Dissertations / Theses on the topic 'Phenomenology of film'
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Shaw, Spencer. "Showtime : the phenomenology of film consciousness." Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/3045/.
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The thesis argues that the notion of film consciousness deepens a wide-range of philosophical issues in ways which are only accessible through film experience. These issues, directly related to the continental tradition, deal with consciousness, experience, intentionally and meaning. We look to the implications of the initial acts of film reproduction as it creates 'images' of the world which reconceptualise vision in terms of space, time and dimension. We move from ontology to experience and examine an aesthetic form with radical implications for spectator consciousness. These issues are explored from two philosophical positions. Firstly, phenomenology, especially Edmund Husserl and Maurice Merleau-Ponty. Secondly, the work of Gilles Deleuze who presents the most penetrating insights to date into film consciousness and its repercussions for thought and affectivity. The focus of this study is to draw together these two philosophical positions, showing their fundamental differences but also similarities where they exist. This approach is rarely attempted but the belief running through this thesis is that film is one arena which is invaluable for making such comparisons. It is argued philosophically that film writes large key phenomenological concepts on intentionality, time-consciousness and the relation of the lifeworld to the predicative. In terms of Deleuze, film is shown as a unique artform which in allowing us to link otherwise casts light on Deleuze's own complex system of thought. Chapters 1-3 are concerned with phenomenology and detail the role of film in terms of the lifeworld, intentionally, reduction and the transcendental in a way which has not been attempted elsewhere. The linking chapter on time (4) is used to introduce the work of Henri Bergson and its influence both on phenomenology's inner time-consciousness and Deleuze's fundamental categories of film movement and time imagery. The final two chapters look at the way film is reconfigured through montage and the implications of this for film's unique expression of movement and time.
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Richard, David Evan, Lisa Bode, and Jane Stadler. "Film Phenomenology and Adaptation: Words Made Flesh." Thesis, University of Queensland, 2017.
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Tomlinson, Andrew Simon. "Windows and souls : contrary imaginations in film." Thesis, University of Ulster, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268547.
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Laamanen, Carl. "The Address of the Soul: Phenomenology and the Religious Experience of Film." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1554287220304112.
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Hart, Blaize Robert. "In Visible Bodies: A Phenomenology of Sexuality and the Creation of Repressive Systems in Film." Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors158768776757641.
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Macrae, David J. R. "The sensory screen : phenomenology of visual perception in early European avant-garde film." Thesis, University of Edinburgh, 2003. http://hdl.handle.net/1842/28518.
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At the beginning of the twentieth century, certain artists, writers, and philosophers became intrigued by the profound ways in which filmic images could pervade aspects of modern thought and experience. For them, film had the potential to reveal radical new dimensions of sensory phenomena. The early development of avant-garde film-making in Europe is culturally crucial not only for its historical and conceptual context of creative transition, but also for its dynamic exploration of processes of visual perception. The central objective of this thesis is to expose and engage these profound perceptual issues. The structural formation of the thesis entails the confluencing of material for analysis into a sequence of key areas comprising the central components of avant-garde cinematic visualisation. The visual implications of each area are analysed in specific depth, whilst acknowledging their respective interactivity. Significantly, the research applies analytic theories of phenomenology in order to focus incisively upon relevant early European avant-garde filmic imagery. The potential vitality of a phenomenological theorisation of early avant-garde film resides not only within their historical contemporaneity, but at the epistemological level of the mind’s cognitive engagement with the realms of creative visualisation. It is a system of analysis which aims to establish a nuanced phenomenological theory of visual perception as a matter of prime sustenance to historically crucial cinematic art forms.
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Britt, Tara Danielle. "Phenomenology, film and curriculum theory an inquiry into the intellectual persona of teachers /." Click here to access dissertation, 2007. http://www.georgiasouthern.edu/etd/archive/summer2007/tara_d_britt/britt_tara_d_200708_edd.pdf.
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Thesis (Ed.D.)--Georgia Southern University, 2007."A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." In Education Administration, under the direction of Linda M. Arthur. ETD. Electronic version approved: December 2007. Includes bibliographical references (p. 140-144) and appendices.
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Childress, Kirby. "A Phenomenology of Closet Trauma: Visual Empathy in Contemporary French Film and Graphic Novels." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1618915090413157.
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Morales, Matthew. "Concerning Virtual Reality and Corporealized Media: Exploring Video Game Aesthetics and Phenomenology." Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7343.
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Since the birth of the New Hollywood blockbuster out of the Hollywood Renaissance in the 1970s, popular moving image media has continually exhibited an intense interest in play with Newtonian physics and tactile, immediate experience. As the entertainment industry has moved further away from analog and celluloid and deeper into a digital media space, we have begun to see new a new breed of media project that differently engages with our sensorium in order to newly use (and abuse) this interest. I term this digital media project “corporealized media.” Corporealized media, as I define it, refers to media that includes, but is not limited to, the current undertaking in virtual reality technology and other media that has the primary focus of calling attention to or recognizing the user’s physicality, corporeal form, and embodiment. Through phenomenological readings of contemporary corporealized works, I suggest that current popular use of corporealized media is potentially dangerous and inhibiting to society. It has the ability not just to inform aesthetics, but also to shape our greater understanding of our potential connections to others. Instead of embracing physical contraction, we should aim to collectively accept the possible expansion that abstraction in media allows.
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Wilson, Laura. "Physical spectatorship and the mutilation film." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/physical-spectatorship-and-the-mutilation-film(7443c1ca-02ca-4133-8598-333fc44df9e8).html.
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This thesis explores what I call 'physical spectatorship' as it is generated by a group of films concerned with the mutilation of the human body. Focusing on the representation of mutilation on the screen and the physical responses this evokes, the thesis is organised around the study of a series of dynamic engagements that reconfigure the film-viewer relationship; these include: corporeal mimicry and the cinematic visualisations of mutilation; generalised anxiety and experimental use of sound; and the nausea generated by audio-visual techniques that both signify and locate the filmic gut in the viewer's body. Combining close textual analyses with theoretical approaches, this thesis draws upon psychoanalytic, phenomenological and feminist theories of film and spectatorship. Throughout the chapters, my argument builds upon the work of Vivian Sobchack and Laura Marks in order to interrogate further what might be meant by the notion of the embodied spectator. The chapters explore this notion, alongside that of the film viewer, to generate a dialogue with previous theorists of the cinematic spectator, including Christian Metz and Richard Rushton. Exploring through close textual analyses the specific filmic techniques that generate intense physical responses, this thesis argues that the mutilation film demands a rethinking of some of the key categories in theories of spectatorship. Extending across national cinemas and reaching beyond conventional generic distinctions, the mutilation film produces a visceral aesthetic that has yet to be analysed. Focusing on particular aspects of the mutilation film, such as the assault narrative sequence, use of extreme frequencies and haptic sounds and images, the thesis offers detailed readings of the following texts: Dans Ma Peau (Marina de Van, 2002), Irréversible (Gaspar Noé, 2002), Saw II (Darren Lynn Bousman, 2005) Saw III (Darren Lynn Bousman, 2006) Saw IV (Darren Lynn Bousman, 2007) Saw V (David Hackl, 2008) Saw VI (Kevin Greutert, 2009) Saw 3D (Kevin Greutert, 2010), Hostel (Eli Roth, 2005), À l'intérieur (Alexandre Bustillo and Julien Maury, 2007), The Human Centipede: First Sequence (Tom Six, 2009) and The Human Centipede: Full Sequence (Tom Six, 2011).The analyses that form this thesis demonstrate the problems with separating notions of the 'spectator as textual construction' from that of the 'viewer as physically embodied'; yet these readings also indicate the necessity of continuing the task of conceptualising their interrelatedness, rather than simply using them interchangeably. The conclusion argues that the concept of physical spectatorship offers one way to understand how particular contemporary aesthetics have reconfigured the boundary between viewer and film.
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Desiderio, Matthew John. "Wandering: Seeing the cinema of Wim Wenders through cultural theory and naturalized phenomenology." Diss., TEMPLE UNIVERSITY, 2011. http://pqdtopen.proquest.com/#viewpdf?dispub=3440069.
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Leadston, Mackenzie M. "Theorizing the Comic Object in Classical French Cinema." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu155498483572897.
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Topp, Sydney Fisher. "The Gender Differences in Subjectivity among Superbeing Characters in the Comic Book Film Genre." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/87472.
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This study intends to evaluate the extent to which gender inequality permeates representation in the media. By drawing on the literature of feminist phenomenology I define subjectivity as the tendency of characters to interact with the world around them rather than merely have that world act upon them. I use the themes of sexual spectacle, motivation, and violence and protection to evaluate the gender differences among superbeing characters from the DC and Marvel franchises. Through the use of a qualitative content analysis this study has shown that the dichotomous gender hierarchy actively subordinates female superbeing characters through their diminished subjectivity. A character�s ability to act upon the world through act-break motivations, direct capacity for violence, and the protection of others defines them as subjects. Conversely, a character�s inability to do those actions as well as their instances of sexual spectacle and unmotivated sexual displays in costuming and gender performance relegates them to the role of object. The subjectivity score is used to more clearly show a definitive ranking of these characters. Female superbeing characters often hold negative scores. This means that their total deductions from categories that diminish their subjectivity, such as instances of sexual spectacle or revealing costumes, outweigh any points they earn from categories that award them more subjectivity, such as protection/rescuing others. The male characters hold double or triple the scores of their female counterparts, which perfectly highlights the gendered division of the attributes that inform subjectivity. By allowing superbeing characters to transcend gender dichotomy and engage with the full human spectrum of emotion and wellbeing, we could celebrate people as fully human and disrupt the gender normativity that maintains inequality.Master of Science
Marvel and DC Comics are two of the most popular comic book companies in the US. They are responsible or the creation of well-known characters such as Superman and Iron Man. Within the last few decades the comics because popular film franchises. Both companies release several films every year from their respective cinematic universes. These are highly grossing movies and popular enough to have character costumes produced for purchase. Popular cultural phenomenon such as these film franchises provides an opportunity to study social topics such as gender inequality and heteronormativity. This study focuses on the on-screen depictions of these superbeing characters in order to establish a connection between gender and subjectivity in these super-human bodies. Subjectivity, defined by Iris Marion Young’s conceptualization of a feminist phenomenology uses the themes of motivated action, violence and protection, and sexual spectacle to determine if there is a gendered difference in the ways these characters are able to be super and how that impacts their overall subjectivity level. The data supports the theory that male superbeing character are allowed to be full subjects who are able to act upon the world while female superbeing characters are still relegated to the sphere of objectification.
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Downes, Sarah. "Bodily sensation in contemporary extreme horror film." Thesis, Loughborough University, 2014. https://dspace.lboro.ac.uk/2134/17114.
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Bodily Sensation in Contemporary Extreme Horror Film provides a theory of horror film spectatorship rooted in the physiology of the viewer. In a novel contribution to the field of film studies research, it seeks to integrate contemporary scientific theories of mind with psychological paradigms of film interpretation. Proceeding from a connectionist model of brain function that proposes psychological processes are underpinned by neurology, this thesis contends that whilst conscious engagement with film often appears to be driven by psychosocial conditions – including cultural influence, gender dynamics and social situation – it is physiology and bodily sensation that provide the infrastructure upon which this superstructure rests. Drawing upon the philosophical works of George Lakoff, Mark Johnson and Alain Berthoz, the argument concentrates upon explicating the specific bodily sensations and experiences that contribute to the creation of implicit structures of understanding, or embodied schemata, that we apply to the world round us. Integrating philosophy with contemporary neurological research in the spheres of cognition and neurocinematics, a number of correspondences are drawn between physiological states and the concomitant psychological states often perceived to arise simultaneously alongside them. The thesis offers detailed analysis of a selection of extreme horror films that, it is contended, conscientiously incorporate the body of the viewer in the process of spectatorship through manipulation of visual, auditory, vestibular, gustatory and nociceptive sensory stimulations, simulations and the embodied schemata that arise from everyday physiological experience. The phenomenological film criticism of Vivian Sobchack and Laura U. Marks is adopted and expanded upon in order to suggest that the organicity of the human body guides and structures the psychosocial engagement with, and interpretation of, contemporary extreme horror film. This project thus exposes the body as the architectural foundation upon which conscious interaction with film texts occurs.
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Salzberg, Ana. "Beyond the looking glass : the narcissistic woman reflected and embodied in classic Hollywood film." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/5600.
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Linking the images of stars as contrasting as Bette Davis, Marilyn Monroe, and Gloria Swanson, and uniting genres like romantic comedy, film noir, and melodrama, the figure of the narcissistic woman stands as a versatile, ever-present extra- and intra-diegetic force in the dream factory of classical Hollywood. She is, in fact, the lead in what sociologist Edgar Morin conceptualizes in The Stars (1957) as a golden-age “myth of love”: Calling upon the psychic and sensory investment of her fans with her otherworldly aura and material impact, the female star emerges as both the active subject of romantic narratives and the admired on-screen partner in a love affair with the spectator. Like Ovid's original Narcissus before her, the narcissistic woman of Hollywood exists, as Morin describes it, to “focus…love's magic on [herself].” Contemporary film theory, however, has interpreted the star not as a subjective force in this dialogical “magic” between actress and spectator but rather as the product of a patriarchal system of filmmaking, one that objectifies women both on the screen and in the audience. In an effort to further analyze the questions of identity and representation evoked by the female star and her audience, this thesis will seek an alternative to the binaries that tend to characterize the traditional understanding of women in classic Hollywood (that is, spectator/star, narcissistic subject/idealized object; male/female, active/passive). Rather than read narcissism as a one-dimensional, monologic preoccupation with one's image, this research posits that classic cinematic representations of the woman's relationship to the self invite an examination of the existential complexity of a figure negotiating the registers of corporeal reality and ethereal ideality, star persona and diegetic character. In the hopes of highlighting the active engagements – between star and role; spectator, actress, and filmic form itself – inspired by these cinematic entities and their “myths of love,” this work will connect psychoanalytic concerns with Edgar Morin's cultural history of Hollywood, Laura U. Marks's theory of haptic visuality, and the phenomenological understanding of film outlined by Vivian Sobchack in an exploration of the embodied subjectivities borne by the on-screen Narcissus and her off-screen audience.
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Yu, Chang-Min. "Corporeal modernism: transnational body cinema since 1968." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/7051.
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As in physics, one faces a three-body problem in film studies. Similarly, neither logic has a general solution. There are bodies on screen as representation, bodies before the screen as audiences, and supposedly film’s body as a quasi-subject that perceives and expresses through the screen. However, no scholarship has addressed the central question of the body’s medium specificity in determining how the story on screen is told in a socio-historical context. Using phenomenology and media studies, Corporeal Modernism: Transnational Body Cinema Since 1968 fills the gap by articulating how the body’s metaphysical and physical conditions are the foundation of narrative cinema. I showcase how the medium specificity of the body is deployed to flesh out social and political conflicts from European political modernism through Asian New Waves to the latest Hollywood digital blockbusters.
Corporeal Modernism considers the body as a medium—not as mere representation in cinema—to examine the relationship between the bodies on screen and before the screen. Using phenomenology and media studies, my research illustrates how the body on screen, without manifesting its corporeal qualities, operates as vehicle to deliver a character in narrative. Only when the body of a character is hurt or incapacitated, the audience is made aware of how the body is a formal issue as well. My research demonstrates how cinema presents the body and the world on screen. Corporeal modernism is the technical awareness of the body-image located in the history of cinema.
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Ayers, Drew R. "Vernacular Posthumanism: Visual Culture and Material Imagination." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/communication_diss/34.
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Vernacular Posthumanism: Visual Culture and Material Imagination uses a theory of image vernaculars in order to explore the ways in which contemporary visual culture both reflects on and constructs 21st century cultural attitudes toward the human and the nonhuman. This project argues that visual culture manifests a vernacular posthumanism that expresses a fundamental contradiction: the desire to transcend the human while at the same time reasserting the importance of the flesh and the materiality of lived experience. This contradiction is based in a biodeterminist desire, one that fantasizes about reducing all actants, both human and nonhuman, to functions of code. Within this framework, actants become fundamentally exchangeable, able to be combined, manipulated, and understood as variations of digital code. Visual culture – and its expression of vernacular posthumanism – thus functions as a reflection on contemporary conceptualizations of the human, a rehearsal of the posthuman, and a staging ground for encounters between the human and the nonhuman. Each chapter of this project begins in the field of film studies and then moves out toward a broader analysis of visual culture and nonhumanist theory. This project relies on the theories and methodologies of phenomenology, materialism, posthumanism, object-oriented ontology, actor-network theory, film and media studies, and visual culture studies. Visual objects analyzed include: the films of Stanley Kubrick, David Cronenberg, and Krzysztof Kieślowski; Fast, Cheap & Out of Control (1997); the film 300 (2006); the TV series Planet Earth (2006); DNA portraits, the art of Damien Hirst; Body Worlds; human migration maps; and remote surgical machinery.
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Kassab, Maryline. "Epic film and the sensory recreation of history: Gladiator (2000) & The Robe (1953)." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/123712/2/Maryline_Kassab_Thesis.pdf.
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Epic films are integral to the experience and interpretation of history outside the limits of traditional research. In their capacity as one of the primary forms of historical adaptation for the public, they suggest new ways of understanding and representing the past. This thesis looks beyond questions of historical accuracy and political context to determine how the epic genre recreates historical worlds onscreen from a sensory perspective. It focuses on two key epics, Gladiator (2000) and The Robe (1953), and analyses them using phenomenological models which help to emphasize the importance of sensory experience in cinematic reconstructions of ancient history.
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Mäki, Åsa. "Rumsbilder : The English Patient (1996), Hero (2002)och Mulholland Drive (2001)." Thesis, Stockholm University, Department of Cinema Studies, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-6606.
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The phenomenology of Gaston Bachelard holds that readers, or viewers, relate to spatial imagery through the use of age-old archetypes. These archetypes form a collective image-memory that is employed when reading space. One such image is the house. The house for Bachelard is, however, never solely an image, but constitutes a familiar space that becomes inscribed in our bodies through the repeated physical contact with this domestic space. The house teaches us to interact with space, and comes to inform the way that human beings understand images of space. Spatial imagery can be conceptualized both as embodied, lived experience and as semiotic sign. The aim is to investigate the idea of a collective image-base, and in what way the universality of these images relates to the individual conditions of each meeting with images of space. The object of study here is also to survey the ways that images of space transgress the borders between bodily experience and abstract sign, between the individually specific and the universal, as well as between actual space and represented space.
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Wecker, Danièle Anne Irène. "What do you mean you lost the past? : agency, expression and spectacle in amateur filmmaking." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCC135.
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La thèse ci-après présente une étude de films amateurs, fournis par le Centre National d'Audiovisuel au Luxembourg, dit CNA. Elle examine certaines notions de sens et d’interprétation en l’absence de métadonnées et du contexte d'origine. Plutôt que de prendre le film amateur comme genre ou pratique à part, cette étude porte sur le seul langage cinématographique. La première partie de ce travail identifie ainsi des modes filmiques hautement différenciés et interprétés à partir des images. Sans contexte original, ces films perdent leur principale source de signification, à savoir les commentaires fournis par les membres de la famille. En effet, la projection du film dans le cercle familial interpelle les souvenirs et donne lieu à l’explication des évènements reproduits. La présente thèse examine ces images comme vestiges d'une narration visuelle plutôt qu'en termes de récit de souvenirs. Elle adopte le point de départ très simple que ce qui est filmé était important pour les cinéastes. De plus, elle examine comment le langage filmique peut servir comme illustration des intentions et motivations, à la fois volontaires et involontaires. Y suit l’examen des différents styles employés dans les films amateurs. J’attire l’attention sur la codification culturelle sous-jacente à la pratique de représentation dans le privé, qui prend la langue filmique comme moyen d'auto-narration. La deuxième partie aborde les films amateurs comme moyen d’expression primitif d’une tentative de signification qui implique le chercheur et sa propre expérience. La projection des films est constitutive de ce processus d'entrée en significationThe following thesis presents an examination of privately produced amateur films taken from the Amateur Film Archive in the Centre National d’Audiovisuel in Luxembourg. It analyzes how amateur films present a filmic world and examines specific notions of meaning generation without meta-data and original context. Rather than take amateur film as a homogenous genre or practice, this study concentrates on film language. The first part of the following two-fold engagement with these filmic worlds thus identifies the highly differentiated filmic modes that can be read from theimages. A filmic mode is related to as a concomitance of style and choice in subjectmatter. Without original context, these films lose their most important means ofmeaning generation, namely the recollective narratives that are constructed by theintended audience in the viewing situation. This work takes these images as remnantsof a visual narration rather than in terms of recollective narratives. It operates from the very simple basis that how the camera was used can serve as illustration of underlying intentions and motivations—both intended and inadvertent. The first partof this study then focuses on the diversification within the images and reads concomitant cultural codifications that structure representational productions in the private and also analyzes film language as means of self-narration. The second part of this two-fold engagement explores filmic language in terms of a visualization of primordial signifying expression coming-into-being. This engagement extends to include the researcher and his/her own background as co-constitutive part of this process of primordial meaning
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Rybin, Steven M. "The Historical Thought of Film: Terrence Malick and Philosophical Cinema." View abstract, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3375107.
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Jiang, Tianyu. "“Frankenstein Complex” in the Realm of Digital Humanities : Data Mining Classic Horror Cinema via Media History Digital Library (MHDL)." Thesis, Stockholms universitet, Filmvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-169638.
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This thesis addresses the complexity of digitalization and humanities research practices, with a specific focus on digital archives and film history research. I propose the term “Frankenstein Complex” to highlight and contextualize the epistemological collision and empirical challenges humanities scholars encounter when utilizing digital resources with digital methods. A particular aim of this thesis is to scrutinize digital archiving practices when using the Media History Digital Library (MHDL) as a case for a themed meta-inquiry on the preservation of and access to classic horror cinema in this particular digital venue. The project found conventional research methods, such as the close reading of classical cinema history, to be limiting. Instead, the project tried out a distant reading technique throughout the meta-inquiry to better interrogate with the massive volume of data generated by MHDL. Besides a general reassessment of debates in the digital humanities and themes relating to horror film culture, this thesis strives for a reflection on classic horror spectatorship through the lens of sexual identity, inspired by Sara Ahmed’s perspective on queer phenomenology. This original reading of horror history is facilitated by an empirical study of the digital corpus at hand, which in turn gives insights into the entangled relation between subjective identities and the appointed research contexts.
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Johansson, Marielle. "”Nu fattar jag lite mer hur de verkligen hade det och varför det blev så hemskt.” : En kvalitativ studie om högstadieelevers uppfattningar av ämnet historia och om hur de ser på skönlitteratur och film i undervisningen som en väg mot ett ökat historiemedvetande." Thesis, Karlstads universitet, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-71314.
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The purpose of this study is to contribute to an increased awareness of how students perceive the subject of history and how they approach the subject of increasing their awareness, through meeting historical characters in novels and film. I am seeking the answer to what opinions students have about studying history, what experiences they have of novels and film as a means to teaching the subject and how they look at material that give life to the thoughts and feelings of historical people, aiming to increase historical awareness. The study is based on qualitative interviews with 15 students in secondary school, The interviews are based on open questions and originate from sociocultural perspective, with its base in phenomenology. The result indicates that students perceive that studying the subject is mainly about historical facts. Several students, and especially students with Swedish as a second language and students with language difficulties, mention that the subject is linguistically difficult, with hard to understand words and phrases. This seems to obstruct an increased awareness of history. The teachers role is considered important. Their capability to interact, explain and clarify is important to bring the subject alive. Students can see the benefits of novels and film to increase historical awareness and many wish for more of that kind of tuition to increase interest and perception. However, many find it difficult to see how this will fit in the time schedule.Syftet med denna studie är att bidra med ett ökat medvetande angående elevers upplevelser av ämnet historia och om hur de ser på att öka sitt historiemedvetande genom mötet med gestaltande stoff via film och skönlitteratur. Frågorna jag söker svar på är vilka uppfattningar elever på grundskolans senare år har om ämnet historia, vilka erfarenheter de har om skönlitteratur och film i undervisningen, samt hur de resonerar om att använda skönlitteratur och film som en väg mot ett ökat historiemedvetande. Studien bygger på kvalitativa intervjuer med 15 elever från grundskolans senare år. Intervjuerna bygger på öppna frågor och utgår från sociokulturellt perspektiv samt med en fenomenologisk ansats. Resultatet visar att eleverna upplever att historieämnet främst handlar om faktakunskaper. Flertalet elever, och då särskilt elever med svenska som andraspråk samt elever med språkliga svårigheter, lyfter fram att ämnet är språkmässigt svårt med många ord och begrepp, vilket verkar försvåra vägen mot ett ökat historiemedvetande. Lärarnas roll anses viktig och då främst genom interaktion med eleverna för att förklara och förtydliga men även som den som berättar och levandegör innehållet. Elevernas tankar om skönlitteratur och film som ett medel för att nå ett ökat historiemedvetande är splittrade och även om de flesta kan se fördelen med fiktiva berättelser samt att många önskar mer av den typen av undervisning för att öka intresset och förståelsen, har de svårt att se hur det ska hinnas med.
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Aydin, Ali. "A "Sensuous" Approach to the Cinema of Nuri Bilge Ceylan : Principles of Embodied Film Experience." Thesis, Stockholms universitet, Filmvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-158137.
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Over the last decades, film theories with their focus on the mere audiovisual quality of cinema have been questioned by film scholars with a phenomenological interest. According to these critical approaches, the film experience cannot be understood through a mere involvement of the eye (and the ear). In this context, to disregard the significance of a multisensory attachment to the film results in the consideration of relationship between the film and the viewer to be a dominating one. This dissertation examines this multisensory attachment and aims to define the film experience as an embodied relationship between the film and the viewer by means of a formal analysis of the Turkish director Nuri Bilge Ceylan’s early films. Throughout the dissertation, it is argued that Ceylan encourages his viewer in various forms to have a more sensual and immediate experience of his films rather than to compel them to adhere to symbols and abstractions through a kind of intellectual effort – an intellectual effort that would damage the “sensuous” attachment between the film and the viewer.
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Dudenhoeffer, Larrie. "Corruptions of the Flesh: The Body, Subjectivity, Postmodernity." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/communication_diss/20.
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This study will embrace certain features of postmodern experience so as to underline subjective embodiment as the condition, corollary, and appropriate focus of textual, rhetorical, and sociopolitical criticism. It will theorize somantics as a conceptual toolkit for mapping the structural correspondence of embodiment to the symbolic order, each thus emerging as the other’s non-foundational “efficient reason.” This study will argue that the flesh mediates the theoretic divisions of structuralism, deconstruction, psychoanalysis, and existentialism, although not in a priori or essentialist ways. It will draw from their vocabularies, combining them into a vocabulary of its own while retexturing their relation to one another. It thus aspires to reduce all rhetorics and metaphysics to the somantic, so as to sabotage conservative fundamentalisms and to establish the terms for an argument with enthusiasts of transhumanism. Moreover, this study will suggest that theoretic systems, cultural messages, and sociopolitical speech-acts inattentive to the condition of embodiment—whether that of their agents, interlocutors, or material mediums of expression— must then seem at once suspicious, maladaptive to the sense contingencies of the moment, and deserving of somantic reduction. In correcting these faults, it will also resist systematizing or universalizing sense-experience; it will function rather as a corpus of maps that rechart the volatile, moment-to-moment interimplication of the somatic and the symbolic. Thus this study takes axiomatically Frederic Jameson’s claim that intertextuality replaces history in the era of transnational capital, seeing in this argument the strategic advantage of taking a theoretic standpoint against diachronic modalities of time. Arguing for the reconstruction of certain narratives as distortions, if not outright falsifications, of the simultaneation of needs, impressions, and changes in a subject’s sense-experience, this study will redirect attention to the relation of certain discourses to the bodies of their interlocutors.
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Keeve, Frederick Henry. "A Phenomenological Study of the Experience of Humanist, Spiritual, and Transpersonal Films on Positive Organizational Behaviors in the Workplace." ScholarWorks, 2016. https://scholarworks.waldenu.edu/dissertations/2320.
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A solution is needed to counteract violent news, Internet, and other negative media images and management behaviors in the workplace, in order to boost engagement and prosocial behaviors at work. The purpose of this phenomenological study was to explore the attitudes of working professionals toward prosocial behaviors and employee engagement in the workplace as affected by transpersonal Hollywood films. An organization's ability to survive is directly related to empowerment and innovation. Classic films provide a gateway for transpersonal experiences that could change behavior and thoughts. Peterson and Seligman's transformational typology involving 6 character virtues and 24 strengths was the basis for coding 8 positive films that were viewed by participants. Data collection consisted of 2 in-depth interviews, 8 written film questionnaires, and an exit interview from a criterion-based, purposeful sample of 10 adult working nonmanagerial professionals living in Los Angeles, employed in any industry except the entertainment industry. Six to 10 participants, according to researchers, are an appropriate number for saturation. The most prevalent strengths mentioned were social intelligence and perspective, followed by integrity, hope and open-mindedness. Frequent phrases that corresponded to the 6 virtue categories were wisdom/knowledge and humanity. The results revealed that positive films could be a boon for industrial/organizational issues involving recruitment, training, motivation, and prosocial behaviors. The use of positive transpersonal Hollywood films in human capital development could lead to positive social change in the workplace by reducing worker sick days and promoting a happier workforce with increased innovation and productivity.
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Deldén, Maria. "Historien som fiktion : gymnasieelevers erfarande av spelfilm i historieundervisningen." Licentiate thesis, Umeå universitet, Institutionen för idé- och samhällsstudier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27218.
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The present study explores the reception of historical feature films in history education. It is concerned with how pupils experience the films as well as the significance of the feature film for their understanding and interpretation of history. The study incorporates empirical data from classroom projects in two different Swedish upper secondary schools where film was used as an educational tool. Observations of classroom activities were made and interviews with twelve pupils and their history teachers were conducted. The study applies a phenomenological approach. The lifeworld of the pupils is in focus, specifically the aspect of the lifeworld they live and experience in history class when film is used as a means of understanding the past. The phenomenon studied is thus how the pupils experience the film, and through the film, history itself. Theoretical notions from film reception studies and history didactics are used as analytic tools. The study shows how emotional and cognitive processes converge in the pupils’ meaning making of the films. The embodiment of the films’ narrative is an important factor that contributes to both the understanding of the film as well as of history. The pupils experience the films emotionally, feeling both empathy and antipathy for the various characters, physically through sight and sound as well as embodied reactions, and cognitively through an understanding of the film’s narrative. Embodied experience is fundamental for history to become materialized. The audiovisual portrayal and materialization of the past becomes embodied in the pupils so that the experience of the film and of the historical lifeworld presented therein becomes part of their lifeworld. Generally, pupils consider the films to be trustworthy, though this perceived accuracy depends on how authentically the narrative is performed and the pupils’ previous store of historical knowledge. A didactic dilemma to consider when using historical feature film in the classroom is the contradiction between the aesthetic experience of a feature film and its use as a tool for understanding the past. The captivating character of feature film evokes empathy and engagement with the films’ characters regardless of the degree of historical accuracy. This is a critical issue for teachers; there needs to be balance between respect for the pupils’ aesthetic experience of the film and the need to guide them to develop for example the skills of historical empathy, where distance is necessary for the pupils to be able to consider different perspectives.
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Baldissera, Marcia. "Quelles expériences pour quels films? Les temps de notre relation esthétique au monde." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0074.
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La thèse se propose d’analyser la structure esthétique de l’expérience cinématographique. On part d’une définition du film comme flux (audio-)visuel qui a un début, un déroulement et une fin. Partant du constat de ce principe constructif, la thèse entend montrer comment la structuration temporelle des films engendre des différences cognitives dans l'expérience spectatorielle. La notion de « structuration temporelle » renvoie à l'ordonnancement des plans et des sons dans leur durée en succession et/ou en simultanéité, tandis que l'adjectif « cognitif » fait référence aux processus d'acquisition et d'usage de nos connaissances. L’étude se fonde sur l'esthétique de Kant, la phénoménologie de Husserl, l'analyse du cinéma de Deleuze, l'Intentionnalité chez Searle, ainsi que la théorie esthétique et la théorie cognitive de la fiction de Schaeffer, dans une perspective interdisciplinaire et en prenant appui sur les données empiriques des sciences cognitives. La thèse déploie une analyse comparative du déroulement des processus de la réception cinématographique – la perception, l'attention et la compréhension – et rend compte des différents temps de cette réception, c’est-à-dire de la relation entre l'objet film et les spectateurs. L’objectif est double : il s’agit, d’une part, de mettre au jour les implications cognitives de la technique cinématographique dans l'expérience spectatorielle, en considérant notamment la fonction de cette technique et les principes, issus de l’Intentionnalité des auteurs, qui y sont inscrits ; et, d’autre part, d’évaluer la portée de ces principes constructifs et Intentionnels dans le cinéma contemporain, les dernières décennies ayant été marquées par une radicalisation progressive du rythme des films. Le cinéma devient à ce titre un exemple des structures temporelles qui soutiennent notre relation au monde réelThe aim of this thesis is to analyze the aesthetic structure of the cinematographic experience. We depart from a definition of film as an (audio)visual flux with a beginning, an evolution, and an end. From the evidence of this constructive principle, this thesis intends to show how the temporal structure of films generates cognitive differences in the spectators' experience. The notion of “temporal structure” is related to the ordering of shots and sounds within their durations in succession and/or in simultaneity, while the adjective “cognitive” refers to the acquisition process and use of our knowledge. This study is based on Kant's aesthetics, Husserl's phenomenology, Deleuze's cinema analysis, Searle's Intentionality, and Schaeffer's aesthetic and fiction cognition theories, in an interdisciplinary perspective, drawing on cognitive sciences empirical data. It is a comparative analysis of the unfolding of the cinematographic reception process – perception, attention and comprehension – and takes the different times of this reception into account, that is, the relation between the object film and the spectators. The objective is twofold: on the one hand it is a question of uncovering the cognitive implications of the cinematographic technique for the spectators' experience through close consideration of the functions of this technique and the principles which the authors’ Intentionality have inscribed upon it; on the other hand, it is a question of evaluating the scope of these constructive and Intentional principles on contemporary cinema, as recent decades have emphasized the progressive radicalization of filmic rhythm. Cinema becomes as such an example of the temporal structures that uphold our relation to the real world
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Apelgren, L. Petersdotter. "When Camp becomes a Method : a conceptualization of conversational performatives and curatorial agencies within ‘the camp-eye’." Thesis, Stockholms universitet, Filmvetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-184801.
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The aim of following thesis is to demonstrate the potentials of reassessing camp into a question of method. While others have argued for the definition of camp to lie in: an aesthetic; a question of taste; the extravagant theatrical; the male gay sensibility; or as an expression of parody, this thesis suggests that camp is to be found in the performative act of readings. With emphasis on ‘decoding language’, ‘the signifier/signified’ and ‘the camp eye’ I will argue for the relevance of ‘camp as method’ and situate former stated in relation to Bhabha’s concept of ‘conversational art’; a deconstructional examination of values of aesthetic experiences set into dialogue. Demonstrating for such conceptualization three theoretical approaches and themes will be outlined. First, a historical overview of camp followed by a reassessment of camp into a method. Second, an examination of possible extensions to the concept of rereading strategies within camp, including theories on queer phenomenology; queer space and time; topias and non-places; theories of curatorial methods and its agencies. And last, I will do an analysis of Moyra Davey’s video Hemlock Forest and show how Davey’s use and reference towards Chantal Akerman can be read as camp and constitutes ‘camp as method’ according to suggested reassessment.
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Newton, Elizabeth Ann. "Phenomenology in the works of Robbe-Grillet." Thesis, University of Leeds, 2003. http://etheses.whiterose.ac.uk/343/.
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This thesis contends that a return to a phenomenological analysis of Alain Robbe-Grillet's film and fiction is a relevant and useful undertaking at the start of the twenty first century, providing the opportunity to reassess Robbe-Grillet's entire oeuvre, both films and novels. It addresses the limitations of earlier phenomenological studies, analysing works not yet subjected to phenomenological analysis, and exploring important themes into which phenomenology can provide original insights, especially since the development of new phenomenological critical theories. The structure of this thesis demonstrates the coherence of a phenomenological approach across the works of Robbe-Grillet. The introduction contextualises the contribution of the thesis, indicating oversights to be rectified in existing studies. The first chapter charts the development of phenomenology highlighting areas of relevance to the insights outlined in the thesis. Chapter two demonstrates that both the phenomenological reduction, and Robbe-Grillet's formal strategies of challenging cultural expectations, result in a "making strange" of perceptual experience, with repercussions for the subversion of conventional fictional and filmic narratives. Subsequent chapters explore further consequences of the reduction, beginning in chapter three with the embodiment of consciousness which impacts upon the presentation of narrative perspective in Robbe-Grillet's film and fiction. The fourth chapter examines Robbe-Grillet's rendering of a lived experience of time, rather than an objective measurement of it, thus analysing another consequence of embodied existence and of the "making strange" that results from undermining cultural expectations. Another mode of bodily existence, sexuality, was neglected in previous phenomenological studies, and is examined in the fifth chapter, in the light of feminist readings of phenomenology making a new contribution in its reassessment of the debates around cultural stereotypes and subversion. Chapter six examines the complex relations surrounding intersubjectivity, another area not previously addressed, and elucidates the problematics of Robbe-Grilletian inter-human relationships, The thesis concludes that earlier phenomenological studies have not fully worked through all of the implications of the phenomenological reduction in Robbe-Grillet's works in terms of cultural subversion, nor have they accounted fully for the interdependency of various modes of human embodiment( perception, situation in space and time, sexuality and intersubjectivity) as they are enacted in Robbe-Grillet's narratives.
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Abuhassan, Lama. "Screen architecture : a phenomenology of dread atmospheres in thriller films." Thesis, Cardiff University, 2018. http://orca.cf.ac.uk/115023/.
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By looking at thriller films, and establishing their relationship to suspense, my thesis examines the construction of dread atmosphere and how it enables the viewer to become part of that atmosphere. The aim of the thesis is to develop a comprehensive reading of the atmosphere of dread by adopting the approach of phenomenology, and through an investigation and analysis of its definition of the process of embodiment, in order to identify some of the atmospheric corporeal situations in dread spaces that are used to increase the corporeality of the viewer, so as to ultimately reveal the experience of suspense. By doing that, this thesis elaborates on Hanich’s analysis and description of cinematic dread’s atmosphere. The thesis builds a structure of embodiment based on Merleau-Ponty’s Phenomenology of Perception and on the work of other phenomenologists from different fields including film, architecture and video games, to create a framework whereby the viewer’s embodiment with the screen is understood. In addition, it adopts Shīrāzī’s approach of Phenomenal Phenomenology to read a dread scene from the Silence of the Lambs phenomenologically. This reading identified new atmospheric corporeal situations, named as quasi-things in Griffero’s terms, which have not previously been discussed in the context of film under the framework of the phenomenology of text, of transparency and of surveillance. The research found that any situation that is linked with the senses, such as through ‘sensorimotor verbs’ and ‘sensorial transparency’, is experienced more corporeally, consciously, affectively, and eventually increases the sense of embodiment. The researcher extends the conception of these phenomena by means of a horizontal reading of other films to make the observations more objective and generalizable to thrillers in general and the dread atmosphere in specific. The significance of my research lies in making a contribution to the understanding of the kinesthetic experience of cinematic space and to promoting its potential in theorising related arts such as architecture, Virtual Reality, and video games.
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Defuns, Pascal S. "International Arts Trafficking Phenomenology, Criminal Prosecution, Subsumtion : Swiss Law /." St. Gallen, 2007. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/00643361004/$FILE/00643361004.pdf.
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Benedict, Jason Brown. "Dyeing crystals : 19th century phenomenology to 21st century technology /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/8636.
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D'ALOIA, ADRIANO. "L'EMPATIA NELL'ESPERIENZA FILMICA." Doctoral thesis, Università Cattolica del Sacro Cuore, 2010. http://hdl.handle.net/10280/788.
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Negli ultimi decenni i film studies stanno spostando la propria attenzione sul livello corporeo e affettivo dell’esperienza filmica. Adottando un approccio fenomenologico e focalizzandosi sulla nozione di empatia, la tesi studia le strategie del coinvolgimento dello spettatore cinematografico nei film di successo contemporanei. Il capitolo 1 rintraccia le diverse accezioni di empatia in filosofia, estetica, psicologia e nelle neuroscienze cognitive. Il capitolo 2 traccia una genealogia dell’empatia nelle teorie psicologiche ed estetiche del film. Il capitolo 3 esplora la rilevanza della teoria dell'atto empatico di Edith Stein per la filmologia e ne propone un'applicazione allo studio dell’esperienza filmica contemporanea. Il capitolo 4 analizza un ampio corpus di film contemporanei individuando quattro “figure aree” del coinvolgimento filmico: l’acrobazia, la caduta, il volo e il movimento in assenza di gravità. Attraverso la simulazione empatica dei movimenti nel film e del film, lo spettatore esperisce inavvertitamente l’intenzionalità implicata nelle forme e negli oggetti della rappresentazione, cogliendo con la propria sensibilità il senso di un’esperienza che trascende l’immanenza del film e contribuisce al processo di attribuzione di senso al Mondo, all’Altro e al Sé.In recent decades film studies have shifted their focus to the emotional and bodily level of film experience. By adopting a phenomenological approach, this dissertation deals with the strategies of the film spectator’s involvement in contemporary mainstream narrative films. Chapter 1 reconstructs the meanings of the notion of empathy in philosophy, aesthetics, psychology and neurocognitive research. Chapter 2 traces a genealogy of empathy in film theories, from Bergsonism to Cognitivism, and evaluates the relevance of Simulation-Theory to film studies. Chapter 3 explores the relevance of Edith Stein’s phenomenological theory of empathy to film theory and assumes it is a theoretical model to investigate the “intensified” nature of both film design style and film reception style. A film is constructed and experienced on the basis of the “circuit of empathy”, a stratified system of different species of empathetic interaction, acting at senso-motorial, perceptual, cognitive and emotional levels with the aim of generating both an aesthetic and an inter-subjective experience. Chapter 4 analyses a vast corpus of contemporary films and focuses on four “aerial figures” of involvement and their combination: acrobatics, falling, flying, and non-gravitational movements, both of the actor’s human body and of the film’s anthropomorphic body. In the Conclusions, it is argued that the spectator internally imitates these “double” movements and inadvertently experiences the intentionality implied in the figures. Contemporary film spectators empathetically “get”, with their own sensibility, the senses of an experience that transcends the immanence of the film and contributes to the process of “giving” sense to the World, the Other, and the Self.
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Melendez, Melissa Sybel. "Gonzalo Castellanos-Yumar's Concerto for Viola and Orchestra (2003): A Phenomenological and Traditional Analysis of the Concerto with Consideration of its Stylized Venezuelan Folk Rhythms." Diss., Tucson, Arizona : University of Arizona, 2006. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1445%5F1%5Fm.pdf&type=application/pdf.
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Hanaway-Oakley, Cleo Alexandra. "'See ourselves as others see us' : a phenomenological study of James Joyce's Ulysses and early cinema." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:80821e26-de35-483a-a37c-7a4c60e138b7.
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This thesis examines James Joyce’s Ulysses (1922) and early cinema (c. 1895-1920) through Merleau-Pontian phenomenology. Instead of arguing for lines of direct influence between specific films and particular parts of Ulysses, I show that Joyce’s text and selected early films and film genres exhibit parallel philosophies. Ulysses and early cinema share similar ideas on the embodied nature of perception, the close relationship between mind and body, the intermingling of the human and the mechanical, intersubjectivity, and the subject’s inherence in the world. All of these shared ideas are inherently phenomenological. My phenomenological position on the Joyce-and-cinema relationship is at odds with a popular strain of scholarship which cites impersonality, neutrality, and automatism as the key linking factors between early cinema and modernist literature (including Joyce). ‘Joyce-and-cinema’ studies is a relatively large, and growing, field; as is ‘modernism-and-cinema’ studies. As well as ploughing my own path through an already crowded area, I analyse the different trends present (both historically and currently) in each area of study. I also add to the scholarship on phenomenological film theory by analysing the work of phenomenologically inflected film-philosophers and suggesting some new ways in which Maurice Merleau-Ponty’s phenomenology might be used in the analysis of films and literature. I provide close analyses of several episodes of Ulysses and pay particular attention to ‘Ithaca’, ‘Circe’, ‘Nausicaa’, and ‘Wandering Rocks’. Several of Charlie Chaplin’s Mutual films are analysed, as are a select number of films by George Méliès. I also look at other trick-films, Irish melodrama, panoramas, ‘phantom rides’, and local actuality films (especially Mitchell and Kenyon’s Living Dublin series). Proto-cinematic devices – the Mutoscope and stereoscope – are also included in my analyses.
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Manuelito, Brenda K. "Creating Space for an Indigenous Approach to Digital Storytelling: "Living Breath" of Survivance Within an Anishinaabe Community in Northern Michigan." Antioch University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1433004268.
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Rodriguez, Carmella M. "The Journey of a Digital Story: A Healing Performance of Mino-Bimaadiziwin: The Good Life." Antioch University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1433005531.
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Austin, Travis R. "Laminated PAINT." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5462.
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Though we may not perceive it, we are surrounded by material-in-flux. Inert materials degrade and the events that comprise our natural and social environments causally thread into a duration that unifies us in our incomprehension. Sounds reveal ever-present vibrations of the landscape: expressions of the flexuous ground on which we stand.
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Ohana, Sarah. "L'étonnement ou "l'éclat du visible"." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCC256.
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L’étonnement a une place privilégiée dans la vie des idées, considéré comme l’émotion à l’origine de toutes formes de spéculations philosophiques, il est l’objet d’étude le plus adéquat pour analyser les problèmes communs du cinéma et de la philosophie : le mouvement (Thalès, Héraclite, Zénon d’Élée), la remise en question du réel (Descartes), l’accès au savoir par les sens (Platon). Par l’incarnation de « personnages conceptuels » (l’idiot, le sceptique, le jeune philosophe), le cinéma offre la possibilité d’accéder à des raisonnements philosophiques de manière empirique. Le cinéma sera ainsi considéré comme un outil pouvant mettre en scène le doute cartésien grâce à une déconstruction progressive du réel. Chaque film étudié matérialisera une étape de cette déconstruction : Three Days of the Condor de Sydney Pollack : la remise en question du réel ; Aguirre, la colère de Dieu de Werner Herzog et Bullitt de Peter Yates : le déni du réel, la filmographie de Buster Keaton (courts et longs-métrages) : la trahison des apparences, les œuvres abstraites de Stan Brakhage : la réduction du réel à un entrelacement de formes et de sensations. Cette thèse proposera une redéfinition des causes et des conditions du surgissement de l’étonnement. En effet, étant principalement lié au nouveau dans les différents traités sur l’émotion étudiés (Descartes, Darwin, Charles Le Brun, William James), le rapport entre étonnement et mémoire nécessitera un développement. Ainsi par l’intermédiaire d’une revalorisation de la mémoire affective dans la perception d’un objet étonnant, cette émotion pourra enfin être prise en compte en fonction du passé du sujet. Les différents types de reconnaissance engagés dans la vision d’un film seront analysés pour comprendre à quel moment ce phénomène passe d’un événement mineur à un événement majeur. Le cinéma pourra de cette manière être employé comme un laboratoire mémoriel. Grâce à une approche anthropologique de la première cause de l'étonnement au cinéma : "les feuilles qui bougent" c’est-à-dire le mouvement, le mythe des images vivantes sera étudié du point de vue de sa persistance à différents moments de l’histoire du cinéma du Napoléon d’Abel Gance à Young Sherlock Holmes de Barry Levinson. Ce premier principe étonnant du dispositif cinématographique donnera lieu à une inversion, 4 l’étonnement suscité par une autre vie des images cette fois insufflée par la suspension ou l’arrêt sur image. Enfin « le phénomène saturé » défini par Jean-Luc Marion comme un étonnement surplombant le champ de vision du spectateur sera divisé en une typologie des différents types de saturation au cinéma (le réel surpris, le montage cubiste, la plénitude du cadre etc.), dans le but de trouver un équivalent visuel de l'évidence (première obsession cartésienne). Le dessein de cette typologie inspirée par Descartes sera de réhabiliser les sens dans la construction du savoirAstonishment has a privileged place in the history of philosophy, considered as the emotion behind all forms of philosophical speculation; it is the most appropriate object of study to analyze the common problems of cinema and Philosophy: movement (Thales, Heraclitus, Zeno of Elea), questioning reality (Descartes), access to knowledge through the senses (Plato). Cinema will thus be considered as a tool able to portray Cartesian doubt through a progressive deconstruction of reality. Each film studied materializes a stage of this deconstruction: Three Days of the Condor by Sydney Pollack: questioning reality Aguirre, the Wrath of God by Werner Herzog and Bullitt by Peter Yates: the denial of reality the filmography of Buster Keaton (short and feature films); the betrayal of appearances the abstract works of Stan Brakhage: the reduction of reality to an interweaving of forms and sensations. Thus, by the incarnation of « conceptual characters » (the idiot, the skeptic, the young philosopher), cinema allows us to empirically access to philosophical reasoning. This development will also involve the redefinition of the causes and conditions of astonishment. Indeed, the relationship between astonishment and memory will necessitate a further investigation into, since it is mainly linked to the new and the extraordinary in the different treatises on emotion studied (Descartes, Darwin, Charles Le Brun, William James). Thus, by means of a revaluation of the affective memory in the perception of an astonishing object, this emotion can finally be considered according to the past of the subject. The different types of recognition involved in filmic vision will be analyzed to understand when this phenomenon moves from being a minor event to a major event. In this way, cinema can be used as a memorial laboratory. Thanks to an anthropological approach to the primary cause of astonishment in the cinema: « the moving leaves » (i.e. movement), the myth of living images, will be studied through its persistence at different moments of cinema history from Abel Gance’s Napoleon to Young Sherlock Holmes by Barry Levinson. The first principle of cinematic astonishment leads us to consider its inversion, the astonishment aroused by another aspect of life of images, one dominated by the suspension or the halting of the image. Finally, the « Saturated Phenomena » (defined by Jean-Luc Marion as an astonishment overlooking the spectator's field of vision) will be divided into a typology of the different 6 types of saturation in the cinema (cubist montage, crowded frames, etc.) in order to find a visual equivalent of the evidence (the first Cartesian obsession) and to reassert the value of the senses in the construction of knowledge
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Fujisaka, Ana Paula. "O familiar cuidador e o processo de fim de vida e morte de seu ente querido: uma compreensão fenomenológica." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/47/47131/tde-28112014-111303/.
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O presente trabalho teve como objetivo compreender a vivência do familiar cuidador durante e após cuidar de um ente querido em seu processo de fim de vida e morte. Com os crescentes avanços científicos e tecnológicos, a expectativa de vida da população mundial tem aumentado, além disso, pessoas de quaisquer faixas etárias têm sobrevivido por mais tempo a doenças graves e/ou acidentes. Essas mudanças significativas ocorridas na população têm aumentado a demanda por cuidados, que têm sido realizados, em sua maior parte, por familiares mais próximos. Dessa forma, o objetivo desta pesquisa foi conhecer melhor esse familiar cuidador; os impactos para ele na experiência de cuidar, o seu papel no processo, e como lida com as idiossincrasias dessa intensa vivência. O trabalho foi fundamentado no método fenomenológico de pesquisa de Amedeo Giorgi. Foram realizadas entrevistas individuais abertas com os colaboradores, que partiram da pergunta: Como foi para você ter acompanhado e cuidado de seu ente querido em seu processo de fim de vida? E como foi ter vivido a perda dele? Que foram acompanhadas de acordo com o que os familiares consideravam relevante. Participaram deste estudo seis adultos, três mulheres e três homens, com idades entre 26 e 63 anos, cuidadores de familiares acometidos por doenças potencialmente fatais. Os colaboradores foram localizados pela divulgação do trabalho entre pessoas conhecidas e escolheram participar voluntariamente. A compreensão das narrativas mostrou que: 1) Quando uma pessoa com doença potencialmente fatal é diagnosticada e passa a ser tratada/cuidada, é fundamental englobar nesses cuidados também sua família, em especial o membro cuidador, pois esse é fortemente afetado pela doença e seus desdobramentos, vivenciando impactos e rupturas, acompanhados de muito sofrimento e angústia; 2) A relação entre a pessoa com a doença/familiar cuidador e os profissionais de saúde mostrou-se importante, influenciando todo o processo de fim de vida e morte. Porém, os profissionais também apresentam suas dificuldades em lidar com o sofrimento e a finitude humanas. Assim, é imprescindível apontar a necessidade de também receberem cuidados em meio à sua prática cotidiana; 3) Destacou-se ainda a importância dos cuidados nãofarmacológicos/ não-técnicos no cuidado a cuidadores familiares e cuidadores profissionais. É necessário recuperar modos de escuta e acolhimento, em um movimento de se desvincular da grande dependência do tecnicismo, abrindo espaço para as subjetividades; 4) E ainda, é preciso enfatizar a necessidade do próprio cuidador, em sua intensa vivência, poder se ver/se perceber em todo esse processo. Perceber-se enquanto ser que sofre, angustia-se perante a dor e a morte. É importante que acolha a própria dor e angústia e, assim, possa crescer/projetar-se para as inúmeras perspectivas que o poder-ser da existência humana possibilita. Tendo como base os achados, ao final, há a apresentação de palavras diretamente escritas a profissionais e cuidadores. Dessa forma, este trabalho, enquanto amplia as compreensões a respeito da intensa vivência que é o cuidar de um ente querido/paciente em seus últimos momentos de vida, pode auxiliar familiares cuidadores e profissionais de saúde em sua profunda jornadaThis study aimed to understand the experiences of family caregivers during and after caring for a loved one in the process of end of life and death. With important progress in scientific and technological areas, life expectancy of the world population has increased. Moreover, people of any age have survived longer with serious illnesses and/or accidents. These significant changes in population has increased the demand for care, which have been conducted, mostly by close relatives. Then, the aim of this research was learning more about this caregiver; understanding the impacts to him in care experience, their role in the process and knowing better how he deals with the idiosyncrasies of this intense experience. This work is based on the phenomenological research method developed by Amedeo Giorgi. The interviews had a non-directive approach and were started with the question: How did you experienced the taking care of your loved one in an end of life process? And how did having lived his/her loss? They were conducted taking in account what the participants considered as relevant issues. Six adults participated, three men and three women, ranging from 26 to 63 years of age; they were the main caregivers of relatives with potentially fatal diseases. The collaborators had knowledge about the study through divulgation for known people and voluntarily wished to cooperate. The comprehensive analysis of the narratives showed that: 1) It is fundamental to include family, especially the caregiver member, in the care when a person with advanced disease is diagnosed and is treated/cared. It because the caregiver is strongly affected by the disease and its consequences, experiencing impacts and disruptions, accompanied by much suffering and anguish; 2) The relationship between the person with the disease/caregivers and health professionals proved important, because it influences the whole end of life process and death. However, professionals also have their difficulties in dealing with suffering and human finitude. Therefore, it is essential to foreground the need to also receive care in their daily practice; 3) It was also highlighted the importance of nonpharmacological/ non-technical care in caring for family caregivers and professional caregivers. It is necessary to recover ways of listening and acceptance, in a movement to avoid the heavy reliance on technicality and to make room for subjectivities; 4) And, it is necessary to emphasize the need for the caregiver to see and perceive himself/herself throughout this process. Perceive himself as being who suffers and anguishes in front of pain and death. It is important to embraces his/her pain and anguish and, then, can grow/project himself to the numerous perspectives that the can-be human existence allows. At the end, based on findings, there is a presentation of words written directly to professionals and caregivers. Thus, this paper, while expanding understandings about the intense experience that is caring for a loved one/patient in the last moments of life, can help family caregivers and health professionals in your deep journey
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Estanislau, Cristiano. "TRANSFORMAÇÕES NO MUNDO DO TRABALHO NA REGIÃO DO GRANDE ABC: UMA ANÁLISE COMPREENSIVA A PARTIR DO FILME PEÕES." Universidade Metodista de São Paulo, 2010. http://tede.metodista.br/jspui/handle/tede/169.
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Previous issue date: 2010-09-14With the advent of the industrial revolution, capitalism has taken an astonishing way never seen before in other places in the world of work, to feed a fast-paced production, consumption and accumulation. This new era based on mechanization and a new division of labor imposed on the worker by the principle of fragmentation that following the chronometer model of scientific management and the production line of "butcher shop", that shared the work force and employee multiplied the accumulation of employer. However, in the 1970s capitalism has undergone a structural crisis that would transform the world of work again. This new transformation of capital based on the globalization and neo liberal concepts in order to further profitability over the labor force reached the objectivity and subjectivity of class that makes a living from working the (un) re-regulate their rights and conquests. In the world of Brazilian work changes of the world capital had their impact in the 1990s shaking entire production regions as do of Grande ABC, with structural unemployment and the restructuring process. In 2002 the filmmaker Eduardo Coutinho filmed a documentary - Peões - with 21 workers who recount their origins, their participation in the movement in the decades of 1970-1980-1990 and the outcomes of their lives making a building of itself by speaks. Thus, Peões will is for this dissertation the great link that will analysis corpus.that allow an approach between science and art. The phenomenological method will be used to analyze the present narratives for the understanding of the division of the capitalist work. This one is transforming the world of the work and it s perversely reaching the work-live-class when breaking up its subjectivity, that is explicit objectively in the fragmentation of the intersubjective relation with the others, the objects and the world. By means of the application of this method for the understanding of these narratives it was possible to reach at the following synthesis: the men and women, of Peões, had lived and still live nowadays intensely between the tenuous line of the resistance and of the submission, of the aware and alienation, blunting and the anonymity in the public sphere. It shows the importance, still in our days, of the widening of the dialectical thinking between the logic of the capitalist accumulation versus the logic of the human being survival.
Com o advento da revolução industrial o capitalismo assumiu uma forma assombrosa jamais vista anteriormente em outras passagens do mundo do trabalho, ao se alimentar de um ritmo acelerado de produção, consumo e acumulação. Esta nova era baseada na mecanização e numa nova divisão do trabalho impôs ao trabalhador o principio da fragmentação, que seguindo o modelo do cronômetro da gerência científica e a linha de produção do açougue dividiu a força de trabalho do empregado e multiplicou a acumulação do empregador. Na década de 1970 o capitalismo sofreu uma crise estrutural que viria a transformar o mundo do trabalho novamente. Esta nova transformação do capital fundamentado na globalização e nos conceitos neoliberais visando ainda mais a lucratividade em cima da força de trabalho atingiu a objetividade e a subjetividade da classe-que-vive-do-trabalho ao (des)re regulamentar seus direitos e conquistas. No mundo do trabalho brasileiro as transformações do capital mundial tiveram seu impacto nos anos 1990 abalando regiões produtivas inteiras como a do Grande ABC, com o desemprego estrutural e com a reestruturação produtiva. Em 2002 o diretor de cinema Eduardo Coutinho filmou um documentário Peões com 21 operários que narram suas origens, suas participações no movimento nas décadas de 1970-1980-1990 e os desfechos de suas vidas fazendo uma construção de si pela fala. Desta forma, Peões será para esta dissertação o corpus de análise para uma aproximação entre ciência e arte, onde será utilizado o método fenomenológico para a análise das narrativas que se apresentam para compreensão da divisão do trabalho capitalista que vem transformando o mundo do trabalho e atingindo perversamente a classe-que-vive-do-trabalho ao fragmentar sua subjetividade que se explicita objetivamente na fragmentação da relação intersubjetiva com o outro, os objetos e o mundo. Por meio da aplicação do método para a compreensão das narrativas pode se chegar à seguinte síntese: os homens e mulheres, de Peões, viveram e vivem ainda hoje intensamente entre a linha tênue da resistência e da submissão, da desalienação e alienação, do despontar e do anonimato na esfera pública evidenciando a importância ainda em nossos dias do alargamento do pensamento dialético entre a lógica da acumulação capitalista versus a lógica da sobrevivência humana.
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Souza, Daniel Paulo de. "O sujeito lírico em colapso: Cecília Meireles e o fim da subjetividade na poesia." Universidade Presbiteriana Mackenzie, 2014. http://tede.mackenzie.br/jspui/handle/tede/2348.
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Previous issue date: 2014-06-06Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This thesis reflects on the nature of poetry, and also the work of Cecília Meireles, assuming that, from a phenomenological analysis that it is not possible to consider the ideas of subjectivity and lyrical subject when discussing about poetic compositions, since these notions do not represent, in fact, the poetic act, but only explain it as a rational attitude, not as a phenomenon that took place in the world. Going back to subjectivity does not mean understanding the peculiarity of this type of speech, but intends to immerse in the interiority of an "I" that does not reflect the existential movement of a new presentation of things which he performs at the moment when he is articulated in their own metaphorical significances of poetic language. Due to this, the phenomenology was chosen as a line of thought, because it suggests that there is no subject as an "absolute cogito" disconnected from the world without roots in it, but a consciousness that looks to this world with the purpose to realize it. This attitude tends to get over the relationship between "subject" and "external object" that is always taken when reading and analysis of poetic texts are the question. Merleau-Ponty, for example, investigates how the explanation of a "philosophy of subjectivity" is valid as a possible discovery that consciousness realizes itself, or simply it is a construction produced at the instant that reflection comes out and takes this consciousness as a acquisition of thought after pronouncing the "I think". Along the way, the work of Cecília Meireles is highlighted, which reveals the vivacious appearance of things, shows total admiration for the sensory spectacle offered by them and stands unique because of its look that always reveals the most unusual meanings of the world and, through a poetic speech, makes it accessible in all its visibility.
Esta tese faz uma reflexão acerca da natureza da poesia e, também, da obra de Cecília Meireles, partindo do pressuposto de que, segundo uma análise fenomenológica, não é possível levar em conta as ideias de subjetividade e de sujeito lírico ao se falar das composições poéticas, já que essas noções não representam, de fato, o ato poético, mas apenas o explicitam como uma atitude racional, não como um fenômeno sucedido no mundo. Recorrer à subjetividade não significa compreender a peculiaridade desse tipo de discurso, mas supõe mergulhá-lo na interioridade de um eu que não reflete o movimento existencial de reapresentação das coisas que ele realiza no momento em que é articulado nas enunciações metafóricas próprias da linguagem poética. Por isso escolhemos a fenomenologia como linha de pensamento, porque ela indica que não existe um sujeito como um cogito soberano desligado do mundo, sem raízes nele, mas uma consciência voltada a esse mundo a fim de percebê-lo. Essa atitude tende a superar a relação entre sujeito e objeto exterior que sempre é feita quando se fala de leitura e de análise de textos poéticos. Merleau-Ponty, por exemplo, investiga até que ponto a explicitação de uma filosofia da subjetividade é válida como uma possível descoberta que a consciência realiza de si mesma, ou apenas se trata de uma construção a que se chegou no instante em que sobrevém a reflexão e toma essa consciência como um achado do pensamento depois de se pronunciar o eu penso . Nesse percurso, destaca-se a obra de Cecília Meireles, que revela a aparência vivaz das coisas, mostra total admiração pelo espetáculo sensorial oferecido por elas e se singulariza por causa de seu olhar que sempre revela os significados mais inusitados do mundo e, por meio de um dizer poético, gestualiza-o e o faz emergir em toda a sua visibilidade.
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Silva, Guilherme Ghisoni da. "As análises do tempo de Wittgenstein e o argumento da linguagem privada : o fim da memória como parte da estrutura lógica do mundo." Universidade Federal de São Carlos, 2011. https://repositorio.ufscar.br/handle/ufscar/4796.
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Previous issue date: 2011-05-05Universidade Federal de Minas Gerais
The aim of this thesis is the study of Wittgenstein s analyses of time, during the middle period, and the connections of those analyses to the private language argument. This study showed the importance granted to memory, in 1929-1930, which allowed using it as a key concept for the understanding of a major change that happened to Wittgenstein s philosophy in the early thirties (the abandonment of the thesis of the complete determination of sense). The understanding of this abandonment, through the perspective of the analyses of time, taking memory as a key concept, was used as a backdrop for the comprehension of some important passages from the book Philosophical Investigations, in which Wittgenstein deals with the problem of the language of sense-data and private experience.
O objetivo desta tese é o estudo das análises de Wittgenstein sobre o tempo, no período intermediário, e as conexões entre essas análises e o argumento da linguagem privada. Esse estudo revelou a importância do papel concedido à memória, em 1929- 1930, de tal modo que a utilizamos como chave de leitura para a compreensão de uma grande mudança ocorrida no pensamento do autor, no início da década de trinta (o abandono da tese da plena determinação do sentido). Essa compreensão da ruptura, pelo viés das análises do tempo, priorizando o papel da memória, foi tomada como pano de fundo para o entendimento de alguns importantes trechos, no livro Investigações Filosóficas, nos quais Wittgenstein explora o problema da linguagem dos dados sensoriais e a experiência privada.
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ROSSI, STEFANO FABIO. "«SOLO CIÒ CHE FRUTTIFICA E' VERO» FENOMENO E STRUTTURA IN HEINRICH ROMBACH." Doctoral thesis, Università Cattolica del Sacro Cuore, 2017. http://hdl.handle.net/10280/35770.
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La tesi prende in considerazione l'opera di H.Rombach (1923-2004) come esempio di sviluppo di alcune tesi heideggeriane e recupero di una certa tradizione filosofica tedesca che proprio la grande fama di Heidegger ha contribuito a rendere non operativa.The thesis takes into consideration the work of H. Rombach (1923-2004) as a development of some Heideggerian intuitions, along with the recovery of some aspects of the German philosophical tradition that the great fame of Heidegger has contributed to obscure
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CABRA, GIULIA. "INTERSOGGETTIVITA', AMORE ED ETICA IN E. HUSSERL. DALLA PORTATA ETICA DELL'ESPERIENZA INTERSOGGETTIVA ALLA RILEVANZA INTERSOGGETTIVA DELL'AMORE." Doctoral thesis, Università Cattolica del Sacro Cuore, 2020. http://hdl.handle.net/10280/84468.
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Edmund Husserl tratta l’etica e l’intersoggettività separatamente e con scopi diversi. Allo stesso tempo, nei suoi testi sono presenti indizi di una mutua connessione tra tali ambiti. Nel mio lavoro intendo chiarire come sia interpretabile tale connessione. In particolare, considero che l’affermazione husserliana del valore della relazione e del dovere di promuoverla indica che il soggetto può realizzare attivamente la dimensione intersoggettiva in cui si trova solo attraverso una scelta a favore della relazione. Tale scelta presuppone l’esperienza del valore altrui. Mi chiedo quindi quali siano le condizioni dell’esperienza della rilevanza assiologica ed etica dell’altro e della relazione con lui. Per rispondere a questa domanda, mi rivolgo a due ambiti della fenomenologia trascendentale di Husserl: la teoria dell’intersoggettività e le analisi etiche. Attraverso la prima, valuto se gli strati costitutivi dell’esperienza intersoggettiva abbiano una rilevanza assiologica. Tuttavia, dati i limiti di una considerazione etica della teoria dell’intersoggettività, mi rivolgo alle analisi etiche per ulteriori approfondimenti. Esse mostrano che il valore dell’altro e il dovere nei suoi confronti sono colti dall’atto emotivo dell’amore e che l’amore a sua volta è fondato nel coglimento dell’altro come soggetto trascendentale. Così facendo chiarifico la mutua connessione tra etica e teoria dell’intersoggettività in Husserl.Edmund Husserl treats ethics and intersubjectivity separately and with different purposes. At the same time, he disseminates clues of their interconnectedness throughout his works. In my dissertation, I aim to elucidate how to interpret their connection. In particular, I argue that Husserl’s insistence on the value of relationship and on the duty to promote it indicates that the subject can actively realize the intersubjective dimension in which it is situated only through a choice in favour of the relationship. This choice presupposes the experience of the value of the other. I thus ask which are the conditions of the experience of the axiological and ethical relevance of the other and of the relationship with it. To answer this question, I turn to two areas of Husserl’s transcendental phenomenology: his theory of intersubjectivity and his ethical analyses. Through the first, I assess whether the constitutive levels of intersubjective experience have axiological relevance. However, given the limits pertaining to an ethical consideration of his theory of intersubjectivity, I move to Husserl’s ethical analyses for further insights. These analyses show that the value of the other and the duty towards it are captured by the emotional act of love, and that love is in turn grounded on grasping the other as a transcendental subject. I thereby shed light on the interconnectedness of Husserl’s ethics and theory of intersubjectivity.
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Eymas, Fabien. "Une proposition de refondation de la dynamique concurrentielle à travers une étude phénoménologique du comportement concurrentiel du dirigeant de TPE." Electronic Thesis or Diss., Paris 8, 2019. http://www.theses.fr/2019PA080033.
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Cette recherche part des difficultés du modèle Awareness – Motivation – Capability à appréhender pertinemment le comportement concurrentiel des TPE. Ce modèle ne tient pas compte de ce que la prépondérance du dirigeant dans la TPE nécessite de situer son analyse au niveau individuel. Les travaux en dynamique concurrentielle se sont essentiellement focalisés sur les dimensions coopétitive et, surtout, rivale des relations interentreprises, faisant de l’interaction concurrentielle l’unité d’analyse de base du champ d’analyse et du concurrent la partie prenante-clé de la définition et de la mise en oeuvre de la stratégie d’entreprise. Or, il ressort de notre étude fondée sur l’interprétation du discours de 20 dirigeants de TPE sur leurs représentations et leurs pratiques de la concurrence que d’autres parties prenantes peuvent jouer un rôle majeur en matière de stratégie. Une approche holistique du corpus montre que les dirigeants de TPE accordent une place éminente à leurs clients pour mettre en place leurs actions concurrentielles. Une approche idiosyncrasique des discours des dirigeants permet de dessiner cinq formes de comportement concurrentiel-type et six profils de dirigeants de TPE selon l’objet principal de la focalisation de leur attention dans la définition et le déploiement de leurs actions. Quatre dirigeants de TPE sont principalement mus par les interactions qu’ils nouent avec leurs parties prenantes : clients, concurrents et fournisseurs. Deux sont davantage centrés sur eux-mêmes (concept créé, compétences). En dernière analyse, il apparaît que ces formes de comportement concurrentiel sont liées aux manières de raisonner des dirigeants de TPEThis research is based on the difficulties of the Awareness – Motivation – Capability model to understand the competitive behaviour of small businesses. This model does not take into account that the preponderance of the executive in the VSE requires to situate its analysis at the individual level. Researches in competitive dynamics has mainly focused on the coopetitive and, above all, rivalrous relations between firms, which makes the competitive interaction the basic unit of analysis of the field and the rival the key stakeholder of the definition and implementation of the business strategy. A365holistic approach of the corpus shows that the executive of VSE gives a prominent place to their customers to set up their competitive actions. An idiosyncratic approach to executives’ discourses makes it possible to draw five forms of competitive behaviours and six profiles of VSE executives according to the main focus of their attention in the definition and deployment of their actions. Four VSE executives are mainly driven by the interactions they have with their stakeholders: competitors, customers and suppliers. Two others are more self-centred (on the concept they created or on their competences). In the final analysis, it appears that these forms of competitive behaviour are related to the ways VSE executives’ reason
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Leyssen, Sigrid. "Perception in Movement. Moving Images in Albert Michotte's Experimental Psychology (1881-1965)." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0142.
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J’explore de nouvelles façons d’étudier l’histoire et l’historicité de la perception, à travers un double portrait du psychologue francophone Albert Michotte, et de la collection de ses disques en papier. Leur interaction produit de nouvelles images expérimentales, éclaircissant les complexités de la perception. J’ai navigué différents archives, archives d'objets et collections d’instruments en Belgique, en France et en Allemagne. La découverte de nouvelles sources et mes ré-animations historiques m’ont permis de combiner l’histoire des sciences et l’étude des médias, touchant sur l’histoire de la philosophie et de la religion. Le portrait de Michotte dévoile une figure qui fait le pont entre différents paradigmes psychologiques, science et religion, filmologie et phénoménologie expérimentale, aussi bien qu’un diplomate des sciences traversant deux guerres, des politiques religieuses et des changements institutionnels. Etudier les paradoxes qu’il incarnait devient ainsi un outil d’historiographie. Le portrait des disques, contextualisé en termes de 'contextes d’action', montre comment ils sont liés à la pratique expérimentale, le cinéma, l’art et la culture matérielle du laboratoire. Ce double portrait montre comment Michotte et les disques créèrent ensemble des images en mouvement afin d’étudier les perceptions dynamiques, telle que la perception de la causalité. Le mouvement est essentiel à cette thèse, car il permet de comprendre comment de telles perceptions son générées et transportées. L’étude de ces perceptions permet de saisir comment la perception dépend d’un contexte, se forme à travers des inter-actions, et change – montrant son historicitéI explore new ways to study the history and historicity of perception, through a double portrait: of the francophone psychologist Albert Michotte, and of a set of well-preserved rotating paper discs. In their interaction, new experimental images were generated, shedding light on the intricacy of perception. I have searched different archives, object-archives and instrument collections in Belgium, France and Germany. Newly discovered sources, together with my historical re-animations, allowed me to combine history of science with media studies, in close interaction with the history of philosophy and religion.The portrait of Michotte shows a bridging-figure between different psychological paradigms, science and religion, filmology and experimental phenomenology, performing science diplomacy to navigate two wars, religious politics and institutional change. Studying the paradoxes he embodied is developed into a historiographical tool. The portrait of the discs, contextualised in terms of 'action contexts', shows how they related to experimental practice, cinema, art and the material culture of the laboratory. This dynamic double portrait shows how Michotte and the discs together create moving images for the study of dynamic perceptions, such as the perception of causality. Motion is central to this thesis, not only for explaining the dynamic perception of movements, but especially for understanding how such perceptions are generated and transported. Studying these 'movement-perceptions' makes it possible to grasp how perception is context dependent, how it is shaped through inter-actions, and how it changes – giving it a history
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Georgiou, Jonathan. "Exploring the benefits of attracting, recruiting and retaining mature age employees up to and beyond the traditional age of retirement: Perspectives from Western Australia." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1632.
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There has been a recent upsurge in media attention surrounding Australia’s ageing workforce. A review of academic, media and grey literature highlighted inadequacies in existing workplace polices, as well as flaws in financial and social security schemes. Of particular concern were persistent negative attitudes and counterproductive policies regarding mature age employees (MAEs). Poor retention rates among this cohort of workers aged 45 years and over are leading to skilled labour shortages and losses in corporate knowledge. This expected mass exodus of mature cohorts into retirement has been predicted to negatively impact the socio-economic sustainability of ageing societies world-wide and is a pertinent issue for Western Australia (WA).
The overarching objective of this study was to identify the ‘place’ of mature cohorts within WA workplaces and promote strategies that will improve the employment conditions and overall quality of life of ageing workforces. Research questions aimed to address the need for greater mature age employment up to and beyond pensionable age; identify ‘gaps’ in policies and programmes; and explore how mature cohorts were perceived (valued) and the extent their departure may affect WA society (labour force).
By using a mixed methods research design, this Doctoral dissertation developed a conceptual framework for limiting significant issues individuals, businesses and society may experience as a result of WA’s ageing workforce; whilst simultaneously promoting the benefits of maturity and mature age employment. This Re-Model draws upon the community development work principles of social justice, empowerment and social capital; and is further contextualised by methods of best practice identified from the triangulation of secondary sources, quantitative data and qualitative inquiry. Primary data collection involved the completion of 362 surveys, followed by 27 semistructured interviews and four focus group activities, with a cross section of MAEs, volunteers, their employers, retirees and unemployed cohorts from across WA.
Over one-third of current MAEs, employers and volunteers in this study reported they intended working later than the traditional age of retirement, with 71 per cent of this sample planning to semi-retire. Furthermore, almost 60 per cent of a sample that had previously exited the labour force was working at the time of data collection as semi-retirees or rehired retirees (rehirees). Collectively, these statistics indicated that despite predictions of mass disengagement among mature cohorts, most of this crosssection of Western Australians are seeking to remain in (or re-enter) the WA workforce beyond pensionable age. However, quantitative and qualitative findings revealed several barriers to their continued engagement, including access to ‘age-friendly’ workplaces; a dearth of targeted training (career) development and employment assistance; and a lack of value attributed to mature age skills and experience, particularly deleterious in WA’s youth-centric culture.
Primary data also highlighted several enabling factors for mature age employment. ‘Flexibility’ and ‘autonomy of choice’ were cited as key dimensions across all aspects of paid work, volunteering and retirement – whether in terms of worklife- balance; the individuation of training and development; or options available to those transitioning out of traditional employment. Data indicated that sustainable cultural change required more than just the removal of negative policies or introduction of punitive legislation. Maintaining a positive outlook among mature age individuals and simultaneously educating (younger) co-workers, employers, policy-makers (stakeholders) and society about the virtues of maturity and non-traditional work (skills) were considered essential to changing societal attitudes, behaviour and culture.
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Noordhuis-Fairfax, Sarina. "Field | Guide: John Berger and the diagrammatic exploration of place." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154278.
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Positioned between writing and drawing, the diagram is proposed by John Berger as an alternative strategy for articulating encounters with landscape. A diagrammatic approach offers a schematic vocabulary that can compress time and offer a spatial reading of information. Situated within the contemporary field of direct data visualisation, my practice-led research interprets Berger’s ‘Field’ essay as a guide to producing four field | studies within a suburban park in Canberra. My seasonal investigations demonstrate how applying the conventions of the pictorial list, dot-distribution map, routing diagram and colour-wheel reveals subtle ecological and biographical narratives.