Dissertations / Theses on the topic 'Steve (1956-....)'

Ce travail de thèse propose une interprétation philosophique de l’improvisation musicale, particulièrement celle du jazz, à travers la Dialectique négative telle qu’elle fut conçue par Theodor W. Adorno. L’hypothèse principale développée dans ce travail consisté à montrer qu’il est possible de penser l’improvisation de manière philosophique à travers un philosophe qui a touché, mais n’a pas développé le sujet. Nous voulons démontrer qu’il est possible de continuer à penser à partir d’Adorno en s’engageant dans sa demande peu clair d’ouverture pour des objets situés en dehors du corpus qu’il a lui-même traité. Notre engagement dans la Dialectique négative se réalise notamment à travers sa capacité de pousser les objets aux extrêmes, pointant simultanément vers leur désintégration et leur caractère d’utopie. Comme nous allons tenter de le montrer tout au long de ce travail, l’idée de se pencher sur l’improvisation découle d’une prise en compte du temps social qui émerge au sortir de la Seconde Guerre mondiale et des brèves intuitions qu’Adorno avait alors eues concernant la réémergence de cette pratique. La thèse comporte trois parties plus un avant-propos. La première partie se divise en deux chapitres. Le premier est une exposition de notre interprétation de la Dialectique négative insistant notamment sur sa double ouverture : aux objets et à son incomplétude. Le chapitre suivant propose une description de quelques aspects de l’improvisation à partir d’un travail conceptuel autour de notions adorniennes telles que l’informel, la logique de la désintégration, le modèle et la constellation. La deuxième partie se subdivise en trois chapitres dans lesquels nous discuterons de la problématique de l’improvisation au regard de trois notions clefs de la pensée d’Adorno : la forme, le temps et la liberté. Pour chaque chapitre, l’idée sera de discuter des apports et des limites de la pensée adornienne pour penser l’improvisation. Finalement, pour la dernière partie de la thèse, nous proposons une lecture de l’histoire du jazz sur la forme d’une philosophie de l’histoire d’inspiration adornienne. Nous tenterons de montrer que l’improvisation peut être considérée comme le moteur donnant l’impulsion à un processus de développement immanent du jazz qui démarre avec un moment moderniste et radical en 1945 avec Charlie Parker, et s’arrête sur de multiples impasses autour de 1975. L ́approche philosophique adornienne nous aidera à montrer que ce processus n’était pas simplement un changement successif de figures musicales, mais qu’il s’est constitué comme une constellation de ces figures musicales. Tout au long de ce travail, en plus du corpus adornien, nous discutons le corpus philosophique et musicologique spécifique du jazz et de l’improvisation, ainsi que des écrits des musiciens, notamment ceux de Steve Coleman et de Steve Lacy
This thesis proposes a philosophical interpretation of musical improvisation, particularly jazz improvisation, through the Negative Dialectic as it was conceived by Theodor W. Adorno. The main hypothesis developed in this work is that it is possible to think philosophically about improvisation through a philosopher who touched on the subject but did not develop it. We want to show that one way to continue to think from Adorno is to engage with his demand for openness to objects outside the corpus he treated himself. Our engagement with the Negative Dialectic is notably through its capacity to push objects to extremes, pointing at the same time towards their disintegration and towards their utopian character. As we will try to show throughout this work, the idea of looking at improvisation stems from an awareness of the social time that emerged at the end of the Second World War and the brief intuitions that Adorno had at the time concerning the re-emergence of this practice.The thesis consists of three parts in addition to a foreword. The first part is divided into two chapters. The first chapter consists of an exposition of our interpretation of the Negative Dialectic, insisting on its double opening: both to objects and to incompleteness. The next chapter proposes a description of some aspects of improvisation based on an exploration of Adornian notions such as the informal, the logic of disintegration, the model and the constellation. The second part is subdivided into three chapters in which we discuss the problematic of improvisation with regard to three key notions in Adorno's thought: time, form and freedom. For each chapter, the objective will be to discuss both the contributions and limitations of Adorno's thought concerning each of the notions for thinking about improvisation. Finally, for the last part of the thesis, we propose a reading of the history of jazz in the form of an Adorno inspired philosophy of history. We will try to show that improvisation can be considered as the motor that gives impetus to a process of immanent development of jazz that starts with a modernist and radical moment in 1945 with Charlie Parker, and stops at multiple dead ends around 1975. The Adornian philosophical approach helps us to show that this process was not simply a successive change of musical figures but was constituted as a constellation of these figures. Throughout this work, in addition to the Adornian corpus, we discuss the specific philosophical and musicological corpus of jazz and improvisation, as well as the writings of musicians, notably Steve Coleman and Steve Lacy

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This study focuses the early work of Steve Reich (1936) investigating its relation with the aesthetic principles of what has been called minimalism of the 1960s, taking into consideration historical aspects and creative procedures along with their theoretical discourses. The pieces composed by Reich between 1965 and 1976 are representative of the composer's trajectory because they display, on one side, radical procedures that resulted from experiments with tape recorders – Come out (1966), Piano phase (1967), Pendulum music (1968) –, and on the other extreme pieces for large ensembles and distinct instruments – Music for mallet instruments, voices and organ (1973) and Music for 18 musicians (1976) – which move away from the aesthetics of “music as a gradual process” as exposed by the composer himself on the homonymous text (1968). In this musical trajectory, historically associated to minimalism, the changes in the composicional methods and procedures employed by Reich raise questions that allow one to question the direct connection between the North-American composer and the minimalist aesthetic. In order to do so, the first chapter takes a historical approach aiming to identify a minimalist paradigm derived from the literature, taking into account the intersection between music theory and art criticism, which is the context in which the term “minimalism” first appeared. The second chapter, analytical in nature, confronts the principles of such paradigm with Reich's pieces from the selected period, seeking to observe to what extent Reich's music connects to or moves away from minimalism, also considering the appearance of “post-minimalism”. Having analysed the relation between Reich's early work and the minimalist aesthetic, the third chapter proposes a theoretical reading of such frame taking into consideration the concurrency and/or coexistence of the great narratives of modernity and post-modernity in the 1960s. This concurrency is materialized in Reich's early work, in the same way that some authors consider minimalism as a turning point in the discourse of the arts in the twentieth century. Following this methodology that departs from a micro perspective – a determined period in the work of a specific composer – to get into a macro perspective – the problem of the great narratives in the twentieth century – one concludes that Reich, in moving away from minimalist principles, also moves away from an idea of modernism, presenting features that can be related to post-modernism.
Este trabalho enfoca a produção inicial de Steve Reich (1936) e investiga sua relação com os pressupostos estéticos do que se entende por minimalismo dos anos 1960, considerando aspectos históricos e procedimentos criativos juntamente aos seus discursos teóricos. As peças de Reich compostas entre 1965 e 1976 são representativas da trajetória do compositor, pois apresentam em um pólo procedimentos mais radicais, oriundos dos experimentos com gravadores de fita – Come out (1966), Piano phase (1967), Pendulum music (1968) –, e em outro pólo peças para grandes grupos e instrumentos diversos – Music for mallet instruments, voices and organ (1973) e Music for 18 musicians (1976) – que se distanciam da estética da “música enquanto processo gradual” tal como exposta pelo próprio compositor em texto homônimo (1968). Nessa trajetória musical, historicamente associada ao minimalismo, as mudanças nos métodos e nos procedimentos composicionais empregados por Reich suscitam questões que permitem problematizar essa relação direta entre o compositor estadunidense e a estética minimalista. Para tanto, o primeiro capítulo assume um caráter histórico e é destinado à identificação de um paradigma minimalista a partir da literatura, levando em conta a interseção entre teoria musical e crítica de arte, já que foi no contexto das artes plásticas que o termo “minimalismo” se originou. Tendo definido um paradigma minimalista de referência, o segundo capítulo, de natureza analítica, confronta os pressupostos desse paradigma com peças de Reich referentes ao período selecionado, procurando observar em que medida Reich se conecta ou se afasta do minimalismo, considerando também a possibilidade de surgimento do que se denominou “pós-minimalismo”. Diante da análise da obra inicial de Steve Reich e sua relação com o minimalismo, o terceiro capítulo propõe uma leitura teórica levando em consideração a concorrência e/ou coexistência das grandes narrativas da modernidade e da pós-modernidade nos anos 1960. Esse embate está materializado na trajetória inicial de Reich, do mesmo modo como alguns autores consideram o minimalismo um ponto de virada no discurso das artes do século XX. Seguindo essa metodologia que parte de uma perspectiva micro – um período delimitado na obra de um compositor específico – para uma perspectiva macro – o problema das grandes narrativas no século XX – conclui-se que Reich, ao se afastar do minimalismo, afastase também de uma ideia de modernismo apresentando elementos que podem ser associados ao pós-modernismo.

Steve Reich est un compositeur d'apparence simple. Derrière cette évidence de la forme et des éléments qui la composent se cache la complexité: l'ambiguïté est érigée en système. Ainsi, le processus qui est, a priori, implacable, inexorable, réserve toujours une part de surprises. Par le déphasage graduel, on perd quelque peu pied. Les motifs résultants montrent la virtualité de la musique reichienne. Et que dire de cette attraction/répulsion pour l'électronique. Un trait essentiel de la création de Reich à partir de 1976 est la notion de cycles d'accords: ceux-ci exposés dès le début sont supposés revenir dans l'ordre. Bien souvent, les oeuvres issues de ce procédé sont comme des jeux de pistes. Le rapport au texte a évolué chez le compositeur. Dans les premières pièces, le sens est atomisé. Puis il y a une sémantisation qui aboutit à des oeuvres ethiques aprés 1990. Par exemple, Three Tales (2002) est une oeuvre de réflexion sur les dangers de la technologie au XXème siècle. Mais c'est aussi une oeuvre postmoderne et on sait combien cette notion est équivoque
Steve Reich seems to be a simple composer. But behind this obviousness of the form and of the elements wich make it up, hides a true complexity: ambiguity is set up as a system. Thus, the process which is at first relentless and inexorable always reserves a share of surprises. By phasing, one is slighty lost. The resulting patterns show the virtuality of the reichienne music. And what is there to think of Reich's attraction and repulsion as regards electronics. An essential feature of the creation of Reich since 1976 is the concept of chord cycles:: those exposed from the very start are supposed to return in the same order. Very often, the works resulting from this process turn out to be mazes. The connection with the text evolved with the composer. In the first pieces, the meaning is atomised. Then, there is an evolution towards a semantisation which leads to ethical works after 1990. For example, Three Tales (2002) is a work of reflexion on the dangers of technology in the twentieth century. But it is also a post-modern work and one knows how much this concept is questionable

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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
Steve Jobs’ speech, that marked the launch of products made by Apple, a technology company, was eagerly anticipated by the market, fans and media. All over the world, many people line up and even set up tents in front of Apple stores on the eve of product launches, and then come out holding their package as a trophy. But what explains Apple’s phenomenon? This study is based on the assumption that Jobs is considered a sort of modern times messiah, making Apple an extension of himself, and aims to understand, within an enunciative-discursive perspective, as developed by Dominique Maingueneau, how the messiah figure is personified in Jobs and unveils a “savior” myth established around him. This investigation is also founded on the hypothesis of sacralization of technology (Noble, 1997), which considers that, by promoting the encounter between the physical and the metaphysical, technology aims at transcendence and appropriates religious ideas. As such, this study is spread across different discursive fields, such as advertising, religion and the media, aiming to understand not only the intertextuality but also the discursive ethos and set design in the conjuncture of the public appearances of Apple’s co-founder. In addition, in order to understand how Steve Jobs’ discourse got acclaimed by the world, using the religious discourse to legitimize his own speech, the notion of constituent discourses is thus mobilized. Considering the evolution in the networks of discourse genres, especially after the emergence of the internet and the widespread dissemination of technology, the study also contemplates the notion of generic valence (Maingueneau, 2015), which allows us to reflect on how discourse genres and consequently the exercise of the discourse have been transforming over time. This reflection is essential, since the analysis of this research focuses on events that happened empirically and were reproduced on YouTube, an online video sharing platform. The results show how the pre-discursive ethos was constructed with an interaction between different genres, the discursive artifices used by the enunciator in the scenography of his presentations to challenge his co-exponents, as well as the links between what Jobs demonstrated and the contents circulating about him, raising expectations of his public appearances
Nas apresentações que marcavam o lançamento oficial dos produtos da Apple, empresa de tecnologia, o pronunciamento de Steve Jobs, cofundador e presidente da companhia, era ansiosamente aguardado por todo o mercado, por fãs e pela mídia. Ao redor do mundo, muitos fazem filas e até montam acampamentos em frente às lojas às vésperas do lançamento de algum produto e depois saem exibindo o pacote como um troféu. Mas o que explica esse fenômeno Apple? Esta pesquisa parte do pressuposto de que Jobs se consagrou como uma espécie de messias dos tempos modernos, tornando a Apple uma extensão de si, e objetiva compreender, na perspectiva enunciativo-discursiva, tal como desenvolvida por Dominique Maingueneau, como a figura de messias se personifica em Jobs e desvela uma mítica de “salvador” instaurada sobre ele. Esta investigação também parte da hipótese da sacralização da tecnologia (NOBLE, 1997), a qual considera que, promovendo o encontro entre o físico e o metafísico, a tecnologia visa à transcendência e se apropria de ideias religiosas. Assim, neste trabalho realiza-se um atravessamento por diferentes campos discursivos como o publicitário, o religioso e o midiático, com vistas a depreender não somente a intertextualidade como o ethos discursivo e a cenografia na conjuntura das aparições públicas do cofundador da Apple. Ademais, para compreender o modo como o discurso de Steve Jobs encenou sua consagração ao mundo, recorrendo ao discurso religioso para legitimar a própria fala, mobiliza-se a noção de discurso constituinte. Considerando a evolução nas redes dos gêneros do discurso, especialmente após o surgimento da internet e da ampla disseminação da tecnologia, a pesquisa também contempla a noção de valência genérica (MAINGUENEAU, 2015), que permite refletir sobre o modo como os gêneros do discurso e, consequentemente, o exercício do discurso vêm se transformando. Essa reflexão é essencial, uma vez que a análise desta pesquisa se concentra em eventos que aconteceram de modo empírico e que foram reproduzidos em um site de compartilhamento de vídeos, o YouTube. Os resultados mostram o modo como o ethos pré-discursivo se construiu por meio da interação entre diferentes gêneros, os artifícios discursivos utilizados pelo enunciador na cenografia de suas apresentações para interpelar seus coenunciadores, bem como o encadeamento que havia entre aquilo que Jobs demonstrava e os conteúdos que circulavam a seu respeito, suscitando expectativas em relação a suas aparições públicas

From Integrative Summary: There has been a growing interest in successful entrepreneurs. Research on entrepreneurship has focused on the identification of personality variables that would assist in the prediction of entrepreneurial success. The present study moves away from attempting to predict entrepreneurial success and instead focuses on exploring and describing the personality of a successful entrepreneur. A psychobiographical case study was adopted by the researcher to explore and describe the extent to which Steve Jobs demonstrated the entrepreneurial characteristics identified by Rauch and Frese (2007). A personality trait approach to entrepreneurship was adopted in the study. The study also attempted to explore the socio-cultural and economic context within which Jobs practised his entrepreneurial activities. Jobs was a successful entrepreneur who co-founded Apple and founded NeXT and Pixar, which were all companies that transformed various technological industries. His entrepreneurial orientation allowed him to produce innovative products that transformed society in various sectors which included personal computing, mobile phones, music, retail stores and films (Isaacson, 2011). A qualitative approach was adopted in the study. The data collection and analysis was guided by the three linked sub-processes proposed by Miles and Huberman (2002) which involved data reduction, data display and conclusion drawing and verification. The findings of this study showed that Jobs demonstrated, at varying levels, all the entrepreneurial characteristics identified by Rauch and Frese (2007) which included a need of achievement, risk-taking, innovativeness, autonomy, locus of control and self-efficacy. The researcher however noted that the desire for autonomy, risk-taking, innovativeness and self-efficacy were the most dominant characteristics driving his entrepreneurial orientation. The research thesis adopted the structure of a teaching case which can be used to explore and discuss the personality trait perspective to entrepreneurship in a classroom setting. The findings of the study can be recognised as positively contributing to the growing field of psychobiographical research on exceptional individuals, including entrepreneurs. The study can be considered as a foundation for future studies which will add to the body of knowledge relating to entrepreneurship and personality.

The study consists of a psychobiography of the American entrepreneur and innovative co-founder of Apple Computers, Steven Paul Jobs (1955 – 2011). The psychobiographical research method qualitatively considers the lived life of an individual in an attempt to understand the psychological development in the context of applied psychological theory. A theoretical integration of Adler‘s Individual Psychology and Antonovsky‘s Sense of Coherence was utilized in the present study. This integrative approach facilitated a dynamic and holistic picture of the individual‘s functioning in illuminating not only personality but also the individual‘s social context, choice making capacity, general resistance resources and the individual‘s ‗meaning making‘ capacity in the strive towards health and superiority. Steven Paul Jobs revolutionised personal computing. Ranked as Forbes‘ seventeenth most powerful person and Man of the Year by The Financial Times in 2010, Jobs‘ contribution to modern technology is widely acknowledged and revered. To ensure the accurate description of the lived life of Steven Paul Jobs, extensive data was examined by utilizing Alexander‘s model of identifying salient themes. The study considered the nature and methodology of psychobiography, the theories of Alfred Adler and Aaron Antonovsky and the life of Steven Paul Jobs that resulted in an integrated psychological description of the subject. The findings of this study indicate that Steven Paul Jobs‘ unique context (environment and constitutional attributes) was valuable in light of the theoretical frameworks that the present study is grounded upon as it illustrated an individual‘s self-determination and capacity to exercise choice in response to life challenges. The study highlighted that the individual is not necessarily a passive bystander to his life events but rather is driven by an internal forward striving. Key concepts: Aaron Antonovsky, Alfred Adler, Apple Computers, Individual Psychology, Psychobiography, Sense of Coherence, Steven Paul Jobs.

Thesis ( MMus (Music))--University of Stellenbosch, 2007.
Steven De Groote (1953-1989) was one of the most successful pianists to have emerged from South Africa. His international reputation rests largely on the fact that he won first prize in the Van Cliburn International Piano Competition in 1977, the only South African to date to have achieved this feat. As such he must be recognized as an important figure in the music history of South Africa. Because the performing musician’s product is transitory in nature and therefore his/her legacy is not tangible in all respects, the introduction to the thesis discusses the specific methodological problems arising from this fact in respect of the writing of a biography. The focus in this biography is on De Groote’s numerous achievements and especially on his career as concert pianist. It includes a discussion of his formative years, his subsequent years of study and the influence of competitions, and more specifically the 1977 Van Cliburn competition on his career. Discussion of his pianistic style, De Groote as teacher and his love for chamber music is also included. De Groote’s contribution to the South African musical scene is highlighted, especially his honorary professorship at the University of Stellenbosch during 1986 and 1987, as are his master classes in this capacity and his regular performances in South Africa. His role as a South African musician abroad is also examined. The biography is concluded with a brief discussion of his airplane accident and the influence this had on his career as a pianist and on his playing.

Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2009
Bibliografia: f. 113-116
Amparados nas teses do psicólogo evolucionista Steven Pinker, buscaremos uma melhor compreensão do comportamento humano, fazendo uma revisão no modelo clássico de ciências sociais. Para ele o arquétipo delineador do comportamento humano se encontra ultrap
Supported in the teses of evolucionista psychologist Steven Pinker, we go to search one better understanding of the human behavior, making a revision in the classic model of social sciences. For it archtype limiting of the human behavior if finds exceeded

The compositions of Steve Reich and György Ligeti both contain periodic rhythmic structures. Although periods are not usually easily perceived, the listener may perceive their combinations in a hierarchy of rhythmic structures. This document is an attempt to develop an analytical method that can account for this hierarchy in periodic music. I begin with an overview of the features of Reich's and Ligeti's music that contribute to the property of periodicity. I follow with a discussion of the music and writings of Olivier Messiaen as a precedent for the periodic structures in the music of Reich and Ligeti. I continue by consulting the writings of the Israeli musicologist Simha Arom and describing the usefulness of his ideas and terminology in the development of my method. I explain the working process and terminology of the analytical method, and then I apply it to Reich's Six Pianos and Ligeti's Désordre.

Thesis (MA)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: This thesis explores the ways in which the censors during the apartheid era responded to the works of three black liberation theorists; namely Frantz Fanon, Amilcar Cabral and Steve Biko. Although other studies of apartheid‐era censorship have been published, this is the first to examine the censors’ reactions to the work of key African liberation writers. Apartheid in South Africa brought with it a stringent system of governance, which included a board of censors who would decide, according their interpretation of the laws of the time, whether a publication was considered to be “desirable” or “not undesirable.” One of the major themes examined in the thesis is the interface and tension between the specific and the transnational. As we shall see, all three liberation theorists put forward Pan‐African ideas of liberation, but often explicated upon the specificities of their particular liberation struggles. In a strange act of mirroring, while upholding the idea of South Africa as “a special case” (exempt from the norms of international human rights law), the apartheid‐era censors were concerned about the spread of Pan‐African theories of liberation. Beginning with Fanon, I speculate on the reason why Black Skin White Masks was not banned in South Africa, though Fanon’s later works to enter the country were banned. I also examine Gillo Pontecorvo’s film The Battle of Algiers, which was influenced by Fanon’s theories, and censorship, arguing that the “likely readers” or “likely viewers” of revolutionary material included not only possible revolutionaries, but also paranoid networks of counterinsurgency. I then move on to examine the apartheid censors’ responses to the works of Amilcar Cabral, outlining the interface and tension between local and continental as described above. The final chapter, which deals with the censors’ responses to Steve “Bantu” Biko’s I Write What I Like as well as Donald Wood’s Biko, the film Cry Freedom and other Biko related texts and memorabilia, has some surprises about the supposedly “liberal” censors’ responses to what they deemed to be “undesirable” and “not undesirable” literature.
AFRIKAANSE OPSOMMING: Hierdie tesis verken die manier waarop die sensuurraad tydens die apartheidera gereageer het op die werk van drie swart bevrydingsteoretici, by name Frantz Fanon, Amilcar Cabral en Steve Biko. Hoewel daar wel ander studies oor apartheidera‐sensuur die gepubliseer is, is hierdie die eerste studie wat die sensuurraad se reaksie op die werk van sleutel‐Afrikabevrydingskrywers verken. Apartheid het ‘n streng beheerstelsel in Suid‐Afrika tot gevolg gehad wat ‘n sensuurraad ingesluit het wat volgens sy interpretasie van die toenmalige wette kon besluit of ‘n publikasie “wenslik” of “nie‐wenslik” was. Een van die hooftemas wat in hierdie tesis ondersoek word is die interaksie en spanning tussen die spesifieke en die transnasionale. Soos sal blyk, het al drie bevrydingsteoretici Pan‐Afrikanistiese idees van bevryding ondersteun, maar dikwels die besondere van hul spesifieke bevrydingstryd uiteengesit. Die apartheidera‐sensors se kommer oor die verspreiding van die Pan‐ Afrikanistiese bevrydingsteorië, terwyl hulle die idee van Suid‐Afrika as “’n spesiale geval” (vrygestel van die norme van internasionale menseregtewetgewing) voorgehou het, was ‘n ironiese spieëlbeeld hiervan. Ek begin by Fanon en bespiegel oor die redes waarom Black Skin White Masks nooit in Suid‐Afrika verbied was nie hoewel Fanon se latere werk wat die land binnegekom het, wel verbied was. Ek ondersoek ook Gillo Pontecorvo se film The Battle of Algiers wat deur Fanon se teorië beïnvloed is, en argumenteer dat die “waarskynlike lesers” en “waarskynlike kykers” van revolusionêre materiaal nie slegs moontlike revolusionêre ingesluit het nie, maar ook paranoïede netwerke van teeninsurgensie. Ek gaan voort deur die reaksie van die apartheidera‐sensors op die werke van Amilcar Cabral te ondersoek en die interaksie en spanning tussen die plaaslike en die kontinentale, soos hierbo beskryf, uit te lig. Die slothoofstuk, wat handel oor die sensuurraad se reaksie op Steve “Bantu” Biko se I Write What I Like, asook Donald Woods se Biko, die film Cry Freedom en ander Biko‐verwante tekste en memorabilia, bevat verrassings omtrent die sogenaamde “liberale” sensors se reaksies op wat hulle as “wenslike” en “nie‐wenslike” literatuur beskou het.

Cinéaste éclectique, passant sans difficulté d'un genre à l'autre, Steven Spielberg a trop souvent la réputation d'un réalisateur de grand talent, mais aux idées simples, voire pauvres. Or un examen un tant soit peu attentif de ses films révèle une véritable profondeur de pensée. Humaniste convaincu, Spielberg n'en reste pas moins obsédé par l'inhumain - sous les dehors du non humain, de la négation de l'homme et du dépassement de ce dernier - il déploie une diversité des figures de l'inhumanité. Du point de vue méthodologique, l'approche philosophique du cinéma est ici privilégiée, tout en prenant appui sur la contextualisation générique et l'analyse filmique. Notre recherche nous conduit à examiner les rapports de l'homme avec l'altérité, avec la nature, avec l'univers. Se révèle un optimisme teinté de pessimisme, une lumière voilée par les ténèbres. L'étude d'un corpus circonscrit permet de mettre au jour une éthique et une métaphysique nuancées, à la fois pleines de confiance et emplies d'incertitude. Loin de tout dogmatisme, l'humanisme spielbergien veut croire en l'homme, tout en étant lucide sur la difficulté d'une réconciliation de ce dernier avec lui-même et avec le monde
As a versatile director who switches from one genre to another very smoothly, Steven Spielberg is too often reputed to be a very talented filmmaker though one of simple if not poor ideas. However a close scrutiny of his films shows a genuine depth of thought. A confirmed humanist, Spielberg is yet obsessed with the inhuman – in the many forms of the non-human, man’s negation and man’s overcoming – displaying a whole array of figures of inhumanity. From a methodological viewpoint, if a philosophical approach of cinema has been here favoured, arguments are also based on generic contextualizations and film analysis. This survey leads us to investigate man’s relations to otherness, nature and the universe. The process brings out an optimism tinged with pessimism, some light veiled with darkness. The study of a circumscribed corpus of films allows to reveal both a nuanced ethics and a metaphysics, simultaneously full of confidence and fraught with uncertainty. Far from any dogmatic stance, the Spielbergian humanism believes in man while expressing lucidity as to the latter’s ability to reconcile with himself and the world

Thesis (MMus (Music))--University of Stellenbosch, 2009.
Arnold van Wyk was a composer and a pianist. He recorded his largest work for piano, Night Music (1958), on LP in 1963. Steven de Groote performed Night Music on 21 July 1984 at the Cheltenham International Festival of Music. This live performance was broadcast on BBC Radio 3 on 24 September 1984 and a copy of this broadcast exists in the Arnold van Wyk collection in the J.S. Gericke Library at Stellenbosch University. Night Music is a perfect example of Van Wyk’s compositional techniques for the keyboard. It demands a considerable musical imagination and piano technique from the performer. The score of Night Music contains many detailed instructions regarding the different musical parameters and it also encloses unusual terms such as glacial or lugubre. It shows that the composer is extremely concerned to control all aspects of the performance and expects great depth of interpretation of the performer. Analysing the score of Night Music together with a performance by the composer enables one to consider two versions of “authenticated text”. The comparison between Arnold van Wyk’s recording, score and Steven de Groote’s performance allows the researcher to draw conclusions about score fidelity as a condition for “authenticity” in performance. Therefore, the primary aim of this research project is to yield interesting perspectives on notions of authenticity in performance with regard to these two particular performances of Night Music. The main body of this thesis consists of four chapters. In Chapter One a philosophical discussion about authenticity in performance is presented. Chapter Two focuses on the contextualisation of the work under discussion, including the reception and a short analysis of Night Music. It is followed by Chapter Three which compares the pianism of Arnold van Wyk and Steven de Groote. These latter two chapters form the background of the comparative performance analysis of the renditions of Night Music by these two performers which are presented in Chapter Four. Through the careful comparative analysis of Arnold van Wyk’s and Steven de Groote’s performances of Night Music it was possible to observe that a composer can present a version of his work that departs quite radically from the score. As “authenticity in performance” strives to honour the composer’s intentions as notated in the score, this discrepancy illustrates the controversial nature of the discourse on the “authentic” in music.

O tema hipertexto tem figurado como frequente ponto de discussão por parte da Linguística. Ainda assim, há pouca clareza quanto ao seu conceito. Flutuações terminológicas e descrições pouco ou muito específicas impedem uma consistência maior de hipertexto e hipertextualidade. Dessa forma, a presente dissertação procura compilar as principais ideias relatadas sobre o tema, principalmente em contexto nacional, para então discuti-las. Os conceitos são separados com base nos problemas recorrentes de descrição, sendo eles o problema da natureza, o problema da fronteira e o problema da vagueza. Alguns dos autores contemplados são Coscarelli, Gomes, Koch, Lobo-Sousa, Marcuschi e Xavier, e considerações de Nelson sobre o tema são trazidas para o centro da discussão. Posteriormente, as categorias pelas quais o hipertexto é comumente definido são discutidas uma a uma, com base em Koch, Komesu e Marcuschi. Por fim, disserta-se sobre a relação entre hipertexto e realidade aumentada, tomando como alicerce Mann, Manovich e Nelson. Propõe-se a realidade aumentada como melhor exemplo de hipertexto contemporâneo devido às suas características dinâmicas e também ao diálogo para com o espaço físico, o qual remete à transclusão imaginada por Nelson.
The subject hypertext has been the centre of recurrent discussions in Linguistic. In spite of that, there has not been a lot of clarity in regards to its concept. Terminological fluctuation and too vague or too specific descriptions prevent bigger consistency about hypertext and hypertextuality. Therefore, the present dissertation aims to compile the principal ideas written about the subject, mainly in a national context, to discuss them afterwards. Such concepts are divided by the recurrent problems found in their descriptions, being the nature problem, the boundary problem and vagueness problem. Some of the commented authors are Coscarelli, Gomes, Koch, Lobo-Sousa, Marcuschi e Xavier, and considerations from Nelson about the subject are taken to the centre of the discussion. Posteriorly, the categories through which hypertext is commonly defined are discussed one by one, based on Koch, Komesu e Marcuschi. Lastly, the connexion between hypertext and augmented reality is addressed, starting from Mann, Manovich e Nelson. Augmented reality is proposed as the best example of hypertext because of its dynamic features, and also because of the relation kept with physical space, which itself recalls the transclusion as imagined by Nelson.

Thesis (MPhil)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: This thesis discusses ethical dilemmas faced by district surgeons in South Africa. District surgeons render clinical forensic services, which means that they deal mainly with detainees and victims of crime. The main functions of district surgeons are the collection of forensic evidence from patients and the care of detainees. So the focus is to assist in the administration of justice rather than improvement of patient wellbeing. The district surgeon may therefore find himself in a situation where patients’ interests are in conflict with those of law enforcement agencies. Being a medical practitioner in clinical forensic medicine, the district surgeon has an obligation to assist in the administration of justice, as opposed to the traditional obligation to care for patients and put patient’s interests first. This allegiance to both administration of justice as well as patient wellbeing lead to an ethical dilemma of dual loyalties. A dual obligations presents an ethical dilemma for the district surgeon, especially if they are in conflict and mutually exclusive. I discuss the detention and subsequent death of Steve Biko to illustrate how dual obligations can lead to serious human rights violations and even death. Dual obligations are however not limited to detainees and police custody settings, and I demonstrate this by discussing three other scenarios commonly encountered by district surgeons. There is a lack clear guidance for district surgeons who are faced with a conflict of obligations. I explore several ethical theories including consequentialism, deontology and virtue ethics, in search of an ethical framework suitable for resolving conflicts in clinical forensic medicine. I therefore argue that a duty based ethical framework is central to clinical forensic medicine and the resolution of loyalty conflicts. I recommend the resolution of conflicts by using an approach developed by Benjamin (2006). This approach involves weighing -up the different duties in conflict, applying philosophical reasoning and then amelioration. By adopting a structured and wellreasoned ethical framework, district surgeons will be able to deal with conflicts of obligations better.
AFRIKAANSE OPSOMMING: Hierdie tesis bespreek etiese dilemmas wat in die gesig gestaar word deur distriksgeneeshere in Suid-Afrika. Distriksgeneeshere lewer kliniese forensiese dienste, wat beteken dat hulle handel hoofsaaklik oor die gevangenes en slagoffers van misdaad. Die belangrikste funksies van distriksgeneeshere is die insameling van forensiese getuienis van pasiënte, en die sorg van gevangenes. Met hierdie benadering is die fokus om te help met die administratiewe doeleindes van geregtigheid, eerder as die verbetering van die pasiënt se welstand. Die distriksgeneesheer kan hom dus in 'n situasie vind waarby die pasiënte se belange in konflik is met dié van wetstoepassingsagentskappe. As 'n geneesheer in kliniese forensiese geneeskunde, het die distriksgeneesheer 'n verpligting om te help met die administrasie van geregtigheid, in teenstelling met die tradisionele verpligting om te sorg vir hul pasiënte, en hul welstand eerste te plaas. Hierdie getrouheid gaan gepaard met beide regspleging, sowel as die welstand van die pasiënt, wat kan lei tot 'n etiese dilemma van dubbele lojaliteit. Dubbele verpligtinge bied 'n etiese dilemma vir die distriksgeneesheer, veral as hulle in konflik en wedersyds uitsluitend is. Ek bespreek die aanhouding en die daaropvolgende dood van Steve Biko om te illustreer hoe dubbele verpligtinge kan lei tot ernstige skending van menseregte en selfs die dood. Dubbele verpligtinge is egter nie beperk tot die gevangenes en polisie-aanhouding instellings nie, en ek demonstreer dit deur die bespreking van drie ander “scenario's” wat oor die algemeen eervaar word deur distriksgeneeshere. Daar is 'n gebrek aan duidelike riglyne vir distriksgeneeshere wat 'n botsing van verpligtinge in die gesig staar. Ek verken verskeie etiese teorieë insluitende konsekwensialisme, deontologie en deugde-etiek, op soek na 'n etiese raamwerk geskik vir die oplossing van konflikte in kliniese geregtelike geneeskunde. Ek argumenteer dus dat 'n pligsgebaseerde etiese raamwerk sentraal is tot kliniese forensiese geneeskunde, en die resolusie van lojaliteit konflikte. Ek beveel die oplossing van konflikte deur die gebruik van 'n benadering wat ontwikkel is deur Benjamin (2006). Hierdie benadering behels 'n gewigsoorweging tussen die verskillende pligte in konflik, die toepassing van filosofiese redenasie en verbetering. Deur die aanneming van 'n gestruktureerde en beredeneerde etiese raamwerk, sal distriksgeneeshere dus in staat wees om konflikte van verpligtinge beter te hanteer.

Les enfants et les adolescents sont-ils des acteurs de cinéma? À l'évidence, oui. En retraçant l'historique des représentations filmiques de l'enfance et de l'adolescence, en effectuant une mise au point sur les singularités (actorales, psychologiques, juridiques) du jeune comédien et les moyens adoptés (notamment dans le système hollywoodien) pour encadrer ses prestations, nous mettons en avant l'idée d'une émergence et d'une évolution récentes du statut de l'enfant acteur. L'essentiel de notre démonstration repose sur une étude comparée des films et des méthodes de travail de Steven Spielberg et de Jacques Doillon: leurs innovations en matière de direction d'acteur ont en effet permis au jeune comédien d'accéder à une qualité et une complexité de jeu inégalées. Des entretiens inédits avec Jacques Doillon, Caroline Champetier, Xavier Beauvois, Emmanuelle Bercot et Claire Simon - ainsi qu'une analyse approfondie des rushes de Ponette, film clef de notre étude complètent ce travail.

La répétition musicale se distribue selon bien des modalités et se dit en une pluralité de sens. Les œuvres « se répètent » différemment, et les répétitions structurelles qu’elles convoquent n’ont pas toutes le même statut. Le disque et la musique pour bande dupliquent des objets issus d’une même matrice ; l’interprétation d’une œuvre et la variation sur un thème itèrent des gestes conformément à une structure. Ainsi peut-on considérer que les différents faire musicaux connaissent des régimes de répétabilité différenciés. On peut alors cerner l’efficace esthétique de ces manières de répéter. Les compositeurs répétitifs américains (Terry Riley, Steve Reich, Philip Glass), en transférant des procédés issus du travail sur bande vers le jeu instrumental, rendent féconde la distinction entre le mécanique et le vivant, entre l’autographique et l’allographique. Les processus « technomorphes » mobilisés, pour lesquels la répétabilité mécanique joue comme modèle du jeu instrumental, permettent de penser à nouveaux frais la notion de répétition en musique, comprise comme un processus communicationnel auquel l’auditeur prend part
Repetition in music can be found in several modes described according to a plurality of meanings. Works of music repeat themselves in different ways, and the structural repetitions upon which they rely do not always enjoy the same status. Records as well as tape music reproduce objects coming from a common matrix ; the interpretations of a work as well as variations on a theme are executed on the basis of a particular structure. We can thus consider that the various ways of making music all display of different modes of repeatability. We thereby begin to grasp the aesthetic effectiveness of the same modes. By transferring the procedures developed from working with tape music into the very production of instrumental music, several repetitive composers from the United States (Terry Riley, Steve Reich, Philip Glass) have established the fruitfulness of the distinction between the mechanical and the living, between autographic and allographic types of symbols. “Technomorphical” processes are thereby mobilized through which mechanical repetition becomes the model for playing an instrument, thus allowing us to rethink the very notion of repetition in music, now reconstructed as a communicational process in which the listener has a role to play

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O minimalismo musical de La Monte Young, Terry, Riley, Steve Reich e Philip Glass foi chamado, entre outros rótulos, de música repetitiva, modular, de pulsação, de processos e estática – e, portanto, não-teleológica – antes que o termo minimalismo prevalecesse. Uma vez que tais termos não são infundados e refletem características percebidas no minimalismo, este trabalho tenta definir as idéias por trás desses rótulos. O trabalho também discute os procedimentos mais típicos adotados por cada um dos quatro compositores mencionados, apontando as mudanças de feições na produção desses compositores entre as décadas de 1960 e 70, período normalmente utilizado como referência para estudos.
The musical minimalism of La Monte Young, Terry, Riley, Steve Reich and Philip Glass had been called, among other labels, repetitive, modular, pulse, process, and static – and as a result, a-teleological – music before the name minimalism finally caught on. Since those labels reflect, at least in part, some of the features commonly found in the style, this study attempts to define the concepts behind such labels. This work also discusses some of the most typical procedures adopted by the four composers aforementioned, pointing their changing style during the 1960s and 70s, period often used as a reference for studies.

This research aims to illuminate how and why war challenges the limits of poetic representation, through an analysis of non-combatant poetry of the Second World War. It is motivated by the question: how can one portray, represent, or talk about war? Literature on war poetry tends to concentrate on the combatant poets of the First World War, or their influence, while literature on the Second World War tends to focus on prose as the only expression of literary war experience. With a historicist approach, this thesis advances our understanding of both the Second World War, and our inherited notions of 'war poetry,' by parsing its historiography, and investigating the role critical appraisals have played in marginalising this area of poetic response. This thesis examines four poets as case studies in this field of research-W.H. Auden, Louis MacNeice, Dylan Thomas, and Stevie Smith-and evaluates them on both their individual explorations of poetic tone, faith systems, linguistic innovations, subversive performativity, and their collective trajectory towards a commitment to represent the war in their poetry. The findings from this research illustrate how too many critical appraisals have minimised or misrepresented Second World War poetry, and how the poets responded with a self-reflexivity that bespoke a deeper concern with how war is remembered and represented. The significance of these findings is breaking down the notion of objective fact in poetic representations of war, which are ineluctably subjective texts. These findings also offer insight into the 'failure' of poetry to represent war as a necessary part of war representation and prompt a rethinking of who has the 'right' experience-or simply the right-to talk about war.

The presence of human destitution, impoverishment and degradation in the midst of plenty has puzzled social thinkers for millennia. One of the oldest and grandest of theories: the theory of ideology attempts to provide an answer to the puzzle of domination in society. Michael Rosen, in his book On Voluntary Servitude (1996), argues that the solution provided by the theory of ideology is problematic. Furthermore, on the basis of his critique, Rosen argues that we should abandon the theory of ideology and consider alternatives to it. Even though many contemporary academics have turned away from the theory of ideology, because they view it as an imprisoning meta-theory, this study explores the possibility of there being a meta-theory that could help us to make sense of the world. Through an examination of Rosen's critique this thesis shows that Rosen is too quick in his dismissal of the theory of ideology because he fails to consider that a revised functionalist theory of ideology can be expanded to account for the mechanism(s) that ensure that, over time, the society in question acquires ideological consciousness to further its welfare. This thesis shows that Rosen is correct in his criticism of the theory of ideology's explanation of domination because the content, history and social effects of ideological consciousness cannot be fully explained in terms of their role in promoting or stabilising relations of domination. In light of Rosen's criticism the thesis shows that if one provides both an explanation of the psychological motivations of individuals and of the nature of the oppressive society in which they find themselves then what I call an integrated theory of ideology can be developed. In order to illustrate the importance of an integrated theory of ideology the study moves away from high-level theoretical abstraction to concrete social analyses, focusing on the work of Frantz Fanon and Steve Biko and their explanations of domination. The reason this study focuses on their work is because in their role as social scientists, Fanon and Biko provided a powerful critique of colonial, post-colonial and neo-colonial society. It will be argued that Fanon and Biko were able to provide a lasting critique of colonial reality because they offered their critique within the framework of such an integrated theory. Consequently, this study argues that, as Fanon and Biko's work illustrate, an integrated theory of ideology qua critical theory ought not to be abandoned because it is crucial for understanding and resisting forms of oppression that exist in the world today.

It is a central claim of modern linguistic theory that linguists do not prescribe, but describe language as it is, without pronouncing on correctness or judging one variety better than another. This attempt to exclude evaluation is motivated by a desire to be ' politically correct', which hinders objective analysis of language, and by an ill-advised imitation of the natural sciences, which obstructs the discipline's progress towards becoming a science in its own right. It involves linguists, as users of a valued variety, in self-deception and disingenuousness, distances them from the concerns of the ordinary language user, and betrays a failure to understand the involvement of social values in language, the nature of language itself, and the limits of linguistic science. On a wider scale, linguistics reflects society's devaluing and mechanisation of language. Despite growing concern expressed in the literature, and the incoherence that becomes apparent when linguists attempt to address social problems using a theory that regards language as an autonomous object, newcomers to the discipline continue to be taught that anti-prescriptivism is the natural corollary of a scientific approach to language. This thesis suggests that the way out of these difficulties is to rethink the meaning of ' theory' in linguistics. If we take the reflexivity of language seriously, building on M.A.K. Halliday's notion of 'linguistics as metaphor', we are reminded that a linguistic theory is made of language. Metalanguage must use the experiential and interpersonal meaning-making resources of everyday language. It follows that a linguistic theory cannot escape being evaluative, because evaluation is an inherent part of interpersonal meaning. If we fail to notice our own metalinguistic evaluation, this is because language disguises its evaluative meanings, or perhaps we are just not used to thinking of them as part of the grammar. To achieve clarity about the involvement of value in language, we need to turn our metalanguage back on itself - 'using the grammar to think with about the grammar' . Some ways of doing this are demonstrated here, turning the resources of systemic functional linguistics on linguists' own language. The circularity of this process should be seen not as a drawback but as a salutary reminder that linguistics is an interpretive rather than a discovery process. This knowledge should help us revalue language and make a place for evaluation in linguistic theory, paving the way for a socially responsible and productive linguistics.

La thématique de l’esclavage aux États-Unis nous a toujours interpellés, interrogés et nous a toujours donné envie d’en savoir plus et de comprendre comment un tel système a pu perdurer pendant plus de deux cents ans, provoquer la division profonde d’une nation et une guerre civile pour finalement laisser des traces et des marques indélébiles sur les États-Unis. Cet intérêt nous a poussés à nous intéresser tout d’abord à la notion du traumatisme culturel de l’esclavage, puis, à sa représentation cinématographique dans le cinéma américain par trois cinéastes américains (D. W. Griffith, né en 1875 dans le Kentucky, Steven Spielberg, né en 1946 dans l’Ohio et Tate Taylor né en 1969 dans le Mississippi), qui traitent de trois périodes historiques différentes à des époques distinctes. Nous nous sommes alors posé la question du lien qu’il existe entre la réalité physique, vécue, d’un événement et sa représentation cinématographique qui est forcément distanciée, temporellement et/ou spatialement. Comment les réalisateurs peuvent-ils représenter fidèlement la réalité historique ? Comment évitent-ils (ou non) d’insérer des « filtres », qu’ils soient personnels ou sociologiques, et, comment ne pas transformer l’histoire, la modeler, en occultant par exemple les éléments qui n’abondent pas dans le sens du message que l’on souhaite véhiculer ? Dans l’hypothèse où le réalisateur est de parti-pris, comment le spectateur peut-il en avoir conscience au moment où il regarde le film ? Ce travail est donc né d’une réflexion sur l’importance culturelle et civilisationnelle de la notion de traumatisme culturel dans la représentation cinématographique de l’esclavage aux États-Unis. Les trois films que nous avons choisis pour notre corpus sont The Birth of a Nation de D.W. Griffith (1915), Amistad de Steven Spielberg (1997) et The Help, de Tate Taylor (2011). Ces films représentent trois époques distinctes de la vie et de la société américaine puisque The Birth of a Nation raconte le déroulement de la Guerre de Sécession en se plaçant dans la vie d’une famille sudiste. Amistad prend pour contexte les années 1839 à 1841 et The Help se déroule à Jackson, dans le Mississippi des années 60.En choisissant des films qui représentent des époques historiques distinctes mais qui ont également été réalisés à des périodes différentes les unes des autres, nous avons souhaité prendre en compte cette question de la réadaptation et de la réinterprétation de l’événement traumatique.Nous avons souhaité montrer, à travers notre travail, comment les cinéastes adaptent un fait réel ou un ouvrage littéraire, en supprimant certains éléments ou en rajoutant, en adaptant la réalité historique pour en faire une fiction qui cherche à montrer une représentation du réel. Nous avons aussi et surtout démontré comment la notion de « traumatisme culturel » influence le travail des cinéastes qui se sont penchés sur l'héritage culturel qu'est l'esclavage. Nous avons souhaité voir dans quelle mesure cette notion de traumatisme culturel influe sur la création artistique filmique, et dans quelle mesure ses caractéristiques pouvaient s’appliquer à notre corpus. Quels en sont les aspects les plus représentés et prégnants ? Nous avons fait l’analyse de notre corpus dans un ordre chronologique de création, en premier lieu nous nous sommes penchés sur The Birth of a Nation de D.W. Griffith, sorti en 1915, puis nous avons analysé Amistad de Spielberg, sorti en 1997, pour finir avec l’étude de The Help, réalisé par Tate Taylor et sorti en salle en 2011.Pour chacun de ces films, nous avons étudié le contexte historique et géopolitique inhérent à l’époque représentée, puis, le passage de la réalité historique à l’œuvre de fiction, le processus d’adaptation cinématographique, (éléments fidèles, ajouts, simplifications et suppressions) pour analyser la globalité de chacun en regard de cette notion de traumatisme culturel
Slavery in the USA has always been an interesting thematic to us. We have always wanted to learn more about it thus understanding how such a system could have been implemented for more than 200 years, have caused the division and a fracture in a nation, have led to the Civil War and have left permanent scars ont the United States of America. This particular interest led us to look into the concept of cultural trauma, and into its representation by three American film directors (D. W. Griffith, born in Kentucky in 1915, Steven Spielberg, born in Ohio in 1946 and Tate Taylor born in Mississippi in 1969), who picture at various distinct periods three different historical eras. We have considered the link existing between the physical reality of an event and its cinematographic representation, which is spatially or temporally distanced from the event. How can film directors faithfully represent historical reality ? How do (or don’t) they avoid to insert in their work personal or sociological filters ? How don’t they transform history, or shape it by not mentionning the elements that do not concur to the message one wants to deliver ? What if the director’s views are biased? How can the viewer be conscious of it and keep it in mind as he or she watches the film?Our work initiated from a reflexion upon the cultural and socialogical importance of the notion of cultural trauma in the cinematographic representation of slavery in the United States. The three movies we have chosen to work on are : The Birth of a Nation, (D.W. Griffith, 1915), Amistad (Steven Spielberg, 1997) and The Help (Tate Taylor, 2011). These films represent three distinct periods in the life of the American society since The Birth of a Nation pictures the progress of the American Civil War inside a Confederate family, Amistad is set between the years 1839 and 1841, and The Help takes place in the sixties, in Jackson, Mississippi.In choosing films that represent various historical periods and that have been directed at different periods of time, we wanted to take into account both the notions of re-adapting and re-interpreting the traumatic event. We have wished to demonstrate, through our work, how film directors adapt a real fact or a book by deleting some elements or adding some others, by adapting historical reality to turn it into a fiction showing a representation of reality. We have also tried to show how « cultural trauma » acts upon the audiovisual work of film directors who choose to picture the cultural heritage of slavery. We have analyzed to what extent cultural trauma has an influence on filmic creation and how its characteristics can be applied to our corpus. What aspects of it are most represented ?We have decided to analyze our corpus in a chronological order. We have started with D. W. Griffith’s The Birth of a Nation (1915), we have then analyzed S. Spielberg’s Amistad, (1997), and ended with T. Taylor’s (2011). For each of these films, we have first studied the historic and geopolitic contexts of the historical periods represented, we’ve then dealt with the transition from historical reality to fiction and we’ve analyzed the entirety of each movie compared to to the notion of cultural trauma. How and to what extent can it be found into these artitic works ? As a mass media, cinema has an educational role and we have demonstrated its link with cultural trauma

On April 1, 1976, Steve Jobs and Steve Wozniak entered into a partnership agreement to found Apple Computer. In the decade that followed, Apple experienced remarkable growth and success, as Jobs catapulted Apple to the Fortune 500 list of top‐flight companies faster than any other company in history. Under direction of Jobs, Apple, an idea that started in a garage, transformed into a major force in the computer industry of the 1980s. Though Jobs' leadership undoubtedly influenced Apple’s success during this time, in 1995, he was forced to resign, when conflicts mounted at the executive level. Using Kenneth Burke’s theory of identification and the dramatistic process, this thesis examines Jobs’ discourse through a series of interviews and textual artifacts. First, I provide a framework for Jobs' acceptance and rejection of the social order at Apple, and then consider the ways in which Jobs identified with employee and consumer audiences on the basis of division. Analysis shows that Jobs identified with individual empowerment, but valued separation and exclusivity. Jobs' preference to create identification through division, therefore, established the foundation for new identifications to emerge. The findings of this study suggest that division has significant implications for creating unity.
Graduation date: 2012

M.Ing. (Engineering Management)
The current research investigated the inter-relationship between Steve Jobs and Apple Company. The study looked at Steve if he launched Apple with business orientation. The researcher used Yin’s (1994) single case, holistic design research method and looked at the data gathered from thirty-seven authors. Steve Jobs’ business orientation was measured using Snaddon (2008) business measures. Symbols were used to indicate whether the evidence found from different sources is direct, indirect, negative or if there was no evidence at all. A score that ranged from -1 for negative evidence to +2 for direct evidence was assigned to evidence from each author; then the total score that represented evidence from all thirty- seven authors on each business measure was presented in the results column (see table 4). Based on the total score of each measure, the strength of the relationship was established. The results showed that there was an inter-relationship between Steve Jobs’ business strategy and the Snaddon (2008) business measures. The evidence gathered did not support the hypothesis that Steve Jobs had little business orientation and the conclusion drawn was that Steve was business oriented when he (and his partners) launched Apple Company.

M.A. (Afrikaans)
This study explores the nature, role and function of letters (i.e. epistolary communication) in Etienne van Heerden’s novels, In stede van die liefde (In love’s place) (2005) and 30 nagte in Amsterdam (30 nights in Amsterdam) (2008). Existing theoretical insights into the so-called epistolary novel (novel of letters), as well as the role of letters in literary texts, are used as point of departure for an in-depth analysis of each novel. Botha (1987:149) defines the epistolary novel as “a novel consisting entirely or in part of letters, diary fragments or other relevant documentation, while a foreword and/or conclusion by a fictional editor/publisher can also be included” (my translation – FB). Though neither In stede van die liefde and 30 nagte in Amsterdam at first sight seem to be epistolary novels, both meet with the requirements of Botha’s (1987:149) definition in the sense that they partly consist of letters. Botha’s (1987:149) definition also contains no specific indication of exactly how many letters or diary fragments a novel should include to be considered an epistolary novel. From a study of the letters in Van Heerden’s novels it becomes evident that In stede van die liefde and 30 nagte in Amsterdam do not display all the features of the epistolary novel. Some defining characteristics are deliberately deviated from or undermined, while other characteristics are identified in the novels that serve as supplement to existing theoretical approaches to the epistolary novel. In both novels, for example, letters function as catalysts for action, while they are sometimes used as part of the narration or to expose the inner life (thoughts) of characters. In addition letters are also used to provide background information and to act as historical documents. Among other things, it is indicated that most of the letters in In stede van die liefde and 30 nagte in Amsterdam do in fact not fulfil the traditional purpose of letters, as two-way communication is not established in all of them. It can justifiably be argued, therefore, that letters rather reveal something more symbolic about the psyche of the characters who act as letter writers in the novels. A textual analysis of the two Van Heerden novels clearly indicates that both In stede van die liefde and 30 nagte in Amsterdam should be considered innovative with regard to the use of letters. The complexity, richness and literary quality of these novels require many different interpretations, however, with the investigation into the role of letters as only one possible way in which insight can be obtained into these impressive literary achievements.

This study focuses on Steve Biko’s Africana existential phenomenology, with particular emphasis on the themes of blackness, black solidarity and liberation. The theoretical foundation of this thesis is Africana existential phenomenology, which is used as a lens to understand Biko’s political thought. The study argues that thematic areas of blackness, black solidarity, and liberation are inherent in Africana existential phenomenology. These thematic areas give a better understanding of existential questions of being black in the antiblack world. What is highlighted is the importance and the relevance of the revival of Biko’s thinking towards creating other modes of being that are necessary for the actualisation of blacks as full human subjects.
Political Sciences
M.A. (Politics)

Tese de mestrado, Arte Multimédia - Audiovisuais, Universidade de Lisboa, Faculdade de Belas Artes, 2013
This essay addresses the relationship between a public place and its occupation by homeless converting it into a personal place. Drawing on Martin Heidegger, Marc Augé, Ignasi de Sola-Morales, Italo Calvino and Maria Manuela Dias Fernandes a conceptual universe was built tha was complemented and deepened by reflecting on some of the works of the artists Enrique jezik, Hans Op de Beeck, Peter Fischli and David Weiss, Andreas Gursky, David Plowden, Thomas Struth, Ana Vieira, Noé Sendas, Antonio Dias, Adrian Paci, Alexander Star, Grabriel Orozco, Liu Bolin, Santiago Sierra, Steven Spielberg. It’s explored how the public place retains the memory of those who use it daily through the concepts of anthropological place, non-place and 'terrain-vague'. Then the construction of the dwelling place as well as their relationship with the concept of shelter is explored, which serves as an introduction to the study of the paradigm of homeless. This reflection resulted in two unique pieces of character art that explore the studied problematic through the reconstruction of local ambiguities and fleeting hints of occupations

The exploration of creative rhythmic drum patterns – many of which borrow from divergent musical styles – continues to be a focus for those at the vanguard of contemporary drumming. This performance-based study, submitted for the degree of PhD at the Elder Conservatorium of Music, University of Adelaide, looks at six representative pop/rock drummers who remain revered for their signature drum patterns. The drummers in question are Ginger Baker, Stewart Copeland, Sly Dunbar, Steve Gadd, Zigaboo Modeliste and Bernard Purdie, who reached arguably the high point of their creativity between 1965- 1992, each of them being celebrated for their absorption of cross-stylistic influences and imaginative use of techniques in the creation of new rhythmic patterns. Ginger Baker’s early recordings in the mid-1960s saw him combining African and jazz influences with rock/blues rhythms, establishing him as a pioneer in this field and creating a platform for other drummers to follow. This investigation highlights the prolific output of the above-mentioned drummers during this period, subsiding noticeably by the early 1990s due to the advancement of the drum machine and programming in the recording studio. Each of these drummers has in their own way profoundly shaped the direction of pop/rock music, and each of them constitutes a rich resource for the contemporary pop/rock drummer. The intention here is to expand the creative potential of these resources and recontextualise each drummer’s signature drum patterns so that we can speculate what Bernard Purdie’s patterns might be like if performed by Ginger Baker, Stewart Copeland, and so on. This kind of self-referentialism is pursued in the belief that not only does it give greater insight into each drummer’s technical and rhythmic syntax, but it leads to outcomes greater than the sum of their parts. The original source recordings have been analysed aurally and this process of aural analysis has led to the written explanations of techniques for each of the sixteen songs in tabular form. The analytical process has informed the synthesis of techniques in the author’s own recorded performances. The submission consists of a portfolio of the author’s own audio and video recordings supported by a dissertation.
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2022

Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2012
Exame público realizado em 30 de Maio de 2012
Este trabalho pretende um entendimento do percurso profissional e características dos arquitectos Daniel Libeskind e Steven Holl. Ambos fazem parte de um grupo de arquitectos que se distingue na actualidade pela originalidade das suas obras, fazendo com que tenham algum destaque e sejam considerados como arquitectos de referência. Cada um destes arquitectos alia de modo estratégico e surpreendente, a forma e o conceito dos seus projectos. Deste modo, o que pretendemos com este trabalho, é entender o porquê de ambos se distinguirem no seu trabalho e qual o motivo para que cada um tenha esse cunho pessoal que os torna singulares. Para isso fizemos uma análise em termos de referências e influências dos arquitectos, bem como visitas aos dois ateliers e entrevistas a colaboradores. As obras apresentadas nos casos de estudo foram referências conceptuais e formais para o projecto por nós elaborado e que também é um caso de estudo apresentado. (Luís Manuel Gouveia Gomes)

Indiana University-Purdue University Indianapolis (IUPUI)
Steven Millhauser has been recognized for his abilities as both a novelist and a writer of short fiction. Yet, he has evaded definitive categorization because his fiction does not fit into any one category. Millhauser’s fiction has defied clean categorization specifically because of his regular oscillation between the modes of realism and fantasy. Much of Millhauser’s short fiction contains images of labyrinths: wandering narratives that appear to split off or come to a dead end, massive structures of branching, winding paths and complex mysteries that are as deep and impenetrable as the labyrinth itself. This project aims to specifically explore the presence of labyrinthine elements throughout Steven Millhauser’s short fiction. Millhauser’s labyrinths are either described spatially and/or suggested in his narrative form; they are, in other words, spatial and/or discursive. Millhauser’s spatial labyrinths (which I refer to as ‘architecture’ stories) involve the lengthy description of some immense or underground structure. The structures are fantastic in their size and often seem infinite in scale. These labyrinths are quite literal. Millhauser’s discursive labyrinths demonstrate the labyrinthine primarily through a forking, branching and repetitive narrative form. Millhauser’s use of the labyrinth is at once the same and different than preceding generations of short fiction. Postmodern short fiction in the 1960’s and 70’s used labyrinthine elements to draw the reader’s attention to the story’s textuality. Millhauser, too, writes in the experimental/fantastic mode, but to different ends. The devices of metafiction and realism are employed in his short fiction as agents of investigating and expressing two competing visions of reality. Using the ‘tricks’ and techniques of postmodern metafiction in tandem with realistic detail, Steven Millhauser’s labyrinthine fiction adjusts and reapplies the experimental short story to new ends: real-world applications and thematic expression.

It is not uncommon to read claims of music’s ability to affect our sense of time and its rate of passage. Indeed, such effects are often considered among the most distinctive and prized aspects of musical aesthetics. Yet when it comes to the similarly abstract notion of space and its manipulation by musical structures, theorists are generally silent. My dissertation addresses this gap in the literature and shows how music’s spatial effects arise through an affective engagement with musical works. In this study, I examine an eclectic selection of compositions to determine how the spaces we inhabit are transformed by the music we hear within them. Drawing on Maurice Merleau-Ponty’s theory of embodied perception, as well as research on acoustics, sound studies, and media theory, I deploy an affective model of spatial perception—a model that links the sense of space with the moment-to-moment needs and desires of the perceiver— to explain how these musical modulations of space occur. My claim is that the manner in which the music solicits our engagement affects how we respond, which in turn affects what we perceive. I begin by discussing the development of recording technology and how fixed media works deemed “spatial music” reinforce a particular conception of space as an empty container in which sound sources are arrayed in specific locations relative to a fixed listening position. After showing how innovative studio techniques have been used to unsettle this conventional spatial configuration, I then discuss examples of Renaissance vocal music, instrumental chamber music, and 20th century electronic music in order to develop a richer understanding of the range of spatial interactions that musical textures and timbres can provide. In my final chapter, I draw upon these varieties of affective engagement to construct a hermeneutic analysis of the spatial experience afforded by Steve Reich’s Electric Counterpoint, thereby modeling a phenomenological method for grounding interpretation in embodied, rather than strictly discursive, practices. By soliciting movement through the call for bodily action, music allows us an opportunity to fit together one world of possibilities with another, thereby providing an occasion for grasping new meanings presented through the work. The spatial aspect of music, therefore, does not consist in merely recognizing an environmental setting populated by individual sound sources. Through the embodied practices of music perception and the malleability of space they reveal, we are afforded an opportunity to reshape our understanding of the world around us.

This research challenges the hypothesis that Biko was anti-liberal and anti-white. Biko's clearly defined condemnation of traditional South African white liberals such as Alan Paton is hypothesised as a strategic move in the liberation struggle designed to neutralise the "gradualism" of traditional white liberalism which believe that racism could be ultimately superseded by continually improving education for blacks. Biko neutralised apartheid racism and traditional white liberalism by affirming all aspects of blackness as positive values in themselves, and by locating racism as a white construct with deep roots in European colonialism and pseudoDarwinian beliefs in white superiority. The research shows that Biko was neither anti-liberal nor anti-white. His own attitudes to the universal rights, dignity, freedom and self-determination of all human beings situate him continuously with all major human rights theorists and activists since the Enlightenment. His unique Africanist contribution was to define racist oppression in South Africa as a product of the historical conditioning of blacks to accept their own alleged inferiority. Biko's genius resided in his ability to synthesize his reading of Marxist, Africanist, European and African American into a truly original charter for racial emancipation. Biko' s methodology encouraged blacks to reclaim their rights and pride as a prelude to total emancipation. The following transactions are described in detail: Biko's role in the founding of SASO and Black Consciousness; the paradoxical relations between white liberal theologians, Black Consciousness and Black Theology; the influence on BC of USA Black Power and Black Theology; the role of Black Theologians in South African churches, SACC and WCC; synergic complexities ofNUSAS-SASO relations; relations between BC, ANC and PAC; the early involvement of women in BCM; feminist issues in the liberation struggle; Biko's death in detention; world-wide and South African liberal involvement in the inquest and anti-apartheid organisations.
History
D. Litt. et Phil. (History)