’s subjects work to add to this oppositionality. Thus, this thesis investigates how the queer expressions of desire in the texts are inextricable from the aberrant imagery of the body; the body as Gothically grotesque in the novels provides ways to configure alternative ways of conceptualizing the queer body and investigate its ties to transgression.
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Malo, Chenard Marianne Alicia. "Gender, corporeality and Christianity in the Old English Judith, Juliana and Elene." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0001/MQ34314.pdf.
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Cadenhead, Raphael Albert. "Corporeality and desire : a diachronic study of Gregory of Nyssa's ascetical theology." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648813.
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Patterson, Patrick. "The Debate over the Corporeality of Demons in England, c. 1670-1700." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc12180/.
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According to Walter Stephens, witch-theorists in the fifteenth century developed the witchcraft belief of demon copulation in order to prove the existence of demons and therefore the existence of God. In England, during the mid-seventeenth century, Cartesian and materialist philosophies spread. These new philosophies stated there was nothing in the world but corporeal substances, and these substances had to conform to natural law. This, the philosophers argued, meant witchcraft was impossible. Certain other philosophers believed a denial of any incorporeal substance would lead to atheism, and so used witchcraft as proof of incorporeal spirits to refute what they felt was a growing atheism in the world. By examining this debate we can better understand the decline of witchcraft. This debate between corporeal and incorporeal was part of the larger debate over the existence of witchcraft. It occurred at a time in England when the persecution of witches was declining. Using witchcraft as proof of incorporeal substances was one of the last uses of witchcraft before it disappeared as a valid belief. Therefore, a better understanding of this debate adds to a better understanding of witchcraft during its decline.
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Grogan, Bridget Meredith. ""Abject dictatorship of the flesh" : corporeality in the fiction of Patrick White." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001554.
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Patterson, Patrick Golden Richard M. "The debate over the corporeality of demons in England, c. 1670-1700 /." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/ark:/67531/metadc12180.
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Cooper, Adam Glyn. "Holy flesh, wholly deified : the place of the body in the theological vision of Saint Maximus the Confessor." Thesis, Durham University, 2002. http://etheses.dur.ac.uk/1672/.
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Cykman, Avital Grubstein de. "My body, my self, and my reading of corporeality in Margaret Atwood's fiction." reponame:Repositório Institucional da UFSC, 2014. https://repositorio.ufsc.br/xmlui/handle/123456789/123333.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários, Florianópolis, 2014.Made available in DSpace on 2014-08-06T18:05:27Z (GMT). No. of bitstreams: 1 325622.pdf: 754266 bytes, checksum: b6764c8269323f2bbf6cd1ff7d4fe906 (MD5) Previous issue date: 2014
A literatura contemporânea escrita por mulheres demonstra como o contexto histórico e sociocultural em que as personagens femininas são construídas afeta a percepção que as personagens têm do corpo e do self. Romances como os de Margaret Atwood exploram a corporealidade, ou, em outras palavras, a experiência material, social, cultural do corpo feminino, incluindo o corpo físico, emocional e as funções mentais na interligação do corpo com o mundo. Considerando tal contexto, esta tese investiga conceitos relacionados com gênero, o desconforto do corpo feminino enraizado nas relações sociais e a experiência material do corpo nos romances escritos por Margaret Atwood, Cat?s Eye (1989) e Bodily Harm (1981). A pesquisa centra-se na articulação literária e nos temas principais dos problemas de ser mulher, na análise da relação entre o corpo biológico e o conceito cultural do corpo, na crítica das representações sociais das mulheres e na possibilidade de transformação individual e social. Ela oferece uma análise por meio da literatura, juntamente com um diálogo entre os textos analisados e trechos de escrita criativa produzidos pela pesquisadora, refletindo a postura pós-estruturalista que inclui o observador nos fenômenos observados e funcionando como uma ponte entre o analítico e o criativo, o acadêmico e o artístico, bem como entre outras dicotomias históricas.
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Wilson, Corey Carter. "Dis/entwining Bodies: Magical Realism, Corporeality, and Reconciliation in Achmat Dangor’s Short Fiction." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1307.
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Following the formal conclusion of reconciliatory processes in a newly post-apartheid South Africa, narrative remained a perdurable, centripetal force. Extending into the realm of literature, the inquiries of the Truth and Reconciliation Commission were altered and enlarged. The mode of magical realism, in particular, emerged as a viable method not only for representing the world, but for working through uncertain futures and traumatic histories. Shimmering with the extraordinary and ineffable strangeness of the magical realist text, Achmat Dangor’s short story “The Devil”, offers expansive, recognizable and revelatory ways of dealing with the trauma of apartheid. Crucially, the narrative represents the private efforts of individual, personal healing in contradistinction with official processes of reconciliation. This thesis examines the ways in which “The Devil” proposes the body as a site of exploring the structuring antipodes of individual-collective and public-private, ultimately untethering these binaries through a process of bodily dis/entwining.
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Hur, Won Jae. "Corporeality in Contemplation: A Comparative Study of Edith Stein and Tibetan Buddhist Lojong." Thesis, Boston College, 2019. http://hdl.handle.net/2345/bc-ir:108649.
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Thesis advisor: John . Makransky“The body” has become a major focus of intellectual inquiry across academic disciplines over the last fifty years. The interest in the body has also intensified with recent advances in studies of materiality, affect, technology, and neuro and cognitive sciences. In Christian theology, works on the body have also grown rapidly. My aim in this essay is to make a contribution to contemporary Christian theological discussions on the nature and role of the human body by turning to Edith Stein’s writings on contemplation and engaging a comparative theological study of a particular Tibetan Buddhist meditation tradition called lojong (Tib. blo sbyong). The core issue that I address is the lack of practical traction between theologies of the body and a person’s actual relationship with her body in a life of Christian formation. Christian theology has not provided an adequate model of the body that can concretely inform Christian experience of the body and guide Christian practice. I argue that Stein’s extensive work on the body in both philosophical phenomenology and ascetico-contemplative theology can make a particularly important contribution to addressing this issue. However, Stein’s theory of the body has limitations that point to deeper issues in the ontology and anthropology she inherits from the Western Christian tradition. I argue for a comparative theological study of non-Christian sources that conceive the body in ways that shed new light on her view of the body. The current theological literature shows three broad approaches to constructing a theology of the body: re-appropriating neglected sources within the Christian tradition; appropriating concepts and methods from academic disciplines outside Christian theology; or a combination of the two. Yet, these approaches fall short of elucidating how theoretical work on the body should concretely affect bodily experience and practice. In addition to these approaches, there is a need to study theological sources that employ models where the body is better integrated into the anthropology and contemplative framework. I turn to Tibetan Buddhist lojong to reflect on how the points of convergence and divergence between lojong and Stein can help us develop a model of the body that addresses the lacunae in Christian theology of the body. I examine the underlying ‘subtle body’ model operative in lojong texts and argue for explicitly using a subtle body model in Christian contemplation
Thesis (PhD) — Boston College, 2019
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Theology
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Atkinson, Paul 1967. "Bordering duration : the shifting surfaces of materiality and corporeality in Bergson's writings on science." Monash University, Centre for Comparative Literature and Cultural Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5221.
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Galis, Polly. "Sexuality and corporeality in the work of Annie Ernaux, Nancy Huston and Nelly Arcan." Thesis, University of Leeds, 2018. http://etheses.whiterose.ac.uk/22713/.
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This thesis discusses the representation of sexuality and corporeality in the work of Francophone authors Annie Ernaux, Nancy Huston and Nelly Arcan, including a range of genres and drawing from their earliest publications to the most recent. It takes as its main objects of study the female body, and women's sexual development, experience and pleasure. In order, it examines the authors' perspectives on the following issues: dominant sexual discourses (mostly pornography and the media), sexual difference, the sexual representation of others (especially prostitutes and porn-stars), women's writing and the body politic. As the first comparative study of its kind, this thesis sheds light on the largely unexplored similarities between these authors' works, as well as their relevance to contemporary women's writing in French and to feminism more generally (despite evidence to the contrary). It asks: How is women's sexuality informed by dominant sexual discourses, and in what ways do the authors proffer a productive counter-narrative? How do they understand the gendered nature of women's situation, and to what extent do they resist or reinforce this? And how far does this extend to all women? Indeed, how do the authors represent other women in the first place? Finally, how do they define the body, and what is the relationship between the multiple bodies inside and outside of the text (including the authors' own)? By responding to these questions, this thesis reveals how Ernaux, Huston and Arcan's writing operates unrelentingly in the interest of female sexual and corporeal desire, remaining sensitive to the differences between women's backgrounds and experiences. In so doing, it concludes that their literature constitutes an innovative and important blueprint for more nuanced representations of feminine identity that, despite conflicting appearances, constitute a potent force against patriarchal systems and misogynist dogma.
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Pike, Holly Jane. "No/bodies : carcerality, corporeality, and subjectivity in the life narratives by Franco's female prisoners." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/5939/.
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This thesis examines female political imprisonment during the early part of Spain’s Franco regime through the life narratives by Carlota O’Neill, Tomasa Cuevas, Juana Doña, and Soledad Real published during the transition. It proposes the foregrounding notion of the ‘No/Body’ to describe the literary, social, and historical eradication and exemplification of the female prisoner as deviant. Using critical theories of genre, gender and sexuality, sociology and philosophy, and human geography, it discusses the concepts of subject, abject, spatiality, habitus, and the mirror to analyse the intersecting, influential factors in the (re)production of dominant discourses within Francoist and post-Francoist society that are interrogated throughout the corpus. In coining the concept of the ‘No/Body’ as a methodological approach, a narrative form, and a socio-political subject position, this thesis repositions the marginal and the (in)visible as an essential aspect of female carcerality. Read through this concept, the narratives begin to dismantle and rewrite dominant narratives of gender and genre for the female prisoner in such a way that the texts foreground the ‘No/Body’. This thesis thus presents the narrative corpus of lost testimonies as a form of radical textual and political practice within contemporary Spanish historiography.
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Dewsbury, John-David Charles. "Theatre, an empty space : a thought performance after Gilles Deleuze." Thesis, University of Bristol, 2000. http://hdl.handle.net/1983/7a9b6429-d582-4369-85d4-5c38606bf867.
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Adams, Patricia Lesley, and n/a. "The Implications for Artistic Expressions and Representations of Corporeality of the Experimental Techniques of Biomedical Engineering." Griffith University. Queensland College of Art, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060707.144314.
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While biological scientists justify their research into human genetic engineering on the grounds of its 'therapeutic' potential, art - particularly the genre of science fiction (whose origins can be traced to Mary Shelly's famous tale, Frankenstein) - has acted on the social through culture to alert us to the perilous repercussions of usurping the role of the 'Creator of Life.' Now, at the dawn of the new millennium, the scientific project of mapping human DNA seemingly complete, the plight of the genetically-engineered human has become an intense focus of cultural critique. This doctoral project can be differentiated by its focus on aesthetic inquiry into the implications for expressions and representations of corporeality in relation to contemporary biomedical engineering. It has incorporated stem cell research that entails the manipulation and redirection of adult stem cell fates. The project takes the form of practical and theoretical investigations into cellular responses, and is framed within the matrices of both an innovative collaborative art/science research model and the evolving process of practice-led arts research. The exploratory research is discursively located within the system/environment paradigm. This allows for boundaries between the philosophic and scientific disciplines of: 1. epistemology, 2. ethics and aesthetics and 3. biology and technology to become nodes in a relational network associated with: 1. living and non-living, 2. sentience and consciousness and 3. conceptions of humanness. The cycle of practice-led research culminates in a body of work that began with a project entitled apoptosis, and developed into a three part quasi-scientific vital force series of installations. Each of these installations references nineteenth century scientific experimental processes employed in a search for the essential components of the human being itself. The series of interactive installations is discussed and the processual, pioneering research model, whereby the artist becomes the 'human guinea pig' is theoretically and visually articulated. In addition, time-lapse videomicrograph image data, collected through laboratory experiments is interpreted and recontextualised by the artist-researcher for representation in the vital force series of immersive installations. In these installations the implications of the issues raised by biomedical engineering processes are expressed as a very physical, tactile encounter. The aim is that these encounters engender a multi-sensory experience for the individual viewer, who, when immersed in the aesthetic, corporeal, interactive installations as a participant who completes the work through their engagement. Thus, the significance of the study lies in its re-privileging of the aesthetic experience of corporeality in the discourses surrounding genetic manipulation. This exegesis, like the doctoral project itself, is cyclical; following the inseparable processes of theory and practice through which the implications of the core research issues for a hybrid art/science practice are explored. It echoes the qualitative, post-positivist research methodology used throughout the project, which aimed to overcome the third person perspective through such strategies as interactivity and hybridity.
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Adams, Patricia Lesley. "The Implications for Artistic Expressions and Representations of Corporeality of the Experimental Techniques of Biomedical Engineering." Thesis, Griffith University, 2005. http://hdl.handle.net/10072/367521.
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While biological scientists justify their research into human genetic engineering on the grounds of its 'therapeutic' potential, art - particularly the genre of science fiction (whose origins can be traced to Mary Shelly's famous tale, Frankenstein) - has acted on the social through culture to alert us to the perilous repercussions of usurping the role of the 'Creator of Life.' Now, at the dawn of the new millennium, the scientific project of mapping human DNA seemingly complete, the plight of the genetically-engineered human has become an intense focus of cultural critique. This doctoral project can be differentiated by its focus on aesthetic inquiry into the implications for expressions and representations of corporeality in relation to contemporary biomedical engineering. It has incorporated stem cell research that entails the manipulation and redirection of adult stem cell fates. The project takes the form of practical and theoretical investigations into cellular responses, and is framed within the matrices of both an innovative collaborative art/science research model and the evolving process of practice-led arts research. The exploratory research is discursively located within the system/environment paradigm. This allows for boundaries between the philosophic and scientific disciplines of: 1. epistemology, 2. ethics and aesthetics and 3. biology and technology to become nodes in a relational network associated with: 1. living and non-living, 2. sentience and consciousness and 3. conceptions of humanness. The cycle of practice-led research culminates in a body of work that began with a project entitled apoptosis, and developed into a three part quasi-scientific vital force series of installations. Each of these installations references nineteenth century scientific experimental processes employed in a search for the essential components of the human being itself. The series of interactive installations is discussed and the processual, pioneering research model, whereby the artist becomes the 'human guinea pig' is theoretically and visually articulated. In addition, time-lapse videomicrograph image data, collected through laboratory experiments is interpreted and recontextualised by the artist-researcher for representation in the vital force series of immersive installations. In these installations the implications of the issues raised by biomedical engineering processes are expressed as a very physical, tactile encounter. The aim is that these encounters engender a multi-sensory experience for the individual viewer, who, when immersed in the aesthetic, corporeal, interactive installations as a participant who completes the work through their engagement. Thus, the significance of the study lies in its re-privileging of the aesthetic experience of corporeality in the discourses surrounding genetic manipulation. This exegesis, like the doctoral project itself, is cyclical; following the inseparable processes of theory and practice through which the implications of the core research issues for a hybrid art/science practice are explored. It echoes the qualitative, post-positivist research methodology used throughout the project, which aimed to overcome the third person perspective through such strategies as interactivity and hybridity.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
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Večerskis, Donatas. "Intersubjektyvumo ir kūniškumo plotmių sankirta. Fenomenologinė perspektyva." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2009~D_20090519_083229-20685.
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Disertacijoje tyrinėjamos kūniškumo ir intersubjektyvumo plotmės bei jų sąsajos. Intersubjektyvumas disertacijoje analizuojamas žmogaus mąstymo atvirumo kitybei ir Kito svetimumo pažinimo galimybės šviesoje. Kūniškumas apmąstomas kaip žmogaus buvimo pasaulyje perspektyva, atliekamas neobjektyvizuojantis kūniškumo ir su juo susijusių reiškinių tyrimas. Analizuojama, kaip tarpusavyje susijusios intersubjektyvumo ir kūniškumo plotmės, ir ką ši sąsaja byloja. Disertacijos tyrimo tikslas – tyrinėjant intersubjektyvumo, interkūniškumo plotmes bei jų sąsajas, atskleisti intersubjektyvumo kilmę įvairialypėse kitybės patirtyse, kūniškumo fenomeno specifiškumą ir abiejų šių plotmių saitus bei abipusę jų priklausomybę kaip interkūniškumą. Disertacijoje naudojama dvejopa tyrimo strategija: analizuojami filosofų tekstai, pagrindinį dėmesį sutelkiant į fenomenologinę tradiciją atstovaujančių autorių tekstus, ir nuolat atsigręžiama į patirtinį aprašomų fenomenų lauką. Disertaciją sudaro įvadas, trys dalys, išvados ir literatūros sąrašas. Disertacijos struktūrą lėmė išsikelto tyrimo tikslo įgyvendinimas: interubjektyvumo tyrimas atveda prie kūniškumo plotmės, o pastarosios tyrimas galiausiai atveria naują intersubjektyvumo aspektą – interkūniškumą, kuris, kaip abiejų plotmių sąsaja, yra tyrinėjamas paskutinėje dalyje.There are explored interconnections between corporeality and intersubjectivity in this thesis. Intersubjectivity is reflected in the light of openness of person’s thinking to otherness and in the light of Other’s alliance for possibility of recognition. Corporeality is perceived as a perspective of human being in the world; the research on the non-objective corporeality is being carried out along with connection to phenomena. It is being considered how fields of corporeality and intersubjectivity interconnect together and what this bond tells to us. The aim of this thesis is to reveal, while analyzing fields of intersubjectivity and corporeality, the origin of intersubjectivity in experiences of various alterations, the particularity of corporeality and the intersections of both fields in the intercorporeality. In this thesis the dual research strategy is used: the philosophical texts are being analyzed (the major attention is directed to those texts of the authors, which are represented by the phenomenological tradition) and there is a constant turning back to the experience descriptions of phenomena. The thesis consists of the introduction, three sections, conclusion and the list of literature used. The structure of the thesis is predetermined by the fulfillment of the aim set: the research of intersubjectivity leads to the field of corporeality, and the investigation of the latter finally opens up the new aspect of intersubjectivity – intercorporeality, which as the... [to full text]
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Davies, Hayon Kaya. "The embodiment of subjectivity in contemporary Maghrebi and French cinemas." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/the-embodiment-of-subjectivity-in-contemporary-maghrebi-and-french-cinemas(00c37c24-4395-433d-a8de-8d68fd13493d).html.
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This thesis examines a cluster of recent films that feature people of Maghrebi heritage and position corporeality as a site through which subjectivity and self-other relations are constituted and experienced. These films are set in and between the countries of the Maghreb, France and, to a lesser degree, Switzerland, and often adopt a sensual aesthetic that prioritises embodied knowledge, the interrelation of the senses and the material realities of emotional experience. However, despite the importance of the body in these films, no study to date has taken corporeality as its primary point of concern. Existing research in French and Francophone Studies focuses almost exclusively on the socio-political issues raised by the phenomenon of French “beur” cinema (films by and/or about young Maghrebi-French people), meaning that there has been no extended scholarly investigation into the importance of corporeality in recent films featuring people of Maghrebi heritage. Underpinned by an interdisciplinary theoretical framework that interweaves corporeal phenomenology with theological and feminist scholarship on the body from the Middle East and North Africa (MENA), this thesis seeks to provide the first longitudinal and comparative account of how Maghrebi people of different genders, ethnicities, sexualities, ages and classes have been represented corporeally in post-millennial Maghrebi and French cinemas. Via its acute focus on images of people of Maghrebi heritage and how their representations show them engaging with their environments through their bodies, this thesis is the first to apply the recent turn to corporeal phenomenology in Film Studies and feminism to critical interrogations of Maghrebi identities in Maghrebi and French films since the new millennium.
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Terrell, Lewis Neal. "A Woven Place." Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/30868.
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A building is designed from a set of initial intended needs and uses. Yet, a building is a construction of its time and values that will stand for future generations long after the client and architect have faded. Therefore, an architectural intervention has a responsibility to the greater whole, the city.
The subject of the thesis is the design of a house in Wilmington, North Carolina. The concern of the design is not the building as an object. The design is a proposal in architectural terms of what is necessary to render concrete the possibilities of a specific location that will serve our ever-changing daily needs, uses and desires with dignity. The proposal is based on an investigation of the fabric of place into which the building will be woven. That fabric consists of the natural landscape and the human interventions that have transformed it throughout its history.Master of Architecture
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Matsos, Christopher T. "“With Clotted Locks and Eyes Like Burning Stars”: Corporeality and the Supernatural on the Gothic Stage, 1786 - 1836." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274922246.
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Conway-Jones, Ann. "“Whether in the body or out of the body I do not know” : corporeality and heavenly ascent." Universität Potsdam, 2012. http://opus.kobv.de/ubp/volltexte/2012/6153/.
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Im Artikel werden Fragen zum Themenfeld Körperlichkeit und Aufstieg in die Himmel untersucht. Dies geschieht anhand von Texten vom 1. Buch Henoch bis hin zur Hekhalot Literatur, zudem werden Philos Schriften einbezogen. Es werden sowohl Beschreibungen der himmlischen Sphären als auch des Prozesses des Emporsteigens behandelt. Trotz seiner von Platon geprägten, negativen Theologie setzt Philo kosmologische und spirituelle Himmel voraus und stützt sich auf die biblische Vorstellung der strahlenden Herrlichkeit. Auch wenn die Texte des Aufstiegs in die Himmeln nicht in einer philosophischen Sprache verfasst sind, verdeutlichen sie dennoch, dass der Mensch nicht in seinem irdischen Körper in die Himmel aufsteigen kann und dass Gott nicht mit irdischen Augen gesehen werden kann. Ideengeschichtlich sind diese Texte nicht so weit vom Philosophen Philo entfernt wie dies zuerst den Anschein haben mag.This paper explores questions surrounding corporeality and heavenly ascent, in texts ranging from 1 Enoch to the Hekhalot literature, including Philo’s works. It examines both descriptions of the heavenly realms and accounts of the ascent process. Despite his Platonic apophaticism, Philo superimposes cosmological and spiritual heavens, and draws upon the biblical imagery of dazzling glory. Although they do not express themselves in philosophical language, the heavenly ascent texts make it clear that human beings cannot ascend to heaven in their earthly bodies, and that God cannot be seen with terrestrial eyes. In terms of ideas they are not so far from the philosopher Philo as might at first appear.
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Dachille, Rae. "Piercing to the Pith of the Body: The Evolution of Body Mandala and Tantric Corporeality in Tibet." MDPI AG, 2017. http://hdl.handle.net/10150/626108.
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Buddhist tantric practitioners embrace the liminal status of the human body to manifest divine identity. In piercing to the pith of human embodiment, the tantric practitioner reconfigures the shape and contours of his/her reality. This article investigates the evolution of one particular technique for piercing to the pith of the body on Tibetan soil, a ritual practice known as body mandala [lus dkyil Skt. deha-man. d. ala]. In particular, it uncovers a significant shift of emphasis in the application of the Guhyasamaja body mandala practice initiated by champions of the emerging Gandenpa [Dga' ldan pa] or Gelukpa [Dge lugs pa] tradition of Tibetan Buddhism, Tsongkhapa (1357-1419) and Mkhas grub rje (1385-1438). This article reveals some of the radical implications of ritual exegesis, ranging from the socioreligious aspects of securing prestige for a tradition to the ultimate soteriological goals of modifying the boundaries between life and death and ordinary and enlightened embodiment.